Colin Shamley Dies

Colin Shamley was one of the great musical commentators on life, love and politics in South Africa. I first met him at Dave and Franny’s house in High street, Berea, where I was squatting and selling zol to keep body and soul together. Colin was playing at Mangles and the first time I heard him it was a revelation. The skill, the words, the humour and the incisive view of our crazy world. One of my first gigs was opening for him at Mangles and I went down like a fart in a spacesuit to the mainly biker audience. But it didn’t take long to learn a few of the basic rules of the game from Colin, and I was up and running. I played at Mangles for a year before I recorded my first album. Colin recorded his master work ‘Born Guilty’ at about the same time and both albums received critical acclaim but few sales. “Born Guilty” is truly one of the greatest works ever to come out of this country. Colin died this morning after a long illness. Hamba Kahle Maestro.

Roger Lucey, from Jive Talking & Eyeballing

#MusicExchange: Steve Louw releases new album Headlight Dreams | Biz Community

From Biz Community, by Martin Myers

It’s hard to believe the last music we heard from Steve Louw arrived seven long years ago. With the wait now finally over, fans right around the world are already embracing the pop-rock icon’s return with arms wide open. The past year has been a rich and hugely rewarding one for Louw. Not only did Louw record his brand-new album, Headlight Dreams, in Nashville along with his long-time friend and producer extraordinaire Kevin Shirley (John Hiatt, Joe Satriani, Led Zeppelin, The Black Crowes), but Grammy Award-winning singer/songwriter and genius guitarist Joe Bonamassa also pitched up and added his magic to the record. 

#MusicExchange: Steve Louw releases new album Headlight Dreams
Steve Louw

To boot, Sony ATV, upon hearing the finished album, offered Louw his first international solo artist record deal.

The album, which is out now, already has two singles on high rotation, “Crazy River” and “Wind in your Hair”; the latter is the one that’s quite literally blowing up all around the world. In its first week of release in the US, the track landed at the highly coveted number two position on the Billboard ACC Folk Chart, ahead of the likes of the equally commendable Rhiannon Giddens and Francesco Turrisi.

“Wind in your Hair” is the track that sports Joe Bonamassa guitar fills and outstanding middle-eight. The single has had over 100,000 plays on Spotify in under three weeks. 

With 10 tracks captured in an arresting three-day recording sprint, producer Kevin Shirley channelled each one of Headlight Dreams’ songs through a vintage Neve console inside of a converted church. 

“From the first moment, I loved the acoustics of the studio and the vibe created by the wonderful Nashville musicians with their great feel and playing, drawing you into a world shimmering in the half-light, just out of reach,” Louw shares.

A consummate storyteller, a supremely gifted guitarist and a genuinely wonderful human being, Louw’s Headlight Dreams is a beautiful statement.

I caught up with the Cape Town resident last week. 

BizcommunityThe new decade means: Radical carbon emission cuts.

BizcommunityFame is about: An illusion.

#MusicExchange: Steve Louw releases new album Headlight Dreams
Steve Louw and Kevin Shirley

BizcommunityRetirement will happen when: You have lived beyond three figures

BizcommunityI don’t do:Fake people. 

BizcommunityMy music is about: Everyday experiences.  

BizcommunityWhat is the most enjoyable aspect of your work? Playing live and singing. 

BizcommunityThe song you must do in every show: “Waiting for the Dawn” 

BizcommunityAny funny moments on stage: When the power tripped, half the show was acoustic; we just kept playing. Luckily, the power came back and then we had an electric show.

BizcommunityMy style icon: Bob Dylan. 

BizcommunityWhat is your most treasured possession? My 1964 Epiphone as played by John (Lennon), Paul (McCartney) and George (Harrison). 

BizcommunityIt’s your round, what are you drinking? Glenmorangie Single Malt. 

BizcommunityWhat makes you stand out? The stage lights. 

BizcommunityNicknames: Stevo. 

BizcommunityIf you were not a musician, what would you do? Conservation. 

BizcommunityWho would play you in a Hollywood blockbuster and why? Edward Norton; we both smirk. 

#MusicExchange: Steve Louw releases new album Headlight Dreams
Steve Louw

BizcommunityPick five words to describe yourself: Musical, songwriter, guitar player, dendrophile, singer.

BizcommunityFive favourite SA albums: 
GBB – Eet Kreef
Baxtop – Work It Out
Juluka – Scatterlings
Tananas – Tananas
Tribe After Tribe – Power

BizcommunityWhat is your favourite word? Truth.  

BizcommunityFavourite fashion garment: My leather flying jacket. 

BizcommunityGive us some real proper slang and what it means: Lank kiff: Awesome, great. 

BizcommunityYour greatest achievement: My family. 

BizcommunityWhat do you complain about most often? Dishonesty. 

BizcommunityWhat is your fear? Large puff adders. 

BizcommunityHappiness is: Riding motorcycles. 

BizcommunityWhere would you like to be right now? Where I am.  

BizcommunityDo you do charity work and, if you do, what do you do? Yes, conservation. 

Twitter: @stevelouwmusic

Website: SteveLouw.com

Great Local Musicians #2020-45: Steve Louw, last heard on All Night Radio | Jive Talking & Eyeballing

From Jive Talking & Eyeballing
by Ernesto Garcia Marques, April 2021,
edited by Brian Currin, May 2021

Anyone who supported local South African music will remember All Night Radio, the blues rock band from Stellenbosch who were truly world class. I have been meaning to interview Steve for the longest time and now that he is about to release a new album it seemed like the perfect time to interview him now. I would like to give a big shout out to Martin Myers and the sterling work he is doing as CEO of Music Exchange and Triple M Entertainment. Martin is handling the PR for Steve Louw and is also his manager. I contacted him about doing this interview. Thanks Martin 😀

By way of introduction many of you should remember this song, recorded live at Ellis Park Stadium, 1985…. 

Ernesto: Howzit Steve, hope you are doing well? No need to ask if you are still rocking as I am really thrilled to hear that you have a new album coming out soon but more about that later…  I believe ANR started at Stellenbosch University where you met Nico Burger and Rob Nagel and your combined love for the Blues and Rock ‘n Roll got you out there and playing with David Kramer and Lesley Rae Dowling in various clubs and student venues. When was this exactly and what songs did you play at those early gigs? Did you play any covers or only original songs? How did you get involved in music and who were your main influences?

Steve: Hi Ernesto, Great to hear from you! I met Rob Nagel and Willem Moller in 1976 at the Stellenbosch Folk Club and we have been friends ever since. It was great place to get heard and there was always an enthusiastic audience of music lovers. Most of the artists wanted to showcase their own songs, but there were also versions of other artists’ songs. I can remember doing a cover of Gallis Pole (Gallows Pole) on 12 string guitar, thinking I was covering a Zeppelin song! I never dreamed that 25 years later my bud Kevin Shirley would be working with Jimmy Page and Robert Plant! My Dad had a DJ friend in Johannesburg, and one day he brought home a copy of Duane Eddy, ‘Have Twangy Guitar Will Travel’ and I was mesmerised by the sound. Another of my earliest memories is hearing Fats Domino sing Blueberry Hill on my Mom’s car radio and I felt that I was being taken to another mysterious and beautiful place. I started playing piano when I was 8, and when I found my brother’s discarded GalloTone guitar that was it. Willem and I had a band called Rockaway which gigged doing originals and covers. Willem was always into recording, and we started doing demos of our songs between gigs.

I formed ANR in 1983 with Rob, Pitchie Rommelaere and Nico (Burger), as Willem had left Cape Town for Johannesburg with his band Nothing Personal, which had started to do well. Our first drummer was Ronnie Milne, a great Scottish drummer. I had started recording with Willem at a Studio in Cape Town in 1979 and 1980, and we did demos of my songs and then focussed on two songs which we thought had a shot. I finished them up when I moved to New York City in 1981. After trying to get going in NYC, and having some interest from A+M Records, I decided to come back to Cape Town and form All Night Radio.

E: ANR broke up and Steve headed for New York City and Rob Nagel went to Hamburg, Germany. Two years later Rob and Steve decided to return to Cape Town and, re-uniting with Nico, used the Mother City as the base for their assault on the record industry. Then came months of all-night rehearsals, live gigs to test the songs, more rehearsals, more gigs, and live recordings until the band felt they were ready to record.

Why did the band break up? Did you and Rob intend going overseas to gain experience before returning to give it a full go in South Africa? Did either of you play live while overseas or did you go and see as many bands as you could, or both? What bands really blew you away and inspired you with All Night Radio?

S: So we formed ANR, when I came back to Cape Town in March 1983. When I was in NYC, I saw so many great bands! It was a really inspirational time and also quite tough to survive! I met lots of musicians and recording engineers, and we would go into their studios during quiet times, like a Sunday afternoon, and work on songs. I remember walking in the streets of New York in 1981 hearing the Stones’ Start Me Up blasting from every car, shop and taxi wherever you went. It was incredible! Springsteen released Nebraska in 1982 and it played over and over on my cassette machine. The songs really resonated with me and I realised that the art of songwriting and storytelling were one.

That album really inspired me and I bought a 4 track cassette recorder and started making demos. All the first demos of the songs that were released on the first ANR album The Heart’s the Best Part were recorded on that machine, which I still have! I also remember a stand out gig by Elvis Costello, during his Imperial Bedroom tour which was just mind blowing. I knew that I had to really focus on songwriting to connect with people.

All Night Radio’s first release was the double A sided single: Breaking Hearts/Sea Side Love which was released on 1st September 1984 and what a great song it was… 

This was on the other side and my own personal favourite… 

E: That was a really good single Steve and though the blues influence was there these tracks have a real ’80’s feel. Were you listening to ’80’s music at the time because I can hear a little Billy Idol, Springsteen and Simple Minds influence on these tracks; meant as a compliment of course 😉. I believe your intention was to go back to basics with your sound and this was the first result of that….

S: Yes, the 80’s; what happened was the sound of drums completely changed. Everybody was competing to be heard on the radio and the drums, particularly the snare just got massive! When we recorded The Hearts the Best Part, we put a mike on the metal freight elevator wall, took all the toms off the kit, and placed the kit in front of the lift’s gaping mouth! It seemed like a good idea at the time, and that why the drums are so in your face. Luckily the 80’s passed!

E: The single received a very favourable review from Andrew Donaldson in his review in the Cape Times of 5 October 1984: “The first single from All Night Radio’s debut album was released last week. The double A-sided rocker, Breaking Hearts, c/w Sea Side Love, is a no-nonsense uncompromising recording debut, and an exciting glimpse of what the group intends to offer on its forthcoming album. Produced in Cape Town by New York-based John Rollo, “Breaking Hearts” is probably the noisiest and freshest-sounding rock single produced in this country to date. Guitarist Nico Burger effortlessly establishes himself as wunderkind here in one neat and fluid solo. ANR think they’re a great group. They probably are.”  All Night Radio Released their first album, The Heart’s the Best Part in 1984 and you can listen to the album in full here but please go out and buy the album….  

E: There is a very interesting story connected to the first ANR single and album and I can remember reading about that in the Argus Tonight newspaper and instead of repeating that article I will try to tell the story in my own words. So, Steve Louw was going to Joburg at the same time as Little Steven (Van Zandt) was in South Africa. A local journalist from Cape Town could not go to Joburg so he drew up some questions, arranged a meeting with Little Steven and gave these to Steve. Louw saw this as the perfect opportunity to promote his own music and looking for a break, dumped the questions and when he did meet Little Steven he asked “Will you produce my band?”.

Steve also insisted that Little Steven listen to the tapes (of the first album) to which Steven replied: “Er, I’d really like to,” said Little, “but, you see, I just can’t spare the time…” Unperturbed, Louw expressed his band’s willingness to wait. The persistence and determination paid off as Van Zandt told Steve that he could not do it but he could introduce Louw to the co-producer of his album, John Rollo. (Rollo was a British producer who lived in the USA who had produced: Little Steven & the Disciples Of Soul, Roberta Flack, Stevie Nicks, The Kinks and George Benson amongst others). Transatlantic phone calls followed, finance was discussed and after listening to the tapes, Rollo came out to Cape Town while leaving George Benson waiting…. Watched by Louw, Rollo completed the mixing of the single and subsequent album in his New Jersey studio, and that is why it sounds so good.

E: Phew Steve, that must have taken a lot of guts. Were you nervous meeting Little Steven but also determined not to miss out on this career altering opportunity? Did you really just drop the interview questions completely and just ask him to produce your first album? He must have been dumbfounded and impressed at the same time?

S: No, I was freelancing as a record reviewer for The Cape Times, so that I could get all the new releases from the Record Companies. I offered to interview Little Steven for the Cape Times and they said sure. I was really keen to meet him as I loved his work as an Arranger/Producer with Springsteen, Southside Johnny and Gary “US” Bonds. I also loved his debut first album, and he had just released Voice of America his second album. We had a great time talking music, studios and production and a 20 minute time slot stretched into hours. He asked me if I was gigging and recording, and said he would love to hear some of the songs. I had the cassette of our live 4 track recordings with me, and the band sounded good after a year of gigging. He listened to the set while I took photos to go with the piece on him. I can still see him in his bandana and leopard print coat looking into the camera while listening to ANR on my walkman. It was a great moment in my life. Anyway he liked what he heard and put me in touch with John Rollo in New Jersey. John agreed to come to Cape Town and work with us on Little Steven’s recommendation, so that meeting was the start of my career.

E: Rollo must have been impressed right off the bat with your sound that made him come out to South Africa and produce your album though I am sure a few words from Little Steven helped that project on its way 😉. Do you know if Van Zandt ever heard the album and I sure hope that you sent him a copy…..?

S: Yes, he came back to South Africa for a second visit in August 1984, (I first met him in May 1984), before starting on his Sun City project. I brought the album, which had just been pressed, (literally hot off the press), to him at his hotel in Johannesburg. Journalist Andrew Donaldson also published a review of the album in the Cape Times Funfinder of 9 November 1984; “All Night Radio’s The Heart’s The Best Part is a thunderous debut, with its hard-driving snare-drum guitar orientated sound (Springsteen a la mode). Forget the “well-produced, technically perfect” spiel (it is a remarkable album in that aspect) and listen to the songs. Singer Steve Louw displays a talent for crafting songs that are free of obvious and clichéd hooks. They’re energetic, they’re thoughtfully constructed and, what’s important, they have a shelf life that takes you far past the first listening.”

E: Jip, I agree. It is a true South African classic. The second ANR album; The Killing Floor was released in 1986 on Previous Records and was produced by Cape Town’s own Kevin “Caveman” Shirley who has produced albums by Journey, Iron Maiden, Rush, Led Zeppelin, Joe Bonamassa, Beth Hart, Marya Roxx, Dream Theater, The Springbok Nude Girls, HIM, Tyler Bryant, Mr. Big, and Europe.

Did All Night Radio ever play any gigs with Kevin’s band The Council or did you only meet him later on as a producer? Your album must have been one of the first albums that he produced?

S: Yes we were often on the same bill at festivals, and he had been blown away by how our first album sounded, and was keen to do our second album. Kevin had already done a lot of albums. He has always been really busy.

E: Awesome. Did the above musicians come in and do their parts or did you jam and record with them in the studio? Who were the Glee Singers?  Rob Nagel had left the band at that stage to join the Blues Broers hadn’t he? 

S: We used Richard Pickett on our first album, and Richard Devey played live with ANR in 1984/1985. ANR stopped gigging in early 1986, but I still kept writing, and I love recording, so Kevin offered to produce an album with me. He put the band together and we cut all the tracks live. I love Tim’s solo on The Killing Floor. The Glee Singers were a gospel group that came in and sang Nkosi Sikelel’ iAfrica in the studio. Rob formed the Flaming Firestones after ANR.

E: The album contained seven Louw originals with a storming cover of Here Comes the Night by Them (which featured Van Morrison) (also covered by David Bowie on his Pin Ups album) and The Killing Floor by Howlin’ Wolf and here is the original of the latter… 

E: Listen to the album in full here but please go out and buy people. Support our own…

E: The Killing Floor features the cream of South African musicians including: Steve Louw: Vocals and acoustic guitar, Nico Burger: Electric Guitar, Slide Guitar, Dobro, Mike Campbell: Electric Bass, Tony Drake: Piano, Organ, Synthesisers, Herman Eugster (of Ella Mental): Drums, Mike Faure: Saxophone, The Glee Singers: Choir on ‘Fire of Reign’, Tim Parr: Guitar on ‘The Killing Floor’ and André de Villiers, Tracey Dogon, Mynie Grove, Tam Minter: Backing Vocals.

What made you decide to include those two covers, though you do them really well? Were they live favourites perhaps?

S: Kevin thought they would be great songs to cover, and he was right!

E: When and why did All Night Radio stop/split and when did you start with your Big Sky project/band? Big Sky was essentially your band, a solo project where you were joined by some of South Africa’s finest. Would I be right in saying that? 

S: ANR stopped touring in April 1986, and The Killing Floor was recorded after that. I just kept doing what I always do which is write songs, and when you have ten good ones you can make an album! Some times it just takes longer to come up with at least ten good songs. Kevin and I just started making another album, and both Rob and Nico play on the album. I had come across a great band in Johannesburg, Ymage, and I thought it would be great to cut the tracks with them. So we recorded with Godla Mgcinga (drums) Jimmy Mngwandi (bass) and Don Laka (keyboards) at UCA Studios in Cape Town where I recorded the two ANR albums.

E: The first Big Sky album, Waiting for the Dawn was released in 1990 on Gallo Records and re-issued in June 2001 on the Epic label and it is indeed epic! The album was produced by Kevin Shirley again and features more of the top South African musicians including; Steve Louw: Acoustic Guitar, vocals, Nico Burger: Guitar, Honest Rod Nagel: Harp (previously on bass), Don Laka: Piano, keyboards, Robbie McIntosh: Guitar, Slide guitar, Rupert Mellor: Accordion, Piano, McCoy Mrubata: Sax, Steve Newman: Acoustic Guitar, Jimmy Mngwandi: Bass, Godla Mgcinga: Drums, Benmont Tench: Piano, Hammond organ, Waddy Wachtel: Guitar, Roy Bittan: piano on ‘Here Comes The Night’, Cape Town Highlanders (The 1000 Pipers): bagpipes on ‘Waiting For The Dawn’ . The Atlantic City Horns: Horns (arranged by Mike Campbell), The Long Street Gang: Backing vocals. 

Stunning selection of South Africa’s top musicians and the legendary American Guitarist Waddy Wachtel who has played with the Everly Brothers, Linda Ronstadt, James Taylor, Warren Zevon, Bonnie Raitt, Randy Newman, Don Henley and Jackson Browne and co-writing songs with Keith Richards in the X-Pensive Winos. How on earth did you persuade Waddy to play on your album? Did you meet him when you were in the USA or did you send him some demos? 

S: When we were mixing the album, the engineer Shelly Yakus thought that ‘Diamonds and Dirt’ would sound great with Hammond and another rhythm guitar, so he called up Benmont and Waddy, and as a favour to Shelly, they came down to the studio and played on the song.

E: This is the brilliant Waiting for the dawn title track and the album also features a Radio Edit towards the end… 

Another great song off the album is this one but every track off Waiting for the Dawn is really good… 

 and another which has a lekker South African sing along chorus… 

E: The second Big Sky album, Horizon was released in 1995 and with it  Louw clinched the “Best Rock Act” of 1996 award at the FNB Music Awards. The album was mixed by Rob Jacobs and Shelly Yakus and produced by Steve Louw himself. Horizon featured: Steve Louw: vocals, acoustic guitar, Scott Crago: drums, percussion, Mark Harris: bass, Benmont Tench: Hammond organ, piano, Tommy Girvin: electric & acoustic guitars, backing vocals, Mona Lisa & Terry Young: backing vocals on ‘One Cut With A Knife’, Kip Lennon & Mark Lennon: backing vocals on ‘Bye Bye Johnny’ & ‘Kathleen’. This is one of the great tracks off Horizon… 

The album sold over 10,000 copies… 

E: Well done Steve, that is probably your most successful album then?

S: Yes, ‘One Cut with a Knife’ connected with people, and ‘Kathleen’ got a lot of Airplay. My favourite is ‘Strange Room’, so there were three songs that got people listening.

E: Going Down With Mister Green, the third Big Sky album was released in 1997 by Polygram and was produced by Steve Louw. The album featured: Steve Louw: vocals, guitar, Scott Crago: drums, percussion, Mark Harris: bass, Benmont Tench: keyboards, Tommy Girvin: guitar, Tim Pierce: sitar on ‘Wasted’. Another really good selection of songs and you can listen to all of them here but please buy if you like… 

E: Great album and you must have been really pleased with the result but also sad to learn that your former All Night Radio guitarist Nico Burger had died (sometime in 1996). How did that affect you and did it change or inspire the recording of this album?

S: It was really sad, and I wrote ‘Wasted’ for Nico. He was an incredible musician, really just genius! He was very intuitive both live and in the studio and came up with some incredible performances. His playing really makes the ANR albums as does his playing on ‘Waiting for the Dawn’ .

E: Steve Louw and Big Sky opened for Rodriguez on his 1998 South African Tour.

The 1999 album Best of the Decade featured the best songs Big Sky recorded and every single song is a classic. Pick your own favourite. Mine is probably Diamonds and Dirt but that changes, which shows how good the songs really are.

Were any of the songs on this best of compilation CD re-recorded, remixed or remastered or changed in any way from the versions on your previous Big Sky albums?

S: No, they were just taken from the albums, but I recorded two new songs for the compilation with Kevin, ‘Destiny’ and ‘Skin Deep’.

E: Louw returned with an album of new Big Sky songs with the Beyond the Blue album on 9 September 2002 and the album was produced by Kevin Shirley again. The album featured the ex South African musicians; Anton Fig: drums, percussion, Keith Lentin: bass, harmonica, acoustic guitar on track 9, Blondie Chaplin (The Flames/ Beach Boys/ Rolling Stones): guitars, vocals, Pat Thrall: guitars, Adam Holzman: keyboards and of course, Steve Louw: vocals, acoustic guitar.  In 2003 Steve Louw composed Amandla for Madiba’s 46664 benefit concert with Dave Stewart of The Eurythmics, Anastacia and Brian May of Queen. The song was performed by Bono and Beyoncé. Here is that song from this historic concert… 

E: Wow, aside from co-writing that song were you involved in Madiba’s 46664 benefit concert and did you perform there? Did you ever get the opportunity to meet the great man? 

S: I was lucky enough to be on stage for the performance of the song Amandla, and it was great being backstage and watching so many incredible musicians perform. I think the highlight for me was watching Johnny (Clegg) sing ‘Asimbonanga’ for Nelson Mandela in the audience. It was a riveting performance.

E: The Trancas Canyon album was released in 2008 by Sony Music and was recorded in a house in a canyon in Malibu, California, over three days. The album featured: Steve Louw: vocals, acoustic guitar, Blondie Chaplin: guitar, backing vocals, Pat Thrall: guitar, Rick Melick: keyboards, Anton Fig: drums, Keith Lentin: bass. You can listen to the here but please buy… 

E: Always thought that this album has a real warm, easy flowing homely sound as it was with the Travelling Wilburys. It sounds like you all had a lot of fun making this album. Can you tell us about the recordings?

S: The studio is up in hills above where Kevin lived in Malibu. It was done over a weekend as Anton had to get back to NYC to do his Letterman show on Monday. Its always great when Keith, Blondie and Anton get together as they are all friends for over forty years, so it is a lot of laughs ,and of course brilliant playing, from them.

E: Heart & Soul was a live DVD “Recorded live in front of a sell-out crowd at Cape Town’s historic Little Theatre. The show captures iconic South African songwriter Steve Louw and his band performing classic material from their other albums as well as previously unreleased songs.” This took place in 2009 and the recording featured : Steve Louw: Acoustic Guitar and Vocals, Willem Moller: Electric and Slide Guitars, Jacques Steyn: Double Bass, Electric Bass and Mandolin, Simon Orange: Keyboards, Tea-Chest Bass, Rob Nagel: Harmonica These are the videos from that show… 

E: So good to see you at home in Cape Town playing with your blues buddies and having fun. Did you enjoy that performance? Did you do any more shows like that at the time or was this a once off performance?

S: It was a once off show at the Little Theatre, and as you can see we had a blast!

E: What have you been doing since this live performance and the release of your latest album? Were you in South Africa during the Covid-19 lockdown in South Africa in 2020?

S: Yes I have been living in South Africa the whole time trying to come up with ten good songs! Yes, I left New York on March 7 [2020] right at the very end of the beginning of the time before.

E: On 6th April 2021 Steve Louw returned with a new single; Crazy River and you can watch that right here… 

E: Louw says of the song “once took a long canoe trip down the Colorado River, through the Grand Canyon and out again. It was a very spacy spiritual place and it felt like I was on a journey to the middle of the earth. I wrote this after the trip. On one level the song is about the river trip and the journey deep inside the raw power and beating heart of nature, but it also reflects on time, our time on Earth, how we experience it, and how the bonds of deep personal relationships with our fellow travellers nurture our souls. I played the acoustic guitar using a few African-style riffs and the band picked up on that feel. Guitarist Rob McNelley contributed beautiful slide guitar.” The song is from Steve’s new album; Headlight Dreams which is due to be released on May 7, 2021. The album can be pre-ordered right here….   https://orcd.co/SteveLouwHeadlightDreams

The album was produced by Kevin Shirley and mastered by Bob Ludwig.

Can you tell us about the latest album Steve? I believe the song, Wind In Your Hair features the legendary Joe Bonamassa on guitar. Awesome, who else plays on the album with you? Where was the album recorded?

S: We recorded in Nashville with a great band that Kevin put together. Greg Morrow on drums, Alison Prestwood on bass, Rob McNelley on guitar, and Kevin McKendree on Keyboards

E: Are you going to have a South African launch for the new album or at least a few shows in Cape Town? I know a lot of people would like to see you perform live in Cape Town again… 

S: I would love to, it just depends on how things pan out.

E: Well, I think we have pretty much covered your career and recordings but if there is anything we left out please tell us about that. What would you say has been the highlight of your career, the defining moment that you will never forget? Also, any funny incidents during recordings or live shows that still make you smile?

S: I think meeting Stevie van Zandt in 1984 was a career defining moment for me.

E: Any last words for all the people who have followed your career? What do you still hope to achieve musically and do you have any future plans after this latest album has been released?

S: Keep looking forward to the next ten good songs.

E: Thanks so much Steve and I wish you everything of the best for your future endeavours.  Check out Steve Louw’s website here….  http://www.stevelouw.com/ Soundcloud…  https://soundcloud.com/stevelouw Twitter @stevelouwmusic  Thanks everybody. It is always a humbling experience interviewing someone as good as Steve Louw because he is just as good as any international musician out there. I can not stress how important it is to support our artists like Steve because the music was made by a South African and mostly recorded in South Africa for the South African people which means you and me.

Ernesto Garcia Marques, Hout Bay, Cape Town, South Africa, 9th April 2021

Steve Louw new album ‘Headlight Dreams’ out today & featuring Joe Bonamassa | Music Exchange

In less than 3 weeks since the single release with Joe Bonamassa entitled “Wind in your Hair” Spotify figures reveal over 68 000 listeners and over 98 000 streams of the song “Wind in your Hair “ – a remarkable feat!

Steve Louw shines on Headlight Dreams

Cape Town, 7 May 2021 – It’s hard to believe the last new music we heard from Steve Louw arrived seven long years ago. With the wait now finally over, fans right around the world are already embracing the pop/rock icon’s return with arms wide open.

The past year has been a rich and hugely rewarding one for Steve. Not only did Steve record his brand-new album, Headlight Dreams, in Nashville, along with his long-time friend and producer extraordinaire, Kevin Shirley (John Hiatt, Joe Satriani, Led Zeppelin, The Black Crowes), but Grammy Award-winning singer/songwriter and genius guitarist, Joe Bonamassa also pitched up and added his magic to the record. To boot, SONY ATV, upon hearing the finished album, offered Steve his first international solo artist record deal.

The album now out and with two singles already on high rotation, “Crazy River” and “Wind in your Hair”, the latter is the one that’s quite literally blowing up all around the world. In its first week of release in the US, the track landed at the highly coveted Number Two position on the Billboard ACC Folk Chart, ahead of the likes of the equally commendable Rhiannon Giddens and Francesco Turrisi.

Along with its spellbinding video, “Wind in your Hair is the track that sports Joe Bonamassa guitar fills and outstanding middle-eight. What makes this song all the more special for its maker is the fact that Kevin sent it to a friend to master, thereby adding the final piece of magic to this blinding brilliant musical statement.

Wind In Your Hair


Steve’s wedding anniversary was coming up two days after the album wrapped and, unbeknownst to Steve at the time, Kevin had sent the track to mastering legend, Bob Ludwig and within a day he’d mastered it and sent it on to Steve on the day as a gift to celebrate his nuptials. “When I got it, I played it on my little Bose speaker out into New York. It was one of the greatest moments ever!” Steve recalls. To top it off, Bob sent an email with the final mastered track saying, “What a wonderful song, what a wonderful vocal performance, I loved working on this”. “I practically did a giddy summersault,” he recalls.

As to the creation of the track, Steve points to how, lyrically, he sings of love changing and building between two people as life throws up detours and bridges. “It’s a love story exploring how two people, who love each other but have different needs and desires, travel through their life and love. The chorus kicks back to the joy of love, while the verses take you on a journey of rough and smooth roads and winding passes, ending at the place they set out for.”

With ten tracks captured in an arresting three-day recording sprint, producer Kevin Shirley channelled each one of Headlight Dreams’ songs through a vintage Neve console inside of a converted church. “From the first moment I loved the acoustics of the studio and the vibe created by the wonderful Nashville musicians with their great feel and playing, drawing you into a world shimmering in the half-light, just out of reach…,” Steve shares.

With the promise of future live shows in support of the album’s release, fans can look forward to sharing what is the greatest ride of Steve Louw’s life. A consummate storyteller, a supremely gifted guitarist and a genuinely wonderful human being, Steve’s Headlight Dreams is a beautiful statement, endorsed and applauded by everyone it touches.

Headlight Dreams is out now via BFD/The Orchard.

Website: SteveLouw.com

HAU! #1 feat John Kongos, Jack Hammer, Ramsay MacKay, Tribe After Tribe, Falling Mirror, Rabbitt

HAU!

“Hau!” is a Zulu expression of astonishment.

If you are not from South Africa, I hope you will be astonished at what great music you might have missed.

Hopefully this series of mixes will help to rectify that.

More information about most of these artists can be found at www.Rock.co.za

ARCHIVE:
https://www.mixcloud.com/briancurrin/playlists/hau-series/

1. Riff Valley – Off The Edge
2. Sex – Pressure Cookies feat Willem Moller
3. Mumbo Jumbo – Ramsay MacKay feat Trevor Rabin
4. Tokoloshe Man – John Kongos
5. Tribal Fence – Rabbitt feat Margaret Singana
6. Russian & Chips – Jack Hammer
7. Judas – David’s Confession
8. Johnny Calls The Chemist – Falling Mirror
9. Riders On The Storm – Gordon’s Suitcase feat Piet Botha
10. Sittin’ (Take Me Home) – Toxic Shame
11. Pharaoh’s Tomb – Titus
12. Wild Warrior – Arapaho
13. Swans – Tribe After Tribe
14. Who Killed Kurt Cobain – Koos Kombuis

Rock Today With The Big Heavies [1972]

Rock Today With The Big Heavies

From The South African Rock Encyclopedia

Tracks:

  1. Suck – War Pigs
  2. Suck – The Whip
  3. Otis Waygood Blues Band – Wee Wee Baby
  4. Freedoms Children – 1999
  5. Otis Waygood Blues Band – You’re Late Miss Kate
  6. Otis Waygood Blues Band – Fever
  7. Freedoms Children – About The Dove And His King
  8. Suck – 21st Century Schizoid Man
  9. Freedoms Children – That Did It
  10. Freedoms Children – The Kid He Came From Hazareth
  11. Otis Waygood Blues Band – Watch ‘n Chain
  12. Suck – Aimless Lady
  13. Freedoms Children – The Homecoming
  14. Otis Waygood – In The Sun
  15. Otis Waygood – In Alan’s Car

Release information:

1972, EMI Starline, SRSJ 7001/2

Comments:

This is a double album, which contains the best and (cough) worst of some of the late 60’s early seventies progressive rock!
— Garth Chilvers, February 1999

Cover scan supplied by Tertius Louw, a vinyl collector of note.

Reaching Out To Rodriguez

Hi folks at sugarman.org 🙂 I tried sending the below to the fanmail email for Rodriguez but it bounced. I know it probably won’t reach Rodriguez here but thought I’d give it a shot anyway.

Hi Sixto Rodriguez (or whoever reads your fanmail!),

I hope this email finds you well in the absurd reality of the covid world!

I am in the middle of my final year of a Music and Human Development degree in Dublin. I decided to do my musicological research dissertation on your music and its effect in South Africa during aparthied. It’s such a fascinating story and I’m delighted to get to delve into your music a bit more, and the complexities around the social and cultural phenomena in South Africa which endeared your music to so many there.

I have read all about you of course. I’ve focused on your music career but was interested that you got a BA in Philosophy and ran for Public Office. Such a well-rounded life you’ve had! It must be very strange for so many people to know so much about you, but having read the many forums on the Sugarman.org website, it’s clear that all who know you truly admire you and love your music. I have studied some philosophy as part of my Human Development course and am an introverted deep thinker in general (something I inherited from my Dad). I also write music, sometimes about the boy-girl stuff, as you say, but I also incorporate other issues which affect me. I think your music is great and I often sing your songs to myself. I hope to learn to play some on the guitar.

Well, I just wanted to say that you’re an inspiring man and musician and it’s been a pleasure listening to and studying your music. It’s amazing to see what an eye-opening effect you had on South Africans and how your music really got them through difficult times. My brother lives in Cape Town with his wife and I hope to visit next year and walk some of the paths you did when over there. I shall be making a trip to Stephen’s record shop, too!

All the very best Rodriguez.

Yours,

Katie Archer

Colours To My Dreams

This mix opens with a recent cover version of “Sugar Man” by South African singer Rebekah Thompson.

This version plays under the closing credits of the 2019 film “Moffie” which is about a young man drafted into South Africa’s military, but he knows he is different and must keep himself hidden.

1. Sugar Man (from Moffie) – Rebekah Thompson
2. Heart Of Glass (Crabtree remix) – Blondie & Philip Glass
3. Adagio In G Minor – The Doors
4. Oblivion – M83 feat Susanne Sundfør
5. The Black Page #1 (piano version) – Ruth Underwood
6. Love Scene (from Zabriskie Point) – Richard Wright
7. The Rains Of Castamere (from Game Of Thrones) – Ramin Djawadi & Serj Tankian
8. Skyrim (Dragonborn) – Tina Guo
9. Sweet Dreams (Are Made Of This) – Emily Browning
10. Chasing The Dragon – Epica
11. Nymphetamine (Fix) – Cradle Of Filth feat Liv Kristine
12. Crazy In Love (2014 version) from Fifty Shades Of Grey – Beyoncé
13. Tomorrow Never Knows (from Sucker Punch) – Alison Mosshart & Carla Azar
14. Oh! Darling – Peachy Keen
15. Sugar Man – Barbara Moleko

The Blue Beats – Parchman Farm

Unreleased track by the lads, featuring the McCully brothers, Tully and Mike. In comms with Tully, “…This track was featured on Springbok Radio’s ‘Battle of the Beats’ in 1966/67….Mel (Green), Mel (Miller) and Julian (Laxton) won, we came second…” …This is their take on the blues song first recorded by American Delta Blues musician Bukka White in 1940. An autobiographical piece, in which White sings of his experience at the infamous Mississippi State Penitentiary, known as Parchman Farm. The track has been covered by several other artists over the years.

Marq Vas, 29 December 2020

The Blue Beats – “Parchman Farm” Line up:
Mike McCully – Drums
Tully McCully – Bass, Lead Vocals
Richard Hyam – Rhythm Guitar
Maurice Findlay – Lead Guitar

Publisher: Marquis Music

Thanks to Tully for the track/band info and use of band pic.

www.McCullyWorkshop.co.za

The Songs of Rodriguez

“…Climb up on my music and my songs will set you free…”

Originally appeared on SugarMan.org

Sugar Man

Probably Rodriguez’s most well-known song. Rodriguez himself is also often referred to as The Sugar Man. A great song with superb instrumentation. This slow bluesy rock song is a paean to his drug dealer, however Rodriguez said on a TV interview in March 1998 that this song is “descriptive not prescriptive”. Great imagery and use of hippy slang, like “silver magic ships” and “sweet Mary Jane”, ensure the listeners’ interest. The psychedelic freak-out section in the middle reminds me of similar sections in Led Zeppelin’s ‘Whole Lotta Love’ and Uriah Heep’s ‘Gypsy’.
– Brian Currin, 1998

Cold Fact” opens with the ultra trippy Sugar Man, which may well have been straight out of an acid trip. “Sugar man met a false friend on a lonely dusty road, lost my heart, when I found it, it had turned to dead black coal” suggests just where exactly the inspiration came from as he goes on to list jumpers, coke and sweet Mary Jane. More than any other Rodriguez song, it is Sugar Man which personifies the artist in the minds of those who have always wondered. The eerie moog synthesizer, whistling in the background, the lazy and simple guitar chords and the dreamy nasal voice place the listener firmly in an era of fantasy. It sets a perfect tone for the album and the myth.
– Andrew Bond, 1998

I’m not for drugs, I never advocated drug taking
– Rodriguez, March 1998

What’s that song about anyway?
– Rodriguez, 22 September 2001

This track was the first encore song on the 1998 South African tour. It was preceded by much chanting of “Su-gar Man, Su-gar Man…”. Were we calling for the song or the Man? Who knows, but he came and he sang and we loved it.

South African band Just Jinger also did a great cover of this song on their March 1998 EP “Something For Now”.

There have also been cover versions recorded by American band The Monkey Wrench and Australian band Stella One Eleven.

Kris Kristofferson recorded a completely different song called “Sugar Man” in 1972. Released on the “Jesus Was A Capricorn” album.

In 1991 The Escape Club also recorded a song titled “Sugar Man” (no relation to the Rodriguez song) on their “Dollars And Sex” CD.

In 2001 Rapper Nas sampled “Sugar Man” for his “You’re Da Man” track off “Stillmatic”.

In the December 2002 issue of UK music mag, MOJO, in the list “The 100 Greatest Drug Songs Ever!” “Sugarman” was at number 34.

You’d Like To Admit It

Extremely rare b-side of a seven single recorded in 1967 and credited to Rod Riguez.

I Wonder

This classic folk-rock song is the one that most people seem to associate with Rodriguez. Used as the show opener on the 1998 and 2001 SA tours. Simple in composition but penetrating in it’s lyrics.

It came as no surprise then that when “Cold Fact” hit the record racks, it became a hit, simply because it contained a phrase which would muddy the country’s sexually chaste waters and serve as a mantra to the youth: I wonder, how many times you’ve had sex…
– Craig Bartholomew, 1997

Generation EXT’s slow hip-hop rap version of I Wonder was released on the compilation CD “Dance Connexion 17” in September 1998.

Only Good For Conversation

Classic fuzz metal guitar riff by Dennis Coffey opens this song, reminds me of Deep Purple’s ‘Smoke On The Water’. A harsh bitter song of lost love (..you’re the coldest bitch I know..), this track really rocks! Great bass line and a superb guitar solo.
– Brian Currin, 1998

Climb Up On My Music

My favourite Rodriguez song and also one of my all-time favourite songs. Brilliant title and great lyrics. Excellent rock guitar from Chris Spedding and jazzy piano (by Phil Dennys?) make this song a classic. Wonderful production by Steve Rowland and superb stereo imaging.
Listen to it!!

When performed live on the 1998 South African tour this track became a classic rock song of anthemic proportions. Willem Möller’s guitar solo is one of my magic moments in music.
– Brian Currin, 1998

Sandrevan Lullaby

A wonderful instrumental duet for acoustic guitar and violin. Used as the intro for “Lifestyles”. Written by Rodriguez for his 2 daughters, Sandra and Eva. Sometimes mistitled as Sundrevan Lullaby.

…the musical part of Sandrevan Lullaby touches my heart (named after my sister Sandra and me)…
– Eva Rodriguez, 1997

Rehearsed for the 1998 SA tour, but not performed (I know ‘coz I was there!)
– Brian Currin, 1998

Rich Folks Hoax

Great song, what more can I say – listen to the words.

Craig Bartholomew told me that in 1987 when he was busking his way around Spain, this song received the best response, and the most money into his open guitar case!

Covered by Amanda Strydom in September 2003.
– Brian Currin, 2003

Hate Street Dialogue

Not written by Rodriguez, but sure sounds like it could have been. “Hate Street Dialogue” actually refers to the famous “Haight/Ashbury” area of San Francisco, the famous Hippie hang-out during the late 60s “Summer Of Love”.

…for years the title Hate Street Dialogue has been bothering me, when I listened to the song I gathered the lyrics were referring to the famous hippie street in San Francisco: Haight/Ashbury, however the title on the album is spelt “Hate”. Rodriguez said (on a South African radio phone-in show in March 1998) that although the lyrics of that particular song were not written by himself they did refer to the Haight and not to the opposite of love.
– Stelios, 1998

Read the full amazing story of Hate Street Dialogue.

Jane S Piddy

Could this be “Janis Pity” – a sort of tribute to Janis Joplin? Read the lyrics and see the similarity to Janis and her lifestyle. Lyrics like “now you sit there thinking, feeling insecure…” and “…don’t bother to buy insurance, coz you’ve already died…”. Great imagery and biting prose. Read more about this song and ‘Like Janis’.

To Whom It May Concern (1979 live version)

A wonderful, almost progressive rock version with jazz-blues flute and even a bass solo. Recorded in Australia in 1979. This track is over 8 minutes long and the band is introduced on this song.
Really great version.

Heikki’s Suburbia Bus Tour

After a conversation with my father, I wanted to share a short story…

In the sixties, there were these people called hippies. It can be said that a long hair, dark skin, free thinking musician, like Rodriguez could have been labelled one. In my youth, I recall hearing about how the “rich folks” (those living in the suburbs), would come down to the inner city of Detroit to actually see these “oddities” in their natural environment. Maybe even take a picture or two. This happened to be my neighborhood and some of my people.

Rodriguez had a very good friend named Heikki. I remember a large man with long blond/brown hair. He had a very nice home, a wife named Linda and two huge bull mastiff dogs. Despite stereotypes, Heikki was a mathematician from “Estonia” (Estonia is a republic in North-Eastern Europe, near Finland) who rode a classic motorcycle. In fact, one of the places that Rodriguez played, a “motorcycle funeral”, was for one of Heikki’s friends. The motorcycle club was called “The Penetrators”.

Anyway, someone had made fun of Rodriguez’s friend. Protective of Heikki’s feelings, Rodriguez organized what I consider to be a peaceful form of retaliation. A bus was chartered, full of hippies, four gallons of wine, etc. The group went to Grosse Point, Michigan and surrounding areas where they visited suburbian malls and neighborhoods on a tour of their own. The rest, is in the music. The story made the newspapers in Detroit and also reached Florida (a southern U.S. state).
– Eva Rodriguez, 1997

A Most Disgusting Song

In “A Most Disgusting Song” the people are like someone we all know. I think it was a depiction of a place Rodriguez played, a bar called “The Sewer” near the Detroit River, that was demolished a long time ago (In the song “Cause” Rodriguez speaks to Jesus (his brother?) at the Sewer). One of the places that Rodriguez played, a “motorcycle funeral”, was for one of Heikki’s friends. The motorcycle club was called “The Penetrators”.
– Eva Rodriguez, 1997

THE COLD FACTS ABOUT THE “COLD FACT” ALBUM

All you need to know, and maybe a lot more, about this classic album from 1970, that so many people missed the first time around.

All the facts at: http://sugarman.org/coldfact.html

Almost all South Africans know the album with the black cover, we didn’t even know about the white cover version until about 1997!

Cold Fact, South Africa 1971
Cold Fact, South Africa 1971
Cold Fact, USA 1970
Cold Fact, USA 1970

Create a website or blog at WordPress.com

Up ↑

%d bloggers like this: