AUGUST 1981: The Stones’ ‘Start Me Up’ echoed off every wall, and blared out of every cab window and shop door in the hot August weather in New York City. Their groove and the pulse of the city seemed to be superimposed, laying down a thick backbeat. Keith Richards’ guitar owned the city. I had listened to that sound since buying the seven-single of ‘Satisfaction’. His groove felt like the heartbeat of Africa. His sound took me to Elvis and Duane Eddy.
I had arrived from Cape Town, with a guitar, demos of my songs and an intro to legendary engineer and producer Phil Ramone (Paul Simon, Billy Joel, Bob Dylan). I knew I was closer to the heart of the music I loved, than ever before.
Phil owned A & R Recording Studios, where engineers Shelly Yakus and Bob Ludwig began their careers. Our paths would cross, but now as I listened, my music filled the control room of the legendary studio where Dylan had sung the songs which would become the masterpiece Blood On The Tracks. I knew Phil recognised that I still had a long way to go. That was OK, I wasn’t in a hurry, and just being there in that room was good enough for me.
NEW YORK CITY March 2020. The 5th March 2020 was our wedding anniversary. I had just got back to NYC from Nashville recording the songs that would become the album ‘Headlight Dreams‘ with Kevin ‘The Caveman’ Shirley. We had made five albums together, and been friends since playing small Cape Town clubs in the early 1980s with our bands ‘All Night Radio’ and ‘The Council’. Kevin had gone on to become a world-famous producer and engineer (Aerosmith, The Black Crowes, Led Zeppelin), but he had always looked out for me, and we had had a great time making records together.
I looked at my phone and saw an email headed: Bob Ludwig Master. A wedding anniversary present from Kevin! I clicked on the link and ‘The Wind in Your Hair’ played out across the NYC winter streets. “What a great song, vocal and band, this album sounds extra real like you-all were having a lot of fun” was the note with the link from Bob.
I had written the song after spending a few months alone looking after our farm, and Erna being back in Cape Town looking after our young children. She had decided to make the six-hundred-kilometre road trip alone to come and see me. Walking down the farm road I saw the dust of a car approaching and then stop. Squinting into the sunlight I realised who it was, and my eyes filled with tears. The most beautiful radiant smiling eyes looked back at me.
Forty years later the NYC streets seemed as though they were welcoming me back. It would be the last few days before the city would be locked down, and a global pandemic would strike. I walked out on the streets thinking of myself as the 25-year-old kid trying to hustle his way into a music career. I passed the building where the club ‘The Bottom Line’ had been and where I had seen so many riveting performances by artists I had followed for years from South Africa. I crossed Washington Square and headed uptown to where Phil’s studio had been.
Steve Louw is a South African singer-songwriter and rock musician. Winner of Best South African Rock Act, and a member of the SA Rock Hall of Fame, Steve is one of SA rock’s most talented and unassuming singer-songwriters.He and his band Big Sky appeared on stage with Rodriguez on the sold-out South African tour in 1998.
Hello, my name is Kaveman and I’ve been working as a water protector in Minnesota fighting an illegal pipeline that would surely poison the indigenous, treaty protected, lands with leaky tar sands. I’m reaching out in hope that you might check the welcome water protectors website, or better yet, come visit our intentional communities in northern Minnesota. We have tons of revolutionary matriarchs and musician minds working everyday to cut the head off the black snake and move away from dependency on evil oil industries, who’ve never been for the people especially communities of color. Come by and play some music.
MARCH 2020: It’s a cold winter Sunday morning in Nashville, Tennessee. We stopped next to the big black idling tour bus parked outside the studio. Joe Bonamassa climbed down grinning, wearing his trademark baseball cap and hoodie, carrying his Les Paul and a small vintage Fender Deluxe amp.
He had just driven in from Florida. He was on his way to do a show in Chicago, when Kevin (Shirley, his producer) called him in the night to tell him that he’d left off the solo on the title track of his new album Royal Tea, which they had just finished recording in London, at Abbey Road Studios. Laidback and laconic, he sipped his coffee, plugged in, and played a blistering solo to the track. The studio we were in was in a converted church, filled with vintage analogue gear, and we were set up recording my new album with the band Joe used on his own projects. As he laid down his vintage 59 Teaburst Les Paul and reached for his coffee, Kevin hit play and the song we were working on “Wind in Your Hair” came through the speakers. ”Play along to this track of Steve’s,“ said Kevin grinning. Joe’s lovely, lyrical guitar licks and a blazing solo filled the room. Everyone was stoked, Joe smiled, stretched back, swigged down his coffee, and headed for Chicago.
The full moon shone in through the split windscreen of my old VW bus, lighting up the narrow road through the mountains better than the six-volt headlights. I was heading to a small theatre venue in the middle of a town square in Stellenbosch, to play a set of new songs and a few blues covers. I had decided to do what I thought was a Led Zeppelin cover, Gallows Pole.
It was 1976, and I had recently met two phenomenal musicians Rob Nagel who played bass and blues harp, and an electrifying guitarist, Willem Moller. We were doing separate sets on the same bill at the Stellenbosch Folk Club. Also on the bill were David Kramer and Lesley Rae Dowling.
Steve Louw is a South African singer-songwriter and rock musician. Winner of Best South African Rock Act, and a member of the SA Rock Hall of Fame, Steve is one of SA rock’s most talented and unassuming singer-songwriters.He and his band Big Sky appeared on stage with Rodriguez on the sold-out South African tour in 1998.
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.
The Rock & Roll Hall of Fame has revealed its 2021 Inductees, celebrating the most diverse list of Inductees in the history of the organization. To be eligible for induction into the Hall of Fame, an individual artist or band must have released its first commercial recording at least 25 years prior to the year of nomination. The induction ceremony will take place on October 30, 2021.
Those nominees areare:
Tina Turner Carole King The Go-Go’s JAY-Z Foo Fighters Todd Rundgren
Clarence Avant, the Godfather of Black Music, is cool, savvy, confident, and fearless – someone who makes the impossible possible. He’s served a variety of roles during his illustrious career, including manager, label owner, concert organizer, event producer, political fundraiser, and mentor. Avant is the quintessential impresario, with an uncanny ability to connect people, open doors, and provide opportunities to countless musicians, actors, and politicians. Bill Withers summed up his impact by declaring, “He puts people together.”
Avant’s career began in the 1950s when he served as the manager for Little Willie John and jazz organist Jimmy Smith. In late 1969, he launched Sussex Records, a label that soon achieved a Top Ten hit with Dennis Coffey’s “Scorpio.” The most notable artist on Sussex was Bill Withers, who released his first three records for the label, featuring the hits “Ain’t No Sunshine,” “Lean on Me,” and “Use Me.” In 1971, Avant launched Avant Garde Broadcasting, one of the first Black-owned radio stations in the country.
Always recognizing the power of music, Avant served as executive producer for the 1973 concert film Save the Children. This historic concert was filmed at Rev. Jesse Jackson’s PUSH (People United to Save Humanity) Black Expo and was notably one of the few festivals to feature artists from Motown, Stax, and Atlantic Records. Avant spent much of the 1970s serving as a consultant to major record labels, fighting for more equitable and lucrative deals for their roster of Black artists. Beginning in the 1980s, he became a mentor to the songwriting/production teams of Jimmy Jam and Terry Lewis and L.A. Reid and Babyface. He served in a key promotional role for Michael Jackson’s 1987 Bad world
tour and eventually became chairman of the board of Motown Records. In a business historically fraught with distrust, Avant has been trusted and respected by all. He has spent a lifetime helping artists understand – and earn – their true value. (Ends.)
It is interesting to note that this above bio of Clarence Avant makes no mention of, or reference to, one of his most famous artists, Sixto Rodriguez.
There is also a 2019 documentary on the life and work of Clarence Avant, called ‘The Black Godfather’, directed by his daughter Nicole Avant. In this article, below, on the film, there is also no reference to, or mention of, Sixto Rodriguez.
Sixto Rodriguez was signed as an artist by Clarence Avant to his label, Sussex Records, in 1970. After the move to Sussex, his professional name was changed to simply Rodriguez. Rodriguez recorded two albums with Sussex, ‘Cold Fact’ in 1970 and ‘Coming from Reality’ in 1971. But after both albums sold very few copies in the US, he was quickly dropped from the label.
However, Rodriguez and his two albums achieved cult status in South Africa and Australia, where those two albums sold thousands of copies in the following years. Clarence Avant is interviewed about his business relationship with Sixto Rodriguez in the film ‘Searching For Sugar Man’.
So, it is puzzling that no mention is made, in either of these articles, about Sixto Rodriguez who in the past decade has achieved belated worldwide success thanks to the 2012 Oscar-winning documentary on Rodriguez called ‘Searching For Sugar Man’.
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.
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.
The new decade means: Radical carbon emission cuts.
Fame is about:An illusion.
Steve Louw and Kevin Shirley
Retirement will happen when: You have lived beyond three figures
I don’t do:Fake people.
My music is about:Everyday experiences.
What is the most enjoyable aspect of your work? Playing live and singing.
The song you must do in every show: “Waiting for the Dawn”
Any 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.
My style icon: Bob Dylan.
What is your most treasured possession? My 1964 Epiphone as played by John (Lennon), Paul (McCartney) and George (Harrison).
It’s your round, what are you drinking? Glenmorangie Single Malt.
What makes you stand out? The stage lights.
If you were not a musician, what would you do? Conservation.
Who would play you in a Hollywood blockbuster and why? Edward Norton; we both smirk.
Pick five words to describe yourself: Musical, songwriter, guitar player, dendrophile, singer.
Five favourite SA albums: GBB – Eet Kreef Baxtop – Work It Out Juluka – Scatterlings Tananas – Tananas Tribe After Tribe – Power
What is your favourite word? Truth.
Favourite fashion garment: My leather flying jacket.
Give us some real proper slang and what it means: Lank kiff: Awesome, great.
Your greatest achievement: My family.
What do you complain about most often? Dishonesty.
What is your fear? Large puff adders.
Happiness is:Riding motorcycles.
Where would you like to be right now? Where I am.
Do you do charity work and, if you do, what do you do? Yes, conservation.
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’ .
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  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
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.
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.
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‘Asem in, asem uit’ and enter the smooth, poetic ambience created by The Buckfever Underground with their latest, spoken word and experimental EP – Satelliet.
Recorded predominantly on cell phones during the creative silence of 2020 – The Buckfever Underground have created a soothing selection of poetry and musical builds that echoes emotions experienced by many of us in recent days. Their EP – ‘Satelliet’ transports listeners through sections of calm tied into subtle frustration with clean acoustic guitar, beautifully spoken poetry and distant ambient tones.
Composed by Michael Currin (guitar), Stephen Timm (production, effects) and Toast Coetzer (vocals, lyrics) ‘Satelliet’ carries through the band’s strong opinions that have been shared with the public since 1998 and exudes characteristics of experimental music with an improvised air. Captivating track names like ‘Love in the Time of Visas’ (2002) and ‘Die Volk’ (featured in the top 100 best protest songs, 1998) engage eyes and ears simultaneously.
The first two tracks of ‘Satelliet’ – specifically: ‘My Geheim Aan Jou’ emits a tone of surrender to whatever the world has in store. This mood starts to shift once the first few seconds of ‘The News’ introduces frustrating topics explored through the media. ‘Ice Pyramid’ creates a transition between opposing moods, exploring both light and dark aspects until the subtle melodies of ‘Een Oog’ drift towards the melancholy. The sounds of ‘Satelliet’ come to an end during ‘The Valley of the Dancing Stones’ which explores all that the world has to offer and leaves listeners in deep contemplation.
‘The Buckfever Underground’ have created a work of art that may leave you feeling strong and somewhat mellow, wallowing in the calm after entertaining the demands of chaos.