Errol Linton – A Case In Point 

Our man Pete is scooting around London today but happily a window has been agreed to meet up with singer and harmonica stylist Errol Linton, to talk about his brand new and mainly self-penned album Packing My Bags. Helpfully we are joined at the chosen hostelry by band keys player Pete Zivkovic and a relaxed chat ensues…

Thanks for meeting up. I’ve listened to the record, what I like about this is that there probably isn’t a sound on the set that I couldn’t have heard in the Mid-60s BUT it all sounds NOW..it sounds fresh

(Deliberating, then smiling) OK – cool! Yeah that’s cool…

You’re not going on about trains to Memphis..the lyrics sound – I won’t say London – but contemporary. I don’t feel like I’m being dragged back to the past

My lyrics? Well I can be influenced by the news, by current events which will come through. Also things that affect me, my life, my family and friends..but yes, I can hear something on the radio that will strike me. Then I might write it down if it’s inspiring anything. Words just come to you..you know what I mean? Maybe you’ll get a mood or an idea that you can then work on later for a song. Or! You get a rhythm, which takes you forward to music using that rhythm

A lot of people in The Blues, they sound like they’re archivists. Skilful, but…not relating to now. But because the music is about women, drink, work, travel, situations surely it can be relatable to everyone in here? Do you read a lot?

I do read a bit, yes. My favourite writers are James Baldwin and guys like that, with something to say or record. That and sometimes detective and mystery novels, too.

I kind of know that, listening to your songs

Really?! That is interesting!

It’s a London thing, maybe – the most London band to me are The Ruts/Ruts DC. They just have The Metropolis life running through them. Known them since ’75. The reason I can enjoy your record is that it’s not dusty. Any favourite harp players?

(Ponders) Hmm..I’d say Sonny Terry, he really started me off, I think. Walter Horton, Little Walter, all the usuals, y’know. Junior Wells…and I even went right back in time to hear the very early players, before the more electric stuff which became well-known, better-known. From the 1920’s onwards, Pete.

Sonny Boy Williamson?

(Warmly) Oh yes! The first for sure! Then Rice Miller..before that Jay Coleman, from the ‘30s and ‘40s, too. When I first started playing – which is a while back now…

On the record, I could hear certain influences. But it’s always twisted to YOUR way of playing, isn’t it? You can spot the ingredients, but you’re the chef! Not just the harp, but the voice as well. So this sounds different to other people. The first cut is Snooky Prior, yes?

Yes – Break ‘Em Down. Yes probably Little Walter is an influence on that recording, our version on the song. I used to listen to all those great players, play along to them. (Laughs) Probably couldn’t do exactly what they were doing, but just finding my way into the music!

I like that shudder or stutter thing that you do on the harp. Your voice is kind of sandpapered. You seem on the instrument to easily mix in single notes and mini-chords..it’s very distinctive

Is that conscious? I just blow the way I blow and I incorporate a lot of rhythm into what I play. After a while it just becomes instinctive to play the way you do

As a musician that’s a bit rare. Hendrix was an ace lead player, but Gypsy Eyes, that’s all polyrhythms

P: Playing with Errol, there always IS a lot of rhythm it’s so true..even as duo thing that rhythm is there to be worked upon and enhanced. We do some duo gigs sometimes.

Yes and James Brown, always based on getting the rhythms going all the time to make the song get its own movement and emphasis

I do like Papa Lightfoot for all that. Second track, Got Me Running, it has a very jazzy vibe

P : I heard a bit of Georgie Fame’s Flamingo Club stuff..makes me think of Soho in the ‘60s

I just spent time with Zoot Money and I know that Soho sound!

P : Well that’s what I hear in that number

“Tempo distinctive. Georgie Fame phrasing “ say my notes!

We recorded it for our first album. 1997? I always liked that track and thought we could perhaps do another version, a different take on it. With the band that I play with now. Also, the late Charlie Gillett liked that song a lot, always said it was one of our best tunes. So I thought maybe we should record it again.

Love Is Strong – which harmonica here?

It’s a A on that one. Crossing to E for the song

“Crisp drumming, Walter Horton, nice guitar break, piano a tad Noo Awlins, neat stops “

P: Yes, there’s a lot of that New Orleans piano coming into that and others. I’m glad you pick up on that element

Do you know Jon Cleary? Dear Jon got me in to a Bonnie Raitt soundcheck

P: Oh yes! Wonderful player and bloke..between him and Diz Watson, they’re the two standard-setters for that style. They’re the two premier players in that mode, I think..

Though I know Bob Hall and he has it down..on to I Wish You Would, Billy Boy Arnold. It’s the clever stops that make this yours – ever see Billy Boy?

No, I never saw him live, but I have seen great footage of him performing, on the internet and video’s. I have loved all his stuff for many, many years. That early VeeJay album, so good. Also I like it when he talks in interviews, an articulate guy, knows his craft.

Nothing to prove, has he?

That’s it. So very knowledgable about everything

Hoodoo Man – Sonny Boy the first?

John Williamson, yes – it was his originally – but I steer it more maybe to Junior Wells on this recording, you could say

I closed my eyes on this and saw the Delmark label rolling around on the turntable

P: Ah! It was always the intention for this new album to come out on vinyl. So a vinyl version will be available, we think appropriate to the aim and content of the album

The harp on this is very sophisticated. And the drumming sounds like Big Eyes Smith. Packing My Bags, the title cut – it’s a stride really, isn’t it? With a smile on its face – my notes say “Hoagy Carmichael Goes To Jamaica “…

P: (After much laughter) We’ll use that on the poster…Ha Ha!

That song’s my Mum and Dad’s story.

The piano’s well-recorded

P: Well I was very lucky with the instrument there, Greek Street Studios. We got a bit of time in there, beautiful Hammond organ, great grand piano..we recorded all of it live, together, over three days.

Errol, do you dub this up live? It’s perfect for it

We do! The bass and drums definitely get a good airing when we play that one

Drink Up Your Last Dollar..with the drink pouring at the beginning! “ Stone reggae, barroom lament, drums great, piano stark “

P: Yes on this it’s a rather filmic scenario, going on there…that’s the picture, there, the mood of it

3:44 In The Morning – man, you sound p****ed off on this, don’t you? Reminded me of Lee Dorsey

(Laughs) You got it there, mate! Yes indeed, that New Orleans thing in the song, Yeah!

He was a panel beater

Oh yes and what a great voice he had ! I love his voice, his feel, everything. Some of his tunes, they’re quite hard to sing, you know what I mean?

P: Yet he makes it sound easy and relaxed

Like Tony Bennett, The Master. He’s a great painter, too

That’s what I originally did, painting!

Oil? Watercolour?

Acrylic. Mainly, from when I was a kid. I’ve always painted

Through My Veins – “ Laid back, beautiful piano, rolling beat, cool guitar and bass..is that cupped harp? ”

Acoustic, yes – and I do really like doing that, playing for a change in that mode. Probably from the Sonny Terry thing that blew me away when I started out playing

Do you ever put the harp through a chorus? Gives an accordion sound if you play at the right angle..

No, I haven’t tried that

I’d say this was City Music, overall

I always want a good rapport with the crowd. So they feel good about coming along to the gig. Also I want to have fun with the band, maybe try a new number we haven’t included before and see how it goes. Always trying to push yourself a little bit more.

Pete Sargeant