Milton-Farrow Blues+Skiffle Band author: Norman Darwen

Richie Milton will best be judged by history and most likely found to be a significant figure inthe British blues scene. With releases on theNote-Music, Blues Matters! and Indigo labels, plus some he has put out himself, the beshaded frontman for his Lowdown is not a new name but he does seem to get overlooked in the UK blues pantheon - despite always receiving excellent reviews (and he'll get another of those here). Fellow singer/ guitarist Bill Farrow is known to some for his song "Canning Town Blues", which West Ham fans will have heard down at Upton Park, but Bill is also an all-round talent, being both an actor and poet in addition to his blues skills. This CD presents the two men alternating their vocals,

backing each other up, and performing real duets.
The music is acoustic based, with a rhythm section of Greg Harewood on bass and Graham Hollingworth on drums providing just the right kind of bottom for this music, and Roger Cotton on organ on two tracks. Alan Glen provides his top-notch harmonica playing to six songs and also supplies the kazoo on "She Don't Know". Alert readers may now be forming reasonably accurate ideas of what this release sounds like - kazoo may suggest the
urbane hokum sound of Tampa Red And Georgia Tom, and the use of the word "skiffle" tends to reinforce that - and it has English
sounding connotations which are certainly borne out by the likes of the gospel- based "Hammersmith And City Line" and several less obviously-titled compositions. There are also a couple of tips of the hat to rockabilly - but in a aid- back style, as is the rest of the album. I enjoyed this very much; a little different, but a lot familiar. Richie never disappoints, does he? Neither does Bill...

Rating: 8 - Norman Darwen

Artist: Milton & Farrow Skiffle+Blues Band Title: Barefoot & Blue

Label: Right Track Records RTR-S 12011

Richie and Bill have combined their talents to create a refreshing mixture of acoustic folk, blues and lively skiffle; both have written six original numbers each and for which they accordingly provide lead vocals, except for the title track in which they share the lead. Bill, with his patient and understated approach, excels on the shuffling, compassionate and† more than thoughtful poignant folk and blues numbers, giving each of them a gently evocative toetapping homespun feel, while Richies vocals on the bright and breezy skiffle numbers injects a feeling of energetic joy; on the slower shuffles Richie presents a rather more distinct feeling of vulnerability.

Providing the excellently sensitive and shuffling accompaniment is; Alan Glen; harmonica and kazoo, Greg Harewood; bass, Graham Hollingworth; drums and Roger Cotton; keyboards.
After a number of plays you become pleasantly aware of how Richies unique voice bears more than just a passing resemblance to the original king of skiffle Lonnie Donegan, a fact that certainly more than adds to the highly enjoyable proceedings. The twelve numbers gently and evocatively explore the highs and lows of love, hope, loss and the ability to successfully negotiate the intricacies of the Hammersmith and City Line. One number that particularly stands out is Blond Blue Baby,which seems to be a wonderful homage to Gene Vincent and Cliff Gallup, the lyrical vocals from Richie and plaintively sweet guitar passages are most definitely a delight for the ears.
Although the pace is far from frenetic it is a fine body of work that more than warms and reaches into the soul!
Highly recommended!

Brian Harman.

Hi Richie
My name is Leo S**** and I was up front watching you at the Twinwood Festival.
I thought you and the band were SUPERB !!! I must admit of not having heard of you previously but what a start to the day you gave!!
"Had no lovin' " was very memorable but I must admit "No stopping" was just about good as it gets..... BRILLIANT !
Linda's "Jim Dandy" also stood out and she looked the business. I've just got back and logged on to the web to find out more about you.
One moan though.....where was the CD at the Festival stall??????
Anyway, I put you up there with Prince Buster and Dr Feelgood as one of the three highlights of the weekend.
Gonna make a point of catching you live again.
Cheers
 
Leo

100 Club, London

Recent Indigo signing. Richie Milton and his band, The Lowdown, onto the stage of the 100 Club, resplendent in his dusty pink jacket and shades, his guitar hung on a huge strap. The evening was to celebrate the launch of his new album, Coming Back Far More.

After that, it was 'Straight Ahead, No Stopping', to quote the title of the earlier album re-released by Indigo. The set included a wealth of Richie's own excellent material and some fresh takes on great standards. The first four included "Dressed to Kill", which he was, and "Money's Getting Cheaper". Then on came the lovely Linda Hall. Slender, long black crinkle cut hair and honey skin she has a voice like a bell and the set went up another notch.  Starting with "Don't Mess With My Man", the numbers included a lovely arrangement of "Fever" with a great guitar solo from Richie and a trumpet solo from the excellent Dick Hanson. "It's Getting Harder" was dedicated to Judge Dread who had died suddenly, a short time before.  Former Animal, Dave Rowberry on keyboards had the solo on "Gotta Getcha Offa Ma Mind", as I wrote it in my notes. The set ended with a mixture of "How Sweet It Is" and "1234 56789", demonstrating the band's soul roots, and sweet it was!

The second set started with the instrumental "Peter Gunn".  After "Straight Ahead, No Stopping", Ms Hall came back to do the vocals on "Dancing In The Street". Among the familiar songs, were "Something You've Got", "Early In The Morning". "Sweet Home Chicago", which the audience. catching the band's enthusiasm, sang along to very well, and "Hit The Road Jack" which had the excellent Mr. Rowberry again doing the honours. "Funny How Time Slips Away" announced the end of the set but there was a little time left for the encores.  An excellent evening!-

Fran Leslie

Painswick Blues Club

This was the first performance of Richie Milton at the Painswick Blues Club, and by all accounts it won’t be the last. A good crowd of both regulars and newcomers alike graced the venue once again, and were entertained, surprised even, by the polished professionalism of this group of seasoned musicians.

The Painswick centre, on a somewhat dark and gloomy English February evening, is fairly stark, fairly cold and, it has to be said, dubiously uninviting "village hall". Only the warm and courteous greeting from Paul and Barbara (whose brainchild and labour of love, the Painswick Blues Club is), gave a hint that this was merely a temporary state of affairs. By the time the first visitors filtered into the hall, it had been quite miraculously transformed. A clever approach to the layout of the candlelit tables, the shadow lighting of the arched, beamed ceiling, and dare it be said, the opening of the bar, created an atmosphere of agreeable ambience. And with the additional colour, both audible and visual, emanating from the stage, as Richie Milton & the Lowdown turned on the power, the picture was complete.

The first couple of numbers were received with an appreciative expectancy, and in no time at all, with people still arriving, the dance floor began to fill. And it stayed that way until the lights went up at the end of the evening.

Richie describes his show as a 'good time rhythm & blues revue', and it was soon clear that this message was getting through, as the band announced their arrival with soul determination.

Their live shows invariably include a mix of R&B 'standards', interspersed with Richie's own compositions. On 'Don't Mess With My Man', if the dancers weren't exactly stopped in their tracks, they certainly had their heads turned, when the keyboards of Dave Lennox burst to the fore, with a solo which was impossible to ignore. Similarly, on the original and entertaining adaptation of 'Fever' the masterful trumpet playing of Dick Hanson brought rapturous applause, for a solo of imperious improvisation. The rock steady foundation provided by Phil Lucas on bass, and Paul Atkinson on drums; the virtuosity of Dave Lennox' keyboard playing; the inspired understanding and interplay of the horn section, Dick Hanson an trumpet and Steve King on sax'; vocals from Linda Hall, whose voice and smile light up the room; Richie's showmanship pulling it all together. This is Richie Milton & the Lowdown.

Their fourth CD, 'Bluesique', is due for release within a matter of weeks, on the note-records label. A preview of 'Bluesique' promises a mature section of songs crafted by Richie, combining root R&B, swinging blues, smoky jazz vocals from Linda Hall, catchy melodies, and even Richie’s own attempt at a Balearic holiday anthem - New Orleans style!

At the end of the evening the applause willed the show to go on a lot longer, and there was never a question of the band not reappearing for an encore. The festivity continued with the invited audience participation of 'Don't You Just Know It' and finally, a rousing 'Sea Cruise' which had the dance floor overflowing. It could have gone on through the night!

richardbacon@redpale.co.uk

Jagz at the Station, Ascot          

Bukka White gave his young cousin Riley B King this advice at the outset of his career: "When you go out to perform, dress like you are going to the bank to borrow some money." Well I think Richie Milton must have overheard him because he looked like a million dollars when he took the stage in his bronze mohair fronting his six piece combo.


"Are you ready for a blues journey tonight?", he enquired of the well packed house. "Yeees!" came the reply. "Okay then, all aboard the Night Train" and launched into the tune of the same name. When the train pulled into the station they went straight into "Things Won't Be The Same", a Milton original, followed by another. "Dressed To Kill". Things then slowed down for a great arrangement of Solomon Burke's "Hanging Up My Heart". 



Richie then introduced the willowy Linda Hall, who performed a gutsy "Don't Mess With My Man". Where does this slim young thing summon up such astonishing vocal power from? Ex Animal Dave Rowberry's jazzy piano break was exactly right for the mood.



There followed a Milton on Milton when Richie and Linda traded verses on "We're Gonna Make It", while "Fever" featured a scorching guitar solo from Richie, challenged by a Dizzy-esque, high register solo from trumpeter Dick Hanson. Linda and Richie then held an 'Any-note-you-can-hold-I-can-hold-longer' duet with Linda having to capitulate; Richie winning hands down. 



The first set's closer, "How Sweet It Is", featured a marvellous tenor solo from Steve King, followed by Linda making a key change up, heightening the tension to a big finish which earned tumultuous applause. 



Set two opened with Richie's anthem to sacro iliac sufferers, "Doggone My Aching Back" followed by the first album's title track, "Straight Ahead, No Stopping". with Richie taking to the floor amongst the dancers while playing his guitar. Half a dozen movers' to keep the floor busy were segued into one crowd pleaser, with 'bassist Phil Lucas and drummer Paul Atkinson keeping it all together. 



Eventually the clock on the wall told us that it was time to go and Richie appropriately led off "Funny How Time Slips Away". The dancers were in raptures and they let the band know it. I don't know if, as Linda had predicted they were "Dancing In The Street", but they were definitely bopping in the car park. .