[Graham Knight]

Before going to see Bill Wyman’s Rhythm Kings at the Music Hall on Sunday I read the review of the previous night’s show. Unfortunately The Glasgow Herald newspaper’s reviewer felt “short changed” and said that the band “played so far within their capabilities as to be rendered virtually invisible.” (see Herald review at the foot of this post)

Fortunately the almost sell-out audience at Aberdeen did not agree with that reviewer as Bill and his superstar band were greeted with rapturous applause at the end of each number and had the crowd stomping for more even after a long show and two encores.

And what a band:

Bill on Bass playing faultlessly while holding his guitar in the almost vertical style he first made famous more than 40 years ago.

Albert Lee demonstrated not only his virtuosity on guitar but he also proved to be no slouch at vocals or even at playing some keyboard boogie-woogie.

The two sax players Nick Payn and Frank Mead deserve a special mention for outstanding work during the entire show – especially when Nick really honked when he switched to a baritone sax.

It is a long time Geraint Watkins played piano on a Carl Perkins session but he was in good form last night especially when the band played Amos Millburn’s 1949 hit “Chicken Shack Boogie.”

Dennis Locorriere, the former vocalist with Dr Hook, proved a hit with the audience, his days of singing “When Your In Love With A beautiful Woman” and “Sylvia’s Mother” night after night were forgotten as he seemed to be really enjoying himself doing even older numbers like the “Harlem Shuffle” and a very soulful “Louisiana 1927”. He leapt about the stage quite a bit too and sometimes went off stage, presumably for a little “refreshment”, only to return and leap even higher.

Terry Taylor the co-founder of the Rhythm Kings, was outstanding on vocals and guitar when he surprised the crowd by fairly ‘Cliff Gallop’ing through Gene Vincent’s “Race With The Devil”.

Femme vocalist Beverly Skeete proved her versatility by effortlessly changing from Oscar Wills’ “Flatfoot Sam” to a bluesy version of Screamin’ Jay Hawkins “I Put A Spell on You”.

Above everything the show was entertaining and well rehearsed. There were some funny moments when Geraint came to centre stage to play accordion on a Cajun number but roused the crowd with a few Jimmy Shand like riffs before going into Clifton Chenier’s“All Night Long” which had the vocals being handled by Bill himself.
The absolute best for me was Albert Lee’s playing on Jimmy Rodgers 1930 hit “Muleskinner Blues” and he showed amazing dexterity on the final number – The Burnette Trio’s “Tear It Up”.

I haven’t heard Albert play quite so well since I was at an Advision Studio session he played on in 1972 – but that is another story – check it at this link:

Jerry Lee Lewis at Advison Studios for London Sessions - pictures in Kyle Esplin's rock n'roll scrapbook - Kyle is Scotland's No 1 boogie-woogie singer pianist

The Glasgow Herald Review: Star rating: **

It was a little disappointing to feel so sort-changed by a band of the calibre of Bill Wyman's Rhythm Kings. Here was a group of musicians who, had they been allowed to stretch themselves, could have provided an evening to remember. But they played so far within their capabilities as to be rendered virtually invisible.
Take Albert King, for example, surely one of the great finger-picking guitarists of all time. The last time I saw them, he had Martin Taylor to play off and the sparks positively flew. Here, he was reduced to playing anonymous rhythm parts for far too many of these songs.
The material didn't help. We were in Jools Holland territory here. Safe R&B, with nothing too challenging, everything neatly packaged into three minutes and all the passion of a Las Vegas review. Beverly Skeet is an excellent vocalist, however, who contributed to the few highlights, such as her take on I Put a Spell on You and her duet with Lee on Crying in the Rain. Drummer Graham Broad and Wyman locked together well throughout and shone in the closer, Tear It Up, which had everything the preceding 90 minutes lacked. A pity it came so late.
Was anyone else at this show? Anyone agree with the Herald reviewer who I notice doesn’t even get Albert’s name right.