No Imitation
Q&A with Greig Taylor
Q&A with Greig Taylor
Greig Taylor has been cited many times as not just one of Scotland’s hardest working musicians but one of the UK’s finest blues-styled vocalists, as first heard with the GT’s Boos Band, featuring guitarist John Boos, and a stint with the Glasgow based Brian Rawson Band.
But more lately Grieg Taylor has truly come in to his own with a number of projects including The Greig Taylor Blues Combo, a full electric blues rock 'n' covers outfit who put on an impressive Band Launch show at The DreadnoughtRock in Bathgate in 2018.
That same year Taylor released his stripped back covers album #Songbook1, a soulful blues styled album that included a number of rock and pop classics you might not expect to be taken on by a blues influenced singer.
Greig Taylor was also part of the Celtic Blues and Gospel Show performances at the 2018 Edinburgh Jazz & Blues Festival with Earl Thomas; that directly led to a vocal role as part of the noted American blues and gospel singer’s
A Capella group on The Gospel According... shows that toured Poland, the Czech Republic and Slovakia at the end of last year.
That Greig Taylor’s vocal passions are rooted in the soul-baring, blues environments is highlighted by his semi-acoustic group The Blind Lemon Gators, featuring Iain Donald; while the project has been on the go for a couple of years the band are now poised to release their debut album, Gatorville.
In an open and honest Q&A session with FabricationsHQ Greig Taylor spoke about his many projects past, present and potential future, working with, and the influence of, Earl Thomas and just how important The Blind Lemon Gators and Gatorville are to him on both a personal and musical level.
But more lately Grieg Taylor has truly come in to his own with a number of projects including The Greig Taylor Blues Combo, a full electric blues rock 'n' covers outfit who put on an impressive Band Launch show at The DreadnoughtRock in Bathgate in 2018.
That same year Taylor released his stripped back covers album #Songbook1, a soulful blues styled album that included a number of rock and pop classics you might not expect to be taken on by a blues influenced singer.
Greig Taylor was also part of the Celtic Blues and Gospel Show performances at the 2018 Edinburgh Jazz & Blues Festival with Earl Thomas; that directly led to a vocal role as part of the noted American blues and gospel singer’s
A Capella group on The Gospel According... shows that toured Poland, the Czech Republic and Slovakia at the end of last year.
That Greig Taylor’s vocal passions are rooted in the soul-baring, blues environments is highlighted by his semi-acoustic group The Blind Lemon Gators, featuring Iain Donald; while the project has been on the go for a couple of years the band are now poised to release their debut album, Gatorville.
In an open and honest Q&A session with FabricationsHQ Greig Taylor spoke about his many projects past, present and potential future, working with, and the influence of, Earl Thomas and just how important The Blind Lemon Gators and Gatorville are to him on both a personal and musical level.
Ross Muir: The Blind Lemon Gators are the acoustic blues side of Greig Taylor, an environment you seem to revel, and become highly expressive lyrically, in. How the idea for the band first came about?
Grieg Taylor: The Blind Lemon Gators project came into my thoughts around 2017 when, after a period of seven years, I reconnected with musician Iain Donald.
I hadn’t spoken to Iain for while as I had actually sacked him previously [laughs] – Iain was my former bass player, the original bassist in GT’s Boos Band, and a bloody marvellous one at that, but we were young, raw and pretty headstrong, so our paths just went separate ways.
And that was that until one day in 2017 when I bumped into Iain at a music festival in Stirling; we buried the hatchet, had a few beers and attended the after-party.
It was at this party that Iain asked me to perform a song, with him accompanying on guitar.
Strange, I thought, as I hadn’t really heard him play, but when he proceeded to bring out a glass slide and launched into what I can only describe as the most honest and real sound I had heard in a while, The Blind Lemon Gators were born – although it remained unnamed and I knew we had work to do.
In my mind Iain Donald became the Blind Lemon Gator – he’s a rascal and he fits the profile in so many ways! The act began as a two-piece with stomp box but we quickly decided to bring in a drummer / percussionist so I turned to the experienced former John Martyn drummer, Dave Cantwell.
It’s also important to note that while the essence of the 'Gators is a more stripped back approach, both in instrumentation and the stylistic aspect of the songs, we do have some ‘Gators big band stuff in the pipeline further down the road. We also have some double bass and box accordion on the new album, Gatorville.
RM: And as regards that new album?
GT: The Gatorville album is a collection of ten songs, nine original compositions – some sad, some happy and a couple of funny stories – and one cover, the Lead Belly song Goodnight Irene.
We included that song as it was a huge source of strength to Iain when, in 2018, he lost his mum; we have also dedicated the album to her memory.
I have to say I am so, so happy with Gatorville; it's an album that means so much to me on a personal level.
I have been to a real deep place to bare my soul on this one; I think it will always be a time of my life that's remembered in song.
I’m more proud of Gatorville than anything else I’ve done so far, certainly as far as original material goes.
Also, the partnership I have with Iain and his understanding of me and my life, has absolutely come through in the stories, playing and songwriting; we both come from the same social background so we are of a similar mind-set.
RM: And, sonically, you have Wayne Proctor involved…
GT: Yes, I’m really delighted to be able to say Wayne Proctor mixed and mastered the album.
I’ve wanted to work with Wayne for a while; I sent him some of the uncut tracks, he liked what he heard and agreed to mix and master the whole thing.
Wayne is such a nice guy and he super-knows his stuff; his mixes really capture the flavour of the ‘Gators sound, which we see as sort of Black Keys meets Seasick Steve but with a more rootsy vibe.
I’m very happy the album ended up in his capable hands.
RM: While there’s an earthy, rootsy base underlying the material on Gatorville there are other layers such as gospel blues, a prime example being 'Better Land.' You even have a little Cajun/ French Quarter vibe on the song 'Hurt.'
GT: There is a gospel-soul-roots influence in this record, yes, especially on a song such as 'Better Land.'
I wanted to write that one originally for Earl Thomas. Earl used to perform ‘Waiting for my Child’ at the end of the Gospel shows and dedicated it to all mothers, but particularly referencing the mothers of the children on the southern US border, whose children were being forcibly removed and put in cages, as was widely reported in the media.
So I thought to myself "If I were a religious man, what would I ask my God or deity?"
The song begins "Lord, please take me by the hand, Lord, help me understand. All those miles away, the pilgrims come and then they pray, trying to reach a Better Land."
Earl’s attention was taken already though, by another song I wrote – one that directly references a strong opinion of people who strongly oppose musicians calling themselves a "blues man" or a "blues singer."
Blues influenced, of course, but not blues in its truest sense or its original form… but that’s obviously a whole different interview!
However, I was keen to express this opinion via a song, and 'Blues Man's Shoes' is that song – "How can you even sing the blues, if you’ve never really walked in a Blues Man's Shoes."
I actually spoke to Earl about recording that song but in the end, logistics aside, 'Blues Man's Shoes' is a song I just knew I had to sing.
'Hurt' is a song which I have come to love. It’s about addiction, recovery and support.
It’s not directly referencing drugs or alcohol, but any addiction that is of detriment to your body or your mind. I recently attended a series of CA meetings, which is Cocaine Anonymous, but covers all addictions including alcohol and heroin. Without going into my personal and family life, these meetings have enabled me to understand a lot more the mind of the addict and what help can be provided.
What I found was profound; a real support network of people, of all walks of life, who are going through the nightmare of addiction – both the addicts themselves and, of course, the family.
One or two of the stories within the songs on Gatorville are ideas which came through hearing actual life experiences of others. Not all the songs I write are autobiographical although some most certainly are, even if, at first, I have no clue I am writing about a personal situation.
RM: 'A Little Death' is another song full of real life lyricism; as you've just mentioned, you have not been afraid to bare your soul on this album…
GT: 'A Little Death' is probably the single most personal song on the record and I actually don’t mind talking about this as I’m sure many lone parents will have been through similar.
'A Little Death' is referencing the fact that when, after becoming teenagers, my two girls – now eighteen and twenty-one years old – if there was trouble or the shit had hit the fan somehow in their lives, they always ended up coming back to dad to bring some light.
And I can often tell how bad the situation is by what I call "a little death" around the eyes; a hollowness that betrays where they may be at that time.
The song is actually a bit of a lecture as well, saying that "It never should have been this way, but you got to make the changes!"
The struggle from pre-teen to teenager has been particularly fraught for me as a parent, but music has always provided me a little outlet. This song in particular has really helped me.
RM: You certainly run the gamut on Gatorville, from lyrics on addiction to songs for the dance floor…
GT: Yes, there’s a song called 'Ain’t Got You' which is about the ridiculous and self-centred mind of a cocaine addict, whose addled state of mind has allowed him to choose a path of drugs and loose woman over the love, affection and the stability of a good woman, because she says no to drugs – "I got my cocaine and candy, but girl I ain’t got you."
It’s a cracking song that could be right out of Chess Records. It’s a huge track.
The more uplifting and happy tracks on the album include a Sam Cooke styled song called 'All I Ever Wanted.'
We played it live recently and the audience was singing along after hearing the hook-chorus just once round!
We also have the rockabilly styled 'Gravy Train' – that’s another grooving track and one I began writing back in the GT’s Boos Band days. It's an instant dance floor filler!
Grieg Taylor: The Blind Lemon Gators project came into my thoughts around 2017 when, after a period of seven years, I reconnected with musician Iain Donald.
I hadn’t spoken to Iain for while as I had actually sacked him previously [laughs] – Iain was my former bass player, the original bassist in GT’s Boos Band, and a bloody marvellous one at that, but we were young, raw and pretty headstrong, so our paths just went separate ways.
And that was that until one day in 2017 when I bumped into Iain at a music festival in Stirling; we buried the hatchet, had a few beers and attended the after-party.
It was at this party that Iain asked me to perform a song, with him accompanying on guitar.
Strange, I thought, as I hadn’t really heard him play, but when he proceeded to bring out a glass slide and launched into what I can only describe as the most honest and real sound I had heard in a while, The Blind Lemon Gators were born – although it remained unnamed and I knew we had work to do.
In my mind Iain Donald became the Blind Lemon Gator – he’s a rascal and he fits the profile in so many ways! The act began as a two-piece with stomp box but we quickly decided to bring in a drummer / percussionist so I turned to the experienced former John Martyn drummer, Dave Cantwell.
It’s also important to note that while the essence of the 'Gators is a more stripped back approach, both in instrumentation and the stylistic aspect of the songs, we do have some ‘Gators big band stuff in the pipeline further down the road. We also have some double bass and box accordion on the new album, Gatorville.
RM: And as regards that new album?
GT: The Gatorville album is a collection of ten songs, nine original compositions – some sad, some happy and a couple of funny stories – and one cover, the Lead Belly song Goodnight Irene.
We included that song as it was a huge source of strength to Iain when, in 2018, he lost his mum; we have also dedicated the album to her memory.
I have to say I am so, so happy with Gatorville; it's an album that means so much to me on a personal level.
I have been to a real deep place to bare my soul on this one; I think it will always be a time of my life that's remembered in song.
I’m more proud of Gatorville than anything else I’ve done so far, certainly as far as original material goes.
Also, the partnership I have with Iain and his understanding of me and my life, has absolutely come through in the stories, playing and songwriting; we both come from the same social background so we are of a similar mind-set.
RM: And, sonically, you have Wayne Proctor involved…
GT: Yes, I’m really delighted to be able to say Wayne Proctor mixed and mastered the album.
I’ve wanted to work with Wayne for a while; I sent him some of the uncut tracks, he liked what he heard and agreed to mix and master the whole thing.
Wayne is such a nice guy and he super-knows his stuff; his mixes really capture the flavour of the ‘Gators sound, which we see as sort of Black Keys meets Seasick Steve but with a more rootsy vibe.
I’m very happy the album ended up in his capable hands.
RM: While there’s an earthy, rootsy base underlying the material on Gatorville there are other layers such as gospel blues, a prime example being 'Better Land.' You even have a little Cajun/ French Quarter vibe on the song 'Hurt.'
GT: There is a gospel-soul-roots influence in this record, yes, especially on a song such as 'Better Land.'
I wanted to write that one originally for Earl Thomas. Earl used to perform ‘Waiting for my Child’ at the end of the Gospel shows and dedicated it to all mothers, but particularly referencing the mothers of the children on the southern US border, whose children were being forcibly removed and put in cages, as was widely reported in the media.
So I thought to myself "If I were a religious man, what would I ask my God or deity?"
The song begins "Lord, please take me by the hand, Lord, help me understand. All those miles away, the pilgrims come and then they pray, trying to reach a Better Land."
Earl’s attention was taken already though, by another song I wrote – one that directly references a strong opinion of people who strongly oppose musicians calling themselves a "blues man" or a "blues singer."
Blues influenced, of course, but not blues in its truest sense or its original form… but that’s obviously a whole different interview!
However, I was keen to express this opinion via a song, and 'Blues Man's Shoes' is that song – "How can you even sing the blues, if you’ve never really walked in a Blues Man's Shoes."
I actually spoke to Earl about recording that song but in the end, logistics aside, 'Blues Man's Shoes' is a song I just knew I had to sing.
'Hurt' is a song which I have come to love. It’s about addiction, recovery and support.
It’s not directly referencing drugs or alcohol, but any addiction that is of detriment to your body or your mind. I recently attended a series of CA meetings, which is Cocaine Anonymous, but covers all addictions including alcohol and heroin. Without going into my personal and family life, these meetings have enabled me to understand a lot more the mind of the addict and what help can be provided.
What I found was profound; a real support network of people, of all walks of life, who are going through the nightmare of addiction – both the addicts themselves and, of course, the family.
One or two of the stories within the songs on Gatorville are ideas which came through hearing actual life experiences of others. Not all the songs I write are autobiographical although some most certainly are, even if, at first, I have no clue I am writing about a personal situation.
RM: 'A Little Death' is another song full of real life lyricism; as you've just mentioned, you have not been afraid to bare your soul on this album…
GT: 'A Little Death' is probably the single most personal song on the record and I actually don’t mind talking about this as I’m sure many lone parents will have been through similar.
'A Little Death' is referencing the fact that when, after becoming teenagers, my two girls – now eighteen and twenty-one years old – if there was trouble or the shit had hit the fan somehow in their lives, they always ended up coming back to dad to bring some light.
And I can often tell how bad the situation is by what I call "a little death" around the eyes; a hollowness that betrays where they may be at that time.
The song is actually a bit of a lecture as well, saying that "It never should have been this way, but you got to make the changes!"
The struggle from pre-teen to teenager has been particularly fraught for me as a parent, but music has always provided me a little outlet. This song in particular has really helped me.
RM: You certainly run the gamut on Gatorville, from lyrics on addiction to songs for the dance floor…
GT: Yes, there’s a song called 'Ain’t Got You' which is about the ridiculous and self-centred mind of a cocaine addict, whose addled state of mind has allowed him to choose a path of drugs and loose woman over the love, affection and the stability of a good woman, because she says no to drugs – "I got my cocaine and candy, but girl I ain’t got you."
It’s a cracking song that could be right out of Chess Records. It’s a huge track.
The more uplifting and happy tracks on the album include a Sam Cooke styled song called 'All I Ever Wanted.'
We played it live recently and the audience was singing along after hearing the hook-chorus just once round!
We also have the rockabilly styled 'Gravy Train' – that’s another grooving track and one I began writing back in the GT’s Boos Band days. It's an instant dance floor filler!
RM: Your mention of the GT’s Boos Band allows me to bring up some earlier, notable achievements such as two albums with that band and a tenure with the Brian Rawson Band.
But, for me, those earlier projects are akin to your apprenticeship – later projects such as the Greig Taylor Blues Combo, your solo album Songbook1 and the Blind Lemon Gators are the fully fleshed out Greig Taylor, musically, lyrically and vocally. Fair comment?
GT: That is absolutely fair comment.
I obviously have respect for all the bands and musicians I work with and each one represents a part of my musical journey, if you like.
I have been learning off the bat, from a complete novice who came from being a prisoner singing in Barlinnie chapel on Wednesdays to performing on the BBC some years later, having successfully turned my life around. The journey has been steep and it’s been wild at times, but it’s also been amazing!
The songs I am writing now are, indeed, a fully fleshed out Greig Taylor, in every sense.
I enjoy the writing partnership I have with Iain but I hope all the musicians I’ve previously worked with enjoy looking back at the times we had together.
I have improved immeasurably as a vocalist and songwriter and, as I’ve told every single person I’ve worked with, I just want to make the most of what I’ve got, you know?
I’m driven to create as high a quality body of work as I can – I may never have a penny to my name, but wealth to me is measured in other ways; making music is one of them.
RM: You mentioned Earl Thomas earlier and were part of his highly acclaimed Gospel-vocal shows at the end of last year. I’d imagine that was both quite the experience and highly influential.
GT: Earl Thomas has been a big influence yes. I mean, how could you not learn from such a genuine performer; a true modern representation of his forefathers’ music.
I had such a great time touring Eastern Europe with The Gospel According in 2018.
It was daunting though, as it was an A Capella vocal quartet and it hadn’t really been done before at blues festivals, but we knocked it out the park!
But, for me, those earlier projects are akin to your apprenticeship – later projects such as the Greig Taylor Blues Combo, your solo album Songbook1 and the Blind Lemon Gators are the fully fleshed out Greig Taylor, musically, lyrically and vocally. Fair comment?
GT: That is absolutely fair comment.
I obviously have respect for all the bands and musicians I work with and each one represents a part of my musical journey, if you like.
I have been learning off the bat, from a complete novice who came from being a prisoner singing in Barlinnie chapel on Wednesdays to performing on the BBC some years later, having successfully turned my life around. The journey has been steep and it’s been wild at times, but it’s also been amazing!
The songs I am writing now are, indeed, a fully fleshed out Greig Taylor, in every sense.
I enjoy the writing partnership I have with Iain but I hope all the musicians I’ve previously worked with enjoy looking back at the times we had together.
I have improved immeasurably as a vocalist and songwriter and, as I’ve told every single person I’ve worked with, I just want to make the most of what I’ve got, you know?
I’m driven to create as high a quality body of work as I can – I may never have a penny to my name, but wealth to me is measured in other ways; making music is one of them.
RM: You mentioned Earl Thomas earlier and were part of his highly acclaimed Gospel-vocal shows at the end of last year. I’d imagine that was both quite the experience and highly influential.
GT: Earl Thomas has been a big influence yes. I mean, how could you not learn from such a genuine performer; a true modern representation of his forefathers’ music.
I had such a great time touring Eastern Europe with The Gospel According in 2018.
It was daunting though, as it was an A Capella vocal quartet and it hadn’t really been done before at blues festivals, but we knocked it out the park!
The A Capella Gospel According to (l to r) Earl Thomas, Greig Taylor, Gerad McArthur, Paul McArthur
RM: How did you first meet up with Earl?
GT: That’s kind of a cool story, actually.
Earl was scrolling through Facebook and he saw me in a fan-made video me performing with the Gary Moore Band; he was very impressed and felt compelled to message me to say so.
After checking it was actually Earl Thomas, the double Grammy nominee Earl Thomas, we exchanged messages; before I knew it Earl was coming to Scotland and I was putting together a whole band for him, including four vocalists!
The Earl Thomas and Greig Taylor Celtic Blues and Gospel Show performed four sell-out shows at the Edinburgh Jazz and Blues Festival 2018, with audiences giving us standing ovations.
From that series of gigs came The Gospel According.
RM: I don’t doubt also you would learn a lot from touring with, and listening to, Earl.
GT: Earl Thomas is such a cool man. One of the best souls I’ve ever met but he takes no shit!
The guy is a consummate pro on so many levels and what I love most is he offered advice wherever.
He’ll tell you if you are doing something wrong and help you correct it. That type of advice? Priceless!
My musicians noted after the tour an even greater development in my vocal performance but apart from anything else, Earl Thomas is just the real deal – when he opened his mouth to sing it was immediately clear you are in the presence of someone who is a genuine representation of the blues, even just even by the sound of the vocal.
And if Earl Thomas is cool with me singing blues based music and not coming across an imitator, then I am happy with that! To quote Earl "There are a lot of imitators out there. Greig Taylor is not one of them."
Apart from anything else though, the stories about Aretha Franklin, Tom Jones, Etta James… being in BB King’s car and hanging out with Ike Turner...
How do we measure cool? That’s how we measure cool!
RM: From ‘Gators and A Capella Gospel to your primarily stripped back covers album, Songbook1.
That album is full of interesting, unusual but totally inspired song choices – who would think to take on Alicia Keys ‘Falling’ or Depeche Mode’s ‘Personal Jesus’ for example?
I’m also delighted you chose to include your take of Willie Nelson’s 'God’s Problem Child,' which we first heard with the Greig Taylor Blues Combo.
GT: 'God’s Problem Child' was something I saw as semi-autobiographical.
But then all the songs on that album are in some way or another, or reflect something about my life or perhaps the song meant something to me, whether that be lyrically, musically or simply just as a vocalist.
GT: That’s kind of a cool story, actually.
Earl was scrolling through Facebook and he saw me in a fan-made video me performing with the Gary Moore Band; he was very impressed and felt compelled to message me to say so.
After checking it was actually Earl Thomas, the double Grammy nominee Earl Thomas, we exchanged messages; before I knew it Earl was coming to Scotland and I was putting together a whole band for him, including four vocalists!
The Earl Thomas and Greig Taylor Celtic Blues and Gospel Show performed four sell-out shows at the Edinburgh Jazz and Blues Festival 2018, with audiences giving us standing ovations.
From that series of gigs came The Gospel According.
RM: I don’t doubt also you would learn a lot from touring with, and listening to, Earl.
GT: Earl Thomas is such a cool man. One of the best souls I’ve ever met but he takes no shit!
The guy is a consummate pro on so many levels and what I love most is he offered advice wherever.
He’ll tell you if you are doing something wrong and help you correct it. That type of advice? Priceless!
My musicians noted after the tour an even greater development in my vocal performance but apart from anything else, Earl Thomas is just the real deal – when he opened his mouth to sing it was immediately clear you are in the presence of someone who is a genuine representation of the blues, even just even by the sound of the vocal.
And if Earl Thomas is cool with me singing blues based music and not coming across an imitator, then I am happy with that! To quote Earl "There are a lot of imitators out there. Greig Taylor is not one of them."
Apart from anything else though, the stories about Aretha Franklin, Tom Jones, Etta James… being in BB King’s car and hanging out with Ike Turner...
How do we measure cool? That’s how we measure cool!
RM: From ‘Gators and A Capella Gospel to your primarily stripped back covers album, Songbook1.
That album is full of interesting, unusual but totally inspired song choices – who would think to take on Alicia Keys ‘Falling’ or Depeche Mode’s ‘Personal Jesus’ for example?
I’m also delighted you chose to include your take of Willie Nelson’s 'God’s Problem Child,' which we first heard with the Greig Taylor Blues Combo.
GT: 'God’s Problem Child' was something I saw as semi-autobiographical.
But then all the songs on that album are in some way or another, or reflect something about my life or perhaps the song meant something to me, whether that be lyrically, musically or simply just as a vocalist.
RM: Would you share some of the associations or personal connections to some of the other songs on Songbook1?
GT: Well 'You Are So Beautiful' I used to sing to my children before they became horrible teenagers! [laughs]
'A Woman Like You' I chose as my stepfather, a touring Canadian artist of over thirty years, used to sing it to my mum. The song was written by Johnny Reid who, although from Dumbarton, is a major Canadian country musician.
The Alicia Keys track I chose as it was a favourite of my younger daughter, plus the lyrics just resonated. And, as you mentioned, who would have thought of me covering that? [laughs]
'Personal Jesus' is another that has semi-autobiographical connotations but I had actually never heard the original until after I had recorded it – I had only ever heard the Johnny Cash version and my cover follows a similar vein, though wildly different in instrumentation as Cash’s version is laid back and acoustic.
I am immensely proud of Songbook1 but it really hasn’t been launched properly yet.
RM: From solo to full electric band – The Greig Taylor Blues Combo were showcased with a Band Launch show at the famous DreadnoughtRock club in Bathgate last year.
What are the future plans for that project?
GT: The Greig Taylor Blues Combo had an initial launch at the ‘Dread, yes, but due to my work with Earl Thomas and the Blind Lemon Gators it has taken a little bit of a backseat.
However that is soon to change as I am scheduled to go into the studio later this year to begin recording a twelve track album of all original songs I am writing with former Wishbone Ash guitarist, Muddy Manninen.
The album will be different again from any other work I’ve done and will be produced by Wayne Proctor.
I always aim to improve and innovate wherever possible and the glory of the Combo is that I get to work with a variation of top players as part of it.
We began with former Blues 'N' Trouble guitarist Sandy Tweeddale and now it’s Muddy, but I also have an amazing young Dutch guitarist called Simon Haneveld. I’m looking forward to working with him and getting him out there.
I will also be joined at Stirling's Summer Festival by Glasgow guitarist Luca Pisanu, who will play other selected Blues Combo shows.
So the Combo is exactly that, but a Combo of the very highest quality.
I’m also really pleased that Rod Mackay, of the excellent band Redfish, will be joining my roster of musicians for a host of upcoming Blues Combo and Blind Lemon Gators shows.
Rod joins players such as Lorna Thomas, Al Jones and my ‘Gators compadre Iain Donald on my roster of first class Blues Combo musicians. Think John Mayall’s Bluesbreakers and you will get the Combo drift.
RM: And upcoming ventures beyond the re-emergence of the Blues Combo?
GT: Well, 2019 has some many fabulous moments still to come – July 20th begins a week where we launch the Gatorville album at Stirling Tolbooth and ends with a performance at the Arran Rock ‘N’ Blues Festival, which I’m particularly looking forward to. Then, we let that album fly.
I also have a headline show at the Dreadnought Rock in Bathgate, which is in aid of Nordoff Robbins Music Therapy Charity. I make it a goal of mine to do as much charity work via my music as my schedule allows and this one is very important to me; I’m very much looking forward to it.
RM: I know you keep a busy schedule and are always looking ahead to the next challenge or project, so beyond 2019?
GT: Beyond plans for the Blind Lemon Gators and the Greig Taylor Blues Combo I will also be doing a lot of work next year with Earl Thomas and The Gospel According… vocal ensemble.
I can’t say too much just now other than there are big plans afoot, according to Earl, but did someone say France, Norway, Switzerland, the US and the UK?
I also have ideas for a fourteen-date run at the 2020 Edinburgh Fringe Festival which will be entitled An Evening with Greig Taylor, My life in Song.
It will chart, via original music only, my journey from Barlinnie Prison to the BBC, and beyond.
I’m very excited about this show, which will feature a ten piece plus band including backing singers, horns and a string section.
I have two other projects which I am tentatively creating for 2020 and beyond – you’re right, I do plan ahead [laughs] – but both are at a very early stage and are, again, different to all my other work.
One may just feature an award-winning female jazz vocalist plus one of the most revered blues guitarists in Scotland. The other project I can’t say anything about right now other than [shouts] Soul, baby!
Apart from all that, I have an incredible charity project which I have been working on for two years; if all goes well it will create something where I’m giving so much back to the community which helped to rehabilitate and revive me via musical opportunities.
If this comes off then I will be very happy as it means the absolute world to me, personally.
RM: Paying it back in full, in effect.
GT: Yes, absolutely. Things will have come full circle!
GT: Well 'You Are So Beautiful' I used to sing to my children before they became horrible teenagers! [laughs]
'A Woman Like You' I chose as my stepfather, a touring Canadian artist of over thirty years, used to sing it to my mum. The song was written by Johnny Reid who, although from Dumbarton, is a major Canadian country musician.
The Alicia Keys track I chose as it was a favourite of my younger daughter, plus the lyrics just resonated. And, as you mentioned, who would have thought of me covering that? [laughs]
'Personal Jesus' is another that has semi-autobiographical connotations but I had actually never heard the original until after I had recorded it – I had only ever heard the Johnny Cash version and my cover follows a similar vein, though wildly different in instrumentation as Cash’s version is laid back and acoustic.
I am immensely proud of Songbook1 but it really hasn’t been launched properly yet.
RM: From solo to full electric band – The Greig Taylor Blues Combo were showcased with a Band Launch show at the famous DreadnoughtRock club in Bathgate last year.
What are the future plans for that project?
GT: The Greig Taylor Blues Combo had an initial launch at the ‘Dread, yes, but due to my work with Earl Thomas and the Blind Lemon Gators it has taken a little bit of a backseat.
However that is soon to change as I am scheduled to go into the studio later this year to begin recording a twelve track album of all original songs I am writing with former Wishbone Ash guitarist, Muddy Manninen.
The album will be different again from any other work I’ve done and will be produced by Wayne Proctor.
I always aim to improve and innovate wherever possible and the glory of the Combo is that I get to work with a variation of top players as part of it.
We began with former Blues 'N' Trouble guitarist Sandy Tweeddale and now it’s Muddy, but I also have an amazing young Dutch guitarist called Simon Haneveld. I’m looking forward to working with him and getting him out there.
I will also be joined at Stirling's Summer Festival by Glasgow guitarist Luca Pisanu, who will play other selected Blues Combo shows.
So the Combo is exactly that, but a Combo of the very highest quality.
I’m also really pleased that Rod Mackay, of the excellent band Redfish, will be joining my roster of musicians for a host of upcoming Blues Combo and Blind Lemon Gators shows.
Rod joins players such as Lorna Thomas, Al Jones and my ‘Gators compadre Iain Donald on my roster of first class Blues Combo musicians. Think John Mayall’s Bluesbreakers and you will get the Combo drift.
RM: And upcoming ventures beyond the re-emergence of the Blues Combo?
GT: Well, 2019 has some many fabulous moments still to come – July 20th begins a week where we launch the Gatorville album at Stirling Tolbooth and ends with a performance at the Arran Rock ‘N’ Blues Festival, which I’m particularly looking forward to. Then, we let that album fly.
I also have a headline show at the Dreadnought Rock in Bathgate, which is in aid of Nordoff Robbins Music Therapy Charity. I make it a goal of mine to do as much charity work via my music as my schedule allows and this one is very important to me; I’m very much looking forward to it.
RM: I know you keep a busy schedule and are always looking ahead to the next challenge or project, so beyond 2019?
GT: Beyond plans for the Blind Lemon Gators and the Greig Taylor Blues Combo I will also be doing a lot of work next year with Earl Thomas and The Gospel According… vocal ensemble.
I can’t say too much just now other than there are big plans afoot, according to Earl, but did someone say France, Norway, Switzerland, the US and the UK?
I also have ideas for a fourteen-date run at the 2020 Edinburgh Fringe Festival which will be entitled An Evening with Greig Taylor, My life in Song.
It will chart, via original music only, my journey from Barlinnie Prison to the BBC, and beyond.
I’m very excited about this show, which will feature a ten piece plus band including backing singers, horns and a string section.
I have two other projects which I am tentatively creating for 2020 and beyond – you’re right, I do plan ahead [laughs] – but both are at a very early stage and are, again, different to all my other work.
One may just feature an award-winning female jazz vocalist plus one of the most revered blues guitarists in Scotland. The other project I can’t say anything about right now other than [shouts] Soul, baby!
Apart from all that, I have an incredible charity project which I have been working on for two years; if all goes well it will create something where I’m giving so much back to the community which helped to rehabilitate and revive me via musical opportunities.
If this comes off then I will be very happy as it means the absolute world to me, personally.
RM: Paying it back in full, in effect.
GT: Yes, absolutely. Things will have come full circle!
Ross Muir
Q&A with Greig Taylor
July 2019
Greig Taylor Music
https://www.facebook.com/greigtaylorblues/
The Blind Lemon Gators
https://www.facebook.com/TheBlindLemonGators/
Photo Credits: Alan Clark/ AC Media (Greig Taylor); Aigars Lapsa (The Gospel According)
Q&A with Greig Taylor
July 2019
Greig Taylor Music
https://www.facebook.com/greigtaylorblues/
The Blind Lemon Gators
https://www.facebook.com/TheBlindLemonGators/
Photo Credits: Alan Clark/ AC Media (Greig Taylor); Aigars Lapsa (The Gospel According)