Ride

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Between 1981 and 1984, he was the lead guitarist in Canned Heat. [1] He toured with them extensively in the US, Europe, and Australia. From 1984 to 1989, he was the lead guitarist in John Mayall's Bluesbreakers following in the footsteps of guitarists such as Peter Green and Eric Clapton. Trout recorded and toured with the Bluesbreakers worldwide. The many successes on stage were accompanied by a self-destructive lifestyle offstage. Trout recalled in a 2018 interview with Blues Radio International that while playing with John Mayall, he was rescued from a complete descent into alcohol and substance abuse by a post-gig encounter with Carlos Santana. [2] By 1981, Trout had switched to West Coast boogie-blues titans Canned Heat for a period he diplomatically recalls as “turbulent”, but even this gig was topped three years later by a fantastical phone call from John Mayall, dangling the revered guitar slot in his iconic Bluesbreakers outfit. “As far as being a blues-guitar sideman, that gig is the pinnacle,” states Trout. “That’s Mount Everest. You could play with B.B. King or Buddy Guy, but you’re just gonna play chords all night. This guy features you. You get to play solos. He yells your name after every song, brings you to the front of the stage, and lets you sing. He creates a place for you in the world. Where do you go from there…?” Reverb-cloaked, faintly Hendrixian and vocally influenced by Chet Baker, the stunning album closer Destiny gives an unvarnished account of the guitarist’s first meeting with Marie at a Danish blues festival in 1990. BREAKING: Blues Music Awards winners announced; Taj Mahal & Keb' Mo's 'TajMo' wins seven awards". Blues.org. May 11, 2018. day ago LIES!: Dutch metallic hardcore gang drops video for “Propaganda” (ft. Hugo Zerrad – Worst Doubt) via Invisible Oranges; 2nd album comes early December

In 2020, as the world took solace from a tragedy that touched us all, he came armed with a boundary-exploring new studio album and eleven searingly honest songs that bring his fans even closer. “There’s a lot of extraordinary madness going on,” considers Trout, of the COVID-19 crisis. “This album started because I was dealing with the flaws and weakness inside me. But it ended up being about everyone.” Local bands never got the breaks, and in 1973, Trout made the death-or-glory move to LA, where he slept on couches and scrabbled for work. “I came out here and it was a overwhelming thing,” he says, “because I didn’t know anybody. I just started going around to clubs where there were bands playing and asked if I could sit in. My first gig, I was stand-up lead singer in a country band, singing Merle Haggard tunes. And with my third paycheque, I went and bought that Strat that’s still on the cover of all my CDs.” Of all the peaks in Trout’s trajectory, his abiding memory of the late Chicago bluesman is perhaps the most literal. It’s 1986, and high above Lake Geneva, at the palatial Alpine chalet of late Montreux Jazz Festival Svengali Claude Nobs, lunch is being served. “So we’re up at the top of the Alps,” Trout recalls, “in this big room with John Mayall, Buddy Guy, Junior Wells, Robert Cray, Otis Rush, and as we’re eating, Dr. John is serenading us on acoustic piano. I was sat there with Luther Allison, and we had a great talk.

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But, however fast or far a man travels, he can never truly outrun his past. On the new album Walter Trout found himself eyeing the horizon and the green shoots of his triumphant late career. There was a new record deal with Mascot/Provogue. A move from California to Denmark with his beloved family. Even now, aged 70, Trout was still writing fresh chapters of his life story.

As Ride took form, such memories couldn’t help but flavour the music. “This album is obviously what I was going through mentally and emotionally,” he considers. “All I did was express it. I spent a lot of time crying, because I would dig down into my emotional core. I want my songs to have some sort of truth to them. From the grinding riff and freight-train harp that light the fuse of opener Ghosts, it’s clear Ride is like nothing else in Trout’s catalogue. Ironically, the harmonica-laden and chunky riffathon of “High is Low” might just be the highest of the many highs here. Rich organ textures, crushing percussion, and a guitar solo with a tone to die for add another memorable stop-off along this exciting and varied musical ride. In 1998, Trout released his self-titled US debut album and renamed his band 'Walter Trout and the Free Radicals' (later renamed 'Walter Trout and the Radicals' and currently simply 'Walter Trout'). Since, Trout has been recording prolifically and touring in North and Central America, Europe, Australia, and India. Blues Music Awards Winner List – Blues411". May 6, 2016. Archived from the original on May 6, 2016 . Retrieved January 25, 2020.

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There’s an outright slice of hi-octane fun. Walter gets horny, if you will (in the Southside Johnny sense…) on the brilliant “Leave It All Behind”. “Responsibility, politely declined” he sings and does so in such a way that suggests he wouldn’t be so polite if you bothered him again.

Walter Trout, Mike Zito (Mar 26, 2018). Carlos Santana, Walter Trout & Mike Zito: One Life Saves Another.. And Another. Blues Radio International. Archived from the original on 2021-12-19 . Retrieved March 26, 2020. This year he releases his 30th solo effort album ‘Ride’ on Provogue /Mascot Label Group. Not only is it yet another double digit milepost, it also marks nine years since Trout was left brain damaged after cirrhosis of the liver required him to have a liver transplant. Left not being able to walk, talk or remember how to play even a simple open chord on the guitar it was unsure what would be left of Trouts career or even his sense of self. day ago Two Door Cinema Club have announced a massive concert for summer 2024 with a show at Custom House Square, Belfast on Thursday 15th August 2024.

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So Many Sad Goodbye’s’ and ‘High is Low’ are the creme de la creme of mid-tempo blues splendour. Trouts vocals on the latter are especially good. It’s the kind of husky outpour that reminds us why sometimes the classic arrangements are the best. Trout will be 72 years old when he lands in Exeter on this tour and as a live powerhouse, he still retains that furiosity and fire in his belly to make every singe performance one to remember. For Walter Trout, there is no ‘us’ and ‘them.’ Across his five-decade career, the great US bluesman’s music has always been a lifeline and call-to-arms, reminding listeners they are not alone. On the final leg of the albums journey we have ‘Hey Mama’ before the penultimate ‘Destiny’. It can’t be ignored that Trout is a master of procuring his albums into stories with each song lending itself as a chapter within. ‘Hey Mama’ feels much like the reconciliation following the last good time blast before ‘Destiny’ acts as the end of night credits rolling soother. A move from California to Denmark with his beloved family. Even now, aged 70, Trout was still writing fresh chapters of his life story.