"Lewis Hamilton is a 19 year old from Scotland, but he
has already released two solo albums before Ghost Train, as well as
compiling and releasing a highly-regarded three volume series of
Scottish Blues, Jock’s Juke Joint, which featured both Hamilton’s
own songs and those of 50 other contemporary Scottish blues
artists. He sings, he plays guitar, he writes the songs and he
produces the music. If only all 19 year olds had a similar work
ethic. And the good news is that all that work is paying off. Ghost
Train is an impressive and enjoyable slice of traditional blues
rock.
Despite (or perhaps as a direct result of) Hamilton’s
relative youth, there is a distinctly retro feel to Ghost Train.
Other than the modern production values, many of the songs could
have come straight out of the 1970s or early 1980s. There is even a
hint of disco in the funky guitars in “Trust In Me”. Primarily,
however, from the opener “Lonesome and Blue” with its overdriven
guitar riff around which the vocals fit, to the arpeggios of “By
The Old Oak Tree”, this is guitar-driven blues-rock. The retro
theme even extends to the cover art photographs, which depict
Hamilton walking into an apparently deserted railway station with a
guitar in his hand, and then sitting on the platform, presumably
waiting for his Ghost Train to come in. In both photos, a
cigarette dangles from his mouth, even though smoking in public
places has been illegal in Scotland since 2006. Lyrically, Hamilton
also demonstrates enthusiasm for all those things we are meant to
frown on in the modern world, as titles such as “Cheap Cigars” and
“Whiskey Boogie” might suggest.
Although Hamilton himself is the primary point of focus
on the album, fine and supple support is provided by Nick Hamilton
on bass and Ian (Santa) Wallace or Pete Rabjohns on drums.
Rich Young also adds Hammond organ or keyboards on four songs.
Lyndon Anderson adds harp on one song (“Whiskey Boogie”) and Bruce
Michie adds trumpet and sax on “By The Old Oak Tree”.
The album was recorded and produced by Hamilton at
Sawmill Cottage Studios in Auchterarder, Scotland and benefits from
a warm sound quality. He is an impressive guitar player,
switching from electric to acoustic to slide with equal dexterity
and he turns in some beautifully melodic solos. He also has a
warm, smoky singing voice, although as with many lead guitarists
who also sing, the voice often takes second place to the guitar.
There are definite hints at various points in the album of the
influence of Stevie Ray Vaughan (on “Breaking Heart” especially),
but Hamilton is also finding his own voice. The acoustic “Sunrise”
is one of the highlights of the album, featuring a couple of
over-dubbed acoustic guitars and providing perfect melodic support
to Hamilton’s weary voice as he sings “Oh, alcohol, you caused it
all. That don’t mean my feelings ain’t true. Oh, sleepless
nights, I held you tight. Let me feel the way that I do. When
I see the sunrise, don’t be surprised, if I show some pain, when
you push me away, once again.” Equally impressive is the closer
“Journey Home”, an acoustic instrumental with Hamilton accompanying
his own melodic resonator guitar playing with a gently strummed
acoustic rhythm.
Lewis Hamilton is clearly on an upwards trajectory. One of his
previous albums, Gambling Machine won the Best Jazz/Blues Recording
category at the 2012 Scottish New Music Awards, while “I Got To
Know” from the same album won a preliminary nomination in the
British Blues Awards song writing category. Ghost Train is another
step in the right direction.
Expect Hamilton to go onto bigger things. He
clearly has all the talent necessary. Let’s hope he gets the
breaks too."
Rhys Williams (Blues Blast Magazine)
"This
new album from this Scottish prodigy has a lot to live up to. The
first albums were quite frankly, stunning so this one very much has
a point to prove. The style is very much guitar driven blues, with
some funk, jazz and soul infused. Of course there are some pure
blues tracks too, as that’s what primarily what this album is all
about, but it’s definitely not a one trick pony that’s for
sure.
The
guitar work once again is exemplary and the vocals have an
understated approach. Nothing is overdone and everything just comes
together seamlessly, to make greater the sum of the parts. From the
guitar playing, it’s easy to tell that there is considerable talent
there, but also the knowhow to wield it to greatest effect. Not all
guitar driven blues has to have ninety mile an hour solos, or
overly exaggerated sustain, although I like that to by the
way.
This
is an album that is good because it doesn’t go out of its way to
show you how good it is. It just turns up, does the job, and then
when it’s finished turns to look at you just in time to catch you
saying “that’ll do”, or words to that effect. This is heartfelt
soulful music, just as honest as the day is long in June, and when
music has that much integrity, it just has to be good.
One
of the most important things about this album though is that it’s
from one of the rising stars on the scene, and it’s albums like
this that are keeping the scene alive. If the new generation of
blues musicians keep churning out music of this quality, the blues
scene is going to remain healthy for a very long time, and that is
a good thing, a very good thing indeed."
Jon
Seymour (Firebrand Magazine)
Sedgefield R'n'B Club
16-3-13
"First chance of the year to catch
up with my other "hot-tip" from last year, Lewis and his Boogie
Brothers. This has to be one of the most "sorted" of the new wave
of Scottish Blues acts. Certainly one of the best, young slide
guitarists I've heard in a long while, and that's how he kicked off
his set on Saturday, with a bit of Robert Johnson before being
joined on stage by Nick and Santa and launching into his own Empty
Roads: so into it, he didn't realise a string had gone mid-way
though. Thing about Lewis, his sets just seem to roll out, yet he
has a way about him that just carries an audience along for the
ride, whether he powers through some classic ZZ Top or takes it
down with some Mayer-styled Ray Charles' I Don't Need No Doctor;
that's not to say Lewis' own material doesn't stand up along side;
Drinking Game always gets feet going and a new track, Broken Heart
already sounds a winner.
Even in a shortened set,
Lewis trawls the audience for suggestions; he's already
has established such a connection, which a recent
American visitor couldn't do. Lewis's also has two seasoned pairs
of hands on stage with him, Nick on bass providing solid backing
and the amazin' Santa pounding the skins and driving things along.
Bit of an evening for Hendrix covers, with the Albany Down lads
doing Voodoo Chile, Lewis served up a hot Purple Haze and All Along
The Watchtower, which to be fair, is one of Dylan's. And that kind
of wound things up; time seeming to pass very quickly; but that's
how things are with Lewis, you get caught up in his enthusiasm and
love of what he does; and then it hits you after, how bloody good
he is at it. Check him out if he's round near you - he's getting a
taste for English beer, so won't be far off. I see he already has
Germany in his sights."
BansheeUK (Joe Bonamassa
Forum)
Darlington Rythmn & Blues Festival
2012
"I had to miss the last half-hour of Andy’s (Fairweather-Low) set
to catch one act in particular, Lewis Hamilton & The Boogie
Brothers; playing in The Quaker House on a rare excursion down from
Scotland. This was a hot-tip I had to follow up, and I was not
disappointed. Still in his teens, Lewis’s fingers are made of
rubber and magic as he throttled his way through a couple of
Telecasters in a style I’d put somewhere between Rory Gallagher and
Jeff Healey. Not only that, he has a fair ol’ set of pipes (his
voice, not bagpipes) and a comfortable and confident stage presence
that immediately engages with the audience. Hell, he insults our
beer (“tastes like socks!”) and we laugh with him.
Making the power-trio is Nick on Bass & Santa behind the
drums – and these guys know their business, make no mistake. The
set, split over two 45 minute sessions are an eclectic mix of
self-penned and standards, with a couple of left-field covers to
add character. Yes, you get your Hendrix and Freddie King, Deep
Purple and Ray Charles freshen things up, but a rapid-fire Johnny
Cash cover (Fulsom Prison Blues) comes in like a shot of Tabasco.
And then we’re treated to an ad-hoc instrumental I’ll call Quaker
House Strut. Somehow, I don’t think these guys will ever go hungry
in these parts, not when the Quaker House is crammed full before
the end of their 1st set."
BansheeUK (Joe Bonamassa
Forum)
