Originally an
offshoot of the primordial Rolling Stones, lead
guitarist Dick Taylor broke away to form The Pretty
Things in 1962. Securing a major label deal within
months of their inception, the band attracted press
attention with their unfettered power and controversial,
unkempt appearance, their raunchy style of R&B spawned a
run of successful releases. By 1967, The Pretty Things
had become immersed in the underground psychedelic
scene, developing a more harmony-led, experimental
sound. Continuing to play live and record, The Pretty
Things continue their evolution as an enduring musical
force.
Aynsley picked up the guitar at 8
and played his first gig at 13. One year later on a
family trip to San Francisco, he was jamming at ‘Lou’s
Bar’ on Pier 49. Brought up on his father’s record
collection, he had learned to play by ear and would sit
for hours in his bedroom playing along to old 45s of
Freddie King , John Mayall and Eric Clapton . He spent
the next few years honing his craft and would play with
anyone, anywhere. By the time he was 18, he had worked
his way through various bands and decided to form his
own. The band recorded two albums, but it was the second
of these two that started things happening. Aynsley had
begun writing and it was the three original numbers of
this album that attracted the attention of Ruf Records ’
head honcho Thomas Ruf. In the summer of 1998, they
signed a deal. Armed with an album worth of original
songs and a handful of covers, Aynsley went into the
studio with Producer Jim Gaines and set to work of his
first major album, ‘Aynsley Lister’, featuring a guest
appearance by Walter Trout
It would prove
to be the start of a long and fruitful career taking him
over the next few years all over Europe and working with
some of the top names on the circuit. While Lister’s
roots may be the blues, his own material incorporates
more contemporary influences. His hard-hitting rhythms
and guitar work are reminiscent of a young Clapton.
In those early
years since his first album. Aynsley was already opening
for artists such as Buddy Guy, Robert Cray, John Mayall
and contemporaries such as Bryan Adams and Fun Lovin
Criminals .
Now Aynsley headlines many of the major
festivals in mainland Europe. He has twice played the
Heitere Open Air in Switzerland to 12,000 people and
2006 saw him play the main stage at The Bayfront Blues
Festival, MN. Later that year he was invited to sit in
with Delbert McClinton during his second appearance (the
first being in 2002) at The Pinedale Blues Festival in
Wyoming, resulting in Delbert keeping Aynsley on stage
for the whole second half of his show. September 2006
saw the US debut release of his 2000 album ‘Everything I
Need’ in preparation for Aynsley’s plan to tour the
America. Getting plenty of airplay it received critical
acclaim.
Aynsley’s
recorded work, he has sold over 75,000 records, has seen
him working with Jesse Davey from legendary English
blues band The Hoax on ‘Everything I Need’ in 2000;
producer Greg Haver (Manic Street Preachers, Catatonia)
on his 2002 release ‘All Or Nothing’, and taking the
production reins himself for 2007’s ‘Upside Down’.
‘Upside Down’ was Lister’s fourth studio album and his
first to contain all originals
The only British
artist to be featured in Classic Rocks 2007 review: TOP
10 CONTEMPORARY BLUES ARTISTS….......alongside The White
Stripes, The Black Keys, John Mayer, Jon Spencer, Jonny
Lang, Kenny Wayne Shepherd , Joe Bonamassa , Derek
Trucks and the North Mississippi Allstars
In June of 2008
Aynsley began working with ARM Management. ARM has
worked with many successful artists, including The Hoax
and more recently Eric Bibb. He signed to Manhaton
Records in August 2008 and ‘Equilibrium’ was released in
March 2009. ‘Equilibrium’ was produced by Steve Darrel
Smith and features appearances by Robbie McIntosh(John
Mayer) and also heralds a new direction for Lister.
Realising at an early age that if you picked up a guitar
you got attention, especially from her dad whose guitar
it usually was, it was inevitable that she would get one
of her own. So at the ripe old age of three, she got her
first guitar, a half size acoustic.
At seven she
started lessons but soon noticed that not only did the
electric guitars have a smaller neck, making them ideal
for little hands, but they could also make a lot more
noise. After more lessons and a lot more noise, and at
the grand old age of eight she became the youngest
person in the country to pass a Rockschool grade. More
lessons followed and with them came the realisation that
if you want people to listen, you need to sing!
So it came to pass that at the age of twelve she arrived
at the famous Melborn Hotel in Bradford to play and sing
at the weekly jam session. Helped and encouraged by all
the musicians, she developed rapidly into a incredible
rock and blues musician.
Now described as a
"prodigy", a visit from a major label soon followed and
at fourteen she was told "great voice, but girls don't
play guitar like that!" by the head of their A&R. Their
advise to change styles because boys would be
intimidated was met with an attitude of "that's their
problem! I'm not changing!" Singing and playing on
national television and radio soon followed.
A
meeting with two renowned producers soon lead to a
change in direction from live performance to recording
and writing. This coupled with exams and advice meant an
end to live performing for around four years. As seems
common in the music industry, once lawyers get involved,
things can get messy!!!!!
Now qualified at Grade
Eight, the wrong “A” Levels required for a music degree
course meant enrolling at the world renowned Leeds
College of Music for a Btec in Popular Music where she
became the first student in the college’s history to
achieve a 100% pass mark, 18 distinctions. Progressing
onto the degree course she became the holder of the
prize for outstanding musicianship for 2006/7 on the way
to achieving a First Class Honours degree in Popular
Music in July 2009 and at the same time the award for
guitar.
Henrik Freischlader has carved out in 3 years with over
500 concerts and 3 successful CDs his place at the top
of the blues scene. Some music critics predicted at the
beginning of his career, Henrik is now exactly where he
always wanted to be! Blues with language as a living
form of the expression of pain and sorrow, anger and
rage, humor and joy, which the loyal and appreciative
audience will be given again and again, look at the
virtuosity of his seemingly limitless musical
possibilities.
'They lull you with their folkery then take you to
something like Robert Johnson on acid’ Crossroads Blues
2011
‘BabaJack is
an outstanding blues, folk [and more] fusion band [...]
When they are on stage, everyone sits up and takes
notice!’(BluesMatters Magazine) Their sound is powerful,
original and contemporary combining traditional blues
slide, harmonica, winebox guitar and vocals with the
African drums, stomp, bass and violin, all with great
musicianship. And they groove! They are the upcoming
blues/folk act on the scene in the UK and Europe– the
one you can’t afford to miss.
