Reviews

With complete mastery of his lovely 1910 Vega guitar (and a foray onto his remarkable 10-string Martin Tiple), he worked his way through a memorable set-list encompassing many of the greats in blues history: Mississippi Fred McDowell, Blind Willie McTell, Sleepy John Estes, Blind Lemon Jefferson, Big Bill Broonzy… due respect was paid to each of them in turn.

Dave is clearly steeped in the tradition of the blues, but one of his greatest strengths is the ability to deliver that music authentically, with all the power and commitment it deserves, whilst at the same time never resorting to imitation – always remaining true to his own individual style and personality, which shines through in his entertaining reminiscences between numbers. That’s a difficult balance to strike, but Dave gets it just right. As he said, the music has to matter to you, and you need to sing it from the heart – which he most certainly does.

It was a real treat to hear Dave perform in such intimate and friendly surroundings. It’s hard to pick favourites from such a mighty set-list, but a few stand-out moments included his gentle and sweetly played version of Blind Willie McTell’s “Don’t forget it”, some fine bluesy and slightly countrified string-bending during Lonnie Johnson’s “Tomorrow Night”, his gentle rhythmic guitar work on George Carter’s “Rising River Blues”, and his excellent interpretation of the Memphis Jug Band’s “Stealin Stealin”. Really it was a stream of superb and classic songs – far too many to list them all – it was a lifetime’s education in the blues, condensed into a single evening. Dave picks absolute gems from the dust of history, breathes new life into them, and presents them with his own characteristic charm and flair.

Mid-Wales R&B Club

It’s pretty much impossible to attend a blues jam session these days without someone getting up and playing Crossroads – usually attempting it à la Clapton, but, unlike Eric, turning it into something riff-heavy and lumpen.

The best version I’ve heard of this classic Robert Johnson song in decades was performed yesterday at Ffwrn in Fishguard – with a wild assuredness by veteran singer/acoustic guitarist Dave Speight, picking and sliding his way through the song with equal measures of love and authenticity.

He also played touching versions of the Lonnie Johnson hit Tomorrow Night and Sleepy John Estes’ Drop Down Mama – a true treat for fans of blues the way it used to be.

Pembrokeshore Online 2025

For over 50 years Dave Speight has been tenderly plucking his way through the diverse labyrinth of the blues which is blissfully evident as he guided his audience through an emotive set at Smokestack.  His approach to this style is somewhat unique.  When you watch Dave perform you become involved in a kind of blues seminar, in the loosest sense, and this has clearly developed from many years of playing so passionately.  You are almost unaware of this educative aspect of his performance due to his laid-back approach; he immaculately covered a range of seminal artists, from Luke Jordan’s ‘Church Bell Blues’ through to a re-working of Robert Johnson's ‘Milk Cow Blues’ all of which enticed the audience with an authentic brushing of personal feeling.

However, along the way, Dave subtly delivers brief footnotes to each song as well as informing his audience of a brief period spent with a local ‘jug ‘band’ that has also been going since the 1960s, the Hot Pot Belly Band (sometimes three gigs a night and always mayhem).  On top of this he narrated a tragic story ending in death by alcohol poisoning - all of which was effectively guised by a twelve-bar blues accompaniment, cleverly diffusing this impartation of knowledge as an inherent part of his performance.

So far, I have been speaking of Dave’s talent which he showcases through the eclectic assortment of old blues, however to ignore Dave’s own material which he so eloquently delivers, would be something of a travesty.  By no means do the old blues overshadow his individual song writing skills, but instead they act to support his work on an equal footing - a testament to how experienced this artist truly is.  After Dave caressed his last note, there was a very satisfying and settled repose in the reassurance that learning about the blues can indeed be a very pleasurable way to spend an evening.  

Dave Speight gave us the opening set - he was last here back in May 2009. Two years on, he played another confident set of 10 "quiet acoustic blues numbers". A couple of the tunes he reprised from 2009 - Luke Jordan's 1927 opus "Church Bell Blues" and Gus Cannon Jug Stompers' "Last Chance Blues" which closed the set - the other 8 were new. The opener was Big Bill Broonzy's "Feeling Lowdown".

An interesting anecdote from Dave told us of an occasion when, just 17, he saw Reverend Gary Davis substituting for Doc Watson at one of the Sixties Folk Festivals. It shows how long Dave has been hooked on the blues and that particular bluesman - it showed in his version of "Delia".

As before, Dave Speight succeeded in getting full attention from the audience - the room was pin drop quiet as all eyes and ears were focused on the man seated on stage.

Lonnie Johnson songs featured twice - "That's Love" written in 1941...

When I watch the stars that shine,
Thank Mr. Moon for being so kind,
I feel like this whole world is mine.
It must be love.

When you feel the way I do,
Nothin' can ever make you blue.
You belong to me and I belong to you.
Baby, don't you know that's love?
and "Tomorrow Night" from 1947….
Tomorrow night, will you remember what you said tonight?
Tomorrow night, will all the thrills be gone?

Tomorrow night, will it be just another memory?
Or just another lovely song that's in my heart to linger on?
Your lips are so tender, your heart is beating fast,
And you willingly surrender, tell me darling, will it last?

Tomorrow night, will you be with me when the moon is bright?
Tomorrow night, will you say those lovely things you said tonight?

Both sets of lyrics show a very sensitive side to Lonnie Johnson - perhaps that is what makes the songs attractive to Dave Speight?

Or is it that Lonnie Johnson's early recordings are the first guitar recordings that display a single-note soloing style with use of string bending and vibrato? - especially apparent on the extended solo introduction to "Tomorrow Night". If you accept that, then it makes perfect sense to feature Lonnie Johnson in a solo acoustic blues set as an opener for some Connie Lush note-bending blues.

I think there were three Blind Lemon Jefferson songs in the set as well - "Matchbox Blues", "Bad Luck Blues" - one of Dave Speight's favourites and "Broke and Hungry" - All performed well.

As Dave Speight says, at his age it's always good to be able to sing "Woke Up This Morning" - I know what he means! But he also acknowledged that Ripley is one of his favourite gigs "because the applause lasts a bit longer". It did tonight as well, it was loud as well - the sound was spot-on... another nice set!

Ripley Live

While he may be an unfamiliar name to many Dave is, nonetheless, highly regarded among his contemporaries as being one of the most technically accomplished guitarists around, a soulful singer and a highly engaging stage performer to boot. 

Dave Speight first came to prominence in the late 1960's and early 1970's as one of the group of acoustic blues musicians sometimes referred to as "The Leeds Blues Mafia" who dominated the West Yorkshire blues scene at that time. Others in this group included Steve Phillips and Mark Knopfler of the Notting Hillbillies and Dire Straits, but Dave was not eclipsed in this elite company; his great musical competence keeping him easily on a par with these great musicians. 

Dave has continued to play at Folk and Blues clubs throughout the years; honing his skills both solo and in various line-ups, most notably with multi-instrumentalist Sholto Lenaghan- with whom Dave released a critically acclaimed CD ‘North Country Blues’ in the 90’s. 

Dave Speight says of himself; "I've been playing and singing the blues for over 40 years ... with more and more feeling that I have good reason to do so as I age. The fingers may have slowed .... but the voice still works".

The noisy late night crowd at The Great British Blues Festival in Colne, Lancashire, who were quickly hushed into awed silence during Dave’s performance at the acoustic stage last year can vouch for Dave’s expertise and dexterity as he quickly won the crowd over and held them spellbound in the palm of his hand! If you’re a lover of acoustic blues from the likes of Big Bill Broonzy, Missisppi John Hurt, Leadbelly and Robert Johnson then come along to the Blues Lounge, come along and enjoy a master of his craft at work.

Dave Speight says of himself "I've been playing and singing the blues for over 40 years ... with more and more feeling that I have good reason to do so as I age. The fingers may have slowed .... but the voice still works".

How true! He started off with Big Bill Broonzy's Willie Mae giving us 12 songs in total. Luke Jordan's 1927 blues "Church Bell Blues" was followed by an impressive version of Gus Cannon's "Last Chance Blues" which drew the loudest applause. Dave had succeeded in getting the attention and respect of the near full house. No mean feat for a solo artist.

More traditional songs and anecdotes followed …. Milk Cow Blues, Lonnie Johnson's "Tomorrow Night". The closing song was a delta blues until he was encouraged back for a double encore.

First was Bessie Smith's Going Back To My Used To Be. He dedicated his final song, taken from the 1936 film 'Sing Baby Sing', to a Catholic nun Sister Anne Marie to whom he used to sing:

When did you leave heaven
Why did they let you go
How is ev'rything in heaven
Tell me, 'cause I want to know

Why did you trade heaven
For all these earthly things
What did you do with your halo
Where did you leave your wings

Do they miss you
Could you get back in
If I kissed you
Would it be a sin

I am only human
But you're so divine
When did you leave heaven
Angel of mine

Great set!