Road To The Blues

Dave’s latest album ‘Road To The Blues’ was released on 10th June 2022 which coincided with Dave being at the Chicago Blues Festival.  Just a few weeks later the Roots Music Report’s Charts saw the album at Number One in the UK, Number Two in the USA Contemporary Blues Top 50 and Number Three in the Blues Top 50.  All the album’s 13 songs have appeared in the Top 50 UK Song Chart.

The abum has been nominated as the pick of the month for August for the Independent Blues Broadcasters Association (IBBA).

Here are a few excerpts from the early reviews:

“… dynamite disc” 

Peter “Blewzzman” Lauro, Mary4Music

“… a wonderful blues album that takes the old and turns it into something brand new, refreshing and very rewarding”  

Tom Dixon, Bluesdoodles

“Recommended to calm!” 

Brian Harman, Blues In The South

“… Road To The Blues is a fine example of a master craftsman at his work.  Soulful, upbeat and fun with a sound that mixes various blues styles into an album that’s best enjoyed on repeat.”

Folk and Tumble Review


One More Mile, the album Dave released during lockdown in 2021 reached Number One in the Roots Music Report’s UK Top 50 Album Chart.  It remained in the UK Album Chart for over 12 months.  In the USA it reached Number Four in the Contemporary Blues Chart and Number Eight in the Blues Chart.  One More Mile featured in the Best of 2021 Album Chart in the USA.  Dave is one of the very few British artists to reach so high into the charts in the USA.  One More Mile has been nominated as Traditional Blues Album of the Year and one of the songs from the album, ’I Like My Chicken Fried’, has been nominated for Song of the Year in the prestigious Independent Blues Awards in the USA. 

“It was hard to believe that this was only the fourth live gig of a new band. Throughout, their performance was tight and professional. We were brought on a tour of blues classics and new material from Dave’s newest album” 

Reviewer: Tony Bell, Grapevine

“Lovely blues from a lovely guy” 

Reviewer: Trev Turley, Blues in Britain


“The two Dave’s, Greenslade and Thomas need very little introduction. The former is a veteran of Chris Farlowe & The Thunderbirds, Geno Washington’s Ram Jam Band, Colossuem and his own band, Greenslade. The latter is best known for his stint in Blonde On Blonde although he has also graced the stage as a member of Reign, Shortstuff, The Diplomatics and Shake Down Blues. Both have also released a number of solo albums. A few years ago, Greenslade heard Thomas play at a theatre in Suffolk and asked if he could work with him. The answer was yes but it took some time to sort out their diaries. G&T is the result of what happened when they finally got together. They start with She Wants To Talk To You, a shuffling smooth Blues. Horns (Aaron Liddard on sax and Giles Straw on trumpet) give it a rounded sound as the duo give us the benefit of their years of experience. Greenslade’s Hammond and Thomas’ guitar work very well together as Thomas throws out name checks to Buddy Guy and Toronzo Cannon in the lyric. It’s Wallace Coleman’s time for a name check on Sabotage PBM and the lyric says “Listening to Wallace Coleman live at Joe’s Garage”. Good choice guys, I’ve got that album too. The song is atmospheric with Spanish style guitar and Thomas’ lived in voice. They come away from the Blues for Freefall, a Rock song which firms their reputation as two of the UK’s best over the past decades. It’s back to the Blues for the sharp and jazzy Late Coming Love. Thomas’ guitar is pinging over Dana Gillespie’s easy-going vocals. They are two elder statemen of British Blues and Rock and they slip and slide this one into your consciousness. Hammerblow is smooth and silky with pronounced bass from Bob Skeat. It drifts into Prog Rock, a genre they are both familiar with, and gives an eerie, dreamlike feel at times with the sounds of Thomas’ stabbing acoustic guitar. The piano led Elsienna Avenue continues a theme of very little pace on the album. It’s a kind of a finding yourself song, touched with an emotional vocal from Thomas and is impressive.

Bass is upfront again on the metronomic Green And Pleasant Land and Thomas is using acoustic/Spanish guitar quite often and carefully picking out his notes. This is one that would have had the old cartoon playing behind it on the Old Grey Whistle Test. Otis Rush’s Day is a smooth shuffling Blues with a gentle vocal from Thomas. Greenslade’s piano and Thomas’ guitar both put in impressive, though short, solos and Thomas throws in some familiar Blues riffs at the end. TLC is another smooth, nightclub style Blues with fluid guitar confirming that they have been there, seen it and done it. Borderline has a comfortable vocal with Greenslade’s keys backing it well. Brendan O’Neill’s drums are unobtrusive as they have been on most tracks but you’d notice if they weren’t there. Suave guitar from Thomas has him still performing to a high standard. They are hard to categorise as we get elements of Blues and a few sub genres of Rock on show. A suitably Latin sounding guitar opens Last Tango and we are presented with a little bit of pace, matching the other shufflers. Vocally not that great to begin with but he works into it as the piano gives lovely support. They finish with the sentimental and emotional One More Time. This is a bit of a wistful tear jerker to end the album. It fits in with the pace of the rest of the album so not out of place. The drums are up front keeping it together and there is a sympathetic guitar. I think they are playing within themselves on this one but they do expand with organ and choral singers coming in for the build up to the end.”

Reviewer: Unknown, Blues Blues


Magazine two page spread titled "Foster Factor' by Stephen Foster. Three paragraphs take up the left hand side of the first page with another two paragraphs on the right hand side underneath two photos. the first photo is of Dave Greesnslade and Dave Thomas side by side staring directly into the camera. The second photo underneath the former is of the cover art for 'Angel Air' which is their names in the top left hand corner and underneath there is 'G & T' next to a glass with a lemon in and liquid splashing out of the top. 

On the second page on the right hand side there are 5 smaller paragraphs and a red box below with a square image of Stephen Foster a middle aged man with headphones on staring straight ahead into the camera with his body turned slightly to the right where a desk and microphone are.
Reviewer: Stephen Foster, Grapevine


“It’s brilliant!!!!! Sometimes kind of Sting meets Buddy Holly, sometimes just funky and soulful. Always engaging and masterfully performed.” 

Reviewers: Courtney Ferguson,, Nevada City, CA, US

“Reminiscent of Bill Withers, shades of Van Morrison and David Knopfler in there too.” 

Penny Griffiths, The Stables Theatre Ltd., Milton Keynes


“Guitarist/singer Dave Thomas is not a name I’m familiar with although he has been around the UK blues scene for years.  With a few notable exceptions Brit blues leaves me cold, it usually consists of the ten minute guitar solo variety played by a posturing axeman adopting the stance (knees slightly bent, leaning backwards and toting a Les Paul).

I’m pleased to report that Dave Thomas is a real breath of fresh air.  Recorded live at Norwich Arts Centre (the audience are quiet though!) he plays ‘real’ blues numbers (including covers of songs by Otis Spann, Jimmy Reed, Elmore James, B.B. King and others) with respect and obvious love for the tradition.  Guitar solos are kept concise with no rock outbursts and he has in his band a superb pianist called James Goodwin who’s as good as anybody I’ve heard on the UK scene.

Highlights are a superb vocal ad piano take on “It Must Have Been The Devil”, a B.B.styled ‘It’s Mh Own Fault’ and an excellent reading of Doctor Clayton’s ‘Hold That Train Conductor’.

As you can see, I liked this CD a lot, strongly recommended to anyone interested in checking out one of the best outfits on the British scene.”

Reviewer: Phil Wight (Blues & Rhythm Magazine Issue 203)


“Hot on the heels of the superb ‘Black Dog Boogie” album by the Dave Thomas Band (see review in B&R 203) comes this vocal (with occasional harp) and piano album from Thomas and Goodwin.  Subtitled ‘A Tribute To Otis Spann’, it consists of fourteen songs penned by or recorded by Spann.

As good a singer as Dave Thomas is, it’s definitely pianist James Goodwin who is the star here.

His two-fisted piano work is quite outstanding throughout; whether it’s on a slow blues (Roosevelt Sykes ‘West Heena Blues’ or Jimmy Oden’s ‘Going Down Slow’) or up-tempo numbers (Spann’s own composition ‘It Must Have Been The Devil’ or Memphis Slim’s old warhorse ‘Every Day I Have The Blues’.

However, anyone needing any more convincing should give a listen to Thomas and Goodwin’s reading of Jimmy Cotton’s ‘Cotton Crop Blues’ or Spann’s ‘Good Morning Mr Blues’, Goodwin’s piano playing is a joy to behold.  This CD definitely makes it into my top ten for 2005 and it’s going to take something special to oust it, strongly recommended to blues piano fans everywhere.”

Reviewer: Phil Wight (Blues & Rhythm Magazine Issue 204)


Fans of the blues like us frequently have to address the problem of cover versions. Of what value are they?  Indeed, I once had a dispute with a Guardian critic on this very subject.  Apparently, Buddy Guy’s propensity to perform the work of others disqualified him from entry into the top string of blues performers.  This inspired me to call the reviewer a myopic philistine.  Well, it didn’t, but I wish it had …

Listening to Dave Thomas forces one to confront this subject afresh (or perhaps that should read a-reheated).  His songs aren’t original, indeed not even the interpretations are original, but they sure taste good.  But how good?

Playing BB King note-for-note guarantees you’re going to sound good but you’re still a cheap knock-off.  At the same time, however, you can’t exactly turn your nose up at someone who can play The King of the Blues note-for-note particularly when your head is enthusiastically rocking back and forth.

So perhaps I shoud stop worrying about the significance of the cover version and instead reveal whether or not these releases merit your attention.

Both albums are entirely composed while standing on the shoulders of giants. Regardless, they don’t simply merit your attention, they positively command it and from a great height at that. 

Pianist, James Goodwin provides the alcohol in this blue cocktail.  And a heady cocktail it is too.

Blues in Britain Magazine


“The full boogie treatment a la John Lee Hooker’

‘…..a powerful fusion of funk, soul and blues.”

Reviewer: Blueprint magazine (now known as ‘Blues In Britain)


“Your voice and phrasing remind me of Roben Ford”

Paul @ The Lion, Teddington, 6th January 2007

“I think we can bring back the sound of the 50’s when the blues were played with a lot of feeling.”

Wallace Coleman, 11th April 2006

Some really nice playing on there, and a lovely poignant “feel” that’s miles removed from all that “turn it up to eleven” power blues that we hear so much of.”  (Black Dog Boogie)

Mike Flowerday, 6th April 2006

“It was a pleasure to have you come up and sing on the set – really enjoyed it.  I have listened to your CD “Black Dog Boogie” and the reason I wanted your e-mail address was so that I could tell you that your CD is as good as or better than anything issued in the USA. Your piano player is outstanding.  Your guitar playing is superb.  I wish I had guys like you to back me.  There aren’t too many guys today interested in traditional style blues anymore – especially from the 50’s”

Wallace Coleman, 28th March 2006

“The album was a refreshing change from the usual guitar-based offerings – nice to have the piano get equal space to shine.  Dave also has one of those voices that is easy to listen to and he doesn’t try to be Paul Rodgers or Otis Redding.”  (Black Dog Boogie)

Gary Hearn, Fen Radio, 6th April 2006


“Third album from 1971 by this highly regarded but woefully ignored fine UK progressive band.  Elements of Moody Blues or Barclay James Harvest could be gleaned from this album, but it’s their own distinctive sound that shines through with those unique wavering vocals. A lost classic …”

Freak Emporium

“Today all of the band’s releases are expensive highly sought after collectors items, not just because of their rarity but because they contain some of the late 60s/early 70s finest progressive rock.  However, the whereabouts of the various members of Blonde On Blonde remain something of a mystery thought it is generally assumed that following the demise of the band in early 1972, none of them pursued careers in music.”

Mark Brennan Lost-In-Tyme


“Gareth Johnson’s sitar styled – crunching leadbreaks are phenomenal as he makes love to the instrumental “Colour Questions”, the opus Rebirth or exquisite “November”, a memory of the Forest of Dean.  Note the urgency as he wages war with drummer Leslie Hicks on “Broken Hours”, the first song he ever wrote.  David Thomas has a vox of heaven towering like a God as he presides over “Heart Without A Home” keeping his stance aloof and superior as he intertwines amongst the fuzz rages.  “Time Is Passing” is beautiful and stirs as it brings out the sensitive depth of Dave Thomas. Supporting The Doors and Hendrix the group never failed to impress …”

Shiloh Noone – Hippy Land, Hip Publishing, 2007

“Highly collectible and best second album from this excellent late 60s Welsh progressive/ psychedelic rock band.  Released in 1970 it’s a beautifully constructed release with a distinctive vocal  style.  The song material is not only wonderfully melodic but is mysterious and otherworldly … crossing the divide between 60s psych and prog.”

Freak Emporium

“In the role of lead vocalist (he also picked up a large slice of the writing chores), Dave Thomas was considerably more talented than his predecessor Ralph Denyer.  The extra firepower provided by Thomas’ versatile chops was apparent in the form of a tougher, rock orientated sound.  Unlike the debut, their sophomore release never saw an American release.”



“The debut album by this UK band was issued in 1969 and is an undiscovered gem of late 60s progressive pop/psych.”

“One of the most amazing cover versions of the Beatles’ Eleanor Rigby”

“In spite of the unoriginal name (they apparenty borrowed it from Dylan’s 1965 album), this short-lived and little known Welsh outfit stands as one of my favourite ‘unknown’ bands.  Even though they enjoyed strong reviews from music critics and achieved massive exposure playing before gigantic crowds at the 1969 Isle of Wight Festival (coincidentally headined by Dylan), they never managed to generate much in the way of UK sales and did even less in the States.  Best of all their three albums sported a tremendously talented guitarist in Gareth Johnson.”