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‘Sunday Afternoon’, and the New Orleans inflected ‘Picture Perfect’ is an excellent vintage R‘n’B
performance; it also shows off the band’s abilities well, especially saxman William Melendez

(and Ava’s piano playing).

It is easy to understand why this duo is building a big following. It might be a younger approach

than many of us are used to, but if it does the job - and this does - who cares? Let’s see where
they go next…

Norman Darwen

Charlie Bedford Good To Go Blue Heart Records
BHR002

Melbourne based Australian, Charlie Bedford, began his musical
career at the age of 12, singing and playing guitar in front of
audiences in bars and clubs, now at the age of 19 he is a full

time professional musician who has taken part in the
International Blues Challenge Youth Showcase, which were held
in Memphis, in the years 2017, 18 and 19, he represented the

Melbourne Blues Appreciation Society. He again made the
journey to Memphis in 2020 to perform in both Nashville &
Muscle Shoals. As well as performing with his own band, he is also part of The Great Unknown
& The New Savages.

Joining Charlie, vocals and guitar, on this, his debut album for Blue Heart Records is; Tim
Anderson; drums, David Carr; Bass and guitars. Special guests are Chris Hangar; harmonica

and Daryl Roberts; keyboards. 11 of the 12 numbers here are Bedford originals with the
exception of Willy DeVille’s ‘Steady Driver Man’. Charlie’s many other influences shine
throughout the album; from the mournfully slow shuffling blues harmonica, that dominates the
instrumental ‘Blues For John', to the aforementioned ‘Steady Driver Man', where the legendary

Bo Diddley riff is splendidly matched with a raw and infectiously howling harmonica, to great
effect. Charlie’s bouncy and fresh vocals reminds one of Peter Frampton while his clean and
crisp guitar work is well displayed on the instrumental ‘Telephone', the pleasantly low reverb
on this number evokes warm memories of The Shadows. ‘Money Junkie', is a funky little rocker

with nods to Jimi Hendrix in its raw and jarring, rolling guitar. Charlie’s ability to fuse a poppy
sing-along chorus with prowling guitars is amply displayed on the foot tapping ‘Honey.’ The
progressive rock numbers ‘Enemy ‘and ‘Good To Go', allow Tim and Charlie to flex their
respective musical muscles with forcefully footapping performances.

Greatly endorsed!

Brian Harman.