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go, oh, I've never heard of him, and then they go off and they buy his records, and they

listen to his stuff, then that's great. I think that's why I do it. That's why I do these old
songs is to keep those names out there so people don't forget where it comes from,

all these early people who actually started it.

BiTS: If I was to come to your house now, whose music would I find on your audio
system?

LP: At present it's Fred McDowell,

one of his old, old records. Other
than that it'll be Charlie Patton or

Son House. It’s those kinds of guys
that I listen to most.

BiTS: Tell me a bit about your

artwork because you sent me a
picture of Son House (see Left),
which I think is absolutely fabulous

and I gather you've got a lot more.

LP: Yes, in Lapua, the town where I
live at the moment, I'm doing an

exhibition there. I've hung the
pictures up and I'm doing a little
concert there on the Friday. But that

was pretty much like the music, it
was by accident I came across that. I
was always drawing when I was

younger, but then I stopped and ten
years ago, I went to France to do a
tour and one of the people I was

staying with, I saw his drawing and
he was drawing with dots. I think it's
Pointillism, that kind of thing. I’d never heard of it before. I thought ooh, I like that.

So I came home, and I tried it out. It's something I've never done before, and I hadn’t
drawn for a long, long time. Just like the blues music, it was like it had been there
waiting for me to find it. It's just like natural. It's like, oh wow! Okay. This is good. This

is what I can do?

BiTS: Roughly how long does it take you to do a picture like the one of Son House

that you sent to me?

LP: Well, usually because I do it with points like little dabs, like that one was on black
paper and then I used white dots, it can take quite a while because it gets quite tiring

just doing the dotting over and over again.

BiTS: Yes, I bet it is.