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that Freddie built because every time Freddie played, they could pay the rent. He was
instrumental in keeping that venue open.

KM: Yes, he played more than 30 times and I saw him there many times. Bill was there. Bill’s a
little bit younger than me. He’s about a year and a half younger than me. We didn’t know each

other. I wish I’d met you then, Bill [laughing].
BJ: Thank you.

KM: But those Freddie King shows were just…

BJ: It was like a
religious
experience.

KM: …yes.
Phenomenal.

BiTS: One of the
guitar players that
makes the hair on
the back of my
neck stand on end.

KM: I know. I
know. There’s a
video of what his
brother and bass
player, Benny
Turner, told us it
might have been his last performance and it’s a video at the Cain’s Ballroom. Have you ever
seen that, Ian?

BiTS: I don’t think I have. No.
KM: Yes. It’s worth looking for that. The Cain’s Ballroom in Oklahoma - just a phenomenal

Freddie King experience.

BiTS: Another one of the covers that you’ve got on the album, sorry to keep on talking about
covers all the time because this happens also to be one of my favourite tunes, the Elmore
James tune ‘It Hurts Me Too’. What made you choose that?

KM: I have always loved that song. That song is one of the songs that made me want to sing
and I have nothing but respect for Elmore James’ version of that song. I was really nervous
about recording it. It’s been recorded so much, and fortunately, DJs are really digging it. It’s
getting played a lot and I think one of the cool things about our recording of it to bring
something new to the song is that Bill played accordion and you played rubboard too.

BJ: Washboard.

KM: And washboard.

BJ: But from my background, where I’m from, Port Arthur, there’s a lot of Cajun and Zydeco
influence. I’m tackling the button accordion right now, so my mind has been there, so I heard
that there was space on that song for that and just tried to incorporate that element.

BiTS: It’s a button accordion you’re playing, is it?