Roland Van Campenhout, the “eternal hobo”, turns 81 on July 25th and the very first notes of the 12-song kalaidoscope “Segovia At The Wheels” immerse the listener in the enchanted atmosphere of its creator. The Belgian master guitarist and singer creates an atmosphere of sound that is as sparse as it is mysterious, not unlike Ry Cooder's soundtrack of the century for the Wim Wenders film “Paris, Texas”. But it also evokes associations with Captain Beefheart, the master songwriter Tom Waits and the shaman Dr. John.
Roland Van Campenhout is a living legend, the archetype for an almost extinct breed of artist - that of the sound magician, firmly rooted in blues and folk, but at the same time open to pretty much all genres. As a teenager - inspired by author Jack Kerouac's beatnik classic “On The Road” as a philosophy of life - he belonged to a skiffle combo. From the end of the 1960s, the man with the catweazle moustache turned increasingly to the blues, played for a while in Rory Gallagher's band and had a rendezvous with Tim Hardin and Leo Kottke. From 2000, his work led to collaborations with the much younger Belgian crossover artists Sioen and Helmut Lotti.
| Tracklist 01. Seldom Seen Slim (Only A Hobo) 02. My Fear 03. Back Home To You 04. I'm Just A Lucky So And So 05. Camel Funk 06. Raga In Rage 07. The Book Of Changes 08. Entschuldigung 09. Seven String Banjo 10. Buddha Box On Parade 11. Segovia At The Wheel 12. Interlude |
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Website: https://www.facebook.com/VanCampenhoutRoland/?locale=nl_NL
The artist sees himself in the tradition of the “beatniks”, i.e. authors and their Gesamtkunstwerke such as Jack Kerouac, Allen Ginsberg or William S. Burroughs. He defines his work as “mantra blues with poetic verses” or alternatively as “electronic voodoo swamp with haiku lyrics”. The whole thing is independent and cross-genre - psychedelic tones, jazz à la John Coltrane, the Far East and North Africa join the blues in the permanent focus.
With “Segovia At The Wheel”, however, the charismatic musician is back to himself and on his own mission. And even if the current songs come from a “non-existent country” - the trip to this imaginary world is definitely worthwhile. “There's a lot of humor in each of the new tracks,” laughs Van Campenhout. On the other hand, the album also describes the story of my musical development. Because I originally come from jazz. And of course from folk sounds à la Bob Dylan, Woody Guthrie or Joni Mitchell . On the other hand, I've been traveling all over the planet for decades. I meet tons of people, make friends, make music together with this or that person. So it's inevitable that my sound changes again and again. It would be a terribly boring thing if I stayed stuck to one sound. I'm not interested in creative stagnation.
With “Segovia At The Wheel”, however, the charismatic musician is back to himself and on his own mission. And even if the current songs come from a “non-existent country” - the trip to this imaginary world is definitely worthwhile. “There's a lot of humor in each of the new tracks,” laughs Van Campenhout. On the other hand, the album also describes the story of my musical development. Because I originally come from jazz. And of course from folk sounds à la Bob Dylan, Woody Guthrie or Joni Mitchell . On the other hand, I've been traveling all over the planet for decades. I meet tons of people, make friends, make music together with this or that person. So it's inevitable that my sound changes again and again. It would be a terribly boring thing if I stayed stuck to one sound. I'm not interested in creative stagnation.
Although Roland Van Campenhout's father died when the boy was just five, “my dad influenced me in my work”, the Belgian is firmly convinced. He was a jazz musician, just like my grandpa. I am absolutely certain that they both had and still have an influence on my music.
Ultimately, however, the decisive factor is that “I've always traveled a lot, being on the road has taken me to the most diverse countries and continents,” enthuses the Fleming, this fact has never changed. While I was on the road, I was jamming non-stop. My work thrives on this discontinuity, curiosity and openness. Anyone who travels through the world with open eyes and ears and, above all, soul, is given an ever-expanding range of impressions as if by magic. These must then be processed in your own songs. Wonderfully realized once again on a dozen new compositions that seem wonderfully familiar, especially in their exoticism.
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