KB CD888 2
13 tracks
playing time: 58mins

"..Brilliant...You wouldn't expect anything less from Kevin Borich..."
Rhythms Magazine - John Bates
The music on this cd lives out where John Lee Hooker meets ACDC.
All the KB trademarks are there, great power chords and slide, plenty of waa-waa and lots of other guitar pyrotechnics. He's in fine voice, his vocals sometimes sung, at other times spoken and snarling. When trying to describe someones music, there always the temptation to make comparisons with other artists, but to me KB doesn't sound like anyone else, at least no one I'm familiar with.
The CD contains 10 KB originals, some in collaboration with HB (Harry Brus, the bassman). There are also 3 covers, one of a song by someone called Banjo Patterson! (Is that like Guitar Junior, Harmonica Floyd, and Piano Smith?) The title track kicks the album off, with KB and his guitar both snarling away to set the tone for the majority of the numbers.
Harry Brus (bass) and John Annas (drums) lay down their typical heavy, rock steady rhythms to keep the whole thing thundering along. But right in the middle of kilowatt territory, we come across "Legs Too Long", an acoustic number with Kevin on resonator. Then its back to full power for a couple of songs before "Saved By The Blues, a quiet, slow, dare I say pretty blues, with Clayton Doley on Hammond. Then back into it for the rest of the trip. KBs son, Lucius, joins the fray for a couple of numbers, including the old Sandy Nelson hit, Let There Be Drums. The standout tracks for my money are Mink Deville's Caddilac Walk, and KB s Heavyweight Boogie , a Boogie Chillun style number which pays homage to some great boogie- men, and of course the final track, a high power slide version of Waltzing Matilda , complete with didgeridoo.
The overall result is an album of powerful, unique, Aussie blues-rock.
If you like your blues heavy and loud, get this CD - its a real heart starter!
Sydney Blues Times - Gary deWall  
I must confess to being very partial to blues/rock music from Australia.
With players like Dave Hole, Rob Tognoni, Tim Gaze, and many others, Australia is somewhat of a hot bed for great blues/rock bands. Their style generally leans more toward the rock side of the genre but the underlying influence of the blues is unmistakable.
For the past 30 years, Kevin Borich has carved himself a spot into Australian music history. From his early days in New Zealand with the band the LA DE DA'S though his present day Kevin Borich Express, Borich has played before some of the largest crowds and with some of the greatest recording artists to ever grace the Australian music scene.
"Heart Starter" is the latest self-produced effort from the Kevin Borich Express.
It is a collection of mostly Borich originals, demonstrating his skills as both recording artist and writer. Though predominately a rock recording, "Heart Starter" is laced with plenty of blues flavor. I particularly enjoyed the incredibly powerful "Strange Imagination" which to me typifies the entire Kevin Borich package: strong playing, excellent original material, and solid vocals. There is something here for every listener: wah-wah, some nasty acoustic and electric slide, hard rock, and gut wrenching blues. There is even a very nice and extremely clean sounding boogie tune "JL's Heavyweight Boogie", which is a sort of musical history of boogie music. The finale is a short version of the famous song "Matilda" featuring Borich on electric slide opposite an Australian didjeridoo. I would say that this is about as diverse as one can get.
"Heart Starter" and also a 2 CD set "Live at the Big Kahuna" are available through the Kevin Borich web site. I bought mine through the site and was treated well by very nice people.
I once asked an Australian friend of mine about Kevin Borich and his description to me was "first class". My experience with both Kevin Borich's music and his web site have caused me to echo his sentiments.


Vol 1 KB CD666 2 + Vol 2 KB CD777 2
22 tracks
double live CD

Kevin Borich, Kiwi-made-good, erstwhile chart buster with the La De Das and the Party Boys, is also one of the most accomplished bottleneck/dobro and electric blues guitar players in Australia. So, its quite an indictment on the domestic record business that he's decided to go it alone. Live at the Big Kahuna is a "totally self- funded" two volume CD set, recorded at the Chullora Palms Hotel, and only available from Borich. What you see is what you get - i.e. a totally honest, earthy live recording, warts et al: just Kev plus rhythm section and a couple of strictly limited guest appearances. The CDs have their own seperate identity. I have to confess a bias for Volume One, mainly because it features our hero on an instrument "made in heaven", the National Steel guitar. Borich plays it beautifully - and on 'Recession Blues', he even gets to rejoice in the fact ("Thank God my National's holding Up"), he sings with real conviction). On other solo 'tours de force' he gets to 'Dust My Broom' a la Taj Mahal, 'Beatin My Heart' and 'Boogie'. With the help of a lusty rhythm section, namely drummer John Annas and bassman Ian Lees, Kevin dusts off the classic 'Little Red Rooster' (Rod Stewarts's first s ingle), simmers then boils on 'High Temperature'and rawks (n'rawls) - with some help from a guest harpist - on 'Rollin & Tumbling'.
Volume 2 of Live at the Big Kahuna features our man on the electric guitar, an instrument he handles with equal aplomb. Borich takes us through pop ('I'm Together') noo awlans gumbo ('300Pounds of Heavenly Joy') folk-rock ('Cuckoo') R&B ('Slinky') rocky blues ('King Bee', 'Bell Hop Blues' etc)and spaced out blues ('Rescue Dream'). 'Sticks & Stones', my pick of the side, is a wonderfully rollicking R&B romp, with an inspired fiddle solo (from AdrianK).
Order a copy of Kahuna from Kev "cos he promises to do it right by you".
RHYTHMS - Tony Hillier
The Blues had a baby and they called it Rock n Roll!
Rock n Roll had a baby and they called it Kevin Borich!’
Master Blues maestro Kevin Borich lives up to his glory days of recognition as Australia’s hottest guitarist with an awakening of his own. Its been some time since his last release, the classic ”Angels Hand”, but now he’s back and “Goin Some-where”. He’s been cruising the continent in traditional Australian Rock n Roll circuit style, endlessly, tirelessly - in the blood. A compilation CD "Kevin Borich - Collection" has been released which shows how timeless and original he is.
Now with the release of the BIG KAHUNA we enter the realm of Kevins soul- filled rockin blues LIVE and powerful - it’s awesome! When this man Rocks the Blues it’s magic, each track he takes on, he makes the lyrics his own.
The Big Guns on BIG KAHUNA with KB are John Annas drums, Ian Lees bass, as he sticks to his pedigree trade-mark 3 piece lineup, adding 2 guest tracks. Comprising 22 tracks, half of which are previously unreleased, together with some favorites, this treasure trove of guaranteed toe toetappers will boil your blood with contagious throbbing rhythms and it’s relentless energy level. All this .......with a warmth and quality rarely found.
beat Sydney Listing Bible - Julia X Janicky
They say that imitation is the sincerest form of flattery, and if indeed that is true, then surely Stevie Ray and Hendrix must be among the most flattered guitarists of all time. These two giants are consistently listed as influences among the majority of artists whose material I consider for review. Each has a considerable number of disciples laboring out in the blues and blues/rock trenches, and though each drew from his own particular influences they each developed a signature sound that would attract the ear of many a young fret wizard. I would consider this, along with the body of excellent work that each recorded, as a true testimonial to their respective greatness. Though I have spent a good many years researching artists from all over the world, my regular readers realize that I am an especially big fan of Australian blues/rock music. I recently purchased a copy of Gwyn Ashton's new release "Fang It" to consider for review and it was actually the first song on Ashton's CD that inspired me to write this review, as from the first few bars of the song I recognized the influence of the great Australian blues/rocker Kevin Borich.
Borich has for the past 30 years played with some of the greatest names in blues and blues/rock and before some of the largest audiences ever assembled in Australia. His influence has been cited by many Australian artists, including Aston, who have been drawn by both his guitar prowess as well as original sound.
"Live at the Big Kahuna" is a 2 disc set which features the multi-talented Borich at his very best. The first disc is an acoustic set which showcases Borich's outstanding talents using the National Steel both with and without a slide, backed by the absolutely first class rhythm section of John Annas on drums and Ian Less on bass. The recording is a mixture of Borich original material with some timeless classics, including "Dust My Broom", "Rollin' and Tumblin'", and "Little Red Rooster". A couple of tracks, "Recession Blues" and "Boogie", are Kevin Borich and his guitar alone, and both are extremely enjoyable.
Please note that an acoustic live set has to be pretty good to hold my attention throughout its entirety and this one does not lose steam at any point. My favorites here are Borich's version of "Little Red Rooster", the slide laced "Back Door Man", and the powerful "Angels Hand".
For disc number 2, Borich straps on the electric and he and company proceed to slide and wah-wah their way through another excellent set of 11 tracks. Again, these are a mixture of originals along with a cover or two, highlighted by songs like "Slinky", "King Bee", "Bell Hop Blues" and my personal favorite "Rescue Dream" (love that wah-wah). Some tracks are more rock than blues, other more blues than rock, but whatever the case, each is a solid effort.
The sound quality of this recording is amazingly good and Borich is a very polished and professional performer. His ease of playing and singing have no doubt come from his years of experience before live audiences and his personal charisma is most evident. It certainly sounds as if he truly enjoys doing this for a living.
Oh, yes, and best of all, he sounds exactly like Kevin Borich.
You know, the original is always hard to beat.
Tom Branson - got the blues .com Reviewer


Lucius Borich and Ben Rosen
with Wendy Saddington
and Ross Wilson

KB CD999 2
11 tracks

If you’ve ever seen Kevin Borich live you can’t help but be moved by the passion and intensity of his playing and performance, whether he’s sliding with his resonator or inducing his glittering, black Strat to scream and wail.
We were fortunate enough to see the Kevin Borich Express here recently with the youthful, rhythm section of Ben Rosen (bass) and Lucius Borich (drums) and it’s this line-up we hear on One Night Jamm. The Express are also joined by Australian legend Ross Wilson (Daddy Cool, Mondo Rock) and Chain founder Wendy Saddington. One Night Jamm features 11 spirited tracks.
Kev starts the album on his resonator and is joined by Ross Wilson on the Little Walter track High Temperature and Rollin’ and Tumblin’. From there Wendy takes over lead vocal responsibilities and Kev picks up his electric guitar. Though there’s no denying the awesome power of Wendy’s vocals, it took a little while for me to get my head around the material, heavily laden with messages of social responsibility, but persevere the effort is well worth while. No Soul, a new song from Ross, has the feel of a rock anthem augmented by Kev’s brutal fretwork. The album finishes with Got My Number, a six-minute epic from Kev driven by the rhythms of Ben and Lucius.
This is Kev as we love him best – fired up at the end of a long night, adrenalin coursing and sparks flying. One Night Jamm comes in at just under 70minutes and is a worthy addition to the Kevin Borich Express catalogue. It captures all the spontaneity and atmosphere of a live Express performance.
Stormy Tuesday - Helen Farly
Gig report
I saw KBE at Hornsby Inn on Saturday night. Just brilliant.
First set was semi-acoustic, with Kev on Dobro. A beauty.
Second set was electric, and included (yummm) Gonna See My Baby Tonight and Morning Good Morning. Easy to forget what a killer this guy is til you seem him in full flight. Not a great crowd, regrettably, but Kev gave it 100% and really burned up on lead in the second set, plus some beautiful slide work in the first set. Kudos also to bassist Ben Rosen( a very fine player) and substitute drummer Mark Mansfield, who did great work, expecially considering it was his first time playing with them.
(Their regular drummer is Kev's son Lucius, whose own band Cog had an clashing booking that night). Mark's CV isn't known to me but he was damn good. Kev closed the electric set with a storming version of Hendrix's "Voodoo Chile" (which segued beautifully into a jam on James Brown's "Sex Machine"!) Awesome.
I was also knocked out to discover that Kev still owns and uses the cherry-red Gibson SG that he played with the La De Das, which is pictured on Kev's website and in the pic on our own La De Das page on MILESAGO, where he is playing it at Sunbury.
Amazing it survived!
I also heartily recommend KBE's One Night Jamm, which is available from the same source - ask Jennifer! (A very nice lady!) It features both Ross Wilson AND a long-overdue return by the great Wendy Saddington (whose voice, while sounding a little the worse for wear, can still send shivers up your spine).
A great mix of acoustic and electric stuff, including some blues standards with Ross on harp, some new songs sung by Wendy, and a specially- written newie by The Boss. This gig was doubly historic, being the FIRST TIME Ross and Kev had ever played
together! Go get it.
MILESAGO - Duncan Kimball
Friday 9th March 2001Gimme Ted, Part 1 - City Live Nightclub, Sydney
So how was Friday night? Well, it was FAN-FRIGGIN-TASTIC.
Without question one of the most exciting and memorable nights of music I've ever witnessed, and as well as all the performers, roadies, helpers and Organisers, I have to commend the crowd, who gave every act an incredible reception. Kevin Borich put it very succinctly: "a unique coming together of legendary musicians over a great Australian legend who is very ill. Its a pity it takes a tragic event to bring on a night like this.".........
The show was hosted by the four horsemen: Molly Meldrum, Donnie Sutherland, Glenn A. Baker and Ray Burgess. I hate to tell you girls, but Ray's flowing locks are now long gone! The only problem with the Friday show was the shonky sound during the first half. Guitars and vocals were very poorly balanced, bass was almost inaudible in some parts -- but with
so many acts changing over so quickly and efficiently, it's really a minor criticism, and to be honest, nobody cared because the feeling and excitement in the crowd was just extraordinary. The only real disappointment was that Renee Geyer did not perform as scheduled -- apparently she was taken ill.
First up was one of the real troupers, Marty Rhone. Singing to a tape, Marty did his hits Mean Pair Of Jeans and Denim & Lace, plus a cover of Chris Cross's Ride Like The Wind. He was great, still in excellent shape and very fine voice. His set was very well received, and evoked many happy memories of the glory days of Countdown. Next up was the Chris Turner Band who delivered a solid set of (mostly) meaty rock'n' Boogie.
However I have to make mention of their lovely version of the closing section of Layla, which was very well done and which I'm sure carried a lot of memories and emotion for many in the audience. Chris, who has also suffered serious illness himself, said that Ted was one of t he first to come to his aid when he was sick, and it was very touching to see him returning the favour in such a generous way. Chris also won the auction for the autographed poster of TMG's first gig later in the evening.
Then, without much fanfare, out came the first all-star lineup of the evening, and the first big highlight. There was a palpable wave of excitement through the crowd as these guys came out, and what a group it was -- four of our greatest musicians on stage together! Russell Morris out front on vocals and guitar, Kevin Borich on lead, Harry Brus on bass, and Mark Kennedy on drums, ably assisted by Clayton Doley on keyboards. The crowd went crazy. First up was a fab version of Hush, followed by a rapturously received Wings Of An Eagle that generated a rousing sing-along, and they closed with a scorching version of The Real Thing that had the crowd almost levitating off the floor. Russell was just mighty, still singing every bit as well as he did in 1970. I am still getting goose bumps thinking about it.
It was an AMAZING moment.
With another huge wave of excitement through the crowd, out came the legendary Masters Apprentices. What a moment. It was huge thrill to see Glenn Wheatley come on stage with them and the crowd were ecstatic. Doug, playing a cherry red SG, launched into Turn Up Your Radio, and though the mix was pretty rugged, no-one cared a bit. Next up was Living in A Child's Dream and to c lose the set the crowd roared along to the immortal Because I Love You. I could barely hear Doug's guitar at some points, but there was such a GREAT feeling. Jim was happy as a lark, as was Glenn who couldn't stop grinning, looking absolutely delighted to be there. I had to keep reminding myself it was really happening. Richard Clapton performed with three members of his regular band and some very special guests: Gary Beers, Tim Farriss and Jon Farris from INXS, plus Jon Stevens. Richard's set was hampered somewhat by bad sound, but the buzz from Russell's set was maintained with Richard's classic hit Deep Water, which slayed 'em, The pace slowed a little for the next two songs, which included Glory Road, but hit top speed for the last song, a steaming rendition of one of my favourite numbers, I Am An Island, with Jon Stevens on backing vocals- this was fantastic, and really rocked.
The Angels' appearance thrilled us all - to the obvious delight of the crowd it was the classic instrumental lineup of Buzz Bidstrup, Chris Bailey, Rick Brewster and John Brewster. It seems that they added a few extra (unscheduled) Angels songs to make up for Renee's absence. Unfortunately Doc Neeson didn't appear -- I believe he is also unwell at the moment -- but bass player Jim Hilbun deputised more than ably, fronting the band with great presence and authority, and really getting into it too! In fact, I'd go so far as to say that, if Doc ever stopped performing with them, Jim would be a brilliant replacement as frontman. True to form, they were EARTH-SHATTERINGLY loud and the guys pounded out a barnstorming set including Take A Long Line, Marseilles, and I Ain't the One. HEAVY! My only criticisms of The Angels' set are: (A) they were waaaay too loud for such a small venue -- it was physically painful at some points (B) many people around me didn't know who Jim was, and unfortunately Glenn Baker (obviously following the set list) mistakenly introduced him as Ross Wilson. This was a shame because he did a fantastic job and deserves the credit. (C) they didn't play Face The Day. Jim then switched to keyboards and out came The Boss himself, Ross Wilson. He started with a newish song called I Come In Peace, unfortunately marred by the still wonky sound, but after the sheer sonic attack of The Angels mini- set, it was a blessed relief. Mondo Rock's Cool World was next, and a really good performance. Then came the classics and the crowd really started to fire up again: Come Back Again was perhaps a little ragged but hey, who cares? Then they hit top gear with Eagle Rock and the crowd went mental -- absolutely LOVED it. Everyone singing at the tops of our voices. Pure magic. Ross was beaming. It was just a pity that Ross Hannaford wasn't there, and I think many people missed his presence.
TMG was of course the feel-good centrepiece of the show, and there was so much emotion flowing to and from the stage you couldn't help but be carried along with it. I think a lot of people were hoping Ted might appear, since he was outside in a trailer. He spoke over the PA and was briefly glimpsed in the wings via video camera, but was evidently not well enough to come out, which was a shame. The crowd naturally went wild for Jump in my Car and Darktown Strutters Ball, ably delivered by Ted's brother Steve; then Tim Freedman came out and did really sweet versions of Julia and Falling In Love Again -- a very nice touch. They all seemed really happy, in spite of the sad circumstances.
Kevin Borich Express was another classic reunion, with Harry Brus on bass and the great John Annas on drums -- without doubt the second of the night's big highlights. Folks I'll say it again -- this guy is hot hot HOT -- one of greatest performers in this or any other country. Happily, as his set started, they seemed to finally get the mix sorted out and from there on the sound was pretty near perfect. Kev's set included one of his newer numbers, Heartstarter, plus a joyous, rocking version of the La De Das classic Gonna See My Baby Tonite, which had the crowd bopping. A truly incendiary Voodoo Chile includes his customary digression into James Brown's Sex Machine. It's a brilliant touch by Kev that beautifully illustrates the funk undercurrrent of so much of Hendrix's work, and shows that Kev is pretty damn funky himself. And he let fly with some blistering lead guitar on on this one that had the hairs on the back of my neck standing on end. Switching from Strat to his venerable Gibson Explorer, Kev whipped out the slide and played Goin Downtown, which was white hot. What a total rock god! - still in awesome physical shape, and barely looking a day older than in his 70s heyday, Kevin is a consummate performer. This guy can play the arse off anyone on earth. Australian venue owners are idiots for not booking this guy. (And why hasn't he been on Studio 22??)
Taking on a very tough assignment, country star Gina Jeffries followed Kevin with a really nice little three-song set, assisted by an acoustic guitarist and backing singer. What a fine singer that lady is, I must say. Gina did a cool, countrified cover of Radiohead's Creep that was a popular fave. She remarked when she came on about how daunting it was to follow KBE onstage. (I'll bet!).
The third major highlight was of course our beloved John Paul Young, and to be honest he came very close to upstaging Thorpie. With his legendary All Stars, including Warren "Pig" Morgan, Johnny Dick, and Ronnie Peel, he absolutely captivated the crowd and had them in the palm of his hand. It's been years since I've experienced such a full-bore reaction from a Sydney crowd -- especially for someone conventionally tagged as a "nostalgia" act. I don't care what anyone says - the guy is just brilliant and his voice is still one of the best in the business. As the rhythm of Standing in the Rain started up, Squeak jumped into an impromptu version of Doo Wah Diddy Diddy which had the crowd roaring along with it. All the classics were there: Yesterday's Hero, I Hate The Music, Love Is In The Air. They sounded GREAT, the crowd went wild and were singing at the tops of their lungs. The whole place absolutely adored him, giving him a response that I haven't seen in years. Unforgettable.
Then out popped Ian Moss to give us a lovely solo rendtion of "Georgia" accompanying himself on guitar. Speaking of great singers ... I mean are we blessed or what?? Finally, Thorpie. Well what can I say? I mean... it's Thorpie! With three of his own band (and what a striking pair his bassist and guitarist are!) plus his old Aztec mate Warren Morgan on piano and Clayton on organ, Thorpie proved once again that he is the undisputed Emperor of Australian Rock. THAT voice, untouched by the passing of almost four decades, is still one of the greatest instruments in the entire realm of rock music. The opener was, I think, Rock Me Baby, but I can't swear to that. It got a (relatively) quiet reception, as I think the crowd were still recovering from JPY. But Poison Ivy fixed that, and away we went. Then Bill strapped on the Les Paul, kicked into the intro of Most People I Know and the place went RIGHT OFF. People in the wings, Molly and others, were coming out and gaping at the crowd, such was the response. The crowd went totally berserk. After the instrumental section, which was just blazing, the punters sang along the second repeat of the verses at full bore - - I've rarely heard an audience give it so much. Bill obviously loved it. I would have to say that this single performance is without doubt one of the peak moments of my entire concert-going life. Bill's second last song was a somewhat shambolic version of Got My Mojo Workin' with several other players joining Billy on stage during the song, including Ray Burgess and Jon Stevens on vocals, Ric Brewster and Tim Farriss in on guitar. There seemed to be some confusion over who was doing what (and, at one stage, what key they were in) but it was all in good fun. They seemed to be fishing for a last song, then - apparently on the spur of the moment --Jon Stevens turned to Tim Farriss and said "Let's Do Good Times", which I suspect was unrehearsed. However they all fell in within seconds and it brought the house down. A brilliant finale.
Then out came Glenn Baker, saying "We've got to go" and that was it.
We stumbled out dazed and totally blown away by one of the greatest night of music this
city has ever seen. One in a million. Hats off to all involved.  
MILESAGO - Duncan Kimball
KB in Canberra
what a fantastic show with the Kevin Borich Express at the Irish Club on the 5th of December. Kevin,Harry & Mark had a great time, the crowd was excellent. One comment to me from a member of the audience when Kev was into some Hendrix, was " I'm probably the only person here that saw Hendrix live and it wasn't this good". We will be getting KB back real soon to blow us all away again with his amazing show, maybe with some special guests.
Tony Southwell - Canberra
was so impressed with Kevin I have done a review.
The Blues Venue at the Gympie Muster was packed to capacity for all three appearances by Kevin Borich. They had come to see a master perform and he did not let them down.

Kevin is a special kind of performer known as a ‘Musicians Musician’, and this was brought home to me by the number of other artists backstage as enthralled by his musicianship as the audience. It is little wonder that world class artists have enjoyed jamming with him over the years. He thrilled them all with a call-and-answer break [commonly called duelling] with notable harmonica player Doc Span, each echoing and enlarging on one anothers riffs.
I was so impressed with his performances that I showcased his album ‘Heartstarter’ on my program ‘Spoonful’ on Noosa’s FM101.3 the very next night and have played tracks on most programs since. It is a great album with mostly original tracks, including a heartfelt, slow blues number called ‘Saved by the Blues’ which I love.I sincerely recommend seeing Kevin live whenever you can, but make sure you have ‘Heartstarter’ or any of his previous great albums in your collection.
Rob Baillie - MC Blues venue Gympie Muster
Charlie McMahon
on Didj

KB CD2000
2 tracks

I am so totally blown away by the latest offering from Kevin Borich.
He has done a treatment of Waltzing Matilda and Advance Australia Fair on a CD single. Totally instrumental and totally brilliant.
If anyone recalls Jimi Hendrix' treatment of Stars and Stripes then you will
know exactly where this is coming from.
Australia Day special - intro provided by Kevin Borich with the funkiest
version of Waltzing Matilda I ever heard!
I think it's a ripper, it's got a touch of the Jimi Hendrix style but of course better songs to start with and real Australian flavour.
Played Advance Australia Fair and Waltzing Matilda on the comm radio for Aust. day. Fantastic versions