"If you don't know who you are, you might end up not knowing what you really want. In order to get through to people, you have to internalize that kind of music. And also the lyrics to it. Otherwise, it will fall flat."
But "Almost There" has another side, one that seems out of this world. Here the artists present breathtaking stories and lyrics in a spacey folk style, masterfully embellished by Peter Schneider with instruments like lapsteel, dobro, blues harp, baritone, slide and steelstring guitars. The sounds they create on these tracks are hypnotic and take the listener into a dimension beyond the known. This album is a creative step that clearly goes beyond what "Sir" Oliver Mally and Peter Schneider have shown on their more than 400 duo concerts and their first CD "Folk Blues Adventures". It is a musical adventure that crosses borders and explores new horizons. "ALMOST THERE" is an invitation to dive deep into the heart of the blues to feel the essence of this timeless music.
How has the Blues and Rock Counterculture influenced your views of the world and the journeys you’ve taken?
It taught me to take a close look at myself. Which led to taking a closer look at the ways of the world and to asking the right questions! I am still in search of the right answers. But at least it got me that far.
How do you describe your sound, music philosophy and songbook? Where does your creative drive come from?
Over the last years, I focused more and more on tiny settings. Playing mostly Solo or as a Duo! I had some nice cooperations. But with Peter Schneider, I finally found the partner who is a 100% committed to that kind of vibe. For example, both of us are huge John Lee Hooker aficionados. We love the freedom of Hooker’s recordings. BE THERE! AT THAT MOMENT! It means: Don’t be afraid to sit on your balls! :-) That’s also where my inspiration comes from. Once you’re ready to get hooked or willing to get the fever, you keep goin’! Musically, we both cherish a lot of the same stuff. (John Lee Hooker, Lightnin’Hopkins, Muddy Waters, Ry Cooder, Grant Green, Scofield, Miles Davis…and and and) We’ve been digging deep into a lot of our favorite stuff. And during that process we became great friends. "SPACE-BROTHERS“. Because anytime we play together, an extra space opens up. What a gift that is!
Peter is such an organic player - willing to go the extra mile. We really worked our butts off for this. His playing has also an influence on my performance. As it is supposed to be in a duo-setting. We constantly work on "our“ material. And the results show. We are happy about our latest VINYL/CD-release, "ALMOST THERE“. It’s gettin’ mostly great reviews. But anyway, we’d be too stubborn to not follow the road we’ve taken many years and many hundred gigs ago.
Currently you’ve one more release titled “Almost There”. How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?
First came the electric guitar. And I was getting lost in guitar orgies. After a while, I discovered songs. Bob Dylan came along with Pat Garrett & Billy the Kid. Desire… and that changed the narrative for me. The Rolling Stones did the same with Beggars Banquet, Sticky Fingers, etc.. I tried conquering the acoustic guitar by working on some picking and strumming techniques. And I had to learn to let go of a lot of things. Songs need you to stay devoted to the message of a composition. Without trying to control it. Let it grow like weeds. And keep it spontaneous. That was always my mantra and still is!
What moment changed your music life the most? Are there any specific memories or highlights of your career that you would like to tell us about?!
„HARD AGAIN“ by Muddy Waters, produced by Johnny Winter. Who also played some of his best on that record. It blew me away! Still does. Then came John Lee Hooker’s „NO FRIEND AROUND“, Ry Cooder’s „LIVE“ -SIX SONG ALBUM, later Bob Dylan, Steve Earle, Miles Davis with SKETCHES OF SPAIN, Coltrane with KULU SÈ MAMA… Those guys were (and some of them still are) out there to make musical statements, not only to create content.
What's the balance in music between technique (skills) and soul/emotions? Why is it important to we preserve and spread the blues?
Technique can't make up for having nothing to say. You need to renew to preserve, and you need to preserve to renew. Simple as that. The Blues is timeless music, and it is music that always spoke up. It addresses whatever problems there were/are. And still does. And though the shape of its musical appearance didn’t change over decades, it is contemporary music.
What are some of the most important lessons you have learned from your experience in the music paths?
If you don't know who you are, you might end up not knowing what you really want. In order to get through to people, you have to internalize that kind of music. And also the lyrics to it. Otherwise, it will fall flat.
What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?
The honesty, the punch and the grit. Talkin’ bout music that cuts down to the bone. Nowadays, it’s about too many things that might be great to look at but add nothing to the music. Find out, who you are. That’s a crucial part of that job. And there is also no shortcut on a straight line. I know and see some talented young musicians, but they don’t have a clue how to even make it out of the city they live in. Playing in too many so-called "projects“ with basically the same musicians in the same three clubs.
I also miss personality. Wearing old-looking new suits does not make you sound “vintage”. For me, “copying-only” is identity theft and trying to hide in plain sight behind another person’s personality! That comes mostly with a lack of punch and cogency and, sometimes, also with a lot of arrogance. So I do hope that’ll change more and more for good! My fears: that it’ll stay that way!
Do you think there is an audience for blues music in its current state in Europe? or at least a potential for young people to become future audiences and fans?
Definitely! But our job is to show the audiences that this music is about HERE & NOW. And not only about cooking up old clichés. I would get bored listening to just copy-cats.
Besides some of the BIG NAMES like Derek Trucks, Ry Cooder, Bonnie Raitt etc… I’m glad there are some of my friends like Roberto Luti, Ripoff Raskolnikov, Ian Siegal, Michael Merwyk, Peter Schneider… etc. out there. They keep it personal & fresh. And they feed my optimism!
Q&A with Austria-based musician Sir Oliver Mally, musical voyage of discovery into the deepest realms of the blues
by Music Network by Michael Limnios
Jul 17
"If you don't know who you are, you might end up not knowing what you really want. In order to get through to people, you have to internalize that kind of music. And also the lyrics to it. Otherwise, it will fall flat."
"Sir" Oliver Mally: 21st Century Blues
Thirty-nine years the "SIR" Oliver Mally has been "on the road" and has given thousands of concerts with the Blues Distillery, the Oliver Mally Group or with congenial partners such as Ian Siegal, Roberto Luti, Steve James, Doug MacLeod, John Mooney, and, and, and... Mally has released over 30 albums of his own material in the course of his impressive career, exploring a variety of musical styles, from folk blues to Americana to Hooker Boogie Style. "Sir" Oliver Mally is undoubtedly one of the most important and well-known blues musicians in Austria. “Sir" Oliver Mally and Peter Schneider released their second joint album with the apt title "Almost There" (2024). This release is a musical voyage of discovery into the deepest realms of the blues, inspired by the irresistible magic that John Lee Hooker and Alan Wilson already ignited in Mally & Schneider`s youth. With rough One Chord Blues pieces, absolutely spontaneous interaction and very sparse Slow Blues they come very close to this vibe. And Mally`s stories are always real and lived. He sings and plays his own blues. (Oliver Mally / Photo © by Anna Ehrlich)
But "Almost There" has another side, one that seems out of this world. Here the artists present breathtaking stories and lyrics in a spacey folk style, masterfully embellished by Peter Schneider with instruments like lapsteel, dobro, blues harp, baritone, slide and steelstring guitars. The sounds they create on these tracks are hypnotic and take the listener into a dimension beyond the known. This album is a creative step that clearly goes beyond what "Sir" Oliver Mally and Peter Schneider have shown on their more than 400 duo concerts and their first CD "Folk Blues Adventures". It is a musical adventure that crosses borders and explores new horizons. "ALMOST THERE" is an invitation to dive deep into the heart of the blues to feel the essence of this timeless music.
Interview by Michael Limnios Archive: "Sir" Oliver Mally, 2012 Interview
How has the Blues and Rock Counterculture influenced your views of the world and the journeys you’ve taken?
It taught me to take a close look at myself. Which led to taking a closer look at the ways of the world and to asking the right questions! I am still in search of the right answers. But at least it got me that far.
How do you describe your sound, music philosophy and songbook? Where does your creative drive come from?
Over the last years, I focused more and more on tiny settings. Playing mostly Solo or as a Duo! I had some nice cooperations. But with Peter Schneider, I finally found the partner who is a 100% committed to that kind of vibe. For example, both of us are huge John Lee Hooker aficionados. We love the freedom of Hooker’s recordings. BE THERE! AT THAT MOMENT! It means: Don’t be afraid to sit on your balls! :-) That’s also where my inspiration comes from. Once you’re ready to get hooked or willing to get the fever, you keep goin’! Musically, we both cherish a lot of the same stuff. (John Lee Hooker, Lightnin’Hopkins, Muddy Waters, Ry Cooder, Grant Green, Scofield, Miles Davis…and and and) We’ve been digging deep into a lot of our favorite stuff. And during that process we became great friends. "SPACE-BROTHERS“. Because anytime we play together, an extra space opens up. What a gift that is!
Peter is such an organic player - willing to go the extra mile. We really worked our butts off for this. His playing has also an influence on my performance. As it is supposed to be in a duo-setting. We constantly work on "our“ material. And the results show. We are happy about our latest VINYL/CD-release, "ALMOST THERE“. It’s gettin’ mostly great reviews. But anyway, we’d be too stubborn to not follow the road we’ve taken many years and many hundred gigs ago.
"Technique can't make up for having nothing to say. You need to renew to preserve, and you need to preserve to renew. Simple as that. The Blues is timeless music, and it is music that always spoke up. It addresses whatever problems there were/are. And still does. And though the shape of its musical appearance didn’t change over decades, it is contemporary music." (Oliver Mally and Peter Schneider, dive deep into the heart of the blues to feel the essence of this timeless music / Photo © by Lupi Spuma)
Currently you’ve one more release titled “Almost There”. How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?
First came the electric guitar. And I was getting lost in guitar orgies. After a while, I discovered songs. Bob Dylan came along with Pat Garrett & Billy the Kid. Desire… and that changed the narrative for me. The Rolling Stones did the same with Beggars Banquet, Sticky Fingers, etc.. I tried conquering the acoustic guitar by working on some picking and strumming techniques. And I had to learn to let go of a lot of things. Songs need you to stay devoted to the message of a composition. Without trying to control it. Let it grow like weeds. And keep it spontaneous. That was always my mantra and still is!
What moment changed your music life the most? Are there any specific memories or highlights of your career that you would like to tell us about?!
„HARD AGAIN“ by Muddy Waters, produced by Johnny Winter. Who also played some of his best on that record. It blew me away! Still does. Then came John Lee Hooker’s „NO FRIEND AROUND“, Ry Cooder’s „LIVE“ -SIX SONG ALBUM, later Bob Dylan, Steve Earle, Miles Davis with SKETCHES OF SPAIN, Coltrane with KULU SÈ MAMA… Those guys were (and some of them still are) out there to make musical statements, not only to create content.
What's the balance in music between technique (skills) and soul/emotions? Why is it important to we preserve and spread the blues?
Technique can't make up for having nothing to say. You need to renew to preserve, and you need to preserve to renew. Simple as that. The Blues is timeless music, and it is music that always spoke up. It addresses whatever problems there were/are. And still does. And though the shape of its musical appearance didn’t change over decades, it is contemporary music.
"Definitely! But our job is to show the audiences that this music is about HERE & NOW. And not only about cooking up old clichés. I would get bored listening to just copy-cats. Besides some of the BIG NAMES like Derek Trucks, Ry Cooder, Bonnie Raitt etc… I’m glad there are some of my friends like Roberto Luti, Ripoff Raskolnikov, Ian Siegal, Michael Merwyk, Peter Schneider… etc. out there. They keep it personal & fresh. And they feed my optimism!" (Oliver Mally / Photo © by Anna Ehrlich)
What are some of the most important lessons you have learned from your experience in the music paths?
If you don't know who you are, you might end up not knowing what you really want. In order to get through to people, you have to internalize that kind of music. And also the lyrics to it. Otherwise, it will fall flat.
What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?
The honesty, the punch and the grit. Talkin’ bout music that cuts down to the bone. Nowadays, it’s about too many things that might be great to look at but add nothing to the music. Find out, who you are. That’s a crucial part of that job. And there is also no shortcut on a straight line. I know and see some talented young musicians, but they don’t have a clue how to even make it out of the city they live in. Playing in too many so-called "projects“ with basically the same musicians in the same three clubs.
I also miss personality. Wearing old-looking new suits does not make you sound “vintage”. For me, “copying-only” is identity theft and trying to hide in plain sight behind another person’s personality! That comes mostly with a lack of punch and cogency and, sometimes, also with a lot of arrogance. So I do hope that’ll change more and more for good! My fears: that it’ll stay that way!
Do you think there is an audience for blues music in its current state in Europe? or at least a potential for young people to become future audiences and fans?
Definitely! But our job is to show the audiences that this music is about HERE & NOW. And not only about cooking up old clichés. I would get bored listening to just copy-cats.
Besides some of the BIG NAMES like Derek Trucks, Ry Cooder, Bonnie Raitt etc… I’m glad there are some of my friends like Roberto Luti, Ripoff Raskolnikov, Ian Siegal, Michael Merwyk, Peter Schneider… etc. out there. They keep it personal & fresh. And they feed my optimism!
"Sir" Oliver Mally - Home
(Oliver Mally / Photo © by Rudi Ferder)