"Blues is ageless. Everyone was young at one time. A lot of the original blues artists like Robert Johnson were young, in their 20s when they recorded. BB King and Jimmy Reed were young and vibrant when they started out and continued to be loved throughout their lives. For me it’s the same. I wrote songs when I was 20, and I still do today."

Brad Vickers & Margey Peters:

The Vestapolitans of American Roots Music

Guitarist/songwriter Brad Vickers  learned on the job playing, recording, and touring with  America’s blues and roots masters: Pinetop Perkins, Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, and Rosco Gordon—to name only a few.  Brad cut his teeth backing up these elder statesmen. He had the good fortune to play on Pinetop Perkins’ Grammy-nominated discs, “Born in the Delta” (Telarc), and “Ladies’ Man” (MC Records), and on ‘Pinetop Perkins & Jimmy Rogers, Genuine Blues Legends’ (Elrob), up for a 2017 Blues Music Award. Brad recently backed Mud Morganfield, Diunna Greenleaf, with Bob Margolin and Bob Corretore at the M.E.N.D. Maplewood Festival. Now his own group, The Vestapolitans, offers a good-time, crowd-pleasing mix of blues and great American roots 'n' roll. Margey Peters came up during the folk-blues revival of the ‘60s. She attended Roger Sprung's hootenany in Washington Square Park, and big folk concerts at Carnegie Hall and Town Hall in NYC. In 2008 Margey joined with Brad Vickers and Jim Davis (RIP) to form “Brad Vickers & His Vestapolitans.”

((Brad Vickers & Margey Peters / Photo © by Kirk Hansen 'Black Kat Blues' Photography)

Brad Vickers & his Vestapolitans new single titled "Peace in my Time" (2024). Brad Vickers & His Vestapolitans offer this classic blues ala Otis Rush in hope of peace in our time, with brilliant solos from guitarist Dave Gross and the late great saxman Jim Davis. 

Interview by Michael Limnios                    Archive: Brad Vickers, 2021 Interview

Why do you think that Brad Vickers music legacy continues to generate such a devoted following?

Brad: Because our original songs so closely echo the style of the music that we loved and grew up with, they—as well as the classics that we cover—appeal to an audience that shares our sensibilities. I’m holding onto people in my age group who have been following us for years, and I’m able to build, as new audiences continue to discover the blues.

Why do you think that the Blues music continues to generate such a devoted following?

Margey: I have not yet found a person of any age who does not respond to the blues. Blues music speaks for itself. There is something primal even about the form. The 12-bar progression suggests an Odyssey-like story. Even for the non-musician, the music and lyrics evoke universal situations. The stories of tramping on a freight car or being spurned in love resonate with everyone’s human journey.

Do you have any interesting stories about the making of “Peace In My Time”? How do you describe “Peace In My Time" sound and what is the story behind the song?

Brad: Yes, this is a very special song for us, and it does have an interesting story. The story of the making of this disc is bittersweet. Sweet first: Sweet, because the initial recording was the culmination of a great “mega session” that resulted in two of our acclaimed CDs, “Stuck With The Blues” and “Traveling Fool.” These two albums are some of our most memorable, with the kind of rocking, original blues and “roots ’n’ roll” songs that have become emblematic for The Vestapolitans.

Now back to the single: We had completed the last day of recording with an outstanding group of musicians and we were feeling fine, proud of the work we had done. Our guest musicians, Bobby Radcliff and Matt Cowan had already left, but we thought we’d try just one more thing. Margey had this song, and we decided to switch up instruments and give it a go. I jumped on bass, Arne Englund went to piano, Dave Gross grabbed a guitar—and played hauntingly, Margey Peters handled the vocals, Bill Rankin stayed on drums, and Jim Davis was on tenor sax, creating a supremely soulful solo that will surely stand for all time. The song was recorded in one take.

The bitter part is two-fold. The first is that—even to this day—the world is still rife with war and suffering. The second is more personal. Jim Davis, our dear friend, and a core collaborator on all of our recordings, passed away suddenly on the 30th of November 2022, of a brain aneurysm. Besides being a brilliant sax player, Jim was a humanitarian and peace advocate. Missing him—and with ever more conflicts raging world wide—we remembered that this track was “in the can.” Dave Gross did some deep digging on old hard drives, and was able to unearth the song. We dedicate this recording in memory of Jim Davis with peace, love, respect, and gratitude.

"Blues music speaks for itself. It had already existed since the 19-teens—and even before, as field hollers and work songs—by the time our generation discovered it. The challenge is preserving and exposing new audiences to this great, rich—and tremendously varied—music." Brad Vickers & His Vestapolitans / Photo © by Photo by Rick Lewis)

What moment changed your music life the most? What´s been the highlights in your life and career so far?

Margey: I was touched by music at a very early age. The great 1950s folksinger, Charity Bailey, taught at the nursery school I attended. I came up during the ’60s folk/blues revival and heard records by Leadbelly, Koerner, Ray & Glover, and the Butterfield band. A decisive moment came when first heard an Elmore James recording. I knew then that I just had get involved with blues.

As for highlights, in the 1990s I was fortunate to participate in a scene that was centered around Dan Lynch’s bar on Second Avenue and 13th Street in NYC. At the jam sessions run there by The Holmes Brothers and Big Ed Sullivan I met and played with members of the NY blues community that exists to this day. During this period, I was also privileged to meet and play a bit with Harlem blues men “Wild” Jimmy Spruill and Bob Gaddy. I became the bass player for a wonderful NY blues band, “Big Frank & The Healers,” a run that has lasted more than 3 decades. And, of course, I met and co-founded The Vestapolitans with Brad Vickers!

What's the balance in music between technique and soul/emotions? How do you prepare for your recordings and performances to help you maintain both spiritual and musical stamina?

Brad: You have to play everyday, even if it’s just for yourself. You have to keep your chops up. This very act helps you engage in the emotional, the spiritual side. For me it’s all part of the same thing.

What do you miss most nowadays from the blues of the past? What are your hopes and fears for the future of?

Margey: The main thing that I miss is the opportunity to hear the greats of blues (and of jazz) in person. The cliché says “I may be old, but I heard all the good music,” and it’s absolutely true. Besides this having been an incredible pleasure, it provided rewarding lessons. The biggest difference is that younger folks—even some brilliant players—all learned mostly from records. They perceive the music and songs as “going a particular way,” and didn’t have the opportunity to hear and embrace the elements of variety, chaos, and chance; to hear the players respond to one another on the fly, and to learn to love the music “warts and all”.               (Photo: Brad Vickers & Margey Peters)

"You have to play everyday, even if it’s just for yourself. You have to keep your chops up. This very act helps you engage in the emotional, the spiritual side. For me it’s all part of the same thing."

Is it easier to write and play the blues as you get older? From the musical and feeling point of view is there any difference between old and great bluesmen and the young blues musicians?

Brad: Blues is ageless. Everyone was young at one time. A lot of the original blues artists like Robert Johnson were young, in their 20s when they recorded. BB King and Jimmy Reed were young and vibrant when they started out and continued to be loved throughout their lives. For me it’s the same. I wrote songs when I was 20, and I still do today.

Do you think there is an audience for blues music in its current state? or at least a potential for young people to become future audiences and fans?

Brad: Of course! Blues has always been a “stepchild” when compared to rock and pop, but the appeal of this music has been, and will continue to be, discovered by generation after generation.

What are some of the most important lessons you have learned from your experience in the music paths?

Margey: Probably the single most important thing I have learned as a player is to listen to the other players on the bandstand, particularly the singer. As a bass player, I am a support. If the singer goes to section A instead of the expected B, you have to be right there steering the band appropriately. We make music together. It’s essential to listen to the soloists, and to support and exchange musical ideas with them. You play as a band, a combo, an ensemble—not as a collection of cars barreling down the highway.

Why is it important to we preserve and spread the blues? What were the most important things you learned from the blues musicians over the years?

Brad: It’s important to preserve the blues because it’s such a phenomenal, deeply rich body of music that must be appreciated. What I mean by that is, the blues from different regions all contribute to this savory stew. Southern blues, Urban blues, West Coast blues, East Coast Blues, and regional offshoots like Zydeco, all add their flavor—and there’s something there for everyone.

I was so lucky to play with so many great American blues and roots masters: Pinetop Perkins, Jimmy Rogers, Hubert Sumlin, Bo Diddley, Chuck Berry, Odetta, Sleepy LaBeef, and Rosco Gordon—to name only a few. Each experience deepened my knowledge, showed me the ropes of performing, and influenced my songwriting. Most important, it was a special and joyful opportunity to see and live the music up close.

"I have not yet found a person of any age who does not respond to the blues. Blues music speaks for itself. There is something primal even about the form. The 12-bar progression suggests an Odyssey-like story. Even for the non-musician, the music and lyrics evoke universal situations. The stories of tramping on a freight car or being spurned in love resonate with everyone’s human journey." ((Brad Vickers & Margey Peters / Photo © by John Muller)

What does to be a female artist in a Man’s World as James Brown says? What is the status of women in music?

Margey: Remember that the earliest recorded blues superstars were women: Bessie Smith, Ma Rainey, Victoria Spivey were huge, even before the men. Female giants like Koko Taylor, Irma Thomas, and Etta James continued to break ground; and great instrumentalists like Memphis Minnie, Bonnie Raitt, Barbara Lynn, Susan Tedeschi, Debbie Davies, and Joanna Conner certainly hold their own in a “Man’s World.” I am fortunate to have always been welcomed, and felt welcome on the bandstand.

Why is it important to we preserve and spread the blues to the new generation? What is the role of music in today’s society?

Margey: Blues music speaks for itself. It had already existed since the 19-teens—and even before, as field hollers and work songs—by the time our generation discovered it. The challenge is preserving and exposing new audiences to this great, rich—and tremendously varied—music.

As for its role in society, music is, and has always been, an important form of expression, especially for the young. There is not so very much difference between rap, and “The Dozens,” and “Talking Blues” (“Mama had a chicken and she thought it was a duck…”). Everything old comes around again. As younger people listen to and play the blues, they invariably find the opportunity for expression and release that blues provides.

Life is more than just music, is there any other field that has influence on your life and music?

Brad: In addition to my now life-long involvement in music, art and literature feed my soul. I read and write poetry, and paint and do printmaking. I’m actually compelled to do all of these.

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(Brad Vickers & Margey Peters / Photo © by Kirk Hansen 'Black Kat Blues' Photography)