"I miss seeing all the originators that I would see sometimes seven nights a week back in the 1970's and 1980's. Unfortunately, they are no longer with us, but I was so fortunate to see and talk with many of them and even play with some of them."

Paul Barry: Blowin' Like Hell in Twin Cities

Twin Cities based harmonica man Paul Barry has been playing professionally since the early 1980’s. In 1983, he met harmonica master William Clarke and became a protégé of the late, legendary bluesman, having lived with him and his family in L.A. in 1985. In the 80’s and 90’s Barry played in two of the Twin Cities top blues bands, Bobby Johnson and the Crowns and Dave McRae and the Blues Exchange.  During this time period, Barry and his band also frequently served as a back-up band to famed bluesman guitarist and vocalist, Otis "Big Smokey" Smothers from Chicago. Barry also is active in promoting blues in the Twin Cities area that dates back to the late 1970's. Over the years, he has brought to Twin Cities blues fans such iconic musicians as: Big Walter Horton, Sunnyland Slim, Eddie Taylor, William Clarke and many others. Sidelined by a serious illness and raising a family, Barry stepped back from playing for 15 years, but came back on the Twin Cities blues scene in 2013. Early in 2016 Barry released an album’s worth of material from 1992 where he backed the great former Muddy Waters and Howlin' Wolf sideman, Otis “Big Smokey” Smothers.                   (Paul Barry / Photo by Kathleen Tauer)

This was Smothers last studio recording. The album That’s Alright was a wonderful surprise to the blues world and received high marks from blues critics and fans.  Barry subsequently released two albums under his own name: "Talk Is Cheap" in 2016 and "Blow It Cool" in 2018. Both albums received high praise from critics and fans. "Blow It Cool" was selected as Best Album of 2018 by the Minnesota Blues Society. Barry published, the biography of harmonica legend William Clarke in the book BLOWIN' LIKE HELL: THE WILLIAM CLARKE STORY (2023). Author Paul Barry discusses his 13-year friendship with William Clarke and his motivation to write Clarke’s life story.

Interview by Michael Limnios

How has the Blues influenced your views of the world? What does the blues mean to you?

The blues is about life. It is a very expressive form of music that touches all a person's emotions from feeling sad to feeling happy.

How do you describe your sound and music philosophy? What's the balance in music between technique and soul?

My sound and philosophy are always evolving. I'm always striving to get better as a musician and trying to be open about developing new philosophies about how to approach my music. There is a fine balance between technique and soul. Players vary and most are usually more weighted one way or the other. The very best players have both. That is a rare combination, but that is what sets them apart from everyone else.

When and how did the idea of book “Blowin' Like Hell” come about?

I met Bill Clarke in 1983 and we became very close friends over the years. I lived with him and his family in 1985 in Los Angeles. We decided to write a blues harmonica instruction book together and started the project in 1995. We didn't finish the book before he died in 1996. A few years ago, I decided to try to finish the book. Instead in April of 2021, I decided to instead write a biography on him. I thought that would be much more interesting than another harmonica instruction book as he was such a great harmonica player and I felt he never received the recognition he deserved.

"The joy that the music brings to the musicians that play the music and to the fans that listen to it. There is no politics involved. The music brings us all together in celebration and for that small amount of time, our troubles disappear." (Photos: Book cover "Blowin' Like Hell: The William Clarke Story" / Paul Barry, author, harmonica player, promoter, and bandleader, born and raised in St. Paul, Minnesota)

Why do you think that William Clarke music/legacy continues to generate such a devoted following?

He was such a presence that harmonica players and blues fans that had seen Bill live or had listened to his recordings realize what a great talent he was. From his playing, vocals, songwriting and stage presence, he was the best and most original in my opinion of his generation and one of the best of all-time. My hope is that my book will open up the door to those that don't know about Bill to get to know the man and his music.

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

Meeting William Clarke in 1983. Over the life of my music career, I was able to promote, play blues music and interact with many great musicians and blues lovers.

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

The joy that the music brings to the musicians that play the music and to the fans that listen to it. There is no politics involved. The music brings us all together in celebration and for that small amount of time, our troubles disappear.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

My favorite studio session was a 1992 recording called "That's Alright", that my band made with Otis "Big Smokey" Smothers that was his last studio recording. Smokey was a close friend of mine and we played many gigs together and I was so happy that we made this recording together and released it on CD.

What do you miss most nowadays from the blues of past? What are your hopes and fears for the future of?                                        (Photo: Paul Barry)

That's an easy question to answer. I miss seeing all the originators that I would see sometimes seven nights a week back in the 1970's and 1980's. Unfortunately, they are no longer with us, but I was so fortunate to see and talk with many of them and even play with some of them.

My hope for the future is that the new blues players coming on the scene will always study these players and learn from their recordings before developing their own sound. William Clarke's philosophy was to learn from the originators and THEN develop your own sound.

My fears for the future is that the new blues players will not study and respect the originators and the music that I love will be further and further diluted until it is no longer recognizable as blues.

What is the impact of Blues on the socio-cultural implications? How do you want the music to affect people?

Blues music is not political. It should bring people together and make them happy when the hear it.

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