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French - Blues Magazine - April 2006

This album may not be the Blues we have come to expect.  What The Barcodes deliver are 13 track, original compositions and covers, a good mix full of energy and inventiveness, the trio of Bob Haddrell, Alan Glen and Dino Coccia have create an enjoyable musical event, which is enhanced by the inclusion on a few tracks by Mister Nick Newall who plays tenor sax and flute.
The first track on the CD, Grits & Greens, makes you feel good, the flute takes the lead with this very catchy tune a track which you will be able to add to any driving compilation it’s made for the road (when you drive miles and miles… a long boring road!), or for a dinner between friends, or evening barbecue.
On this album you will also find ‘conventional’ Blues titles, which will please the twelve bar’ purists, tracks like “Cool Be”, or nicely arranged covers, as is the excellent “Sweet Lovin' Mama” (Written by Johnny 'Guitar' Watson), and more ‘obscure’ titles, as “Don' T Go To Strangers” (written by J.J. Cale) and T-Time (written by Coccia-Glen-Haddrell) with Nick Newall playing sax tenor: The title track evokes a Jazz/Blues club, in the album Independently Blue we have unexpected treasure. How quickly the 53 minutes 45 seconds passed, far too quickly....
Frankie Bluesy Pfeiffer


Et voilà un disque de Blues qui vous mettra une belle claque à vos préjugés et autres concepts basiques et rigides. En effet, les Barcodes ne se contentent pas de vous proposer 13 titres dans un subtil mélange de compos et de reprises, avec ce blues percutant qui fait mouche, mais le trio composé de Bob Haddrell, Alan Glen et Dino Coccia s’est adjoint pour l’occasion et pour quelques titres (seulement, dommage…!) les services de Monsieur Nick Newall au sax tenor et à la flûte. Le premier titre, Grits & Greens, vous le fait comprendre d’entrée, la flûte y assurant le leadership de très belle manière ; un titre que vous pourrez glisser dans une compil faite pour la route, pour un dîner entre amis, pour une soirée barbecue sous les étoiles. Vous trouverez dans cet album des blues bien carrés et qui feront plaisir aux puristes des douze mesures, comme Be Cool, des reprises assurées haut la main, comme cet excellent Sweet Lovin’ Mama (signé Johnny ‘Guitar’ Watson), et des titres plus décalés, comme ce Don’t Go To Strangers (de J.J. Cale) et T-Time (signé Coccia-Glen_Haddrell) avec Nick Newall au saxo tenor, un titre qui fera fureur dans tous les clubs, de blues ou de jazz d’ailleurs, une perle comme on trouve de temps à autre à force de fouiller dans les albums reçus. Mais que 3 minutes 45 passent vite,…trop vite.

 Frankie Bluesy Pfeiffer



The Barcodes - Independently Blue

Blues Freepress - Review
The first track of The Barcodes' latest release, "Independently Blue", kicks in with a pacey flute/guitar/Hammond instrumental composed by Coccia/Glen/Haddrell . . . one of 5 original offerings by this UK trio. They are joined on this album by special guest Nick Newall whose tenor sax & flute contributions permeate throughout this well-engineered 13 track production. As the CD progresses we get various styles of music ranging from jazz-tinged swing to serious shuffle with visits to funk, reggae & more along the way. It may seem odd to the newcomer that The Barcodes do not feature a bassist but they don't need one . . . they have keyboardist Bob Haddrell's left foot on the bass-pedals. Whilst the musicianship throughout is solid, innovative &, at times, dazzling . . . the vocal parts are, at best, adequately delivered. The non-original tracks touch many bases with innovative & elegant arrangements of some better-known songs by the likes of Jimmy Reed, Sonny Boy Williamson & others. The Barcodes do what they do with confidence, expertise & an eye toward the origins of Blues & R&B.


Harmonic World - Review
The Barcodes - Independently Blue

Alan has a history that goes back through The Yardbirds and Nine Below Zero. The Barcodes have found a niche for themselves and his CD covers the range of music they like to play - groovy organ/ keyboard and guitar trios, here with some tasty sax and flute from Nick Newall, to some standard blues songs, usually with a funky rhythm, The feel and vocal style is definitely in the JJ Cale, Mose Allison style. Alan's guitar and tasty harp adds a lot to the mix.

The Barcodes - Independently Blue
June 2004

Barry's Mag

The Barcodes, the new album "Independently Blue"...yes, yes, yes; hate the boring band name (why not The Price Tickets or The Goods Inwards ferchrissakes?), didn't rate the CD cover artwork- done with the sterility that comes from pressing Mac buttons, BUT, all-saving grace is the music.

Bob Haddrell on vocals and Hammond C3, Dino Coccia on drums and percussion, guest Nick Newall on sax and flute, plus the ever splendid Alan Glen on vocals, guitar, harmonica and percussion. Very varied material, from 60's organ trio through reggae to the blues, all played with style. Me, I'm a harmonica geezer, so anybody that features Alan Glen is good enough for me; harp players out there, listen 'n' weep. Then get practicing.

I've only time for a short review, so my tip is... cop hold of "Independently Blue", lie back and relax in The Radox Bath of the Blues.

Smiggys Tips - Barrys Mag

The Barcodes - Independently Blue
June 2004

Gig at New Crawdaddy Club

The superb Barcodes came straight from a recording session to play a brilliant set at the New Crawdaddy Club. Bob Haddrell, Alan Glen & Dino Coccia are superlative musicians and have such a distinctive style, their performances are highly polished but never automatic and also always individual. A broken guitar string lead to Bob and Dino doing a duo number whilst Alan borrowed a guitar from Paul Milligan of the Heaters, an experience he (Alan) enjoyed so much that he hung on to it for another number and decided the band should play some Peter Green, which they duly did.

A very appreciative audience watched and listened with rapt attention as the Barcodes ran through their superb set which ranged from the aforementioned Mr. Green to Mose Allison. Often on the jazzy side but always great to listen to and enjoy, I had forgotten what a pleasure it is to catch the Barcodes and look forward eagerly to the new CD.

Ashwyn Smyth - Phoenixfm Radio

24 June 2004

The Barcodes - Independently Blue
Note-Records NCD 1005 2

The band consists of Bob Haddrell (vocals, keyboards and stuff), Alan Glen (vocals, guitar and harmonica) and Dino Coccia (drums and percussion) and on some tracks on this album the band Is aided and abetted (to great effect) by Nick Newall (flute and tenor sax). The tracks include self penned pieces such as the strangely titled Grits and Greens (strangely titled as despite its name, the track sounds more in line with a Stan Getz / Astrud Gilberto composition, such as Girl from Ipanema Oobim / Gimbel / DeMoraes ), than the down-home sound the title implies) to pieces written by such luminaries as JJ Cale, Mose Allison, Roscoe Gordon and Johnny "Guitar" Watson. The sound is Cool and jazzy, described by a reviewer of their previous album (Keep Your Distance) as the sort of music you'd like to listen too in the ambience of a late night club with a lonely glass of wine after midnight music. These are a fine bunch of musicians aided by a dense (but not overwhelming) series of overdubs (done at Roundel Studios, Horton Kirby, Rent with producer/engineer Roger Cotton). Personally in view of the overdubbing I'd like to hear the band live but they do seem to produce a good live sound too check out the review of the recent Dorset Blues Society gig at

Blues In The South - Ian McKenzie

June 2004

The Barcodes - Independently Blue
Note-Records NCD 1005 2

Thirteen great tracks from this Blues & Jazz trio. For this second CD they've added the Tenor Sax and Flute of Nick Newall and his brilliant Flute playing is evident right from the start on the first track, which is a band collaboration called Grits & Greens. If you enjoyed the flute on Audience's House on the Hill you'll love this one with Bob Hadrell's Hammond also coming into it's own.

The band are Bob Haddrell - vocals/organ/piano/wurlitzer/bass pedals, Alan Glen - vocals/guitar/harmonica and Dino Coccia - drums.

There are six cover versions on this album covering the work of Sonny Boy Williamson, J.J. Cale, Mose Allison, Little Walter Jacobs, Rosco Gordon and Johnny "Guitar" Watson. From the combination of these artists you get an instant picture of the influences and the sound of the Barcodes.

Track 2, written by Alan Glen and called "Be Cool", features his powerful and wailing harmonica and needless to say contains a tasty guitar solo. "Cast A Wider Net" - track 3 has a similar tale to tell in the lyrics, whilst slowing down the tempo. A beautiful solo from Bob Hadrell's Wurlitzer is a highlight on this number. Bob has created the unique sound of "The Barcodes".

A worrying title to track 4 - "Turn My Back On the Blues" - how can you give up the Blues!!. This is a band collaboration with those laid back but firm vocals from Bob Haddrell.

"Checkin' On My Baby" has a nice Caribbean feel with a very gentle and sensitive dub effect. Sonny Boy would love it. "T-Time" has the Barcodes "sound" and is a nice mellow instumental. Maintaining the slow tempo on the album is J.J. Cale's "Don't Go To Strangers" Is it Mose?, is it Georgie?, no it's Bob with that characteristic voice and a wonderful rendition of "Parchman Farm"

Bob Hadrell's composition "Every Which-Way" has that jazz feel which just gently rocks along and brings to mind the image of a smoke filled jazz club. The piano solo holds no surprises, not because the solo is overly familiar but because it leads you along gently and takes you exactly where you expect to be and conjures up the image of ice clinking in a glass. Alan Glen puts in a tasty guitar solo, bringing out the full flavour of that Gibson 335 guitar and is supplemented, with the tenor sax of Nick Newall.

Track 10 called "Motya" is a good motoring track - it came on in the car whilst "making progress" on the autoroute to Le Mans. Just the ticket.

Three cover versions complete the album and Alan gets to stretch out with the harmonica on "One More Chance With You". "No More Doggin'" & "Sweet Lovin' Mama" round off the CD in a rockin' blusey way.

A very enjoyable 2nd CD from the band that takes you smoothly from one track to the next whilst allowing all the band members to put in great solos and bring out the "Barcode Sound". Definately one that will be in the "now playing" section of my CD collection for quite sometime to come.

Blues in Britain - Paul Stiles
Rating 9

Blues in Britain

Well, the boys have done it again. This is a wonderful. relaxing record that really makes you want to lie back in your armchair and let the music waft over you. It's that kind of diminished chord, jazz based blues that makes you think (if you don't know different) how easy it is. But to swing like this takes years of practice and dedication. Dino Coccia (d). Alan Glen (V1 g. h) and Bob Haddrell (v, k) are ably assisted by Nick Newall on sax and together they produce some of the coolest laid-back jazz) blues I've heard in a long time. Six of the 10 tracks are origin compositions by the band, and these are sequenced with music by Sonny Boy Williamson ('Eyesight To The Blind'), Ray Charles ('I Got News) and others. Get it!!

 Ian McKenzie - Blues In Britain -

Blues Matters

With its distinctive blue traffic-light cover art, this second release from the SouthEast based trio finds them building on the individual sound and style established on their first album.

Once again drummer Dino Coccia drives the crew along and always throws in sharp fills and rolls as the music runs through the sonic light and shade that these chaps have mastered and harnessed ; B3 and electric piano are deftly handled by singer Bob Haddrell leaving Alan Glen to sing, play guitar and contribute his wizard harmonica stylings. To ice the cake reedsman Mick Newell is often on hand and his flute playing on opener 'Grits & Greens' lends a very 70s Atlantic label tinge to the tune.

This is a band that plays live very regularly so this album is a recording of what have become stage favourites as well as new compositions as opposed to a studio concoction. Hence we have their version of J J Cale's 'Don't Go To Strangers' with its air of desperation and deft band interplay. I have described this crew as the sound of midnight shadows and I'm not retracting that now ! If you must have a constant heavy pounding boogie beat with your Blues you might be better off Chez Thorogood or elsewhere, however if the Mose Allison/Jimmy Smith / Dr John feel does it for you then The Barcodes are well worth checking out. The cliché is to call this band 'jazzy' but that's a little like calling Bert Jansch 'guitary'….

Plenty of band member compositions to be heard on this release eg 'Motya' and no I don't know what it means, I'll have to ask them. If you haven't heard their dub version of the Sonny Boy Williamson classic 'Checkin' Up On My Baby' this set includes that very song. My only carp is that they should have made this last track and then gone all out for a Channel One out-there booming dub extreme mix, but hey that's like criticising the picture on a box of chocolates, really. And the versatile Glen can be heard in that sort of setting on the Little Axe albums.

So, tough stuff but tenderly and imaginatively delivered

Pete Sargeant