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The photographs are annotated and fully captioned. In doing so, and taking the book title from the John Lee Hooker classic, Easy On The Eye have had unique access to BrianвЂ™s extensive archives, working directly with surviving negatives and prints which have been newly scanned for the book. Since then his pictures have appeared in magazines, books and exhibitions, yet until now nobody has attempted to present a published collection of his work. It wasnвЂ™t until the 1980s and a revival of interest in blues music that BrianвЂ™s images began to be sought out by CD compilers. Once the magazine folded, BrianвЂ™s photography began to take more of a back seat.

Money was always tight and Brian could only afford a couple of rolls of film at any one time. Put together locally by Twisted Wheel regulars, Brian became their main photographic contributor for the next fifteen months until the magazine folded. After the start of Roger EagleвЂ™s legendary rвЂ™nвЂ™b allnighters at the Twisted Wheel in 1963 (which later led to the birth of Northern Soul) the groundbreaking music magazine R & B Scene launched the following year. To be there witnessing the scene at first hand is enviable enough, but to be there with a camera recording it is something blues fans worldwide can be grateful for today.Д«rian began frequenting venues such as the famous Twisted Wheel Club as soon as he was old enough. Through the distribution of records in specialist shops and the concert performances, the scene burgeoned in Britain in the early half of the sixties, until British bands, hugely influenced by the music, assimilated (sometimes acknowledged, sometimes not) much of the music and spirit, and took it back to America to massive acclaim. There is an acknowledged irony that black blues artists began to enjoy a cult following in Britain and Europe while they were still largely unknown or acknowledged back home. Over the next decade Brian saw and photographed most of the big American blues musicians who played in Manchester. Brian took a keen interest in the emerging blues scene after seeing Muddy Waters on a bill with Chris Barber in 1958. Towards the end of the fifties promoters and artists began adding вЂguest starsвЂ™ to their bills, and many blues artists first appeared here in that role. Spurred on by the excitement of mixing with famous musicians, they founded the Northern Society Of Popular Music, printing up letterheads and business cards to help them gain access to the venues and dressing rooms.

Along with his friends they got to know theatre managers and staff, who were happy to let them backstage to meet musicians and chat, with Brian invariably photographing the scene.

He strived to get a decent frame or two, had them printed up locally, then went along the next time to have the photograph signed. He soon became known to door staff as вЂthe fan with the cameraвЂ™. A keen amateur photographer, Brian got his first proper camera in 1961 and began combining what were now his two passions.

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In the mid-1950s a friendвЂ™s older brother took them to shows at Manchester Free Trade Hall where Brian was introduced to skiffle, early rock and roll and the blues boom. ItвЂ™s free and you can remove yourself from this list at any time.Д«ack in the late fifties and into the sixties Manchester was a happening centre of popular music, rivalling Liverpool and London. If you would like to be the first to get upcoming information on this book, see exclusive previews, learn about any pre-publication discounts and other advance news, please join our Blues Book mailing list by clicking the button below. American Rhythm & Blues In England 1962 вЂ“ 1966