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 Click the button to buy Judgement Day    1. Lost in the Woods 4:18 2. Have You Heard the News 4:07 3. Learn to Fly 5:16 4. Winter 4:38 5. The River 5:42 6. Red Tele Raga 3:00 [instrumental] 7. Desert Island Girl 4:14 8. Skydog 4:08 9. Stella II 3:02 [instrumental] 10 Your Close Friends (Blind Willie Davis) 7:20 11. Nothin' Left to Say 3:47 12. Judgement Day 10:29 All songs by Paul Fenton except as noted. Special guest Rudy Richman of the London Quireboys on drums. THIS IS AN ENHANCED CD, PUT IT IN YOUR COMPUTER TO PLAY THE VIDEO "LOST IN THE WOODS." Reviews Reviews of the brand new CD are just beginning to come in: "He doesn't really sound like a blues singer in the traditional sense, but more like a rock vocalist, and actually, more like a punk rock vocalist. He's gotten more and more into developing a distinctive style of his own since I first heard him, which I think is a really good thing. This new album in particular, is different than anything else you've done before." Marty Murray, The NAIL (St. Catharines) Thomas Ruf, president-owner of Germany's Ruf Records label, after hearing a preview of the new CD said "It was a real listening pleasure! Different, very cool and well crafted." "What a wonderful sound this is, slide with a touch of Sixties music, this makes you think about life." Bobtjeblues.com, Belgium 
Highway 401 (3:49) (Paul Fenton-Tony McLean) Luddite (4:20) (Paul Fenton-James Cohen) Little Red Rooster (6:38) (Willie Dixon) Shake Your Money Maker (4:41) (Elmore James) Midnight Train (6:02) (Paul Fenton) T-Bone Walker Blues (8:39) (Paul Fenton) Time (5:39) (Paul Fenton) I'm Goin' Upstairs (12:09) (John Lee Hooker) Way Down in Georgia (5:07) (Paul Fenton-James Cohen) It Hurts Me Too (5:17) (Elmore James)  "Fourth CD of this blues guitar magician, where he performs miracles like on a great circus show. Ten exciting impressive rock blues tunes, six Paul Fenton's own compositions and the rest Willie Dixon, Elmore James and John Lee Hooker covers. Sixty-two minutes of fast rockin' killin' blues performed by a brilliant guitar player who, despitethe flaming music he plays, gives us a very pleasant appealing feeling too. Good taste, sensitivity, power and strength are perfectly combined to give as a result an enjoyable pleasant CD from the first tune to the last one. The CD was recorded live at Bellair blues club in Toronto, Canada. GREAT." - Vicente Zumel, La Hora del Blues Barcelona, Spain "Deze in 1954 in Ottowa, Canada, geboren zanger/gitarist is niet aan zijn proefstuk toe in het brengen van uitstekende bluesrock. Paul begon als autodidact op de slide en bewees door de jaren heen dat hij meer kan dan alleen maar op een gitaar losbeuken. Hij evolueerde van de punkrock/hardrock om tenslotte bij de blues te belanden, en met klasse! Hij begon zijn slideperiode bij de legendarische band 'The Action', en speelde vervolgens bij de rockband 'Number One', de Stones-tributeband 'The Blushing Brides' en zijn eigen band 'The Fenton Brothers Band'. Genoemd naar een song van Elmore James formeerde hij later nog de succesvolle 'The Bleedin' Hearts'. Dit tijdperk liet hij achter zich, en ging solo. Nogal wat songs, deels eigen werk, deels covers hellen weliswaar meer over naar de rock. Toch zijn er voldoende elementen om ook de bluesluisteraar aan zijn trekken te laten komen. Om maar enkel voorbeelden te noemen: een energiek 'Highway 401' (met een fraaie gitaarsolo van Rick Gunn) en een heerlijke opknapbeurt van Elmore James' 'Shake Your Moneymaker'. Jaren geleden kreeg hij van J.L Hooker 'F*** Off' te horen. De tweede keer dat Paul John Lee ontmoette, liet deze hem zien hoe zijn beroemde song 'I'm Goin' Upstairs' gespeeld moest worden, sindsdien een belangrijke song in Pauls shows. Ik kende Paul Fenton enkel van naam, maar ook mijn eerste kennismaking met zijn muziek is uitermate geslaagd. Go for it, Paul!!" bobtjeblues.com, Holland "Recorded at the legendary Blues on Bellair in Toronto where Fenton has almost residency status the ten tracks here showcase Fenton and his band to an eager and appreciative audience. Paul Fenton has set himself up as the torch bearer to the kind of slide guitar blues made popular by the likes of Elmore James, T- Bone Walker and more recently Johnny Winter and the late great Rory Gallagher. To be honest Mr. Fenton does a fine job and it's a relief to know that this brand of slide blues is in safe hands." Blues Matters magazine UK "Paul Fenton "Live In Toronto" Jealous Monk Records (import) Another guitar led, blues rocker from Canada (following in the footsteps of Pat Travers and say David Gogo), Paul Fenton is a fiery player who finds himself in the company of the expansive Hammond player Peter Jermyn and a tight band. There's nothing innovative about covering Elmore James, John Lee Hooker or Willie Dixon, but together with his own compositions such as the stunning "T-Bone Walker Blues", Paul makes a big impression." Pete Feenstra, Soundcheck Magazine, Middlesex, England BLUES-STIKKA MAGAZINE NORWAY PAUL FENTON Live! In Toronto (Jealous Monk Records 2002) “Paul Fenton is one red-hot slide guitar player”, sa Johnny Winter engang om denne nå canadiske gitaristen. Bevare meg vel, så rett han hadde, Johnny, den gangen. Slide-gitar, 60-,70-talls progressiv blues/rock i f.eks. Rory Gallagher-leia, med masse herlig Hammond-øs, er hva som bedrives på Fenton’s CD-innspillinger. Live! In Toronto er intet unntak i så måte, og la meg like godt få trekke frem ei låt som kommer til å bli en favoritt hos undertegnede i fremtida, nemlig den J.L. Hooker-skrevne, drøye 12 minutter lange, ”I’m Going Up-stairs”. Bedre slide-boogie hører du knapt, det svinger så det gjør nesten vondt av Fenton og kom-panjong Peter Jermyn (Ham-mond). Fenton lærte forresten låta direkte av John Lee - andre gan-gen han traff ham. (Første møtet var ikke like vellykket - Hooker hadde da nemlig nettopp plukket opp en 16 år gammel groupie og var slett ikke mottakelig for en ung, gitar-spillende fan). Ellers må det jo innrømmes at Fenton’s store gitar-forbilde, iren Rory Gallagher, jo skinner godt igjennom hele veien, da. Men så var det da også en konsert med Rory som var den utløsende faktor til at unge Paul ble slide-gitarist. Ja, musiker i det hele tatt. Skiva byr ellers på flotte varianter av både Elmore James- og Willie Dixon-låter, foruten 6 gode, sjølskrevne. Her må nevnes spesielt den over 8 minutter lange slow-blues’en ”T-Bone Walker Blues”, som handler om å være blues-musiker og spille ”Stormy Monday” så ofte at en tyr til flaska. Flott låt, men det er de jo alle sammen… Paul Fenton anbefales på det aller varmeste. www.paulfenton.com bw (Bjorn Wiksaas, Editor, Blues-Stikka) BLUES NEWS GERMANY MAGAZINE Jeder braucht Schlusselerlebnisse. Auch Paul Fenton. Fur ihn waren es der Auftritt der beatles in der Ed Sullivan Show in 1964 un Brian Jones' (Rolling Stones) Slide-Gitarren-Tone im Lied "Little red Rooster". Danach wolte Klein-Paul nur noch eins: Gitarre spielen. Das ist bis heite so geblieben, wie das aktuelle Live-Album "Live! In Toronto" beweist. Paul Fentons Finger gleiten so lange rasant uber die Saiten, bidies Nylonshure rauchen. Und ein Metallrohrchen am linken Ringfinger ist stets dabei. Denn Paul Fenton ist ein Liebhaber des Glissando-Effekts und der "offenen Stimmung". Kurz: Er steht aufs Sliden. Und fur die Art, wie seine Finger uber die seiten rutschen, bekommt er reichlich Lob. So staunte Johnny Winter einst: "Man, this guy is a red hot slide player!" Fentons Blues-Rock-Stil ist ungehobelt und explosiv. Schuld daran ist seine Vergangenheit. In den 70ern spielteer zusammen mit seinen Brudern John und Michel in der kanadischen Punk-Rock_band The Action. Das hat Spuren hinterlassen - bis heute. Seine musik ist eine Mischung aus rock'n'roll und hartem elektriischen Blues, gewurzt mit der schmutzigen Energie des Punks. Aufgenommen wurden die zehn kraftvollen Songs im Fruhjahr 2002 im angesagten Club "Blues on Bellair" in Toronto. Und die CD "ist mehr als nur ein Souvenir einer Nacht in einem Club", schreib das Magazin "Maple Blues" aus Toronto. Dem is nichts hinzuzufugen. (Ralf Baur) "Jaw-dropping technique, which alternates between that of a grinding chainsaw and a mellifluous violin... gruff Johnny Winter vocals (with a dash of Presley vibrato)...take a listen to his slide breaks, especially on 'Time and 'I'm Goin' Upstairs'...what a team of players he has here! Peter Jermyn goes beyond ordinary distinction on the Hammond B3, notably on 'Time' and 'T-Bone Walker Blues'...I have heard many different versions by Mr. Fenton of "Shake Your Money Maker", including the version on the compilation disk, which was produced in Woodstock, N.Y. by Mick Ronson, and "Little Red Rooster" recorded live at the National Arts Centre in 1984, (and) they always sound better the next time around! This instance is no exception." DD Rocker, "Rockin' the Blues" Fan quotes: "He is talented and needs to be heard. Too bad he can't hang around here for a bit." Cletus Robinson, Baton Rouge, LA "You are an incredible talent and one hell of a guitar player!" B.L., Ohio    2001 "Intense, slashing slide guitar...potent fretwork...tasteful piercing solos." Steve Baylin, Ottawa Xpress "A terrific collection of blues-based rock. Paul Fenton is a red hot guitar player!" - Mike Blanchfield, Ottawa Citizen "This is probably some of the most interesting rock music I have heard in the last ten years." Bob Segarini Scene Roots and Blues magazine - by John Scoles Paul Fenton has that British blues guy look and sound written all over him. But he's Canadian. And on his latest release, Vancouver Blue, he does a Johnny Winter-style cover of a Hank Williams tune. All of these things combined make him a hard guy to pin down. But the last thing you'd probably want to do is try and contain him. It's definitely his unleashed guitar work that makes this mini-album (six songs) work as well as it does. The man clearly knows how to write a song ("Time" and "The Girl Next Door"), but in the end, the musicianship is what Fenton ought to be most proud of. Along with Paul's solid fretwork, the album also showcases the talents of producer Greg Godovitz, drummer Doug Inglis, bassist Mike Pellarin, organ player Peter Jermyn, guitarist Dave Love, and backing vocals from Godovitz and Bob Segarini. As Ronnie Hawkins says, "Keep rockin' baby." UK review at IReallyLoveMusic.com "its been a long time .. but its time to return to the blues. in my teens i went through a blues period. a genre i have largely ignored, until now. i was chuffed to receive this recently, as exposure to new stuff is always an honour. the instrumentation is excellent lead guitar,bass,drums,hammond organ. 6 tracks of straight honest blues based pub rock. the opening track 'the girl next door' is a straight ahead rock track which has an insistent chorus and would go down well on any aor radio station that plays tom petty, then things get more interesting. 'vancouver blue' has a great style and the hammond organ begins to come through nicely, the singing is basic but real. the next 2 tracks really get the heart of the matter, blues jams with great style, definite hightlights for me, with 't-bone walker blues' having a great hammond organ solo (cant get enough of that instrument !). next track 'time' veres back to aor, with an interesting melodic twist, with the vocals being phased, chorused,layered. it builds up nicely from slow classic rock feel, to a full on head bomping r-n-b stomp a really great dynamic track which took me by surprise, superb. last track is a cover of a hank williams song 'mind your own buisness' which sounds like a pub band - having a fun practise session. all in all this is the sort of music that if i walked into a bar and there was band playing this stuff i would definitely stay and have several pints before moving on .. just wish i could find that bar. Big City Blues magazine, Detroit The address for Paul Fenton's label, Jealous Monk Records, ought to be situated somewhere along Desolation Row. That's where he must have been for what must be decades waiting for just the right moment to climb out of obscurity in Canada and into the dicey but bright light of critical acclaim. But to fully appreciate where he is coming from, you need to dig a little deeper into where music has been, going back before the ages of grunge, punk and glitter all the way back to a place where Marvin Gaye, Booker T and the MG's, the Animals and pop groups like the Boxtops slugged it out for attention on the pre-FM static prone airwaves of yore. Sometimes that world produced quirky and odd pairings, like Jeff Beck's bad ass guitar break in the middle of Donovan's otherwise innocuous "Hurdy Gurdy Man." And then there were the Beatles. On some level most of what we like to call rock'n'roll can be traced back to Memphis and to the blues, at least spiritually if not materially. Go back to a time when rock'n'roll could mean just about anything you wanted it to mean and the ever-present debate about the authenticity of the blues (blues vs. blues-rock vs. rock'n'roll) begins to peel away, almost entirely. Paul Fenton is a first rate not-too-pretty vocalist whose approach to the electric guitar reflects many important musical influences from the British Blues invasion to the rise of Bruce Springsteen, especially with his song "The Girl Next Door". John Lennon would have dug his take on the Hank Williams tune "Mind Your Own Business." Songs like the title track, "Vancouver Blue" and "Midnight Train" as well as "T-Bone Walker Blues" and "Time" are packed with innumerable reminders from the days when AM radio was king, including bits and traces of the Fab Four, especially George Harrison, and of the great Ray Davies. But this was also a time when FM radio was gaining ground by losing its chi chi, elitist image and beginning to mount an underground music attack that would eventually stop the war. In an attempt to think globally for a nano second, something all too alien for us music critics, consider the hole in the wall operation at Sun Records, a singularly unimpressive storefront, that, if buildings could talk, might gasp out in a guttural voice, "Who would have thunk it?" That's where a close proximity of the Delta sound, to the other Southern roots sounds like country music, Texas swing and sanctified church, first produced mass culture's take on the blues under the moniker of rock'n'roll. Fast forward a couple of years and a thousand miles to the north, just shy of Canada, and you get a young Robert Zimmerman in full high school rock'n'roll greaseball regalia, grooving on what would later be called rock-a-billy music. Somehow Paul Fenton has managed to build a bridge from our own time in the early Double 0's to the decade and one half that took us from B.B. King, Elvis Carl Perkins and Jerry Lee Lewis rocking the roof off Memphis, to a place out West where the Byrds were getting eight miles high somewhere over L.A. and which closed with Jim Morrison exposing himself on a stage somewhere in the state of Florida. Paul Fenton brings new life to that curious time between 1954 and 1969 that forever changed how we view blues-based popular music and popular culture itself. One can't help but be impressed with Paul Fenton's new CD, headstrong as it is with powerful evidence that we have a king-sized talent in our midst. The production values are flawless, as are the powerful vocal and instrumental tracks. Frankly, he achieves something I haven't seen in ages, a true blues-rock and folk-rock synthesis. Let's welcome him out of his comfortable obscurity in Ottawa, Canada and into the high-pressure skillet of the big time. Go out and pick up a copy of Vancouver Blue and see if you agree that this might just be the future of blues-based rock'n'roll." Niagara Arts Information and Leisure: "This 6-song EP is the third release from Ottawa-based blues guitarist Paul Fenton, and marks a departure from the standard boogie and grind many people associate with this style of music. Enlisting the talents of Greg Godovitz, from Canada's legendary rock band Goddo, to helm the production duties, and employing Goddo drummer Doug Inglis and longtime Godovitz partner Bob Segarini, this album places as much emphasis on the songwriting and vocal performances as it does on Paul's remarkable slide guitar work. The result is a collection of songs which showcase Paul's established talents while also moving him into new and exciting territories. Opening the set is "The Girl Next Door," a sort of Tom Petty by way of Keith Richards tune which features a wonderful Rickenbacker 12-string melody line. Title track "Vancouver Blue" is a slow- burning ballad with a nice sustained slide solo at its centre. "Midnight Train" and "T Bone Walker Blues" find Paul in more familiar surroundings, and his remarkable playing on these tracks demonstrates without a doubt why he is widely regarded as one of Canada's best rockin' blues guitarists. "Time" is a trippy acoustic number, much in the style of something you might have found on Led Zeppelin III or Pink Floyd's "Meddle." The disc closes with "Mind Your Own Business," the only cover tune on the album (Hank Williams) and a typical pub-rock rave up, once more showcasing Paul's fantastic slide playing. This CD has been bringing Paul Fenton some long-deserved attention, particularly in Europe, and a couple of new discs are in the works. A retrospective disc should be out shortly, harkening back to Paul's early days in the 70's with his band, The Action. A new live album is set to be recorded on March 1st and 2nd at the intimate Blues On Bellair club in Toronto. More information is available on Paul's website at www.paulfenton.com" - Marty Murray The Winnipeg Sun: "From the title, you might take Paul Fenton for some sensitive B.C. sop with an acoustic guitar and a folkie bent. Not even close, chump. Fenton's from Ottawa, his guitar is electric and he's a dark-voiced, barn-burning blues-rocker in the mold of Johnny Winter and T-Bone Walker. In fact, on this EP, his third release, Fenton pays tribute to the Texas tornado on the smouldering T-Bone Walker Blues. But don't get the idea that he's just another one-dimensional 12-bar belter, either. On this six-tune set produced by Greg Godovitz, Fenton also proves he knows his way around country boogie (Hank Sr.'s Mind Your Own Business) and jangly roots-pop (Girl Next Door). We wouldn't be surprised if he shows a few more sides of himself when he plays the Zoo this weekend, backed by the Goddo rhythm section of Godovitz and Doug Inglis." - Darryl Sterdan, Winnipeg Sun "Rockin' the Blues" website Toronto by "DD Rocker" His third solo effort, Vancouver Blue, produced by Greg Godovitz and mixed at Liquid Studios by Alec Fraser, demonstrates Paul's continuing evolution as a versatile performer, as there are several styles of music displayed here. The first track, "The Girl Next Door", is a catchy pop tune, whose title speaks for itself (although I'm personally glad I'm not a blond, dumb or otherwise!), with much commercial appeal and featuring back-up vocals from Bob Segarini and Greg Godovitz. "Vancouver Blue" is a pop tune, as well, about a long-distance love affair, and distinguishes itself from the first track by Paul's trademark dreamy slide guitar riffs sandwiched in between the hard-rockin' chorus lines. "Midnight Train" takes us back to Paul's recurrent love for Southern U.S. blues. When I first heard the slide guitar on this track I immediately pictured that group of escaped convicts boarding that lonesome steam locomotive (literally and figuratively) that would take them to freedom. "T-Bone Walker Blues" is, of course, a tribute to one of Paul's many traditional blues-playing heroes. While it is definitely a track to please blues purists, I also detect a "double entendre" in its lyrics ("I'm so tired of singing 'Stormy Monday' but that's all they want to hear") against those same people who can't seem to get past the "blues classics" and listen to a different approach to the blues. "Time" (my personal favourite on the EP) could well be described as "neo-classic rock", which definitely contains psychedelic overtones on guitar and Hammond B3 organ reminiscent of Iron Butterfly, Cream and even early Captain Beyond. It also sharply reminds me of Paul's early session recordings with the late Mick Ronson (David Bowie and Mott the Hoople). Paul's excellent supporting musicians on this EP are Doug Inglis on drums (a regular with Paul, going back to the days of the Fenton Brothers project), Mike Pellarin on bass, Peter Jermyn on Hammond B3 organ, the aforementioned Greg Gregovitz and Bob Segarini on backing vocals and Dave Love on 12-string electric guitar.  The "official bootleg" "Good composer and excellent singer and guitar player, this Canadian musician called Paul Fenton. In this CD Fenton shows himself as a bright straight powerful boogie-rock performer. With a powerful grooving flaming style, Fenton is a real "killer" on overdrived guitars. Listen carefully to "Midnight Train", "Twister" or "Luddite Blues" and you will understand what I mean. He has got a terrific punching sound and the backing band also give their 'warrior' strong sound, perfect for emphasizing Fenton's original performing. This is one of those CDs I would highly recommend without making a mistake to those of you who like electrifying vigorous guitars. GREAT." Vicente P. Zumel Barcelona Spain "La Hora del Blues" Oct. 2002 N.B.: Due to the number of people who were buying multiple albums this anthology has been changed, in effect 'fleshed out' with unreleased material including three new songs from the forthcoming "Judgement Day" CD as well as a sound check number from Live! In Toronto and two songs from the Woodstock Mick Ronson produced sessions (for Torrid Records of New York), featuring the only cut Mick played guitar on (Radio Wasteland). 1. Resurrection Special / Resurrection (4:14) Bleedin' Hearts (self titled) 1995 (Fenton/Fenton-Killen) 2. Leaving Blues (6:05) Binson's Blues 1997 (Ledbetter) arranged by Rory Gallagher 3. Twister (4:54) Bleedin' Hearts "Seconds to Go" 1996 (Fenton-Killen) 4. God Moves on the Water (6:59) Seconds to Go 1996 (Blind Willie Johnson) 5. Gypsy Woman (3:48) Worldwide Slide 1999 (Morganfield) 6. The Haze (5:12) Binson' Blues 1997 (Fenton-Innes) 7. Ball and Chain (6:18) Binson's Blues 1997 (Fenton-Cohen) 8. Girl Next Door (2:29) soundcheck live in Toronto* (Fenton) 9. Luddite Blues (4:00) Worldwide Slide 1999 (Fenton-Cohen) 10. Behind All Those Locked Doors (3:19) Woodstock Mick Ronson sessions 1988* (Fenton-Cohen) 11. Radio Wasteland (4:46) Woodstock Mick Ronson sessions 1988* (Fenton-Cohen) featuring the great Mick Ronson on lead guitar 12. Lost in the Woods (4:18) Judgement Day* (Paul Fenton) 13. The River (7:44) Judgement Day* (Paul Fenton) 14. Judgement Day (10:30) Judgement Day* (Paul Fenton) (* unreleased) 
From the All Music Guide review by Cub "Smokin' in the Boys Room" Koda: AMG EXPERT REVIEW: Paul Fenton plays a mean slide guitar and this album showcases it nicely. Different musical backdrops keep the listener's ears perked all the way through...his guitar work is so top notch... Highlights include "Luddite Blues," "In My Arms," "Find My Mind" (with an eerie, other worldly slide solo at the end), the minor keyed "If You Want Me to Love You," and a nice turn on Muddy Waters' "Gypsy Woman." If slide guitar's your thing, then this one comes highly recommended. - **** FOUR STARS — Cub Koda
"Supernatural talent." - Lynn Saxberg, Ottawa Citizen
 "Ottawa axeman Paul Fenton sent along his first solo effort, Binson's Blues. The title refers to the Binson Echorec, a guitar sound effect device used primarily until now by Pink Floyd's David Gilmour, one of Fenton's influences. The other main influence is the late Rory Gallagher, to whom "Leaving Blues" on the CD is dedicated. I think you now have enough information to form an opinion as to the sound of this CD. My attention was directed to a couple of mostly acoustic tracks, "Stella" and "Rattle Snakin' Daddy" (affectionately dedicated to Blind Boy Fuller) and you may well hear these on blues radio. The CD as a whole, though, is a blues-rock guitarist's heaven. Fenton's background is with The Action, The Blushing Brides and The Bleeding Hearts." John Valenteyn, Maple Blues 98/04 Binson's Blues (Fenton instrumental) Can't Help You (Fenton/Cohen) Underground Song (Fenton/Calford) The Haze (Fenton/Innes) House of Cards (Fenton/Cohen) Rattle Snaken' Daddy (Blind Boy Fuller) Locked Doors (Fenton/Cohen, arranged by Mick Ronson) Get Off My Phone (Fenton/Cohen) Leaving Blues (Leadbelly, arranged by Rory Gallagher) Dance of the Spiderwoman (Fenton/Cohen) Stella (Fenton instrumental) Ball and Chain (Fenton/Cohen)    Songs: Resurrection Special (Fenton/Killen); Resurrection (Fenton/Killen); Ball and Chain (Fenton/Cohen); Show'n'Tell (Fenton/Killen/Cohen); Torch is Out (Fenton/Cohen); As the Crow Flies (Tony Joe White); All Over You (Fenton/Killen/Cohen); Hard to Get (Fenton/Killen); Soldier (Fenton/Calford); White Light / White Heat (Lou Reed); Vampire Blues (Fenton/Cohen); Get Thru to You (Fenton/Cohen); Way Down in Georgia (Fenton/Cohen); Can't Get That Stuff No More (Hudson Whittaker [Tampa Red]). Rory Gallagher Tribute cassette, 1995 - Five Gallagher songs interpreted by successive Fenton bands contributed on this sweet emotional tribute to Paul's mentor and 'big brother' figure.    The Fentons, "Whatever It Takes", 1987 - Four-song EP "D.W.I. ('Way Down in Georgia)", "I'm Never Leavin'", "Down So Long" (their version of the classic "Houseboy", long a Fenton standard) and a brilliant cover of Rory Gallagher's "Shadow Play" which Rory himself really liked and praised the slide playing on. Produced by Tony McLean and the band. Also recorded at Marc Studios (24-trk). 
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