Maria Muldaur – Fanning The Flames (1996)

FrontCover1.jpgFor those who only know of Muldaur through her 1974 hit “Midnight at the Oasis,” please scratch that from memory. This lady can flat out sing! Although the CD insert art suggests a “pops orchestra” recording, don’t let it mislead you; Muldaur belts out gritty blues and gospel and soulful R&B as very few can. She appropriately terms this musical gumbo “bluesiana.” A crack band was assembled featuring longtime Muldaur guitarist Cranston Clements, Dave Torkanowsky on keyboards, and Hutch Hutchinson on bass. Guest singer Johnny Adams joins Muldaur on “Trust in Me,” but the two really hit stride as they swap vocal licks on the boogie number “Heaven on Earth.” Muldaur and gospel singer Mavis Staples spend themselves emotionally on the mournful duet “Well, Well, Well,” accompanied by Clements and guest Sonny Landreth on slide and National steel guitars; rarely has a Bob Dylan song sounded as sweet and alive. (by Dave Sleger)

BackCover1.jpg

Personnel:
Cranston Clements (guitar)
Hutch Hutchinson (bass)
Maria Muldaur (vocals)
Steve Potts (drums)
+
Johnny Adams (vocals on 05.)
Bob Henderson (saxophone on 03., 06.)
Sonny Landreth (slide guitar on 01. +11.)
Huey Lewis (harmonica on 08.)
Bonnie Raitt (vocals on 04.)
Mavis Staples (vocals on 03. + 11.)
Bill Summers (percussion on 02.. 03., 06., 10. + 11.)
Dave Torkanowsky (keyboards, synthesizer)
+
background vocals:
Ann Peebles – Don Bryant – Jon Cleary – Mavis Staples –  Alisa Yarbrough – Ann Peebles – Benita Arterberry – Lucy Anna Burnett – Tracy Nelson – Jennie Muldaur – Lady Bianca

Maria Muldaur01

Tracklist:
01. Home Of The Blues (James/Steen) 4.22
02. Fanning The Flames (Cleary) 5.30
03. Trust In My Love (Grebb/Richmond) 4.11
04. Somebody Was Watching Over Me (Burns) 5.07
05.  Heaven On Earth (Muldaur) 5.15
06. Stand By Me (Pardini/Driscoll) 4.35
07. Talk Real Slow (McDaniel) 4.21
08. Stop Runnin’ From Your Own Shadow (Hughes) 4.21
09. Can’t Pin Yo’ Spin On Me (Cleary) 4.06
10. Brotherly Love (Burns/Boaz) 6.20
11. Well, Well, Well (Dylan/O’Keefe) 4.55
12. Strange And Foreign Land (Cleary) 3.26

CD1.jpg

*
**

Various Artists -The Irish Folk Festival – Celtic Roots & Celtic Moods (1996)

FrontCover1.jpgThe Irish Folk Festival (not to be confused with the St. Patrick’s Day Celebration tour organised by Petr Pandula) exists since 1974, and is the oldest of the German Celtic Folk Festival tours. The Festival has yet presented 18 tours (in a couple of years the tour did not take place); since 1988 it has taken place every year again. All in all, 145 different musicians (from Ireland, along with a few from the United States, Scotland, England and Brittany) have participated, and 427 concerts have taken place in 100 different towns. Nearly half a million visitors have come to the tours, mainly in Germany, with sometimes extensions to Switzerland, Austria or Denmark. Over the 25 years, the size of the festival tour has stayed always quite at the same level: Mostly ca. three weeks long, with between 13 and 17 musicians, and concerts with an average 1.000 head audience. These 1.000 visitors per evening were needed as soon as – after a few wild first tours – the festival became more musician-friendly, with a chartered tour bus with driver and accommodation in single rooms in hotels. Both organisers, Carsten Linde and Axel Schuldes, have a permanent job since a long time, and do the festival tour parallely more as a hobby.

TourPoster1974.jpg

Tour Poster 1974

The whole story started in the early 70s when Carsten Linde discovered the Furey brothers, after having been an important person in the German folk scene already in the 60s promoting American folk music. He was impressed by them, and thought that this kind of music should be brought to a bigger audience than just the back rooms of pubs. These thoughts resulted in the first Irish Folk Festival Tour in May 1974, which was quite a Furey invasion, with Eddie, Finbar, George Paul and father Ted, joined by Davey Arthur and Bobby Clancy representing the emigrated Irish. The second festival presented again several Fureys, but also Clannad and Micho Russell. “The idea of combining a festival and a tour was new, and that has been and is still one of the reasons of the success of the IFF.”

Today, the Irish Folk Festival has the reputation as one of Europe’s most important tours for Irish Folk music. What rank does it have today for Irish Music? Thinks Axel, “I hope quite the same as it had right from the start, which is defined by the intention of the festival. The Irish Folk Festival has never wanted to be a trend setter; it never wanted to define what is important in the Irish Folk Scene. It always tried to be a reflection, a micro cosmos of what is happening in the Celtic scene in Ireland.” Still, the organisers were often very much in time with the Irish scene; a good example being that Clannad played as a brand new band on the second Irish Folk Festival in 1975.

IrishFolkFestival.jpg

Seamus Creagh with Aidan Colley; photo by Sean Laffey The importance of the maxim to reflect the current scene in Ireland is also represented in the break of the IFF between 1982 and 1987. “The scene not only in Germany was at a low point – mainly because of ‚overfeeding’ with too much poor quality music from Ireland -, simultaneously in Ireland there did not happen very much. So we were consistent and stopped the tour for some years. Until in the mid-eighties, with Moving Hearts, new life was breathed into the scene. The scene simply had to regenerate a bit after the huge boom in the 70s. When the Irish tree was in full bloom once again in the end of the 80s, the Irish Folk Festival tour came back in 1988.” (folkworld.de)

Booklet01A

And here is a sampler (all songs were recorded in the studio) to promote the Irish Folk Festival in 1996 … all tunes are beautiful … and if you love and like this very unique Irish Folk (like me), than you have to listen !

BackCover1

Personnel:

Reel Time:
Eilis Egan (accordion)
Mairin Fahy (fiddle, vocals, tin whistle)
Yvonne Fahy (percussion)
Benny Heyes (keyboards)
Chris Kelly (guitar)

Maire Breatnach Band:
Maire Breatnach (fiddle, viola, keyboards)
Conor Byrne (flute, tin whistle)
Alan Connaughton (guitar)
Steve Dunford (bodhran)

Conor Keane & Kevin Griffin:
Kevin Griffin (banjo)
Conor Keane (accordion)

Sean Tyrrell:
Sean Tyrrell (vocals, mandola, mandolin, guitar, bass)

Booklet02A

Tracklist:
01. Reeltime: The Bridge Across The Atlantic (Traditional) 3.38
02. Reeltime: Buachaill On Eírne (Traditional) 4.28
03. Maire Breatnach Band: The Monaghan Twig / Jenny’s Chickens (Traditional) 2.18
04. Conor Keane & Kevin Griffin: Cooley’s Hornpipe / The Fairy Queen (O’Brien/ Traditional) 4.38
05. Maire Breatnach Band: Taimse Im Chodladh (Traditional) 4.24
06. Sean Tyrrell: The Moon Behind The Hill (Traditional) 4.00
07. Conor Keane & Kevin Griffin: The New Mown Meadow / The Dublin Reel / The Steampacket (Traditional) 4.12
08. Maire Breatnach Band: Nead Ná Lachan / Mall Rua (Traditional) 2.57
09. Sean Tyrrell: Lady My Love (Traditional) 3.21
10. Kevin Griffin: Two Barndances (Traditional) 4.44
11. Reeltime: The Trip To Germany (Traditional) 3.03
12. Conor Keane: The Jig Of Slurrs / Páidín O’Raifeartaigh (Traditional) 4.17
13. Sean Tyrrell: I Am A Rover (Traditional) 7.30

CD1

*
**

WithLove

Still alive and well:

IrishFolkFestival2

A Canorous Quintet – Silence Of A World Beyond (1996)

FrontCover1.jpgAn extremely underlooked Melodic Death Metal Record. If you like this genre, this is a must listen.

The sound of another world so dark and grim. Across the deep murky waters in the midnight fog is where you are headed. Melodic Death Metal at some of its finest. A Canorous Quintets Silence of the World Beyond is another under looked melodeath record, everything good about the genre packed into a solid well written and executed record.

First off this record never lets up and never gets stale. They keep things dynamic yet don’t try to get overly flashy. You’ve got plenty of blazing tremolo riffs, sorrowful leads and brutal drums. A Canorous Quintet knows how to keep the songs moving in the right directions and never get lost. The drums are quite impressive, Fredrik Andersson pulls everything he knows out. A big part of what keeps everything dynamic in this record is his performance, from blast beats, to some catchy double peddle action and fills. Fredrik doesn’t back down and let the rest of the music leave him in the dust. The only issue is the lower end of this record can get slightly lost behind the guitars, but it doesn’t get to bad. The vocals from Mårten Hansen are no sinker either. While nothing really unique, he can let his brutal lows fire into a black metal style higher pitched scream which he does mostly throughout the record. But hes always making sure to fit perfectly with whats going on in the song.

A Canorous Quintet01

Nothing like plain old good riffs. The writing is immensely impressive, for a band that stays in the higher parts of the frets, they never lose their brutal side. Finding different and unique ways to reach a brutal state. Fast picking and soaring leads blasting from every angle. With the drums they make perfect harmony with each other. But its not all heavy, they manage to fit in some dreamy dark acoustic guitars on a couple songs. Even if its just for a couple seconds, they almost let you breathe. Other than the gloomy moody intro which goes on a little longer in The Orchids Sleep, which launches perfectly back in the tremoloing blazing leads.

A Canorous Quintet02

I just simply think the right people got together, they knew there instruments and what they wanted. They just played there ***ing hearts out and made a catchy and heavy Melodic Death Metal with a unique tone and plenty of things to offer. If you even slightly like this genre, this might be worth checking out. But if you are a die-hard fan of this genre this is a must listen. (by Fluttertrank)

Attention: This is an extremly heavy metal album from Sweden … and definitely not the genre I love …

BackCover1.jpg

Personnel:
Fredrik Andersson (drums)
Mårten Hansen (vocals)
Jesper Löfgren (bass)
Linus Nirbrant (guitar)
Leo Pignon (guitar)

Booklet

Tracklist:
01. Silence Of The World Beyond 4.39
02. Naked With Open Eyes 4.06
03. Spellbound 3.46
04. The Orchid’s Sleep 6.22
05. The Black Spiral 4.09
06. The Last Journey 2.49
07. In The Twilight Of Fear 5.40
08. Burning, Emotionless 5.42
09. Dream Reality 4.51

All songs written by: Fredrik Andersson – Mårten Hansen – Jesper Löfgren – Linus Nirbrant – Leo Pignon

CD1.jpg

*
**

MC2

Al Di Meola – Al Di Meola Plays Piazzolla (1996)

FrontCover1.jpgDi Meola Plays Piazzolla is an album by Al Di Meola which is a tribute to Argentinian composer Ástor Piazzolla. Eight of the ten songs were written by Piazzolla. Di Meola is accompanied by percussionist Arto Tuncboyacian and Dino Saluzzi, who plays bandoneon. Vince Mendoza provided some of the string arrangements. (by wikipedia)

Latin music has been a strong influence on Al Di Meola since his early years, and in the ’90s, he paid especially close attention to the music of Argentina. A welcome addition to his already impressive catalog, Di Meola Plays Piazzolla pays homage to the late Argentine tango master Astor Piazzolla (whose distinctive and very poetic brand of romanticism was considered quite daring and radical in Argentina). It would have been easy for an artist to allow his own personality to become obscured when saluting Piazzolla’s legacy, but the charismatic Di Meola is too great an improviser to let that happen. Though his reverence for Piazzolla comes through loud and clear on these haunting classics, there’s no mistaking the fact that this is very much an Al Di Meola project. (by Alex Henderson)

Booklet01A

Allthough this is Al Di Meola playing Piazzolla´s compositions in his style, and not Al Di Meola´s own compositions, don´t be afraid to try out this album as it is close to his work on the World Sinfonia albums, especially Heart of the Immigrants where four of the songs from Al Di Meola plays Piazzolla are also featured: Night Club 1960, Tango II, Bordel 1900 and the beautiful Milonga del Angel.

Piazolla is most known for playing complicated tango compositions on his bandoneón which included jazz and classical influences. He is widely considered as the creator of the music genre Nuevo Tango. This means that it is not your traditional tango on display here. The music on this album is very complicated but at the same time mellow and almost easy listening ( Not in a bad way though).

The production is worth mentioning too, as it is flawless and a real pleasure to listen to. (by Umur)

BackCover1.jpg

Personnel:
Chris Carrington (guitar)
Al Di Meola (guitar, pandean pipe, vocals, percussion)
Gumbi Ortiz (percussion)
Hernan Romero (keyboards, charango, vocals)
Dino Saluzzi (bandoneon)
Arto Tunçboyacıyan (percussion, vocals)

Booklet05
Tracklist:
01. Oblivión (Piazzolla) 6.04
02. Café 1930 (Piazzolla) 6.16
03. Tango Suite, Pt. I (Piazzolla) 8.49
04. Tango Suite, Pt. III (Piazzolla) 8.51
05. Verano Reflections (Piazzolla/Di Meola) 4.13
06. Night Club 1960 (Piazzolla) 5.50
07. Tango II (Piazzolla) 5.36
08. Bordel 1900 (Piazzolla) 4.33
09. Milonga del Angel (Piazzolla) 3.48
10. Last Tango For Astor (Di Meola) 6.18

CD1

*
**

Booklet04A

Allen Ginsberg – The Ballad Of The Skeletons (1996)

FrontCover1.jpg

Throughout his long career, Allen Ginsberg was keenly aware of the power of music—and an association with generationally key musicians, like Bob Dylan and The Clash—as the candy-coated bullet to see his poetry and ideas for social and political transformation reach the younger generation.

“The Ballad Of The Skeletons” with Philip Glass, Lenny Kaye, session guitarist David Mansfield, Marc Ribot and Paul McCartney (on organ, maracas and drums) was Ginsberg’s final 1996 release and in many ways, it’s probably the best of his recorded work. Even at nearly 8-minutes in length, the number never never gets dull—well with a backing band like that one…—as Ginsberg voices the lines of 66 skeletons representing American culture and hegemony. The poem was first published in the pages of The Nation in 1995.

Allen Ginsberg was an unlikely MTV star. In late 1996 the Beat poet was 70 years old and in declining health. He had less than a year to live. But Ginsberg managed to stay culturally and politically relevant, right up to the end. His last major project was a collaboration with Paul McCartney and Philip Glass, among others, on a musical adaptation of his poem, “The Ballad of the Skeletons.”

Sticker.jpgThe poem was first published in 1995. The American political climate from which it arose bears a striking resemblance to the one we’re living in today. “I started it,” Ginsberg told Harvey Kubernik of The Los Angeles Times in 1996, “because [of] all that inflated bull about the family values, the ‘contract with America,’ Newt Gingrich and all the loudmouth stuff on talk radio, and Rush Limbaugh and all those other guys. It seemed obnoxious and stupid and kind of sub-contradictory, so I figured I’d write a poem to knock it out of the ring.”

The skeletal imagery was inspired by the Mexican holiday, the Day of the Dead, and takes a playful poke at the vanity of human desires. “It’s an old trick,” Ginsberg told Steve Silberman in a 1996 interview for HotWired, “to dress up archetypal characters as skeletons: the bishop, the Pope, the President, the police chief. There’s a Mexican painter–Posada–who does exactly that.”

In October of 1995, Ginsberg visited Paul McCartney and his family at their home in England. He recited “The Ballad of the Skeletons while one of McCartney’s daughters filmed it. As Ginsberg recalled to Silberman, he mentioned that he had to give a reading with Anne Waldman and other poets at the Royal Albert Hall, and was looking for a guitarist to accompany him. “Why don’t you try me,” McCartney said. “I love the poem.” Ginsberg continued the story:

GinsbergMcCarrtney.jpg

He showed up at 5 p.m. for the sound check, and he bought a box for his family. Got all his kids together, four of them, and his wife, and he sat through the whole evening of poetry, and we didn’t say who my accompanist was going to be. We introduced him at the end of the evening, and then the roar went up on the floor of the Albert Hall, and we knocked out the song. He said if I ever got around to recording it, let him know. So he volunteered, and we made a basic track, and sent it to him, on 24 tracks, and he added maracas and drums, which it needed. It gave it a skeleton, gave it a shape. And also organ, he was trying to get that effect of Al Kooper on the early Dylan. And guitar, so he put a lot of work in on that. And then we got it back just in time for Philip Glass to fill in his arpeggios on piano.

The recording was produced by Lenny Kaye, guitarist for the Patti Smith Group, who had put together a group of musicians for a performance of the song at a Tibet House benefit in April of 1996. One member of the audience that night was Danny Goldberg, president of Mercury Records and a fan of Ginsberg. He invited the poet to record the song, and it all came together quickly. In a 1997 article in Tikkun, Goldberg remembered Ginsberg’s giddiness over the project: “He loved that Paul McCartney had overdubbed drums on ‘Skeletons.’ He said, ‘It’s the closest I’m going to ever come to being in the Beatles,’ and giggled like a teenager.”

BookletBackCover.jpg

The recording features Ginsberg on vocals, Glass on keyboards, McCartney on guitar, drums, Hammond organ and maracas, Kaye on bass, Marc Ribot on guitar and David Mansfield on Guitar. Mercury released the song as a CD single in two versions, including one with the language sanitized for radio and television. The “B side” was a recording of Ginsberg’s “New Stanzas for Amazing Grace” that did not include McCartney or Glass. The next step was to create a video. As Goldberg recalled, Ginsberg knew an opportunity when he saw one:

When Tom Freston, the CEO of MTV, bought five of Allen’s photos, Ginsberg promptly called me, not too subtly implying that if Mercury would fund production of a video, we might be able to get on MTV. Allen had an unerring instinct of how to mobilize his mystique for those who were interested. He regaled Freston with stories of the beatniks one night at our house, which made it almost impossible for MTV to reject his video despite the fact that he was decades older than typical MTV artists and audience members.

A political satire of both generations, “Skeletons” received highly pubicized and much-coveted “buzz bin” rotation on MTV in the weeks before the last election–to the consternation of other record companies who were submitting artists with more conventional credentials. This made Allen the only seventy-year-old besides Tony Bennett to ever be played on MTV.

The video was directed by Gus Van Sant, who had ties to surviving members of the Beat generation. Van Sant had directed William S. Burroughs in the film Drugstore Cowboy, and had made short films–Thanksgiving Prayer and The Discipline of DE– based on writing by Burroughs. Ginsberg was happy with Van Sant’s work, despite a tight filming budget. “It’s a great collage,” Ginsberg told Silberman. “He went back to old Pathé, Satan skeletons, and mixed them up with Rush Limbaugh, and Dole, and the local politicians, Newt Gingrich, and the President. And mixed those up with the atom bomb, when I talk about the electric chair– ‘Hey, what’s cookin?’–you got Satan setting off an atom bomb, and I’m trembling with a USA hat on, the Uncle Sam hat on. So it’s quite a production, it’s fun.”

What a great statement !

BackCover1.jpg

Personnel:
Allen Ginsberg (vocals)
Philip Glass (keyboards)
Lenny Kaye (bass)
David Mansfield (guitar)
Paul McCartney (guitar, organ, drums, maracas)
Marc Ribot (guitar)

Booklet.jpg

Tracklist:
01. The Ballad Of The Skeletons (Ginsberg/Glass/McCartney) 7.48
02. The Ballad Of The Skeletons (Edit) (Ginsberg/Glass/McCartney)
03. Amazing Grace (Traditional) 2.51
04. The Ballad Of The Skeletons (Clean) (Ginsberg/Glass/McCartney) 7.49

CD1.jpg

*
**

Said the presidential skeleton
i won’t sign the bill
said the speaker skeleton
yes you will
Said the representative skeleton
i object
said the supreme court skeleton
whaddya expect
Said the miltary skeleton
buy star bombs
said the upperclass skeleton
starve unmarried moms
Said the yahoo skeleton
stop dirty art
said the right wing skeleton
forget about yr heart
Said the gnostic skeleton
the human form’s divine
said the moral majority skeleton
no it’s not it’s mine
Said the buddha skeleton
compassion is wealth
said the corporate skeleton
it’s bad for your health
Said the old christ skeleton
care for the poor
said the son of god skeleton
aids needs cure
Said the homophobe skeleton
gay folk suck
said the heritage policy skeleton
blacks’re outa luck
Said the macho skeleton
women in their place
said the fundamentalist skeleton
increase human race
Said the right-to-life skeleton
foetus has a soul
said pro choice skeleton
shove it up your hole
Said the downsized skeleton
robots got my job
said the tough-on-crime skeleton
tear gas the mob
Said the governor skeleton
cut school lunch
said the mayor skeleton
eat the budget crunch
Said the neo conservative skeleton
homeless off the street!
said the free market skeleton
use ’em up for meat
Said the think tank skeleton
free market’s the way
said the saving & loan skeleton
make the state pay
Said the chrysler skeleton
pay for you & me
said the nuke power skeleton
& me & me & me
Said the ecologic skeleton
keep skies blue
said the multinational skeleton
what’s it worth to you?
Said the nafta skeleton
get rich, free trade,
said the maquiladora skeleton
sweat shops, low paid
Said the rich gatt skeleton
one world, high tech
said the underclass skeleton
get it in the neck
Said the world bank skeleton
cut down your trees
said the i.m.f. skeleton
buy american cheese
Said the underdeveloped skeleton
we want rice
said developed nations’ skeleton
sell your bones for dice
Said the ayatollah skeleton
die writer die
said joe stalin’s skeleton
that’s no lie
Said the middle kingdom skeleton
we swallowed tibet
said the dalai lama skeleton
indigestion’s whatcha get

said the world chorus skeleton
that’s their fate
said the u.s.a. skeleton
gotta save kuwait
Said the petrochemical skeleton
roar bombers roar!
said the psychedelic skeleton
smoke a dinosaur
Said nancy’s skeleton
just say no
said the rasta skeleton
blow nancy blow
Said demagogue skeleton
don’t smoke pot
said alcoholic skeleton
let your liver rot
Said the junkie skeleton
can’t we get a fix?
said the big brother skeleton
jail the dirty pricks
Said the mirror skeleton
hey good looking
said the electric chair skeleton
hey what’s cooking?
Said the talkshow skeleton
fuck you in the face
said the family values skeleton
my family values mace
Said the ny times skeleton
that’s not fit to print
said the cia skeleton
cantcha take a hint?
Said the network skeleton
believe my lies
said the advertising skeleton
don’t get wise!
Said the media skeleton
believe you me
said the couch-potato skeleton
what me worry?
Said the tv skeleton
eat sound bites
said the newscast skeleton
that’s all goodnight

Patti Smith – Divine Intervention (1996)

FrontCover1.jpgThrough most of the 1980s Smith was in semi-retirement from music, living with her family north of Detroit in St. Clair Shores, Michigan. In June 1988, she released the album Dream of Life, which included the song “People Have the Power”. Fred Smith died on November 4, 1994, of a heart attack. Shortly afterward, Patti faced the unexpected death of her brother Todd.

When her son Jackson turned 14, Smith decided to move back to New York. After the impact of these deaths, her friends Michael Stipe of R.E.M. and Allen Ginsberg (whom she had known since her early years in New York) urged her to go back out on the road. She toured briefly with Bob Dylan in December 1995 (chronicled in a book of photographs by Stipe).[19]
1996–2003: Re-emergence
In 1996, Smith worked with her long-time colleagues to record Gone Again, featuring “About a Boy”, a tribute to Kurt Cobain. That same year she collaborated with Stipe on “E-Bow the Letter”, a song on R.E.M.’s New Adventures in Hi-Fi, which she has also performed live with the band. After the release of Gone Again, Patti Smith went on tour …

PattiSmithRoskilde1996_01.jpg

… And this was the first Patti Smith concert in Europe since the seventies. This concert was in the summer of 1996 at the annual Roskilde Festival in Denmark and followed the release of the album, ‘Gone Again’.

This is an audience recording of Patti Smith … Great show and excellent sound quality, except for some distortion in the bass.

SmithKaye.jpg

Personnel:
Jay Dee Daugherty (drums)
Lenny Kaye (guitar, background vocals)
Oliver Ray (guitar)
Tony Shanahan (bass, background vocals)
Patti Smith (vocals, guitar)

BackCover

Tracklist:
01. About A Boy (P.Smith) 7.40
02. Because The Night (Smith/Springsteen) 4.14
03. Beneath The Southern Cross (P.Smith/Kaye) 5.15
04. Dancing Barefoot (P.Smith/Kral) 6.30
05. Free Money (P.Smith/Kaye) 5.55
06. Gone Again (P.Smith/F.Smith) 5.55
07. Land/Rock N Roll Nigger (Kenner/Dominoe/P.Smith/Kaye) 8.37
08. People Have The Power (P.Smith/F.Smith) 2.10
09. Redondo Beach (P.Smith/Sohl/Kaye) 4.09
10. Summer Cannibals (P.Smith/F.Smith) 4.30
11. Walkin Blind (Ray) 6.35
12. Wicked Messenger (Dylan) 4.49
13. Wild Leaves (P.Smith/F.Smith) 4.04

PattiSmithRoskilde1996_03

*
**

More Patti Smith:

More.jpg

Gillian Welch and David Rawlings – Nobody Sings Dylan Like Gill ‘n’ Dave (2019)

FrontCover1.jpgIf you saw Gillian Welch and David Rawlings on the Oscars this year, you know they’re amazing. You may not know they are also amazing interpreters of a certain Nobel Prize-winning singer-songwriter. They were featured often on my 40-volume Dylan cover collection “Nobody Sings Dylan Like Dylan,” but when I heard that the Dave Rawlings Machine had covered “Lily, Rosemary and the Jack of Hearts” at a San Francisco concert last year – opening the show with the first half of the song, and closing it with the second half – I decided it was time to give them their own NSD collection. A year later, here it is.

As always, thanks to the tapers – they are the true heroes of the ROIO world – and to Gill and Dave for daring to test their mettle on these incomparable songs. As you might remember, in the summer of 2015 Gill ‘n’ Dave did a 50th anniversary tribute at the Newport Folk Festival to the historic show at which Dylan first plugged in. Surprisingly, it has never turned up on any of the download sites I frequent, though there is a barely listenable/watchable version on YouTube. If you have a better version to offer, please do; if you don’t want to bother with the nuts and bolts of uploading, let me know and I’ll do it for you.

A few of these songs are featured on other NSD sets, but these are different versions. Finally, please allow me to dedicate this collection to my friend and fellow Dylan fan Erik, who first introduced me to Gill ‘n’ Dave’s music in 1996 by giving me a copy of “Revival” and telling me I’d love it. I did, and I still do. (jeffs98119 at dime)

Various dates and venues. Mix of audience and soundboard recordings
between 1996 and 2018

WelchRawlings01.jpg
Dave Rawlings & Gillian Welch (Oscar 2019)

Personnel:
Dave Rawlings Machine (on 01., 03., 05., 07., 11. + 13.)
The Esquires (on 02. + 09.)
Gillian Welch & David Rawlings (on 04., 06., 08., 10. + 12.)

BackCover1.jpg

Tracklist:
01. Lily, Rosemary, and the Jack of Hearts (1) (Mar 1, 2018, Fillmore, San Francisco, CA) 7.36
02. Gotta Serve Somebody (Sep 27, 1999, Radio Cafe, Nashville, TN) 7.31
03. I’ll Be Your Baby Tonight (Oct 4, 2007, Tangier Restaurant, Los Angeles, CA) 5.00
04. I Dreamed I Saw St Augustine (Aug 21, 1996, Acoustic Coffee House, Nederland, CO) 3.42
05. As I Went Out One Morning (Sep 24, 2014, Moore Theatre, Seattle, WA) 5.32
06. Billy (Nov 18, 1998, Off Broadway, St. Louis, MO) 6.13
07. Oh, Sister (Mar 8, 2018, McDonald Theater, Eugene, OR) 5.10
08. Goin’ to Acapulco (Oct 13, 2004, McDonald Theatre, Eugene, OR) 5.53
09. Quinn The Eskimo (Sep 27, 1999, Radio Cafe, Nashville, TN) 3.29
10. Odds And Ends (Aug 2004, WXPN Studios/World Café session, Philadelphia, PA) 2.58
11. Queen Jane Approximately (Jun 20, 2014, Town Park, Telluride, CO) 10.28
12. Mr Tambourine Man (Oct 3, 2015, Golden Gate Park, San Francisco, CA) 6.07
13. Lily, Rosemary, and the Jack of Hearts 2 (Mar 1, 2018, Fillmore, San Francisco, CA) 5.05

All songs written by Bob Dylan

WelchRawlings02.jpg

*
**