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

Dave Rawlings & Gillian Welch (Oscar 2019)

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.)


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



Sonya Varoujian – Seven (1998)

FrontCover1.jpgSonya Varoujian has been involved in music from a very early age. Sonya plays guitar,oud, keyboard, sings, and composes her own music and lyrics in both Armenian and English. Her music is an expression of the soul – a celebration of life, love, and homeland. She believes music is a gateway that allows people to share and experience truth and emotions that are normally left untapped.

During her formative years Sonya achieved numerous awards and recognition for her singing such as being selected in the New York All-State Choir. She has performed in Select Ensembles as well as in Armenian choirs under the direction of Jean Almouhian, the maestro of the Arax Argentinian Armenian Choir.

At an early age Sonya was inspired by folk vocalists such as Joan Baez and as a result learned to play the guitar at the age of 15. She recorded her first album entitled “All in All” which is a compilation of original songs with guitar and keyboard in London in 1991. Sonya expresses her love for life, nature, and human relationship in her music. Her songs are courageous, honest, and earthy. She formed her first band “Raindance” in London 1993 where she increased her repertoire and worked with musicians from Portugal and Thailand.

Sonya Varoujian1

In 1998 Sonya recorded her 2nd CD entitled “Seven” at Vapor Studios in NYC. At this time she worked with 5 other musicians Oshin Baroyan (producer and keyboardist), Steve Brien (Drums), Hallgrim Bratberg (Lead guitar), Rob Zion (Bass Guitar), and Jessica Hope (Backing Vocals). She regularly performed in the New York City circuit in such venues as CB’s Gallery, Mercury Lounge, The Bottom Line, and The Elbow Room. At this time she developed a good following and fan base and was also invited to play the Armenian American Music Festival in Long Island where for the first time she experimented with fusing her English band with authentic Middle Eastern instruments and collaborated with Michael Gostanian (Qanun), Haik Buchakjian (Oud), and Nshan Akgulian (Dumbek). She was also invited to participate in the PBS documentary the Armenian Americans along with celebrities such as Andre Agasse and Eric Boghosian.

Sonya Varoujian2

Following her success with “Seven” Sonya then recorded her third album entitled “Confession” in 2000 and continued to play venues in NYC and received many positive reviews and write ups in publications such as New York Newsday, Good Times Magazine, Stubble, Instant Magazine, Spill Magazine and the Armenian Reporter. Her songs also aired on radio stations such as WDRE 92.7 and WHRU 88.7.

In April 2006 Sonya went to Armenia and record her 4th CD entitled “Janapar” which composes of 12 original Armenian songs. Composer Narine Zarifyan wrote arrangements for her songs and Sonya collaborated with some of Armenia’s most talented musicians such as Hagop Jaghaspanyan (Guitar), Levon Tevanyan (Shvi), Armen Grigoryan (Duduk), Eduard Hartunyan (Percussion), Artyom Manukyan (Cello), Nelly Manoukyan (Flute), Linos String Quartet, Mary Vardanyan (Qanun) and others…

Sonya Varoujian3

The result spectacularly brings together her European roots and Armenian descent as Celtic-like haunting melodies together with the Armenian spirit merge into something truly beautiful. Her songs are about life, love, the village in which she volunteered in in Armenia in 2005, Armenia, and her return to her ancestral homeland. Sonya has since performed at the Golden Guitar Music Festival in July 2006 in Yerevan and has also given 3 solo concerts in Yerevan (1 in July 2006 and 2 in October 2006) in which she has performed both her Armenian and English songs. Her concerts have all sold out and as a result she has been invited to numerous television interviews and programs and has had further reviews in journals like “Afisha”, Armenia Now, and Yerevan Weekly. Her music also gets regular airplay on Armenian radio stations worldwide. (by


Website (now deleted)

And this is her scond album:

“Lead singer Sonya Varoujian has an elegant voice that does a great job of projecting her songs. Her mellow yet powerful tone would leave most listeners extremely impressed.” (Good Times)

“Sonya is a born entertainer who captures her audience with her catchy melodies, meaningful lyrics and incredibly passionate performance.” (Manhasset Press)

“Sometimes the letter grades above these reviews aren’t enough. For Seven, there should be a fourth category: atmosphere. It would get an A+…Seven creates a lush sound over which Sonya Varoujian’s voice soars. It is like aural aromatherapy.” (New York Newsday)

Sonya Varoujian6.jpg

“Seven is Sonya Varoujian and her evident talents are a promising treat for this constantly changing music business. This girl is strong and independent and there is always room for someone who clearly sings from the heart.” (Instant Magazine)

June 1999 –  “Sonya is a promising and talented artist and it wouldn’t surprise me in the least to find her making a fine career out of doing what she loves.” (Spill Magazine)

And yes, this is a very special, a very unique album. a very intimae album … a lost treasure in the history of folk music.


Oshin Baroyan (keyboards)
Hallgrim Bratberg (guitar)
Steve Brien (drums)
Sonya Varoujian (vocals, guitar)
Rob Zion (bass)
Eric Presti (guitar on 02. + 07.)
Carlos Savetman (guitar on 01., 04. – 06.)
Jessica Hope (background vocals)


01. Reality 3.29
02. Straight To Somewhere 3.38
03. Remember 3.33
04. Strange 3.12
05. Pleasure 3.20
06. Knowing In The End 5.04
07. Cram 2.58
08. Home 5.28



After 2017 the traces of this artist get lost und it is unknown where she is now …

Sonya Varoujian … where are you now ?

Sonya Varoujian4.jpg

Michael Atherton – Ankh – The Sound Of Ancient Egypt (1998)

FrontCover1Hi, back from Egypt I will present a wonderful piece of music, wirtten by Michael Atherton:

Emeritus Professor Michael Atherton (nee Jones) AM is an Australian musician, composer, academic and author (born 17 February 1950). Michael Atherton was born in Liverpool, England, of Irish, Welsh and German descent – eldest of five children. His family migrated from England to Australia in 1965 first living in Bunnerong Migrant Hostel, NSW, where he taught himself to play guitar, formed bands and played football with friends of British, Greek and Italian background.

Atherton (nee Jones) attended Sir John Deane’s Grammar School in Northwich, England (1962–65). Following arrival in Australia he attended Matraville High (1965–66) then Randwick Boys High (1967), completing his matriculation via the School of Correspondence Studies while working as an office boy at the Boral Oil Refinery, Matraville. Atherton studied at the University of NSW, achieving a Bachelor of Arts with Honours (1973) followed by a Master of Arts with Honours in 1977. He studied music at the University of Sydney (1977-77) and the University of New England (1986-7), majoring in ethnomusicology. Awarded PhD by the University of Technology Sydney (2017).

In 1993 Atherton was appointed Foundation Professor of Music at Western Sydney University. He built a teaching and research department that focused on Australian expressions. Subsequently, in 2001 he was appointed inaugural head of the School of Contemporary Arts (Music, Theatre, Dance, Fine Arts & Electronic Arts). Following a University restructure to a college based system, he was appointed Associate Dean of the College of Arts and Social Sciences, responsible for the research portfolio.

Michael Atherton5A

Atherton’s postgraduate supervision included sixteen successful doctorates in diverse fields of musical enquiry including, performance, cross-cultural composition, music therapy, ethnomusicology, and music for the screen. Atherton pioneered creative music therapy in adolescence, working at Rivendell (1978–80) with Professor Dame Marie Bashir. He played ‘world’ music in Sirocco (1980-6).

Atherton is a composer and performer with broad experience in music for the concert hall, film, television and radio. He toured extensively throughout Asia, Europe, USA and Canada with Sirocco, the Atherton TableBand, and Southern Crossings, supported by Music Viva Australia. He has made numerous CD recordings, documentary film scores Michael Atherton3and television themes, including the station music for TVS. Atherton played with the Renaissance Players (1974-1981), Southern Crossings Ensemble (1986-1993) and is currently a member of SynC, an electroacoustic duo. Performance highlights include the Aurora Festival 2008; New Interfaces for Musical Expression (NIME) opening concert, New York, June 2007; and NIME/Agora Resonances, Paris, 2006.

Atherton AM (Medal of the Order of Australia, awarded for services to music education and society) is an elected fellow (FRSA) of the Royal Society of Arts, Manufactures and Commerce. He was awarded an Australian Centenary Medal (2003) by Prime Minister John Howard for service to the community. He achieved a high commendation for research training and supervision in the Vice Chancellor’s Awards for Excellence at Western Sydney University (2008). In 2012, Western Sydney University honoured him with the title, Emeritus Professor, for his distinguished contribution to teaching and research in the field of music and service to the University over many years. Atherton led the establishment of a music therapy clinic and teaching facility at Kinsgwood, NSW. In 2011 he was officially acknowledged by Nordoff-Robbins Music Therapy and the music industry for leadership and support.
Personal life

Michael Atherton2Atherton is married to early childhood teaching specialist, Catherine Atherton. He has a son and a daughter from his first wife, Rosalind Croucher, and a son with Catherine Atherton.

Atherton is considered a leading expert in Australian made musical instruments and sound producing objects in Oceania. He authored the groundbreaking book Australian Made, Australian Played (1990) and was the contributing curatorial editor for Sounds Unlimited: building the instruments (2003). Music of the Spirit: Asian-Pacific Musical Identity was published in 2009, and Musical Instruments and Sound-Producing Objects of Oceania was published in 2010. A Coveted Possession: the rise and fall of the piano on Australi. (by wikipedia)

The catalyst for Ankh: The Sound of Ancient Egypt was an exhibition—Life and Death in the Land of the Pharaohs, developed by the National Museum of Antiquities in Leiden, The Netherlands. The exhibition came to the Australian Museum in 1998. It provided the challenge of producing a creative reconstruction of ancient Egyptian music and the inspiration for a longer term research project.

The first stage of the project began with a response to the contents of the exhibition itself, followed by a delving into the ever-increasing output of Egyptological scholarship, to establish a broader musical context. The big questions loomed large: what did the music sound like? How were the instruments tuned? Was the music polyphonic? One must proceed by conjecture and deduction, using the literary and visual record in conjunction with an examination of surving instruments. The answers remain elusive, mainly gleaned from instruments housed in museums, along with iconographic and literary evidence. There is no surviving music notation, nor any musical theory which might instruct one about pitch, rhythm and timbre.

Michael Atherton4

In approaching the composition and performance of the music, Michael Atherton drew on his experience in playing medieval monophony, eastern European and Turkish folk music, as well as his participation in intercultural music projects.

Atherton primarily uses 5, 6, and 7 note scales based on specific pitches, resulting in a combination of Moroccan ramal mai mode and Persian afshari. He also gravitates toward pentatonic scales and major modes. The melodies move in small steps. The setting of the hymns is monophonic, with the inclusion of call and response development. Sung items include interpolated recitations, as a means of acknowledging a deep connection between lanuguage and music.

Ankh: The Sound of Ancient Egypt is a contribution to giving a voice to the vivid images of a dynamic musical culture. (by

Ancient Egypt1

The concept for this album came when composer/multi-instrumentalist Michael Atherton was commissioned to produce a creative reconstruction of ancient Egyptian music for an exhibition at the Australian Museum. Atherton took it one step further, pursuing a long-term research project of which this entrancing CD is the result. By studying literary and visual records as well as surviving artifacts, he began to get an idea of which instruments had been used in ancient Egypt, then approached the compositions by drawing on his experience with medieval monophony, Eastern European and Turkish folk music, and a variety of intercultural projects. Scholarly though all this may sound, the music on Ankh teems with mystical passion, with hypnotic melodies that wrap you in their webs and won’t let go. Is it authentic? Who knows? But it’s definitely effective. (by by Bret Love)

Enjoy the magic of this very rare and beautiful sounds, recorded by a real master of world music !


Michael Atherton (all instruments, vocals)
Mary Demovic (vocals)
Greg Hebblewhite (trumpet)
Mina Kanaridas (vocals)
Philip South (percussion)
background vocals:
Angela Shrimpton – Hasan Shanal – Maria Campbell – Stephen Clark


Atum (Creator Sungod):
01. Song 1.10
02. Instrumental (Harp, Undongo) 6.47
03. Instrumental (Bendir, Tapan) 3.19
04. Instrumental (Sistrum Ensemble, Voice) 1.16
05. Instrumental (Arghul) 3.46

Maat (Truth, Balance, Order):
06. Song (Voice, Sistrum, Tapan, Puk) + Instrumental (Egyptian Trumpet, Barrel Drums, Puk, Cymbals) 3.36
07. Instrumental (Boat-shaped Harp, Rewap) 3.38
08. Intrumental (Nay) 4.01
09. Instrumental (Double-reed Pipes, Gaval, Riq) 4.30

Khet (The Physical Body):
10. Song (Voice, Modified Oud, Crotala, Hand Claps, Papyrus) 1.46
11. Instrumental (Bamboo Flute, Tar) 6.27
12. Instrumental (Boat-shaped Harp) 5.01
13. Instrumental (Voices, Rewap, Arghul, Trigon, Riq, Bendir, Hand Claps) 2.09

Shen (Eternity):
14. Instrumental (Sistrum, Clapper Bells, Pellet Bells, Crotala, Cymbals) 2.15
15. Instrumental (Rewap, Riq, Gaval) 4.33
16. Song (Voices, Boat-shaped Harp, Trigon, Sistrum) 5.02
17. Instrumental (Nay) 2.40

Music composed by Michael Atherton



Ancient Egypt2

Van Morrison, Lonnie Donegan & Chris Barber – The Skiffle Sessions – Live In Belfast (2000)

FrontCover1The Skiffle Sessions – Live In Belfast 1998 is a live album by Northern Irish singer-songwriter Van Morrison, with Lonnie Donegan and Chris Barber, released in 2000 (see 2000 in music). Lonnie Donegan had played with the Chris Barber Jazz Band when he had his first hit with “Rock Island Line”/”John Henry” in 1955. He had been a childhood influence on Van Morrison, who had first performed in his own skiffle band with schoolmates when he was twelve years old in Belfast, Northern Ireland. This was Donegan’s first album in twenty years, reviving his career until his death in 2002.

Recorded on 20 and 21 November 1998 at Whitla Hall, Belfast, Northern Ireland. In 1977, Morrison had discussed recording an album of skiffle music with Dr. John, “because I started off in a skiffle group and there must be millions of other musicians who also began their careers playing that kind of music…” In preparation for this recording, he went to see Donegan perform and invited him to dinner and after a second meeting they arranged to record the sessions live. Dr. John, who was playing in concert in the city’s Ulster Hall the same evening, arrived toward the end of the recording to play piano on the final few tracks. (by wikipedia)


Van Morrison probably chose to give a pair of skiffle concerts in November, 1998 not because he was nostalgic, but because he has genuine love for this music. At least, that’s the impression The Skiffle Sessions gives. It’s a cheerfully old-fashioned yet curiously fresh album. By skipping “Rock Island Line,” the style’s best-known tune, and emphasizing the music’s foundation in American folk, blues, and jazz, they wind up revitalizing skiffle while paying homage to it. Yes, this may be corny at times, yet it’s a clever, diverse record. They delve into blues, letting Barber have a Dixieland trombone solo on “Frankie and Johnny,” invite Dr. John to play some New Orleans on “Goin’ Home” and “Good Morning Blues,” haul out Jimmie Rodgers’ “Muleskinner Blues” and Leadbelly’s “Goodnight Irene,” paying tribute to both country and folk. Only “Don’t You Rock Me Daddio” fits the clichés of skiffle, and here it’s only one side of a rich, generous collection of roots music.


Some might say that this multifaceted approach to skiffle is revisionism, but it isn’t; skiffle itself was a hybrid, drawing from all sorts of American roots music but given an endearing twist by idealist British musicians, who loved the American myth as much as the music. The Skiffle Sessions captures this love of myth and music, while being a hell of a good listen. Morrison’s career has been idiosyncratic and unpredictable, but nothing has been quite as surprising as this. Really, there’s no reason why a skiffle album released in 2000 should be as irresistible as this, but Morrison, Donegan, and Barber bring such heart and love to this music that it’s hard not to be charmed. (by Stephen Thomas Erlewine)


Chris Barber (vocals, trombone, bass)
Lonnie Donegan (vocals, guitar)
Paul Henry (guitar)
Chris Hunt (bass)
Van Morrison (vocals, guitar)
Nick Payne (harmonica, saxophone, background vocals)
Nicky Scott (bass)
Big Jim Sullivan (guitar)
Alan “Sticky” Wicket (washboard, percussion)
Dr. John – piano on 03. + 04.)

Promo EP

Promo EP

01. It Takes A Worried Man (Traditional) 3.40
02. Lost John (Traditional) 3.33
03. Goin’ Home (Dvořák) 3.08
04. Good Morning Blues (Leadbelly/Lomax) 2.52
05. Outskirts Of Town (Razaf/Waller) 4.20
06. Don’t You Rock Me Daddy-O (Traditional) 1.51
07. Alabamy Bound (DeSylva/Green/Henderson) 2.22
08. Midnight Special (Traditional) 2.53
09. Dead Or Alive (Guthrie) 2.33
10. Frankie And Johnny (Traditional) 4.31
11. Goodnight Irene (Leadbelly/Lomax) 2.46
12. Railroad Bill (Traditional) 1.57
13. Muleskinner Blues (Rodgers/Vaughn) 3.06
14. The Ballad Of Jesse James (Traditional) 3.07
15. I Wanna Go Home (Traditional) 3.46



Drive By Truckers – Gangstabilly (1998)

FrontCover1.jpgThe Drive-By Truckers are an alternative country/Southern rock band based in Athens, Georgia, though two of five current members (Patterson Hood and Mike Cooley) are originally from The Shoals region of northern Alabama, and the band strongly identifies with Alabama. The group also has roots in Richmond, Virginia. The Secret To A Happy Ending [DVD]. ATO Records. The band currently consists of Mike Cooley (lead vocals, guitar, banjo), Patterson Hood (lead vocals, guitar), Brad Morgan (drums), Jay Gonzalez (keys, guitar, accordion, backing vocals), and Matt Patton (bass guitar, backing vocals). Like many alternative country acts, the Drive-By Truckers record in analog (using 2 inch, 16-track open-reel tape recorders). The band’s constant touring has developed its dedicated following.

The band’s original lineup was fluid, but it most often included Hood, Cooley, and Howell, along with drummer Matt Lane, pedal steel player John Neff, and mandolin player Barry Sell. They released their first album Gangstabilly in 1998. With Hood and Cooley sometimes playing mandolin and banjo instead of guitar, and Howell playing double bass, the band’s original sound had a strong alternative country aspect, albeit with some rock mixed in, as well. (by wikipedia)


The Drive-By Truckers don’t need an agenda to be a good band. Sure, Southern Rock Opera more or less anointed the Truckers as a smarter, more attentive Lynyrd Skynyrd, and critics, in turn, made them famous for all the wrong reasons. And while critics tossed around adjectives like “brash” and “raunchy” and dug out their riffs on Southern rock revival and the renovation of country, Gangstabilly, DBT’s debut, went largely overlooked. No mock-rock operas or anxious, insistent Southernism here — Gangstabilly keeps its charm by keeping it simple. Whereas post-Pizza Deliverance DBT tended to veer into weathered tailgate-party twang, Gangstabilly is a swamp of mushy drums, scraggly acoustics, and pedal-steel whimper — a catalog of trashy but telling details and broader yet personal pangs. NASCAR, monster-truck rallies, and countless episodes of COPS and America Undercover have melted the South down into a handful of stereotypes. But if frontman Patterson Hood has shown anything, all you have to do to cut through the velvet Elvis/TV rodeo/Haffenreffer muck of white-trash clichés is simply treat them seriously. While DBT retain a campy sensibility to distance themselves from their songs, the Truckers’ South doesn’t come without its share of loss and hardship.


Take “Wifebeater,” the album’s opener. The title explains it all, but the subject matter is accepted as part of life, rendered like a conventional love song — “Don’t go back to him, he’s a wife beater.” The drums lurch, the pedal steel rises like steam, the harmonies go bullfrog-croak low, and Hood puts you inside a would-be dismissed act of domestic violence. Then, there’s “Panties in Your Purse” — a title which tells a whole newly painful story of a night of drinkin’ and cheatin’ in and of itself. But perhaps more than any song in their back catalog, “The Living Bubba” perfects the Truckers’ combination of tough but hurt. Dedicated to the late Atlanta guitarist Gregory Dean Smalley, “The Living Bubba” comes through with an introverted, slowly ascending verse and a chorus you can flick a Bic to. Bottom line: do yourself a favor and don’t ignore this album. The sad songs are sad the way you want them to be, the ballsier songs tempered with a little mellow manly pain. After Gangstabilly, the Drive-By Truckers would provide good albums, sure, but they’d be of the Napster-good sort, the buy-it-used sort. But for a brief moment, the Drive-By Truckers created something whose praise wouldn’t come by default, that wouldn’t play immediately into critics’ expectations. Gangstabilly was a thankless job, but a good one. (by Bill Peters)


Mike Cooley (guitar, vocals, mandolin)
Adam Howell (bass, vocals)
Matt Lane (drums)
Patterson Hood (guitar, vocals, banjo)
John Neff (steel-guitar, vocals)
Redneck Greece (background vocals on 08.)
Barry Sell (mandolin, background vocals on 05.)
Jim Stacy (harmonica on 09. + 10.)


01. Wife Beater 3.32
02. Demonic Possession 4.52
03. The Tough Sell 3.41
04. The Living Bubba 5.56
05. Late For Church 5.27
06. Panties In Your Purse 4.41
07. Why Henry Drinks 4.13
08. 18 Wheels Of Love 4.10
09. Steve McQueen 5.13
10.  Buttholeville 5.25
11. Sandwiches For The Road 6.40

Music: Mike Cooley – Adam Howell – Matt Lane – Patterson Hood – John Neff
Mike Cooley (on 06.)
Adam Howell (on 05.)
Patterson Hood (01. – 04., 07.  11.)



Faithless – Sunday 8PM (1998)

FrontCover1.jpgSunday 8PM is Faithless’ second album, released on 28 September 1998. The album contains the hit singles “Bring My Family Back”, “Take the Long Way Home”, and “God Is a DJ”. The album reached #10 place in the UK charts. In 1999, Sunday 8PM was one of twelve albums to make the shortlist for the Mercury Prize.

In 1998, there was a special release in the Netherlands: The Pinkpop Edition, which included a bonus CD with four live recordings (“God Is a DJ”, “Bring My Family Back”, “Do My Thing”, and “If Lovin’ You Is Wrong”) from the Pinkpop festival of June 1998.

In 1999, the album was re-released as Sunday 8PM / Saturday 3AM, containing an extra CD with mixed versions.

The image on the album/CD cover is the Bluebird Theatre in Denver, Colorado, United States. (by wikipedia)


The second album from U.K. electronic dance collective Faithless, Sunday 8pm has neither the rampant grooves nor the arrogant idealism to qualify it as anything more than a random, standard dancefloor record with redundant beats and hoary ideas. Clearly, though, more was intended; the theme running throughout Sunday 8pm is one that celebrates club life with an almost religious enthusiasm. The dreamy soundscapes here alternate between elegantly spiritual (and very new age) drifts and dull, tuneless forays into spacy nowhereland — and the occasional misguided R&B trips lack soul (not all that surprising, considering the coldness of this band’s electronica). The one keeper is “God Is a DJ,” eight minutes of club worship that repeats the refrain “This is my church” so relentlessly that you begin to wonder if the Faithless altar includes a turntable and synthesizer along with the usual celebratory offerings. (by Michael Gallucci)


Sister Bliss (keyboards)
Jaime Catto (vocals, guitar)
Maxi Jazz (guitar, vocals)
Rollo (electronics)
Rachael Brown (background vocals on 02., 03., 07.)
Dido (vocals on 09., background vocals on 03.)
Debbie French (background vocals on 06.)
Andy Gangadeen (drums on 06.)
Boy George (vocals on 06.)
Sudha (drums, percussion)
Dave Randall (guitar)
Imani Saleem (background vocals on 06.)
Shannon Stewart (background vocals on 06.)
Pauline Taylor (vocals on 07., background vocals on 10.)
Ibi Tijani (programming on 01.)


01. The Garden /Rollo/Sister Bliss) 4.26
02 Bring My Family Back (Maxi Jazz/Rollo/Sister Bliss) 6.22
03. Hour Of Need (Catto/Rollo/Sister Bliss) 4.36
04. Postcards (Dido/Catto/Maxi Jazz/Rollo/Sister Bliss) 4.01
05. Take The Long Way Home (Catto/Maxi Jazz, Rollo/Sister Bliss) 7.13
06. Why Go? (George/Rollo/Sister Bliss) 3.57
07. She’s My Baby (Maxi Jazz/Rollo/Sister Bliss) 5.49
08.  God Is A DJ (Catto/Maxi Jazz/Rollo/Sister Bliss) 8.01
09.  Hem Of His Garment (Randall/Dido/Maxi Jazz/Rollo/Sister Bliss) 4.07
10. Sunday 8PM (Rollo/Sister Bliss) 2.43
11. Killer’s Lullaby (Maxi Jazz/Rollo/Sister Bliss) 6.08




The Snakes – Once Bitten (1998)

FrontCover1.jpgOnce Bitten… is the first album of British-Norwegian Hard rock supergroup The Snakes, released in August 1998.
The album was produced by TNT guitarist Ronni Le Tekrø and engineered by TNT touring keyboardist Dag Stokke.

It was the band’s first and only album under the name The Snakes, as later albums were released as “The Company of Snakes” which featured founding members Bernie Marsden and Micky Moody with a completely new line-up. (by wikipedia)

Great early album of a young Jorn Lande , starting out his career as a touring , and eventually recording artist for the original line-up of Whitesnake sans David Coverdale. If you love the old school 70s blues sounds of original WhiteSnake this should be right up your alley. One of the highlights is the original sole penned Jorn Lande song “Showdown”. (by Richard N)


Could’n ask for anything better. Through the years Whitesnake earned a reputation of good rockin’, mixing some hard rock with blues due to the influence of their guitarists, Bernie Marsden and Micky Moody, now with this album and with the voice of Johnny Lange, we can tell now how the old Whitesnake would sound these days. “Showdown” could be “Blind man” or “What love can do” could be “Here I go again”.Excellent music,old Whitesnake fans wouldn’t regret buying it. (by Mario Elizondo)

Jorn Lande, the Norwegian God of Rock is a Heavy Metal artist so for him to be able to sing in an old bluesy style lik David Coverdale is phenomanal. He wasn’t trying to immulate him, he was simply singing the songs the way they were written by the ex “original” members of Whitesnake. Do you think the band would want him to sing any other way? Hell they toured doing all the old/old 70s Whitesnake songs so of course he’s gonna sing with a Coverdale manerism. Only one thing, Jorn Lande can sing Coverdale dead on but can Coverdale sing Jorn Lande? I seriously doubt it. This dude can sing AOR, POP, ROCK, or HEAVY METAL with ease and command like no-one! (by cutter)


Willy Bendiksen (drums)
Jørn “Johnny” Lande (vocals)
Bernie Marsden (guitar)
Micky Moody (guitar)
Sid Ringsby (bass)

01. Labour Of Love (Marsden) 3.35
02. Can’t Go Back (Marsden) 4.33
03. What Love Can Do (Marsden/Lister) 4.54
04. Real Faith (Marsden/Moody) 4.31
05. The Dancer (The Liar) (Marsden) 4.26
06. Gonna Find The Sun (Lande/Marsden/Moody) 2.58
07. Little Miss Happiness (Marsden/Moody) 3.23
08. Bring Yo’ Good Self Home (Marsden/Moody) 4.13
09. Showdown (Lande) 3.58
10. Sacrificial Feelings (Moody) 3.28
11. Tough Love (Marsden/Lister) 4.12
12. All Dressed Up (Marsden/Moody) 4.30
13. September Tears (Marsden) 3.48