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



Warren Haynes (feat. Railroad Earth) – Ashes & Dust (2015)

FrontCover1.jpgAshes & Dust is the third studio album by American musician Warren Haynes. The album was released on July 24, 2015, by Concord Music Group.

When Warren Haynes released the rocking soul and gospel set Man in Motion in 2011, it was the fulfillment of a dream, to write and record songs that reflected the early influence of those sounds on his musical development with an all-star band. Ashes & Dust is another side of his story. Growing up in Asheville, North Carolina, Haynes was equally exposed to bluegrass, mountain folk music, and country gospel. Their influence is plentiful here, on originals and covers alike. He’s chosen New Jersey’s endlessly inventive roots music ensemble Railroad Earth this time out. Haynes uses electric guitars here; they are part and parcel of a largely acoustic tapestry that can loosely be called Americana. He wrote or co-wrote eight of these 13 tunes. Among the highlights is “Company Man,” a song that’s been around for more than a decade in his own shows. It was inspired by his father’s hard-wrought life and work experiences; though it is ultimately triumphant, the song’s narrative poignantly details struggle. John Skehan’s mandolin, Andy Goessling’s banjo and strummed acoustic, and Tim Carbone’s fiddle swirl around Haynes’ stinging electric break, which adds drama to his lyric. The cover of Billy Edd Wheeler’s classic “Coal Tattoo” (he’s the songwriter and visual artist who wrote “Jackson” for Johnny Cash) weds Appalachian mountain music to the electric blues with Haynes slide cutting through the banjo and mandolin. Shawn Colvin and Mickey Raphael assist on the road-weary country-rock of “Wanderlust.” “Stranded in Self-Pity” is a jazzy rag blues with a honky tonk piano underscoring Haynes’ wily electric guitar, Carbone’s fiddle, and Skehan’s clarinet solo.


One can hear the influences of Levon Helm and T-Bone Wolk on the track, which is only fitting. He planned this record seven years ago and they were both supposed to play on it. The only misstep here is the cover of Fleetwood Mac’s “Gold Dust Woman,” with Grace Potter almost mimicking songwriter Stevie Nicks’ role. It’s such a straight arrangement that it adds virtually nothing. “Spots of Time” is the set’s longest cut at over eight minutes, co-written with Phil Lesh. It is one of two tracks here to feature drums and percussion by Marc Quiñones. It’s a loping, breezy rocker with a gorgeous extended jazz guitar solo; it would have been right at home in the Grateful Dead’s catalog. Closer “Word on the Wind” is an excellent update — even reinvention — of Southern rock; it exists in a space where Marshall Tucker, Crazy Horse, and the (Joe Walsh era) James Gang all melt into one another. While Ashes & Dust doesn’t really add anything “new” to Haynes’ musical profile — fans already knew this was here — there are some fine benchmarks: his singing has never used such a range of dynamics before; for once he lets the song dictate his expression. Others are tight songwriting and arranging craft — especially when fleshed out by the almost limitless creativity of Railroad Earth. Ashes & Dust is a worthy and welcome addition to Haynes’ catalog. (by Thom Jurek)

This is one of the finest Southern Rock albums in the last years !


Andrew Altman (bass)
Tim Carbone (fiddle)
Andy Goessling (guitar, pedal steel-guitar, banjo, clarinet)
Carey Harmon (drums)
Warren Haynes (guitar, slide-guitar, vocals)
Todd Sheaffer (guitar, background vocals)
John Skehan (mandolin, bouzouki, piano)
Oteil Burbridge (bass on 11.)
Shawn Colvin (vocals on 10.)
Grace Potter (vocals on 08.)
Marc Quinones (percussion on 09. + 11., drums on 11.)
Mickey Raphael (harmonica on 10.)


01. Is It Me Or You (Haynes) 5.15
02. Coal Tattoo (Wheeler) 7.26
03. Blue Maiden’s Tale (Haynes) 7.27
04. Company Man (Haynes) 4.49
05. New Year’s Eve (Haynes) 4.40
06. Stranded In Self-Pity (Rhodes) 6.37
07. Glory Road (Sisk) 6.00
08. Gold Dust Woman (Nicks) 6.24
09. Beat Down The Dust (Haynes) 4.56
10. Wanderlust (Haynes) 4.50
11. Spots Of Time (Lesh/Haynes) 8.25
12. Hallelujah Boulevard (Haynes) 5.43
13. Word On The Wind (Sheaffer/Haynes) 6.46




Cassandra Wilson – Coming Forth By Day (2015)

FrontCover1.jpgComing Forth by Day is a studio album by American jazz singer Cassandra Wilson. The album was released on April 6, 2015 via Legacy Recordings label.

The album is a homage to legendary jazz vocalist Billie Holiday to commemorate the 100th anniversary of the singer’s birth. The album includes 11 cover versions of famous jazz standards associated with Holiday and an original composition written by Cassandra Wilson—”Last Song (For Lester)”—imagined to be a heartbreaking final message from Holiday to her musical love, Lester Young.

Christopher Loudon of JazzTimes wrote, “Though it’s disheartening to realize that even an artist as eminent as Cassandra Wilson had to turn to PledgeMusic to fund her centenary salute to Billie Holiday, it’s best to set aside such state-of-things ponderings and focus on the outcome. Which is, in a word, exquisite. It’s also clever, insightful and, though utterly respectful to Holiday as source and touchstone, strikingly original.”

John Fordham of The Guardian noted, “Singer Jose James’ recent tribute to Billie Holiday saw a fine singer and a hip jazz trio sprinkling personal magic on timeless songs with careful respect. Cassandra Wilson’s angle on Holiday is very different: a radical, big-production remake of the great vocalist’s music with the rhythm section from Nick Cave’s Bad Seeds giving the repertoire a thick-textured, abstract blues-rock feel, while a luxurious strings section embraces the ballads.” (by wikipedia)


Perhaps the pairing of Cassandra Wilson and Billie Holiday carries a whiff of inevitability, but there’s nothing predictable about Coming Forth by Day. Released to coincide with Holiday’s centennial in 2015, Coming Forth by Day explicitly celebrates Lady Day by drawing upon standards she sang in addition to songs she wrote, but Wilson deliberately sidesteps the conventional by hiring Nick Launay as a producer. As a result of his work with Nick Cave, Launay mastered a certain brand of spooky Americana, something that comes in handy with the Holiday catalog, but Coming Forth by Day is never too thick with murk. It luxuriates in its atmosphere, sometimes sliding into a groove suggesting smooth ’70s soul, often handsomely evoking a cinematic torch song — moods that complement each other and suggest Holiday’s work without replicating it. This is a neat trick: such flexibility suggests how adaptable Holiday’s songbook is while underscoring the imagination behind Wilson’s interpretations. Certainly, Launay deserves credit for his painterly production, but the success of Coming Forth by Day belongs entirely to Wilson, who proves that she’s an heir to Holiday’s throne by never once imitating her idol. (by Stephen Thomas Erlewine)


Kevin Breit (guitar)
T Bone Burnett (guitar)
Charlie Burnham (violin)
Martyn P. Casey (bass)
Jon Cowherd (keyboards)
Davide Direnzo (drums)
Robby Marshall (woodwind)
Lonnie Plaxico (bass)
Cassandra Wilson (vocals, guitar)
Thomas Wydler (drums)
Nick Zinner (guitar)
Van Dyke Parks – string arrangementsa


01. Don’t Explain (Herzog/Holiday) 4.35
02. Billie’s Blues (Holiday) 5.08
03. Crazy He Calls Me (Sigman/Russell) 6.19
04. You Go To My Head (Gillespie/Coots) 4.10
05. All Of Me (Marks/Simons) 4.07
06. The Way You Look Tonight (Fields/Kern) 3.51
07. Good Morning Heartache (Fisher/Drake/Higginbotham) 4.57
08. What A Little Moonlight Can Do (Woods) 4.10
09. These Foolish Things (Maschwitz/Strachey) 4.14
10. Strange Fruit (Allan) 4.55
11. I’ll Be Seeing You (Kahal/Fain) 6.10
12. Last Song (For Lester) (Wilson/Cowherd/Casey/Marshall/Wydler) 5.51



Europa Galante – I Concerti Dell’ Addio (Antonio Vivaldi) (The Farewell Concertos) (2015)

Maquetación 1Vivaldi concerto discs appear on these pages every month it seems. Rarely do I give them a second glance, let alone a first listen. That doesn’t mean I don’t like the music; quite the contrary, in fact. When this appeared on the New Releases list, I grabbed it with all speed. For me, no one does Vivaldi like Fabio Biondi and his band.

In January 2002, whilst on holiday in the UK, I attended a concert of theirs in the Christopher Wren-designed Sheldonian Theatre in Oxford. There is no doubt that it could have been a tiddlywinks competition and still been wonderful because of the venue. However, despite the uncomfortable hard seats and the foggy weather bringing on an asthma attack for my wife sitting next to me, this was perhaps the most memorable classical concert I have attended. The Four Seasons were transformed from pleasant background music into high drama: it was as though the summer storm was inside the theatre, such was their playing.


I bought their Opus 111 recording of the Four Seasons as soon as possible afterwards, and just about everything that they released on Virgin Classics subsequently, Vivaldi or otherwise. I soon found that almost nothing of their work beyond the Red Priest worked anywhere near as well, Boccherini being perhaps the only exception. The Corelli concertos were disappointing, and the Mozart violin concertos a failure. After the demise of Virgin Classics, there was a Telemann release on the Agogique label: again, underwhelming. Now on Glossa, they return to Vivaldi, and the wondrous verve is back.

These six concertos are from a collection held currently in Brno in the Czech Republic, purchased in June 1741 from the composer by Count Vinciguerra Collalto. The “Farewell” in the title refers to the fact that Vivaldi was within six weeks of death, alone and unappreciated in a Vienna preoccupied with the death of an emperor the previous year. As with essentially all his compositions, precise dates are not known, but Biondi in his intelligent booklet article suggests that they show clear signs of being written late in Vivaldi’s career.


Biondi’s detractors criticise his overuse of abrupt tempo changes, and there is no doubt that some composers suffer from such treatment. However, Vivaldi’s music seems to me to revel in the drama that Biondi creates. One criticism that I have of so many period instrument Baroque performances is that everything is fast, even the slow movements. That is never the case with Europa Galante. I can happily report that these concertos show the group back at their very best. Everything that makes their Vivaldi dazzle and wow is here, but there is also a restraint in places, totally apposite, which I believe is a consequence of the style of these late works.

The recording is very clear, though a little close at times, so that we hear Biondi’s intake of breath. I have already noted the quality of the booklet article, and it is a well-filled disc. I can only celebrate that Biondi and Europa Galante have returned to their natural habitat, and if you have had reservations about them in the past, please give them another try here in works that you are unlikely to know well or at all. (by David Barker)



Europa Galante (Orchestra) conducted by Fabio Biondi:

Alessandro Andriani (cello)
Nicola Barbieri (violone)
Isabella Bison (violin)
Fabio Biondi (violin)
Rossella Borsoni (violin)
Elin Gabrielsson (violin)
Luca Giardini (violin)
Simone Laghi (viola)
Stefano Marcocchi (viola)
Carla Marotta (violin)
Giangiacomo Pinardi (lute)
Perikli Pite (cello)
Paola Poncet (harpsichord)
Andrea Rognoni (violin)



Violin Concerto In B Minor, RV 390:
01. Andante Molto 1.02
02. Allegro Non Molto 5.16
03. Largetto 2.37
04. Allegro 3.41

Violin Concerto In E Minor, RV 273:
05. Allegro Non Molto 4.21
06. Largo 3.42
07. Allegro 3.43

Violin Concerto In B Flat Major, RV 371:
08. Allagro Ma Poco 5.00
09. Largo 4.35
10. Allegro 3.57


Violin Concerto In C Major, RV 189:
11. Larghetto 0.31
12. Allegro Non Molto e Pianissimo 5.01
13. Largo 6.05
14. Allegro Molto 4.15

Violin Concerto In B Flat Major RV 367:
15. Allegro Ma Poco Poco 6.01
16. Andante Ma Poco 3.21
17. Allegro 3.54

Violin Concerto In F Major, RV 286 (Per la Solemnità di San Lorenzo):
18. Largo Molto e Spiccato 0.29
19. Allegro Moderato) 4.46
20. Largo 2.55
21. Allegro Non Molto 4.44




Charles Lloyd – Wild Man Dance Suite (live at The Temple of Dendur, New York) (2015)

FrontCover1.jpgCharles Lloyd (born March 15, 1938 in Memphis, Tennessee) is an American jazz musician. Though he primarily plays tenor saxophone and flute, he has occasionally recorded on other reed instruments, including alto saxophone and the Hungarian tárogató.

Mr. Lloyd has been a notable solo artist in jazz for some 50 years, though his track record hardly suggests an unbroken line. He found fame in the latter half of the 1960s, selling more than a million copies of the album “Forest Flower” and becoming the first jazz artist to headline the Fillmore Auditorium. Then, at the height of his prominence in the early ’70s, he retreated into meditative seclusion in Big Sur, Calif. (The arc of his career forms the subject of “Arrows Into Infinity,” a recent documentary film directed by his wife and manager, Dorothy Darr, and the producer Jeffery Morse.)

Mr. Lloyd’s major resurgence as a jazz artist came about in the ’80s, with a series of tours and albums that includes the only other Blue. (

In April 2015 he released a live Album, called “Wild Man Dance” (on Blue Note again) and it was original recorded in 2013:

Response was generally positive, with AllMusic calling it “a success on virtually every level.” All About Jazz noted that “While plenty of musicians tend to slow down as they get older, the opposite seems to be happening with this septuagenarian”, and said it “is every bit as magical as the best of Lloyd’s output.”[3] The Los Angeles Times stated “Here the dulcimer-like Hungarian cimbalom and the bowed lyra color the open-ended framework of a six-part suit (by wikipedia)

Charles LLoyd01.jpg

And here´s another live version of this Suite … rerded live in 2015 to promote the original album.

Wild Man Dance Suite is a sweeping new masterpiece from Charles Lloyd. Blending traditional jazz elements with visceral sounds and textures from antiquity, Lloyd has created something altogether new and exciting. Composed for a quartet of piano, bass, and drums, with the addition of Greek lyra and the Hungarian gypsy cimbalom, the ensemble performs the six movements of the suite like a flowing orchestral unit. (

Charles Lloyd turned 80 on March 15.

Thanks to Lewojazz for sharing the HDTV webcast at Dime.

Recorded live at The Temple of Dendur, The Metropolitan Museum of Art, New York, NY; April 18, 2015. Very good audio (ripped from HDTV webcast).


Eric Harland (drums)
Charles Lloyd (saxophone, flute, tarogato)
Miklós Lukács (cymbalom)

Jason Moran (piano)
Joe Sanders (bass)
Sokratis Sinopoulos (greek Lyra)



Wild Man Dance Suite:
Part 5 Rumination – Flying Over The Odra Valley
Gardener – Lark – The River – Invitation – Wild Man Dance


01. Part A 16.42
02. Part B 8.08
03. Part C 10.19
04. Part D 8.42
05. Part E 15.08
06. Part F 9.59
07. Part G 7.15
08. Part H 6.06
09. Part I 11.48
10. Video version 1.34.22

Music composed by Charles LLoyd

Charles LLoyd02.jpg


Arvo Part – Cardiff (Adam’s Lament + Stabat Mater) (2015)

Front+BackCover1Arvo Pärt (Estonian pronunciation: [ˈɑrvo ˈpært]; born 11 September 1935) is an Estonian composer of classical and religious music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. Pärt’s music is in part inspired by Gregorian chant. His most performed works include Fratres (1977), Spiegel im Spiegel (1978), and Für Alina (1976). Since 2010 Pärt has been the most performed living composer in the world. (by wikipedia)

Unlike [Arvo Part’s] Magnificat, the tragic musical content [of Stabat Mater] is justified through the text that describes the grieving state of Mary at the cross. In this piece, the idea of the connection of time and timelessness is much clearer than in the Magnificat. The piece is filled with minimalist influences and also contains several unmistakable references to the Gothic period, that is, the use of rhythmic modes and strict adherence to the aeolian mode. These two works also are based almost completely on the tintinnabulation technique. (

Recorded live at the Vale of Glamorgan Festival, St David’s Hall, Cardiff, Wales; May 23, 2015. Very good BBC radio broadcast.


Eesti Filharmoonia Kammerkoor
Tallinna Kammerorkester

Conductor: Kristjan Järvi

Kristjan Järvi01.jpg

01. Adam’s Lament – Part A 14.16
02. Adam’s Lament – Part B 12.24
03. Announcer 0.07
04. Stabat Mater – Part A 8.42
05. Stabat Mater – Part B 10.17
06. Stabat Mater – Part C 10.19

Music composed by Arvo Part

Tallinna Kammerorkester.jpg

The Tallinna Kammerorkester (Estonia)




Steve Hackett – Wolflight (2015)

FrontCover1.jpgThe concept of this album is about the relation between human and the Wolf. Also important is the hours before dawn, because it’s the time that the wolf are hunting and that Steve Hackett like to write his songs. It’s a unique time to let things comes naturally without any distractions. Steve has met some real wolves and played with them even if the cover could look digitally made. Now for the music, there’s enough variations from one song to the other to have a good time listening the whole album all the way through. There is also many variations possible with the guitar that can be used to make percussive sounds. There’s some classical sounds, flamenco and naturally some more heavy rock passages. So there is a contrast in the music with some dark ambiances and lighter atmosphere. The use of harmonica gives another color to the music. The world music sounds makes you travel in a foreign country. The choir harmonies are developed and Steve who never was the best vocalist did not push his voice too much here with better results.


“Love songs to a Vampire” feature Chris Squire on bass and after a peaceful intro has many mood changes. “The Wheel’s turning” put you in the amusement park’s ambiance and remind me of music from his first albums. The excellent “Corycian Fire” has a world music atmosphere with world music instruments. “Black Thunder” is another great track with dark atmosphere and some nice drums and bass. There is also some interlude pieces and some less memorable songs that complete the picture of this enjoyable album. (by rdtprog)

The sweeping success of Steve Hackett’s Genesis Revisited II project clearly had a direct impact on his first solo album in four years — and the result live up to those lofty aspirations.

First, Wolflight had to be recorded in the moments in between shows, and that seems to have dilated Hackett’s fertile imagination. The album represents some of the best developed, most intricately conveyed work of his lengthy solo career. Second, he has returned to more Genesis-like lengths of time (the deeply involving title track, “Love Song To A Vampire”) to let those narratives unfold. Re-engaging with songs from that classic 1971-77 era in such a deep and profound way seems to have convinced Steve Hackett once more than he has a license to similar kinds of long-form thoughts.


Lastly, and this may be the most interesting part of all on Wolflight, that lengthy period of introspection and remembrance sparked some very real leaps forward in the way Steve Hackett constructs musical settings. He’s using orchestrations here (“Wolflight,” “Corycian Fire,” “Black Thunder”) as if he’d only just discovered them. They move well outside of the expected atmospherics with arrangements that often take center stage, unfolding with a musculature and power typically reserved for the rock bands standing in front of those wailing strings. The use of soaring polyphonic vocals adds striking new textures, as well.

That combines to gird what may be Steve Hackett’s most fully realized album yet, and certainly — after the solo-career re-capitulation that was 2011’s Beyond the Shrouded Horizon — one of his bravest. Combined with Genesis Revisited II, Hackett emerges from a reminiscent period reach to charge forward to the far horizons of his own restless muse.


He boldly explores a variety of world- and ancient-music elements, from the tar (an age-old lute-like instrument) on “Wolflight” and the duduk on “Corycian Fire,” to the turbulent rhythms of “Dust And Dreams.” At the same time, Wolflight — and this is what brings you back to its amazing complexities, time and again — never edges off into the academic. There’s a fizzy sense of joy (“The Wheel’s Turning,” “Heart Song”) that was missing amidst the devastating sadness that surrounded the heartbreaking 2009’s Out of the Tunnel’s Mouth, and a series of audacious moves scarcely hinted at over Steve Hackett’s last two studio efforts.

While a theme on the struggle toward freedom seems to run throughout, Steve Hackett’s Wolflight also takes time to celebrate that freedom. That, too, mirrors his time with — and now without — the Genesis Revisited project and the lengthy tour that followed. This is the sound of an artist who’s taken a loving look back, only to realize he still has room to grow. (Nick DeRiso)


Nick Beggs (bass, chapman stick on 08.)
Steve Hackett (guitar, vocals banjo, oud, tiple, harmonica, percussion)
Roger King (keyboards, programming)
Hugo Degenhardt (drums on 09. + 10.)
Jo Hackett (vocals on 04.)
Sara Kovács (didgeridoo on 02.)
Amanda Lehmann (vocals on 02. – 04. + 08.)
Malik Mansurov (tar on 02.)
Gary O’Toole (drums on 01. – 05. + 08.)
Chris Squire (bass on 03.)
Christine Townsend (violin, viola on 01. – 04. + 08.)
Rob Townsend (saxophone on 04. + 08., duduk on 05.)


01. Out Of The Body (S.Hackett) 2.29
02. Wolflight (S. Hackett/J.Hackett) 8.00
03. Love Song To A Vampire (S.Hackett) 9.18
04. The Wheel’s Turning (S. Hackett/J.Hackett/King) 7.24
05. Corycian Fire (S. Hackett/J. Hackett/King) 5.47
06. Earthshine (S.Hackett) 3.20
07. Loving Sea (S. Hackett/J. Hackett) 3.23
08. Black Thunder (S. Hackett/J. Hackett) 7.33
09. Dust And Dreams (S. Hackett/King) 5.33
10. Heart Song (S.Hackett) 2.51



Thanks to greygoose and Bludgeon for the inspiration !

And here´s the offical videoclip of “Wolflight”