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



The Brian Auger Piano Trio – Full Circle – Live At Bogie’s (2018)

FrontCover1.jpgConsidering he was a self taught pianist, Brian Auger’s progress into the heart of the British modern jazz scene of the late 1950’s and early 60’s was particularly impressive. He gained invaluable experience the hard way, paying his dues at The Cottage Club, and the original Ronnie Scotts on Gerrard Street, working with renowned saxophonists Tommy Whittle, Dick Morrisey and Jimmy Skidmore – and sessions in smoky East End pubs with his friend, arguably Britain’s greatest jazz saxophonist Tubby Hayes.
The inclusion of several of his rare, early 60’s piano trio tracks on both volumes of ‘Back To The Beginning – The Brian Auger Anthology’ brought long overdue attention to Brian’s early jazz career, which many were simply unaware of prior to their release. The enthusiastic reaction to those tracks that stuck in Brian’s mind, and later, fate intervened, as he himself explains; “A couple of years later, Ken Greene, the Music Director of Bogie’s, called and told me that he was starting a project, to whit, a week at Bogie’s with a different jazz piano trio each night”.
The material Brian decided to play features tracks from a selection of his musical influences, heroes and friends including ‘Chelsea Bridge’ by one of his favourite composers, the great Billy Strayhorn, Freddie Hubbard’s ever green ‘Little Sunflower’, the much loved standard ‘There is No Greater Love’ which Brian used to play in his original early 60’s piano trio, and his own composition Victor’s Delight he wrote a tribute to the great English Jazz musician Victor Feldman who he first discovered via his tenure with The Cannonball Adderley Quintet.
Surprisingly, this is Brian’s very first jazz piano album of his illustrious and award winning career, and marks a return to the instrument and the music that first entranced and enthralled him as a young boy. His musical journey, which began in austere post war London, and on which he absorbed so many varied styles of music, and literally took him around the world, enrapturing audiences worldwide, has indeed come full circle. (Press release)


This release may be a surprise to some who associate Auger, quite correctly, with the rock music and performing pyrotechnics seated at the Hammond organ. During an illustrious career he has worked with the likes of Rod Stewart, Jimi Hendrix, John McLaughlin and Led Zeppelin. An early claim to fame is that he played on ‘For Your Love’ by The Yardbirds. That was in 1965. A little later he formed Brian Auger and the Trinity. His duet with Julie Driscoll on Bob Dylan’s ‘This Wheel’s on Fire’ reached number 5 on the UK Singles chart in 1965. Their joint album billed as Julie Driscoll, Brian Auger and the Trinity reached number 12 in the UK Albums Chart in the same year.
In 1970 Auger moved into the area of jazz fusion forming Brian Auger’s Oblivion Express. Much more has happened in the intervening years, in fact, too much to detail here.


The “Live At Bogies” EP

So, with a background favouring rock, R&B and soul music, why should he now release a jazz trio album? Well, it’s not so unexpected as one might think. Auger began to hear jazz from an early age by way of the American Armed Forces Network and an older brother’s record collection. By his teens he was playing piano in clubs and by 1962 had formed the Brian Auger Trio with Rick Laird on bass and Phil Kinorra on drums, both of whom were later to join him in the Trinity. In 1964 he won first place in the categories of “New Star” and “Jazz Piano” in a reader’s poll in the Melody Maker music paper. He was even house pianist for a time at the original Ronnie Scott’s Jazz Club in Gerrard Street. So his jazz credentials are clear to see.


Now the title of this new album becomes clear in that Auger’s career has indeed gone full circle. Auger plays a Steinway Grand Piano throughout with his son, Karma, behind the drums and Dan Lutz on both double bass and electric bass guitar. The set list is pleasantly varied, opening with the old jazz war-horse ‘A Night In Tunisia’, with the familiar opening vamp picked out on bass guitar and the trio soon hit the swinging stride. Next is ‘Creepin’ written by Joe Sample. This is soulful, funky playing from all concerned and there is a particularly nice bass guitar feature too. ‘For Dancers Only’ is a fine lightly swinging piece written by Sy Oliver which originally saw the light of day in 1937 and is here given a contemporary face lift.
The set continues with trumpeter Freddie Hubbard’s ‘Little Sunflower’. Here I’m reminded of the music of Horace Silver, certainly no bad thing. ‘It Ain’t Necessarily So’ gets a swinging bluesy treatment. Billy Strayhorn’s magnificent composition, ‘Chelsea Bridge’, gets a suitably reverent treatment. Bass guitar ushers in Miles Davis’ ‘All Blues’ – all very soulful.
There are ten tracks on the album, all but one having impressive jazz pedigrees, the only original composition is the pianist’s tribute to fellow keyboard maestro Victor Feldman, ‘Victor’s Delight’.
For me however, they saved the best to last with a version of Don Grolnick’s ‘Pools’. This is set up by the drums of Dan Lutz before the familiar theme is played impeccably by all.
All-in-all this is a fine album which I cannot recommend highly enough. Go out and buy it immediately. (by Alan Musson)


Brian Auger (piano)
Karma Auger (drums)
Dan Lutz (bass)


01. A Night In Tunisia (Gillespie) 5.13
02. Creepin´ (Silver) 5.55
03. For Dancers Only (Raye) 4.19
04. Little Sunflower (Hubbard) 7.15
05. It Ain’t Necessarily So (Gershwin)
06. Chelsea Bridge (Strayhorn) 5.19
07. All Blues (Davis)
08. There Is No Greater Love (Jones) 3.53
09. Victor’s Delight (Auger) 5.33
10. Pools (Grolnick) 6.15



Gwilym Simcock – Debussy’s Children’s Corner Suite (2018)

FrontCover1.jpgGwilym Simcock has carved out a career as one of the most gifted pianists and imaginative composers on the European scene. The Briton moves effortlessly between jazz and classical music, with a ‘harmonic sophistication and subtle dovetailing of musical traditions’. Gwilym has been hailed as a pianist of ‘exceptional’, ‘brilliant’ and ‘dazzling’ ability, and his music has been widely acclaimed as ‘engaging, exciting, often unexpected, melodically enthralling, complex yet hugely accessible’, and above all ‘wonderfully optimistic’.

Gwilym’s influences are wide ranging, from jazz legends including Keith Jarrett, Chick Corea and Jaco Pastorius, to classical composers including Maurice Ravel, Henri Dutilleux, Béla Bartók and Mark-Anthony Turnage. In 2017, Gwilym toured with Pat Metheny, Linda Oh and Antonio Sanchez promoting Metheny’s Real Book album. Although principally a jazz artist, Gwilym has composed numerous works for larger Classical ensemble that combine through-composed elements with improvisation, creating a sound that is distinctive and very much his own.

Julian Joseph presents Gwilym Simcock’s jazz influenced version of Debussy’s Children’s Corner Suite specially arranged for piano, saxophone and string quartet:

Children’s Corner, L. 119, is a 6-movement suite for solo piano by Claude Debussy. It was published by Durand in 1908, and was first performed by Harold Bauer in Paris on 18 December that year. In 1911, an orchestration by André Caplet was premiered and subsequently published. A typical performance of the suite lasts roughly 15 minutes.


Debussy composed Children’s Corner between 1906 and 1908. He dedicated the suite to his daughter, Claude-Emma (known as “Chou-Chou”), who was born on 30 October 1905 in Paris. She is described as a lively and friendly child who was adored by her father. She was three years old when he dedicated the suite to her in 1908. The dedication reads: “A ma chère petite Chouchou, avec les tendres excuses de son Père pour ce qui va suivre. C. D.” (To my dear little Chouchou, with tender apologies from her father for what follows).

The suite was published by Durand in 1908, and was given its world première in Paris by Harold Bauer on 18 December that year. In 1911, an orchestration of the work by Debussy’s friend André Caplet received its premiere, and was subsequently published. A typical performance of the suite lasts roughly 15 minutes. (by wikipedia)

Another little masterpiece of Gwilym Simcock !

Recorded live at the BBC Studios, Salford, UK;
March 24, 2018. Very good BBC Radio 3 “Jazz Line-Up” broadcast


Rob Buckland (saxophone)
Francesca Gilbert (viola)
Lucy McKay (violin)
Rachel Shakespeare (cello)
Gwilym Simcock (piano)
Simmy Singh (violin)

01. Intro 8.45

Children’s Corner Suite:
02. Doctor Gradus ad Parnassum 4.23
03. Jimbo’s Lullaby 5.29
04. Talk 7.25
05. Serenade For The Doll 4.24
06. The Snow is Dancing 5.13
07. Talk 3.02
08. The Little Shepherd/Golliwog’s Cakewalk 13.56
09. Talk 1.19

10. Deux Conversations avec Monsieur Croche Pt 1 5.31
11. Deux Conversations avec Monsieur Croche Pt 2 6.46

Music composed by Claude Debussy & Gwilym Simcock

Gwilym Simcock1.jpg


Richard Thompson – Nashville (2018)

FrontCover1.jpgRichard Thompson OBE (born 3 April 1949) is an English singer, songwriter, and guitarist.

He made his début as a recording artist as a member of Fairport Convention in September 1967. He continues to write and record new material regularly and frequently performs live at venues throughout the world.

Thompson was awarded the Orville H. Gibson Award for best acoustic guitar player in 1997. Similarly, his songwriting has earned him an Ivor Novello Award[2] and, in 2006, a lifetime achievement award from BBC Radio. Thompson was appointed Officer of the Order of the British Empire (OBE) in the 2011 New Year Honours for services to music.Many and varied musicians have recorded Thompson’s compositions. (by wikipedia)

Named by Rolling Stone magazine as one of the Top 20 Guitarists of All Time, Richard Thompson is also one of the world’s most critically acclaimed and prolific songwriters. He has received Lifetime Achievement Awards for Songwriting on both sides of the Atlantic – from the Americana Music Association in Nashville to Britain’s BBC Awards. Thompson’s genre defying mastery of both acoustic and electric guitar along with dizzying energy and onstage wit continue to earn Richard Thompson massive new fans and a place as one of the most distinctive virtuosos in Folk Rock history.

In September 2018, Richard Thompson released his 18th solo studio album, 13 Rivers.

Thanks to indykid for sharing the HDTV webcast at Dime.

Recorded live at the AmericanaFest. Day Stage, The Local, Nashville, Tennessee;
September 14, 2018.
Very good audio (ripped from HDTV webcast).


Richard Thompson (guitar, vocals)



01. Introduction by Jessie Scott/Trying (Thompson) 6.20
02. The Rattle Within (Thompson) 4.53
03. My Rock, My Rope (Thompson) 3.49
04. Bones of Gilead (Thompson) 4.40
05. The Storm Won’t Come (Thompson) 5.49
06. Her Love Was Meant for Me (Thompson) 4.29
07. Persuasion (Thompson/Filleul/Finn) 4.16
08. 1952 Vincent Black Lightning (Thompson) 7:01



“1952 Vincent Black Lightning” is a song by guitarist Richard Thompson from his 1991 album Rumor and Sigh. It tells the story of a thief named James and the girl Red Molly whom he charms with a ride on his 1952 Vincent Black Lightning motorcycle. In 2011 Time magazine listed the song in its “All TIME 100 Songs”, a list of “the most extraordinary English-language popular recordings since the beginning of TIME magazine in 1923,” praising it as “a glorious example of what one guy can accomplish with just a guitar, a voice, an imagination and a set of astonishingly nimble fingers.”

Despite not being issued as a single, the ballad became a fan favourite and is one of Thompson’s most highly acclaimed solo compositions. (by wikipedia)

Uncle Jimmy (Moondaze) – Moon Child (2017)

FrontCover1On friday night I saw in Leverkusen/Germany a band, that was announced as “Uncle Jimmy” … but since August 03, 2018 they called Moondance:

MOONDAZE is an energetic bluesrock band from the Netherlands. Kick-ass drums, solid bluesy vocals, virtuoso guitarlicks and hammondsolo’s on fire! If you like the ‘s60, ‘s70 and ‘s80, this band is a must-see for you! Their energy is contagious. They already have seen much of the world, they are not only playing in their home country, but also in Germany and Luxembourg. And many more to follow..

Playing as much as they can is their ultimate goal. MOONDAZE is something new, something refreshing, something really nice to look at. Before they changed their name to MOONDAZE on the 3rd of august (2018), they were called Uncle Jimmy. That name didn’t fit the personalities of the bandmembers anymore. People got wrong expectations with that name, so they decided to change it to MOONDAZE!

And it was a pretty good concert … including a killer version of “Magit Carpet Ride” (you know … Steppenwolf !)


And here´s their last EP from 2017 …

Two chicks and two gentlemen make sure that the blood flows through your veins! They give you the energy to go wild all night on their filthy and sexy bluesrock. They are giving a twist to the 70s. The tough, bluesy vocals of the chick on bass flank the virtuoso guitar and screaming Hammond, completed with a bed of killer drums!

Stand up and SHOUT!! They are influenced by Deep Purple, Led Zeppelin and the Black Crowes. (by


Moondaze (formerly Uncle Jimmy) take their influences from Deep Purple, Led Zeppelin and the Black Crowes, making the most raw and sexy Blues Rock you could wish for. Take rock-solid drums, add strong Bluesy vocals from the lady on the bass, combine with virtuoso guitar and Hammond solos, to produce a masterly Rock ‘n’ Roll sound.

They hit the ground running in 2014, performing at the 3FM Festival and releasing their mini album ‘Stand Up and Shout’. Moondaze’s (Uncle Jimmy) reputation has continued to grow with concerts throughout their native Netherlands and many ventures into Germany.

To quote David Wolgen on Suksawat ´This band has a groove, this band has soul, this band is bursting with energy, Moondaze (formerly Uncle Jimmy) is sexy and Rock ‘n’ Roll. (by neimë


ENERGETIC bluesrock with a touch of Hammond Organ. This is 70’s rock in a new jacket, inspired by legends like Deep Purple and Led Zeppelin. The album Moon Child is about the child in yourself and how a child can experience good and bad situations.

This band is fronted by a female leadsinger/bassplayer. Featured by an amazing Hammond Organ (also played by a lady), this band puts the 70’s in a whole new perspective! They are inspired by Deep Purple and Led Zeppelin. All four of them are very young, but are 100% dedicated to what they create. Everybody needs to see Uncle Jimmy live, because that will be an experience to remember. Their EP Moon Child is just a small hint of what they can do! They are most known by their high energy on stage and let the audience dance like never before.

Even though they are from the Netherlands, they already play a lot in Germany where they are slowly becoming famous, bit by bit.

Oh yes … it´s time to discover one of the finest bands of this year !


Tom Beemster (drums, background vocals)
Marja Boender (bass, vocals)
Julia Driessen (organ)
Sebastiaan Fledderman (guitar)

01. Play Around 3.23
02. Pink Hawk 3.38
03. Custom Made Man 3.32
04. Sinister 4.29
05. Moon Child 4.43
06. Optical Illusion (new single as Moondaze) 3.59




The Pretty Things – Live At the BBC (2018)

FrontCover1The Pretty Things are an English rock band, formed in 1963 in London. They took their name from Willie Dixon’s 1955 song “Pretty Thing”. A pure rhythm and blues band in their early years, with several singles charting in the United Kingdom, they later embraced other genres such as psychedelic rock in the late 1960s (with 1968 SF Sorrow being one of the first rock operas), hard rock in the early 1970s and new wave in the early 1980s. Despite this, they never managed to recapture the same level of commercial success of their very first releases.

In 2018, the band announced that they were retiring from electric performances at the end of the year. All current and forthcoming dates throughout 2018 are being billed as part of a farewell tour.

I guess it´s time so say goodbye … PRETTY THINGS  .. but they still play fucking good … Listen to “Mister Evasion” and of course “Midnight To Six Man” !!!

BBC Session (for Marc Riley show), Maida Vale Studios, London, UK; July 16 (?), 2018. Very good BBC broadcast.


Jack Greenwood (drums)
Frank Holland (guitar, vocals)
Phil May (vocals)
Dick Taylor (guitar)
George Woosey (bass)


01. Interview / The Same Sun (Taylor/St. John) 6.11
02. Interview / Can’t Judge A Book By Looking At The Cover (Dixon) 4.14
03. Interview 6.20
04. She Says Good Morning (May/Taylor) 3.48
05. Interview 5.48
06. Mister Evasion (May/Taylor/Waller) 3.22
07. Rosalyn (Duncan/Farley) 3.08
08. Closing comments 1.39
09. Midnight To Six Man (May/Taylor) 4.00



The Dutch (Band) – Werkman (2018)

FrontCover1.jpgInteresting new album by Amsterdam new wave band The Dutch. That band had a few small hits in the Netherlands in the early 80s, but had disappeared since in the mist of time.

The Dutch are back together since 2014 …

This new album is a concept album or a song cycle Werkman, about Dutch painter and graphic designer Hendrik Nicolaas (H.N.) Werkman
Hendrik Werkman (1882 – 1945) was an experimental Dutch artist, typographer and printer. He set up a clandestine printing house in Groningen during the Nazi occupation (1940–45) and was shot by the Gestapo in the closing days of the war.

WerkmanWerkman was a member of the Groningen artists’ group De Ploeg (“The Plough”), for whom he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers’ materials.

Werkman would distribute the magazine by exchanging it for works by other avant-garde artists and designers abroad and so kept in touch with progressive trends in European art. Among the most fruitful contacts were with Theo van Doesburg, Kurt Schwitters, El Lissitzky and Michel Seuphor, the last of whom exhibited prints of his in Paris. (by wikipedia)


Werkman is the fifth album by The Dutch. A mini-album this time, named after the Dutch artist Hendrik Nicolaas Werkman (1882-1945). Most songs on the album are inspired by De Ploeg (“The Plow”), a group of artists from Groningen, the Netherlands, who explored a unique kind of expressionism in the first half of the 20th century. H.N. Werkman was one of the leading members of De Ploeg. As De Ploeg was founded in 1918, 2018 marks the centenary of this avant-garde collective. So Long H.N. Werkman, the first song on the album and also the first single, is an homage to the printer, painter and artist who never ceased to inspire his colleagues to seek new ways of making art. The song reflects his adventurous nature, his optimism and the color richness of his “druksels”. In the song, Job Cohen, the former mayor of Amsterdam, reads one of Werkman’s Dadaist poems.

Other songs on the album that are inspired by H.N. Werkman or De Ploeg are Sunday Afternoon (Hello Sunshine) and Spellbound (dedicated to Jan Wiegers).


Completing the album are Out Of Your Mind, in which a row of books are feeling bored and wondering when their owner will have time to read one of them, instead of gaming and Netflixing and sitting in front of screens all the time; and By And By Astray, in which The Dutch make fun of themselves and wonder if they would be better off if they started juggling careers.
The last song on the album is a reprise of Sunday Afternoon (Hello Sunshine). In the original song, the sun is shining and everybody is hunky-dory, but there is a gloomy atmosphere around the corner; in the reprise the clouds have all disappeared and there is a feeling of optimism – the optimism of De Ploeg.


And in the song, Werkman’s dadaist poem is read by Job Cohen, who was the mayor of Amsterdam for over a decade. Cohen discovered his talent for reading prose and poetry only a few years ago, when he read books for his wife who was severely ill.

A great tribute album to Hendrik Nicolaas (H.N.) Werkman … Indie Pop/New Wave/Power Pop … called what you like …  I call it good music from the Dutch music scene today !


Bert Croon (keyboards, vocals)
Hans Croon (vocals, guitar, mandolin, banjo, keyboards)
Klaas Jonkmans (drums, vocals)
Jan de Kruijf (bass, vocals)
Job Cohen (speech on 01.)


01. So Long H.N. Werkman 03:26
02. Sunday Afternoon (Hello Sunshine) 03:19
03. Spellbound (for Jan Wiegers) 03:52
04. Out Of Your Mind 04:09
05. By And By Astray 04:46
06. Sunday Afternoon (Hello Sunshine) reprise 03:02

All songs were written by Bert Croon – Hans Croon – Klaas Jonkmans – Jan de Kruijf