Tom Waits Real gone (2004, Anti)

Tom Waits ne fait partie de mon paysage musical que depuis très peu de temps. Il faut dire qu’à l’époque (le milieu des années 1990) où je découvrais avidement de nouveaux horizons musicaux, hors des sentiers bornés par les grands médias, le bonhomme était plongé dans un profond silence discographique. Son oeuvre étant par ailleurs particulièrement singulière, assez peu d’artistes parmi ceux que je fréquentais s’en réclamait, à quelques exceptions près (Tindersticks par exemple). Je n’ai donc écouté de disque de lui que très récemment, en découvrant d’abord son magnifique Blue Valentine de 1978. J’y reviens aujourd’hui avec ce Real gone paru en 2004 et marquant plus de trente ans d’une aventure musicale des plus originales.

Ma méconnaissance globale de la discographie de Tom Waits me prémunira ici des comparaisons ou des considérations visant à replacer cet album dans la discographie fournie du bonhomme. Ce que Real gone révèle, c’est la forme éclatante qui habite notre barde sauvage, qui attente ici délicieusement au confort béat de nos oreilles. L’ingrédient le plus singulier de la cuisine Tom Waits est bien évidemment cette voix, cette tripotée de chats sauvages feulant au fond de son gosier, ce timbre papier de verre sachant aussi bien nous caresser à rebrousse-poil que nous émerveiller au gré de ballades belles à fendre l’âme. Sur Real gone, Waits frotte ce chant rocailleux à une instrumentation classique et épurée: guitare (du remarquable Marc Ribot), basse, percussions, quelques notes de banjo et quelques scratches turbulents… Ce frottement mériterait une étude spécifique d’un tribologue averti, tant il produit de délicieuses perturbations et de figures marquantes.

Tom Waits navigue entre blues, folk et jazz, alternant coups de sang ébouriffés (et ébouriffants) et ballades élégiaques, décrivant au fil de ses morceaux une Amérique peuplée de losers plus ou moins magnifiques. Parmi les hauts faits de cet excellent disque figure en premier lieu l’épatant “Hoist that rag”, parfumé des effluves des tripots d’Amérique du Sud. Avec “Sins of my father”, Waits nous embarque pour une lente pérégrination, qu’on aime s’imaginer à dos de mulet, courbé sous un cagnard éprouvant dans la solitude d’un désert caillouteux. Au fil du disque, Waits tantôt s’agite tel un hobo vitupérant (“Shake it”, “Don’t go into the barn” ou le génial “Baby gonna leave me”), tantôt se fait crooner égrénant dans les volutes d’un pub solitaire des ballades d’une élégance soyeuse (“Dead and lovely”, “Green grass”). Au final, juste après un “Make it rain” tellurique, Waits livre avec “The day after tomorrow” un morceau poignant sur la guerre, lettre d’un soldat au front envoyée à ses proches restés au pays.

Me reste donc à continuer mon parcours erratique dans l’oeuvre de Tom Waits, ramassant les cailloux semés au fil de ses trente ans de carrière.

Música é minha comida. Mas há algumas semanas, quando por sinal o blog ficou encalhado, a correria foi tanta que nem ouvir música eu conseguia. Fiquei mais de nove dias sem escutar um disco sequer. E quando pude voltar para ela, saudosa, o primeiro disco que abracei foi um do Milton Nascimento.

Minha relação com o Clube da Esquina sempre foi muito intensa, a música dos mineiros é um dos bons traumas da minha infância. Muito do que eu sou é culpa de coisas como “meu nome é Pablo, como um trator é vermelho, incêndio nos cabelos”. Fiz a discografia comentada do Milton nas décadas de 60 e 70. Por que esse período? É que não ouvi tudo que ele fez nas outras décadas, e nem teria tempo para ouvir com calma agora. De qualquer forma, o essencial de Bituca está nos discos aí embaixo.

Milton Nascimento (1967)    Bela estréia. Uma sofisticada apropriação dos rumos que a música brasileira tomava desde a Bossa Nova. Junto com Jorge Ben, Milton foi um importante ponto de renovação naquela década. Em contraponto ao suíngue de Jorge Ben, Milton apresentava um violão mais minimalista, discreto, mas cheio de deslocamentos rítmicos e harmônicos. Também são poucos compositores que iniciam a carreira com uma música do quilate de Travessia. Top: Travessia, Crença e Outubro

Courage (1968)   Milton for export. Apesar das figuras maravilhosas em volta (arranjos de Eumir Deodato, participação de Herbie Hancock e Airto Moreira), considero esse disco mais fraco que o anterior. Algumas interpretações estão aquém do original, algo que também acontece no disco norte-americano de Milton lançado em 1976. Top: Rio Vermelho, Três Pontas, Bridges

Milton Nascimento (1969)    É um disco de transição entre a sonoridade do primeiro Milton para a verve mais criativa da década de 70. Um tanto irregular, mas traz pérolas como Beco do Mota e Sentinela, com o violão característico de Milton, muitas vezes genialmente tocado no contratempo da música. A frutífera parceria com Fernando Brant toma conta do disco, mas Pai Grande, só de Milton, é o auge do arrepio na espinha. Top: Pai Grande, Beco do Mota e Sentinela

Milton (1970)    O Som Imaginário entra em cena. Psicodélico, lírico, surreal. Obra-prima. Notável a participação criativa do saudoso Zé Rodrix, tocando os instrumentos mais diversos (o que é o órgão tresloucado em Para Lennon & McCartney?). O adolescente Lô Borges também aparece com suas primeiras composições. Todas sensacionais. Outras canções como Amigo, Amiga lembram até o folk psicodélico norte-americano de bandas como o Love. Top: Para Lennon & McCartney, Clube da Esquina e Amigo, Amiga

Clube da Esquina (1972)    Ainda existe algo para dizer sobre o Clube da Esquina? Ficando apenas com o repertório cantado por Milton, até prefiro o resultado final do disco anterior. Mas é um disco irretocável. A parceria com Márcio Borges, Fernando Brant e Ronaldo Bastos atinge um clímax poético incrível. Não conheço frase mais bonita na música brasileira que “resistindo na boca da noite um gosto de sol”. E, ao contrário de outros grandes discos brasileiros, Clube da Esquina faz bonito perto de qualquer obra-prima lançada em 1972. Harvest, Close to The Edge, Pink Moon… Top: Cais, Nada Será Como Antes e Nuvem Cigana

Milagre dos Peixes (1973)    Em Milagre dos Peixes, boa parte das letras foi censurada. Essa é a explicação para um maravilhoso disco de solfejos, sugestões, de palavras não ditas, de uma agonia ímpar. Se há uma obra que traduz o momento tenebroso que vivia o Brasil, é Milagre dos Peixes. Apesar de subestimado, é o disco mais arrepiante de Milton. Numa das poucas músicas completamente cantadas, a voz infantil de Nico Borges desafina o surrealismo de Pablo. Uma forte experiência sensorial. Top: Milagre dos Peixes, A Chamada e Carlos, Lucia, Chico, Tiago

Milagre dos Peixes Ao Vivo (1974)    Sinceramente, não sei o que não faz desse disco uma obra-prima. Milton Nascimento e Som Imaginário eram perfeitos, o set é impecável e a gravação é boa, algo não tão comum em discos ao vivo nacionais daquela época. No entanto, as canções ficam melhor resolvidas no estúdio. Milton e cia também parecem um pouco travados nesse registro. As melhores versões são das músicas presentes em Milagre dos Peixes e dos momentos instrumentais. Top: Sacramento, A Matança do Porco e San Vicente

Minas (1975)   Mais uma obra-prima. Um dos discos com o instrumental mais refinado da música brasileira. Talvez seja o melhor exemplo de Rock Progressivo genuinamente nacional, repleto de timbres trabalhados, andamentos quebrados, harmonias vocais, sem a tradicional chupação das sonoridades inglesas. E ainda por cima é cheio de clássicos eternos. Top: Fé Cega Faca Amolada, Gran Circo e Ponta de Areia

Geraes (1976)   Inferior aos lançamentos anteriores, Geraes é um disco que carece de direção. Ao contrário de Minas, forte e coeso, o disco de 1976 oscila muito entre canções inventivas como Fazenda e Viver de Amor e outras menos inspiradas como Caldeira e Circo Marimbondo. Top: Fazenda, O Que Será (à Flor da Pele) e Viver de Amor

Milton (1976)   Também conhecido como Raça, mais uma vez Milton for export. E dessa vez bem irregular. Apesar do groove interessante de Cravo e Canela, músicas como Nada Será Como Antes perdem muito de seu lirismo em inglês. Top: Francisco, Cravo e Canela e One Coin

Clube da Esquina 2 (1978)    É um disco excessivo. Se fosse simples (é duplo como o Clube da Esquina, mas tem quase 20 minutos a mais), o resultado poderia ser bem melhor. O repertório mais folclórico não está no mesmo nível das canções mais convencionais do repertório de Milton. Mesmo assim, apresenta alguns momentos brilhantes como Nascente, Maria Maria, Tanto e Pão e Areia. Top: Nascente, Maria Maria e Tanto

Journey to Dawn (1979)    Fecha muito bem a década. É praticamente um compêndio de tudo que Milton fez de melhor nos onze discos anteriores. Também é o seu melhor disco “export”. Dessa vez, as canções em inglês soam adoráveis, mostram que o folk-rock de Milton não deve nada a nenhum grande nome do gênero. Top: Pablo, Idolatrada, Unencounter

First of all, Jackie DeShannon is very new to me, and I am by no means an expert. I suppose that I’ve recognized her name for at least a few years, but I didn’t associate it with much of anything until recently. A few months ago I was having drinks with a friend of mine and gushing over his band’s song “Splendor In the Grass” when he told me that, unfortunately, that hadn’t written the song at all. In fact, it was very old, somewhat rare Jackie DeShannon tune recorded with the Byrds as her backing band.

Determined to get ahold of this tune in the original context, I finally tracked down the album Me About You from 1968. Quite simply, I’ve been rather surprised at DeShannon’s ability to ride the fence between a number of seemingly contradictory roles in popular music. As a songwriter, she’s been credited with the success of a varied palate of artists including the amazing Brenda Lee, Marianne Faithful, and even Kim Carnes. As a performer she’s created music almost as varied.

Her first album, released in 1963, was a hybrid of the Brill Building pop that she’d had a hand in establishing, and more serious folk music that was just beginning to take hold of college campuses at the time. By the time Me About You arrived she’d managed to create a fully-formed folk-rock sound with the light, enjoyable flavor of girl-group pop, but with enough substance to add an extra emotional heft.

To be fair, I must admit that this record is not a life-affirming masterpiece, or a work of staggering vision or genius. It is, however, an extremely pleasurable listen that has the power of reminding you of when life was, or at least seemed to be, simpler, brighter, and more full of promise. (Download Jackie DeShannon’s – Me About You.)

DeShannon’s Website

The Jackie DeShannon Wikipedia Entry

Purchase Me About You/To Be Free Reissue

The Wailin’ Jennys are an acclaimed folk band from Canada. What originally drew me to them was The Wailin’ Jennys are a Canadian folk music trio originating in Winnipeg, Manitoba. Founded in 2002 when a local music shop brought together three solo acts for a performance, having changed a group member twice, they currently consist of soprano Ruth Moody, mezzo Nicky Mehta, and alto Heather Masse, although all band members are adept at various instruments as well.

This band really are something special.

Between 1996 and 1998 I put down a few songs in a rather spur of the moment on my 4-track recorder. Lyrics were made up basically on the spot while the tape was rolling. The sounds are pretty lo-fi and the clanging of metal in some of the songs were spoons, pots and pans that made up our primitive percussion. Jim Seagroves helped out on the racket kitchen percussion sounds as well as general chanting or making a nuisance out of everything.

Back then Jim and I called ourselves “the Gidds”. Basically, it was our little gang name growing up. We listened to NWA in high school and wanted to be white thugs. We had our own language and mockerized the neighborhood. Some of the songs we speak in German.

I play the acoustic and electric guitar, sitar and sing the songs. My brother Bob Guittard played bass and guitar on a few tracks as well as beat on a hand drum. Warren Barry played the organ on Once Around the Moon as well as added to the weirdness.

I used a Dr. Groove Drum machine. I hope you like these weird songs. At the time of the recording I was listening to a lot of Beck’s Odelay. Please enjoy and make comments.

Here is the link where you can listen and download the album for free:
http://www.jamendo.com/en/album/55876

I wish Word Press would allow a widget here so that you could listen. Not at this time.

1. “Thick as a Brick, Part I” – 22:40
2. “Thick as a Brick, Part II” – 21:10

[RS] [MultUp]

Hello, all. Here’s the November 2009 Mix. This one’s a pretty schizophrenic mix, mostly due to all the free time that I’ve had to investigate new music recently (actually, old music that’s new to me). It’s starts off with the first track, “Military Madness”, Graham Nash’s first solo album. Thanks to my friend Kyle for talking me into giving that record a real listen. I’m generally allergic to anything slightly David Crosby-related, and, admittedly, rather prone to jumping to conclusions.

There’s some new discoveries on here that are really revelatory. Well, they are to me, at least. Hank Ballard’s “Sexy Ways” is a racy and fun doo-wop number that most people of my generation aren’t likely to recognize. Apparently, James Brown was a Ballard devotee, and credited him with many of the idiosyncratic vocal traits that Brown later made his name on. LaVern Baker and Johnny Ace are also new treats of pre-60’s soulful R&B for me. Ace having one of the more tragic, and interesting backstories in rock n’ roll. Really, Google it!

The Jawbox, Home, and Eric’s Trip tracks are old favorites of mine from my exclusively indie-rawk highschool years. Additionally, about once every year I go through a mini-John Cale phase, and “I Keep a Close Watch” is a powerful enough ballad to get you hooked as well. I’ve been arguing for a while that his post-Velvets records are far and away superior to Lou Reed’s output. Any opinions on that? I love to hear any comments, compliments, or even negative muckraking. Again, thanks for reading and listening. Enjoy! (Download Slow, Slow Music’s November 2009 Mix.)

1. Military Madness – Graham Nash
2. Stratosphere Boogie – Speedy West & Jimmy Bryant
3. Burden – Home
4. Voices Carry – ‘Til Tuesday
5. Pledging My Love – Johnny Ace
6. From Here to Eternity – The Only Ones
7. Dumb Blonde – Dolly Parton
8. Behind the Garage – Eric’s Trip
9. Road Without An End – Charles Wright & the 103rd Street Watts Band
10. She’s All I Got – Johnny Paycheck
11. Breezewood, PA – Jenny Toomey
12. All the Way From Memphis – Mott the Hoople
13. Sexy Ways – Hank Ballard & the Midnighters
14. Washing the Dishes – Willie Nelson
15. Poor Girl – X
16. Hey, Western Union Man! – Jerry Butler
17. Soul On Fire – LaVern Baker
18. Jamboree – Guadalcanal Diary
19. A Six Pack to Go – Hank Thompson
20. Iodine – Jawbox
21. I Keep a Close Watch – John Cale
22. Debbie Denise – Blue Oyster Cult
23. Walking Around – The Innocence Mission

Track List:

01. “Winter” – 3:28
02. “Girlfriend In A Coma” – 2:47
03. “Don’t Look Away” – 3:36
04. “Today” – 3:36
05. “The One You Knew” – 3:01
06. “Do You Wanna” – 2:42

Download Joshua Radin – First Between 3rd and 4th 2004 part 1:

Track List:

01. “Closer” – 3:02
02. “The Fear You Won’t Fall” – 3:19
03. “Only You” – 2:28

Download Joshua Radin – Live At Reg’s Coffee House 2006 part 1:

Track List:

01. “Sky (feat. Ingrid Michaelson)” – 3:30
02. “Lovely Tonight” – 3:10
03. “The Fear You Won’t Fall” – 3:04
04. “You Got Growin’ Up To Do” – 2:53

Download Joshua Radin – Unclear Sky 2009 part 1:

Cat Stevens had several singles and three mediocre albums during his attempt to launch his career as a folk-rock singer/songwriter in the late 60s. While he garnered some attention in his native England, he found virtually no audience in the U.S. and, out of frustration, considered ending his efforts. But he had a backlog of decent material, and so decided to give it one more shot. His fourth album, Tea For Tillerman, rang the bell upon its release on November 23, 1970, reaching #8 in the U.S., #11 in Canada, #20 in the U.K. and, eventually #206 on Rolling Stone Magazine’s Top 500 albums.

Tea For Tillerman’s push up the charts benefited from the big single “Wild World,” which was issued in advance of the album and created the buzz Stevens needed to break into the U.S. market. But the album carried its own weight beyond the single. Four songs in particular, “Father And Son,” “Longer Boats,” “Where Do The Children Play?” and “Hard Headed Woman” have become timeless favorites for Cat’s devotees and casual fans alike.

Tea For Tillerman was the first of five straight U.S. Top 10 albums for Stevens. It’s available as a CD from Amazon (click here) and as downloadable tracks from iTunes (click here).

Genesis was one of the few British rock bands that successfully made the transition from meddling 60s folk-pop-rock through late-60s psychedelic rock to 80s pop-rock superstardom. Their November 18, 1974 concept album, The Lamb Lies Down On Broadway, was major point along that road and a huge FM radio hit (I remember playing it daily on my radio show at the time). While well received on air, in the critics’ circles and in stores, The Lamb… unfortunately became the last Genesis album on which Peter Gabriel appeared. Gabriel was the lead vocalist, chief songwriter and stage frontman for the band (he wrote all of the material on The Lamb…). His departure could have spelled doom, but remaining members Phil Collins, Tony Banks, Mike Rutherford and Steve Hackett moved on to greater things, including a string of nine straight U.K. Top 10 albums (8 in the U.S.) before they called it quits in 1992.

The Lamb Lies Down On Broadway is available as a CD from Amazon (click here).

Gordon Lightfoot, Canadian folk music singer

Gene Clark (November 17, 1944 – May 24, 1991), American singer and songwriter for The Byrds,

Stephen Stills had already attracted considerable attention to his songwriting and musicianship skills before his first solo album was released on November 16, 1972. As a founding member of Buffalo Springfield, Stills was a central figure in the highly-regarded and influential late 60s folk-rock and country-rock pioneers. He authored several of their important songs, including the hit “For What It’s Worth, “Blue Bird” and “Rock & Roll Woman.” Following the break-up of the band in 1968, Stills teamed up with Al Kooper (of Blood, Sweat & Tears) and Mike Bloomfield (Electric Flag and top session man) in a one-off project, Super Session (highly recommended album, buy here) in June 1968. Stills then joined with David Crosby (The Byrds) and Graham Nash (The Hollies) to form the folk-rock supergroup Crosby, Stills & Nash, whose 1969 debut LP (with the Stills-penned “Suite: Judy Blue Eyes”) and its follow-up, 1970’s Déjà Vu (with Neil Young on the team) were instant and lasting classics.

Stephen Stills was Stills’ debut in the solo limelight. It’s a blend of different genres (all songs were his originals) with backing vocals by Crosby, Nash, Cass Elliott and others, plus guitar work from Eric Clapton and Jimi Hendrix (to whom the album’s dedicated). Interestingly, it’s the only album in history on which Clapton and Hendrix appear simultaneously, although on different tracks. It also features the #14 pop-rock hit, “Love The One You’re With” and the #37 single “Sit Yourself Down.” Stephen Stills briefly hit the Billboard Top 5 in December 1970 and is available as download tracks from iTunes (click here) and as a CD from Amazon (click here).

Frightened Rabbit put together my favorite album of last year with the anthemic folk-rock of The Midnight Organ Fight. The Scottish indie rock band delivers the sort of haunting melodies that will follow you throughout the day while still providing emotionally-driven rhythm guitar riffs that put some of its genre competitors to change.

The album opens up with its most immediately addictive track, “The Modern Leper.” A strumming build-up erupts into a powerful, melodic siren song to the contagiousness of self-destruction. Like many of the songs on this album, the bleakness of the lyrics is countered by uplifting instrumentation and passionate vocals.

Songs like the upbeat “Old Old Fashion” and desperate “The Twist” show a commitment to genre while still demonstrating versatility within that genre. Singer/guitarist Scott Hutchinson leads each song with the sort of vocals grounded in a long tradition of attractively wailing folk, yet inflects it with a gritty sound that makes Frightened Rabbit distinctive.

This album will be a treat for fans of artists ranging from the sweet and poppy Proclaimers to the somber yet addictive Elliot Smith. Definitely worth a (few million) listen(s).

Descobrir dois músicos de talento como Glen Hansard e Marketa Irglova foi um achado que agradeço até hoje. Na cerimônia do Oscar 2007, a melhor canção original revelou  a melhor dupla de folk rock desde muito tempo, em um dos melhores filmes desse mesmo ano, onde  também atuaram, contando uma história de amor embalada pelas melodias mais belas e verdadeiras. Como eu disse, um achado.

E eis que agora, dois anos depois, The Swell Season, banda formada pelo irlandês Glen Hansard e pela tcheca Marketa Irglova, mais a colaboração de outros ótimos músicos de apoio, lança o álbum Strict Joy, caminhando pela mesma trilha do primeiro álbum, The Swell Season (2006).

As canções permanecem no mesmo nível do álbum anterior, com letras carregadas de melancolia, nostalgia e claro, doces palavras de amor. É o retrato da banda. Ao ouvir I Have Loved You Wrong, você percebe o que há de melhor em termos de harmonia e melodia. Low Rising lembra bastante When Your Mind’s Made Up, com um toque mais forte, assim como a bela Fantasy Man remete a If You Want Me. A mais agitada, Feeling The Pull, dá um toque mais ágil em um álbum marcado por músicas melódicas e  introspectivas. In These Arms é um exemplo delas.

Acredito na máxima que as mais belas canções precisam de apenas três acordes e a verdade. Isso é música na essência. E de verdade. O folk rock, com o álbum Strict Joy, está mais do que bem representado. E deve ser apreciado. Sem moderação nenhuma, afinal, com que frequência você encontra uma banda como The Swell Season?  Sem trocadilhos com Once, o filme que revelou essa dupla incrível, posso responder que, dependendo do caso, apenas uma vez!

Debut CD - Influenced

David Allen Slater released his Debut CD entitled Influenced on August 15th, 2009.  It contains fifteen well crafted original songs and instrumentals that have already been gaining the attention of a worldwide audience.

The title came from David finding his voice as a songwriter and talented musician after being influenced by the works of musical artists that cover a broad spectrum of genres.  It also comes from his personal influences in his life that helped to forge him into a powerful songwriter who happily wears his heart on his sleeve for all to see.

His strong,  gritty,  soul filled vocals are well suited to everything from Folk to Blues and Rock and he displays his vocal range well throughout the album.  He brings emotion and depth to the songs he sings and draws the listener into each one as he relates his message through his chosen art form so well.

On top of being a talented writer and vocalist, he is also a master of the fretboard putting his own unique touch on each song.  His personal style of playing comes from three decades of mastering his instrument.

This debut release was not only written and performed by DAS but also produced and engineered by him as well.  After teaching himself the art of recording in his home studio over the span of several years, he finally was able to bring to life what he had been  wanting to share with the world…..his own music!

These fifteen tracks have already been heard by fans around the world and found their place in the hearts of so many devoted fans.  Bringing together his experiences in life and the musical influences that helped him to find his own voice, Influenced is a not to missed debut by this promising new artist.

To find out more, please take a moment to visit David’s Official Website @ DAVIDALLENSLATER.COM

The press release is below…if you like thought provoking folk/rock this is the man for you.

Hi All,

the Ghost of Love (irregular records irr076) is going to be available 30/11. distribution by Proper, & already play.com are selling it for £7.99! & it it awesome. we’re all really excited & chuffed about this album. & erm.. personally, um err, as a writer, err um, i think this is one of the best albums wot i writ. & the playing by the Irregulars is immaculate – awesome bass & drums courtesy of messrs Forrester & Waygood, decorated by Mr Watson’s magnificent melodeon, concertina & harmonica, Ms Browton’s splendidly emotive cello, & the blood & fire & soul of Mr Walker’s brass playing. Be really great if you ordered it in advance ( & if you’re stuck for an extra xmas present or two – order more!) as the xmould rush may well clog up the Proper system, & anyway the shops are bound to be submerged anyway in the usual xmould slush.

Plus there are some gigs as well!!!!

20/11: Gaslight & Coke Building, Kelso Place, Bath (the Irregulars 3 piece)

21/11: The Acorn Arts Centre, Penzance – children’s gig afternoon, Ghost of Love (3 Irregs) eve.

22/11: a pub near Dorchester (3 Irregs)

29/11: somewhere in East Grinstead, solo, tbc

06/12: The Coach & Horses, Brentford (the Irregulars – Ghost west london launch gig) pm tbc

10/12: The Komedia, Brighton, (the Irregulars, Ghost of Love)

12/12: Orange St, Canterbury, (the Irregulars, Ghost of Love)

13/12: The Drill Hall, Chenoes St, London (the Irregulars, the Ghost of Love + RJ children’s gig, pm)

20/12: Bah! Humbug! @ the Dook, Shoreham, pm (RJ solo)

27/12: The Latest Bar, Brighton (Irregulars + Lomans + Sarah Michelles + special guests)

1. “Beyond Here Lies Nothin’” – 3:51
2. “Life Is Hard” – 3:39
3. “My Wife’s Home Town” (Willie Dixon/Dylan/Hunter) – 4:15
4. “If You Ever Go to Houston” – 5:49
5. “Forgetful Heart” – 3:42
6. “Jolene” – 3:51
7. “This Dream of You” (Dylan) – 5:54
8. “Shake Shake Mama” – 3:37
9. “I Feel a Change Comin’ On” – 5:2510. “It’s All Good” – 5:28
11. “Bob Dylan Theme Town Radio Hour (Interview recorded in Studio B) – 60:16

[RS] [MU]