Five Things I Saw & Heard This Week

Transcripts from the everyday world of music by Martin Colyer

Thursday, March 25th

March 25, 2021 by martin colyer 9 Comments

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Filed Under: Weekly Roundup Tagged With: Blitzed: The Blitz Kids Story, Coodercaster, Ethan Iverson, Jackie Kay, Jimi Hendrix, New Yorker, Norah Jones, Paul Grimstad, Radio Garden, Ry Cooder, The Beatles: Get Back, The United States vs Billie Holiday

ON THE MUSIC PLAYER
One of my favourite Christmas Songs,
Nellie McKay’s “Christmas Dirge”.

Why the great Nellie McKay is not a bigger star, I’ll never know — smart, funny, literate, a fine pianist, a great singer — but maybe her rebel nature stopped her being the Laufey of the 2000s… This song, sung to a woodsman, has some of the McKay essentials: lyrics that scan beautifully, a poignant melody, a radical vegan treatise wrapped in a Christmas bow. More power to you, Nellie!

FOLLOW FIVE THINGS ON INSTAGRAM

The Music is Black | V&A East Press Day | My Favourite Exhibit | Winifred Atwell’s “other piano” | Winifred Atwell was a Trinidadian pianist who migrated to Britain and studied at the Royal Academy of Music in London. Playing Ragtime and Boogie Woogie on a “classical” piano felt wrong, so she bought a honky tonk piano for 50 shillings from a junk shop in Battersea. She was incredibly successful and popular, the first black artist in the UK to sell a million records. When she played live, she asked fans to carve their names into the piano… One more thing: Poly Styrene was fabulous, beholden to no-one — I really wish I’d seen XRay Spex in 1978. The exhibition has this brilliant outfit. Oliver Darley | Album launch | Crazy Coqs | Excavating Bowie’s songs from our memories and the culture that surrounded them at the time — to hear them afresh — is the aim of Oliver Darley and Chad LeLong’s The Seat With the Clearest View. Their love for the songs shone through in the performances, making it a joy to be there. It was, as Jonathan Wingate, who introduced the show, said, ineffably poignant. And as someone who spent eight years working for Bowie, talking all the while of art and jazz, Wingate knows how special this approach is, and was instrumental in making it happen. Best seen in a small room with great acoustics. The album is out May 1 on Lateralize Records. This book is so good. It’s written in an authentic voice, has both vulnerability and humour, and is full of madness and much snatching of victory from the jaws of defeat (and vice-versa). It tails off toward the end, like almost every autobiography, but the first two-thirds are riveting. I love this passage about the movie Serpico, the story of an unusual New York policeman, Frank Serpico, more bohemian than your average cop, who refused to take the bribes his fellow officers regularly accepted. Al is unimpressed by the script sent to him by his agent, Marty Bergman… Most times, when you see a band, you don’t even consider the lives and the effort behind the music, the schedules that have to coalesce, the gear that has to be ported to the gig, the years of experience actually required to deliver night after night… Part of the reason for writing this is to point out the fact that we should treasure people who can conjure up magic in front of our eyes and ears. When you’ve seen something that’s left you feeling better about the world, go up and tell the musicians as they pack their gear. You’d be surprised how few people do. To end the sermon, a video of the last number Eric Bibb’s blazing band played at 229, just before I walked over to Paul and thanked him for a great performance — “My Father’s House”. Paul Robinson | Master Musician part 2 | from Brun-Lambert’s biography: “I played with Nina Simone for close to twenty years… because I knew this woman was a genius.” There were no rehearsals (“she never rehearsed”), and Paul’s first contact was frosty, as Nina — not speaking — solemnly walked to the stage. He’s not easily impressed; maybe that’s why it worked. Backed up by this strong-minded drummer, the pianist began her artistic rebirth with a series of triumphant shows. Paul Robinson | Master Musician | Following on from the last post about Paul playing with Eric Bibb… I’d last seen Paul in Townhouse 3 in 1988, when our producer Pete Wingfield called him in to play on a Hot House track. Townhouse 3 was previously The Who’s Ramport Studio, where Quadrophenia was recorded, as well as Supertramp’s Crime of the Century and Bryan Ferry’s Another Time, Another Place. It was in a very unusual location, on a housing estate in Battersea (and is now a doctor’s surgery). Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). Critic Instagram

BUY THE BOOK OF FIVE THINGS
(click on cover to order!)

HERE’S A TAG CLOUD THAT HAS A FEW OF THE SUBJECTS COVERED ON FIVE THINGS

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

On the Music Player: The Latest Project

SUPER HITS [!] OF THE SIXTIES! | ONE | “SEALED WITH A KISS”

I’d heard the song for the first time in years on one of the last episodes of the TV series, Mad Men. Brian Hyland’s 1962 puppy-love pop classic (#3 on both US and UK charts) has a naggingly dark/slightly hysterical melody that stuck in my head for days after watching the programme. On one hand it’s an over-ripe teen anthem, on the other a singular melody that doesn’t sound like a “pop” tune at all. Here‘s my version, part of a five song project covering songs from the 60s.

FOLLOW ON INSTAGRAM

The Music is Black | V&A East Press Day | My Favourite Exhibit | Winifred Atwell’s “other piano” | Winifred Atwell was a Trinidadian pianist who migrated to Britain and studied at the Royal Academy of Music in London. Playing Ragtime and Boogie Woogie on a “classical” piano felt wrong, so she bought a honky tonk piano for 50 shillings from a junk shop in Battersea. She was incredibly successful and popular, the first black artist in the UK to sell a million records. When she played live, she asked fans to carve their names into the piano… One more thing: Poly Styrene was fabulous, beholden to no-one — I really wish I’d seen XRay Spex in 1978. The exhibition has this brilliant outfit. Oliver Darley | Album launch | Crazy Coqs | Excavating Bowie’s songs from our memories and the culture that surrounded them at the time — to hear them afresh — is the aim of Oliver Darley and Chad LeLong’s The Seat With the Clearest View. Their love for the songs shone through in the performances, making it a joy to be there. It was, as Jonathan Wingate, who introduced the show, said, ineffably poignant. And as someone who spent eight years working for Bowie, talking all the while of art and jazz, Wingate knows how special this approach is, and was instrumental in making it happen. Best seen in a small room with great acoustics. The album is out May 1 on Lateralize Records. This book is so good. It’s written in an authentic voice, has both vulnerability and humour, and is full of madness and much snatching of victory from the jaws of defeat (and vice-versa). It tails off toward the end, like almost every autobiography, but the first two-thirds are riveting. I love this passage about the movie Serpico, the story of an unusual New York policeman, Frank Serpico, more bohemian than your average cop, who refused to take the bribes his fellow officers regularly accepted. Al is unimpressed by the script sent to him by his agent, Marty Bergman… Most times, when you see a band, you don’t even consider the lives and the effort behind the music, the schedules that have to coalesce, the gear that has to be ported to the gig, the years of experience actually required to deliver night after night… Part of the reason for writing this is to point out the fact that we should treasure people who can conjure up magic in front of our eyes and ears. When you’ve seen something that’s left you feeling better about the world, go up and tell the musicians as they pack their gear. You’d be surprised how few people do. To end the sermon, a video of the last number Eric Bibb’s blazing band played at 229, just before I walked over to Paul and thanked him for a great performance — “My Father’s House”. Paul Robinson | Master Musician part 2 | from Brun-Lambert’s biography: “I played with Nina Simone for close to twenty years… because I knew this woman was a genius.” There were no rehearsals (“she never rehearsed”), and Paul’s first contact was frosty, as Nina — not speaking — solemnly walked to the stage. He’s not easily impressed; maybe that’s why it worked. Backed up by this strong-minded drummer, the pianist began her artistic rebirth with a series of triumphant shows. Paul Robinson | Master Musician | Following on from the last post about Paul playing with Eric Bibb… I’d last seen Paul in Townhouse 3 in 1988, when our producer Pete Wingfield called him in to play on a Hot House track. Townhouse 3 was previously The Who’s Ramport Studio, where Quadrophenia was recorded, as well as Supertramp’s Crime of the Century and Bryan Ferry’s Another Time, Another Place. It was in a very unusual location, on a housing estate in Battersea (and is now a doctor’s surgery). Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). Critic Instagram

BUY THE BOOK OF FIVE THINGS

HERE’S A TAG CLOUD…

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

AND HERE’S THE ARCHIVE…

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THE LATEST PROJECT: SUPER HITS [!] OF THE SIXTIES!

“SEALED WITH A KISS”

I’d heard the song for the first time in years on one of the last episodes of the TV series, Mad Men. Brian Hyland’s 1962 puppy-love pop classic (#3 on both US and UK charts) has a naggingly dark/slightly hysterical melody that stuck in my head for days after watching the programme. On one hand it’s an over-ripe teen anthem, on the other a singular melody that doesn’t sound like a “pop” tune at all. It’s the first track from a new project covering songs from the 60s.

Follow Five Things on Instagram

The Music is Black | V&A East Press Day | My Favourite Exhibit | Winifred Atwell’s “other piano” | Winifred Atwell was a Trinidadian pianist who migrated to Britain and studied at the Royal Academy of Music in London. Playing Ragtime and Boogie Woogie on a “classical” piano felt wrong, so she bought a honky tonk piano for 50 shillings from a junk shop in Battersea. She was incredibly successful and popular, the first black artist in the UK to sell a million records. When she played live, she asked fans to carve their names into the piano… One more thing: Poly Styrene was fabulous, beholden to no-one — I really wish I’d seen XRay Spex in 1978. The exhibition has this brilliant outfit. Oliver Darley | Album launch | Crazy Coqs | Excavating Bowie’s songs from our memories and the culture that surrounded them at the time — to hear them afresh — is the aim of Oliver Darley and Chad LeLong’s The Seat With the Clearest View. Their love for the songs shone through in the performances, making it a joy to be there. It was, as Jonathan Wingate, who introduced the show, said, ineffably poignant. And as someone who spent eight years working for Bowie, talking all the while of art and jazz, Wingate knows how special this approach is, and was instrumental in making it happen. Best seen in a small room with great acoustics. The album is out May 1 on Lateralize Records. This book is so good. It’s written in an authentic voice, has both vulnerability and humour, and is full of madness and much snatching of victory from the jaws of defeat (and vice-versa). It tails off toward the end, like almost every autobiography, but the first two-thirds are riveting. I love this passage about the movie Serpico, the story of an unusual New York policeman, Frank Serpico, more bohemian than your average cop, who refused to take the bribes his fellow officers regularly accepted. Al is unimpressed by the script sent to him by his agent, Marty Bergman… Most times, when you see a band, you don’t even consider the lives and the effort behind the music, the schedules that have to coalesce, the gear that has to be ported to the gig, the years of experience actually required to deliver night after night… Part of the reason for writing this is to point out the fact that we should treasure people who can conjure up magic in front of our eyes and ears. When you’ve seen something that’s left you feeling better about the world, go up and tell the musicians as they pack their gear. You’d be surprised how few people do. To end the sermon, a video of the last number Eric Bibb’s blazing band played at 229, just before I walked over to Paul and thanked him for a great performance — “My Father’s House”. Paul Robinson | Master Musician part 2 | from Brun-Lambert’s biography: “I played with Nina Simone for close to twenty years… because I knew this woman was a genius.” There were no rehearsals (“she never rehearsed”), and Paul’s first contact was frosty, as Nina — not speaking — solemnly walked to the stage. He’s not easily impressed; maybe that’s why it worked. Backed up by this strong-minded drummer, the pianist began her artistic rebirth with a series of triumphant shows. Paul Robinson | Master Musician | Following on from the last post about Paul playing with Eric Bibb… I’d last seen Paul in Townhouse 3 in 1988, when our producer Pete Wingfield called him in to play on a Hot House track. Townhouse 3 was previously The Who’s Ramport Studio, where Quadrophenia was recorded, as well as Supertramp’s Crime of the Century and Bryan Ferry’s Another Time, Another Place. It was in a very unusual location, on a housing estate in Battersea (and is now a doctor’s surgery). Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). Critic Instagram
Follow Five Things I Saw & Heard This Week on WordPress.com

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

ON THE MUSIC PLAYER: ONE OF MY FAVOURITE CHRISTMAS SONG

Nellie McKay’s “Christmas Dirge”. Why the great Nellie McKay is not a bigger star, I’ll never know — smart, funny, literate, a fine pianist, a great singer — but maybe her rebel nature stopped her being the Laufey of the 2000s… This song, sung to a woodsman, has some of the McKay essentials: lyrics that scan beautifully, a poignant melody, a radical vegan treatise wrapped in a Christmas bow. More power to you, Nellie!

The Music is Black | V&A East Press Day | My Favourite Exhibit | Winifred Atwell’s “other piano” | Winifred Atwell was a Trinidadian pianist who migrated to Britain and studied at the Royal Academy of Music in London. Playing Ragtime and Boogie Woogie on a “classical” piano felt wrong, so she bought a honky tonk piano for 50 shillings from a junk shop in Battersea. She was incredibly successful and popular, the first black artist in the UK to sell a million records. When she played live, she asked fans to carve their names into the piano… One more thing: Poly Styrene was fabulous, beholden to no-one — I really wish I’d seen XRay Spex in 1978. The exhibition has this brilliant outfit. Oliver Darley | Album launch | Crazy Coqs | Excavating Bowie’s songs from our memories and the culture that surrounded them at the time — to hear them afresh — is the aim of Oliver Darley and Chad LeLong’s The Seat With the Clearest View. Their love for the songs shone through in the performances, making it a joy to be there. It was, as Jonathan Wingate, who introduced the show, said, ineffably poignant. And as someone who spent eight years working for Bowie, talking all the while of art and jazz, Wingate knows how special this approach is, and was instrumental in making it happen. Best seen in a small room with great acoustics. The album is out May 1 on Lateralize Records. This book is so good. It’s written in an authentic voice, has both vulnerability and humour, and is full of madness and much snatching of victory from the jaws of defeat (and vice-versa). It tails off toward the end, like almost every autobiography, but the first two-thirds are riveting. I love this passage about the movie Serpico, the story of an unusual New York policeman, Frank Serpico, more bohemian than your average cop, who refused to take the bribes his fellow officers regularly accepted. Al is unimpressed by the script sent to him by his agent, Marty Bergman… Most times, when you see a band, you don’t even consider the lives and the effort behind the music, the schedules that have to coalesce, the gear that has to be ported to the gig, the years of experience actually required to deliver night after night… Part of the reason for writing this is to point out the fact that we should treasure people who can conjure up magic in front of our eyes and ears. When you’ve seen something that’s left you feeling better about the world, go up and tell the musicians as they pack their gear. You’d be surprised how few people do. To end the sermon, a video of the last number Eric Bibb’s blazing band played at 229, just before I walked over to Paul and thanked him for a great performance — “My Father’s House”. Paul Robinson | Master Musician part 2 | from Brun-Lambert’s biography: “I played with Nina Simone for close to twenty years… because I knew this woman was a genius.” There were no rehearsals (“she never rehearsed”), and Paul’s first contact was frosty, as Nina — not speaking — solemnly walked to the stage. He’s not easily impressed; maybe that’s why it worked. Backed up by this strong-minded drummer, the pianist began her artistic rebirth with a series of triumphant shows. Paul Robinson | Master Musician | Following on from the last post about Paul playing with Eric Bibb… I’d last seen Paul in Townhouse 3 in 1988, when our producer Pete Wingfield called him in to play on a Hot House track. Townhouse 3 was previously The Who’s Ramport Studio, where Quadrophenia was recorded, as well as Supertramp’s Crime of the Century and Bryan Ferry’s Another Time, Another Place. It was in a very unusual location, on a housing estate in Battersea (and is now a doctor’s surgery). Eric Bibb is playing tonight at Ronnie Scott’s, and if you have a ticket, you’re in for a treat. Bibb has a great take on the area where the river of the blues meets some interesting tributaries — there’s folk, r&b, Americana, even a singer-songwriter stream — he was at college with Janis Ian, he told us when Tim, Izzy, Simon and I caught him at the London Blues Festival at the 229 Club at Great Portland Street. He travels with incredible musicians — Robbie McIntosh on electric and slide guitar, Greg Scott on bass, and Paul Robinson on drums are a unit of considerable power and subtlety. Scott, Bibb’s producer and co-writer is laconic beyond belief, almost horizontal as he lays out beautiful deep bass lines and Robbie Mc just gets better with age. His background with The Pretenders and Paul McCartney has given him a brilliant ear for supportive melody, and he’s burnished that into a deep blue hue, weaving slide lines around Eric’s wonderfully strident fingerpicking. Paul Robinson is just a wonderful drummer, who I’ll post about again, but in Eric’s band he’s a multi talented percussionist, starting off playing only with his hands, then adding one brush, then a stick, working up to the full kit. He really listens to the singer, a skill possibly heightened by playing with Nina Simone, as her only accompanist, for nineteen years. I would loved to have been there, but couldn’t. Next time! This photo of Bob Dylan holding a Fender Bass (which he never played) for a Fender promotional campaign is used so often it’s ridiculous, especially as there are so many great mid-60s shots by so many great photographers (Barry Feinstein, Daniel Kramer and Elliot Landy for starters). However, the Guardian news story that it led to today was fascinating, finally allowing Bobcats the chance to gather some meaning from one of Bob’s most translucent songs, “I’m Not There, I’m Gone”, aka “I’m Not There [1956]. Instagram don’t seem to have Bob’s version, recorded in the Basement of Big Pink with The Band, so here’s a cover* by Howard Fishman (*Greil Marcus Approved). Critic Instagram

Search Five Things

Aimee Mann Amanda Petrusich Aretha Franklin Barney Hoskyns Bill Colyer Bob Dylan Bruce Springsteen David Bowie Desert Island Discs Every Record Tells a Story Hot House Inside Llewyn Davis Janis Joplin JazzWax John Cuneo Joni MItchell Jonny Trunk Ken Colyer Leonard Cohen Levon Helm Liam Noble likeahammerinthesink London Jazz Collector Marc Myers Mark Pringle Martin Colyer Mavis Staples Michael Gray Mick Gold Miles Davis music Music Documentaries New Yorker Richard Williams Robbie Robertson rocksbackpages.com Ry Cooder Sam Charters Steely Dan Studio 51 The Band thebluemoment.com The Guardian US Esquire Van Morrison

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