The Sage and beyond...

And behold, the next day the sun shone, enabling the reopening of the Forth Bridge and our passage to Gateshead, the other Significant UK Snow Location, where we played at the beautiful Sage, being on our version of best behaviour to meet up in the bar with John Tobler, our record company’s boss! A shame Pete Scrowther’s sister was too snowed in to make it, for it was a good rocking night.

Dear reader, I’m aware that by now the detail is probably a little fulsome, so I’ll get on with it; Manchester saw us at Band on the Wall, which has been renovated within an inch of its life. Our old chum, Yorkshire’s own country-rocker Des Horsfall (his new Ronnie Lane-inspired album to be released soon; Peggy and I are both on it!) turned up, as did even older chum, Folk Godfather and Inspiration – he blew my socks irretrievably off when I saw him for the first time at the Victoria Folk Club, Leicester, in 1965 - Martin Carthy (we really have had a fair amount of royalty show up this year, you know). Thence to Kendal (thank you, the man from Dumfries, for those words elsewhere in this website – it was a good show, wasn’t it!) where afterwards we all sang wine-fuelled Christmas carols around Joyce’s lovely Art Deco piano; next morning onward through a now seriously freezing England to Skegness where the utterly brilliant Folk Weekend at Butlins was impressing everyone I spoke to, including Pete & Lee from my own dear Warwickshire village (two huge warm indoor concert rooms, great PA, screens, real ale bars – everything you need from a folkfest [apart from sunshine] without the usual summer accessories of drizzle, mud, wet tents, damp sleeping bags, etc. You don’t even need to bring your own chairs – we have seen FolkFest Future and it’s comfortable!)
We got there just in time to catch Kate Rusby and her brass ensemble a-carolling and wassailing for all they were worth.. (NB: At Butlins now the very comfortable accommodations are no longer called chalets, they’re units; they look just like New England-style factory outlet shopping malls, all white clapboard and little clock towers but missing the signs for Rockport and Bass shoes). So with a glow on from the extended set and a little celebratory drinkie we slipped away to our units, past imaginary windows full of Eddie Bauer, Old Navy and Aeropostale – a little bit of Massachusetts in sub-zero Lincolnshire.
P.J.

The Sage at Gateshead - a review

A couple of years ago, John Tobler, owner of RGF Records, asked me to produce a set of sleeve notes to accompany his new release, a double album containing the first two recordings by `The Dylan Project`. Being of the school of thought that `nobody sings Dylan like Dylan`, I was a little sceptical. The redeeming feature, however, seemed to be that the band consisted of some of my favourite musicians from over the years. On further listening, it became increasingly apparent that this was not another tribute band, but a group of stunning musicians capable of interpreting these wonderful songs in their own unique way. In 2010 John released a second album, this time with some previously unheard bonus tracks and graciously asked me to once again write the notes.

The fact that I was so blown away, not only by the stunning musicianship, but also by the amazing choice of material...led to my wife Sue and I braving the December blizzard to eventually arrive at `The Sage` in Gateshead in time to meet John and have a welcome and much appreciated drink with Peggy and Ellen.The theatre was pretty much full, despite the atrocious weather, as the band opened their set with the only non- Dylan song of the evening, the excellent `Colours to the Mast`, a Steve Gibbons' original.
As this was, apparently, the first time in 12 years that the band were actually playing from a set list, the songs continued to flow seamlessly throughout the evening. Continuing with a rousing version of `Tonight I`ll be Staying Here with You `with its powerhouse rhythm section of Gerry Conway and Dave Pegg, followed by`Down Along The Cove` which featured a tremendous accordion accompaniment from Phil Bond.

The fabulous, somewhat underrated `Born in Time` slowed the tempo and was the perfect vehicle for Steve's superb vocals and P J`s stunning guitar work. By now, the audience was eagerly awaiting and anticipating each new song as at a Dylan show.

Superb versions of two lesser known songs followed...`Lonesome Hobo` from J.W.H. ( again enhanced by great accordion ) and `Sweetheart Like You` which was performed with real feeling and gave the impression that it could be one of Steve`s personal favourites ??

TV Talking Song provided a change of style, being the only `talking blues` of the evening...a form which was common in Dylan`s early performances and recordings but which all but disappeared until this offering from `Under the Red Sky`. I think I prefer the DP version to the original!

Following an excellent rendition of `Handle with Care ` from the Wilburys' period, came, what for me, were two highlights of the night. Firstly, an emotive version of another lesser known Dylan masterpiece,` Dark Eyes` from `Empire Burlesque`.The arrangement was superb and created an incredibly evocative atmosphere in the theatre. This was followed by the magnificent `Gotta Serve Somebody`. Anyone who hadn't realised it already, must have known at this point that they were witnessing five of Britain`s greatest musicians at the very top of their game! Simply everything about this song was brilliant, from the vocal to the playing and not least the wonderful arrangement.
`Rainy Day Women` and an outstandingly different arrangement of a Bob favourite `Ballad of a Thin Man` began a 4 song set featuring Dylan`s Blonde on Blonde/Highway 61 period. The other two, the grossly underrated `Leopard Skin Pill Box Hat` and a sublime performance of `Just Like a Woman` conjured up images of mid 60`s NYC. I swear I saw the ghost of Edie Sedgewick looking down from the balcony behind the band ! (could've just been a pretty blonde girl from Newcastle or Gateshead tho`... I suppose.....still, nice to dream!)

The evening rolled on with one brilliant performance after another, culminating in the two real surprises of the show....firstly a version of the Dylan classic which has probably never before been covered (at least successfully),`Sad Eyed Lady of the Lowlands` from Blonde on Blonde. Performed at a much faster tempo than the original, this was an intriguing arrangement which highlighted the imagination and originality of The Dylan project. The encore was perhaps even more surprising..a rousing rendition of `Here Comes Santa` from D`s Christmas in the Heart album. As well as being a great performance, the band obviously thoroughly enjoyed the song..a fact which shone through to an audience eager to join in the fun !!

All in all, it was certainly worth the battle with the elements to be part of such a memorable night, and to witness these great performers and master craftsmen at the peak of their game. It is hard to imagine a better line up than Steve, Peggy, PJ, Gerry and Phil. Thanks a million for a great evening. I should also mention the superb venue...well worth a visit for anyone who hasn't yet been !

- Ray Dobson

The Green (Hotel) Man

And this is where the adventure starts; thus far there has been no mention of weather but as I left home, with the forecast of snow in mind (well, more in Scotland, actually) I slung a shovel in the back of the van on the off chance. This shovel can be seen in the video “Five Push Van in Newcastle” elsewhere on this website; for as we left a snowy Haydock Travelodge next morning, our northward progress up the M6 became steadily whiter. The Lakes, Borders, Hamilton and the road to Kinross increased their wintry coat as our speed decreased; nice driving, Mark. The only hairy moment was coming down the slope on the other side of a very icy Forth Road Bridge, where the rear wheels wanted to catch up a bit with the front ones. It seemed much steeper slope than it is. Eventually we pulled into the Green Hotel, Kinross which looked like a Christmas card, welcoming lights, fires, whiskies, etc., calling. The lovely, big concert room, stuffed with intelligent Rock & Roll memorabilia (if that’s not a contradiction in terms), is hosted by David Mundell, a bit of a legend among roots performers – his Famous Bein Inn, at Glenfarg, has seen an awful lot of “greats” grace what passed for a stage. (I recall “A Night Off with Peggy & PJ” spending a couple of lovely nights there – we were soundchecking/running through material in the afternoon when in walked Martin Taylor, a local resident. You have never seen two guitars put down so quickly…).

After a day of rest, snowy walks, rehearsals (really!), hearty meals, drinkies, etc., we played the next night to an audience of 29 intrepid souls who had come from as far away as Glasgow in blizzard conditions, yet another foot or so having descended that day. It was quite a party, a most musical and enjoyable gig – we even did a number of requests. Thank you David for the best three stranded days a chap could wish for.

P.J.

Steve Winwood...The Citadel

From the next gig on, Lickey Parish Hall, a lovely experience – thank you Paul and Jane - our transport was a large white van with windows, aircraft-type seats (unfortunately I think these had been recycled from a Vickers Vimy or Sopwith Camel, consequently for the next thousand miles the complaint known as “Van Arse” was rife among the ranks) and a front-seat-only heater for the driver, the stalwart Mark Harper, our Sound Technician, and the navigator, Gerry “Wrongway” Conway. It did also have a rather fetching amber flashing light mounted on the roof which we forgot to use.

My wife Jill arrived after we had started the first set, to find herself locked out in the cold together with a bloke that she said looked rather like Steve Winwood. It was Steve Winwood, an old mate of Peggy’s, who brought with him Mike Kellie, drummer of Spooky Tooth and more recently the Only Ones. Mike is a proper gent (I put some guitar on his new solo album a couple of months back and jolly good the record sounds too) and longtime resident of Birmingham.

Moving swiftly on (personally, I moved on a bit too swiftly and left before the post-gig curry, dammit) to St Helens; the Citadel is a lovely arts centre, small but perfectly formed (balcony and everything, but mind your head). Of course, we were hitting our stride now, despite (nay, assisted by) the bottle of tequila (and salt & lemon) that appeared backstage (bless you Bernie, and Merry Christmas). I think by the time we encored we were definitely feeling the spirit…

More soon.

P.J.

Motorway madness...Shoreham-by-Sea

Any road up, this DylProj Winter Tour 2010 started in customary British transport network nightmare style with;

1) the closure of the M40 due to a shed load (I did ask the car radio “a shedload of what?”) - 45min detour taking in Little Milton (the Oxfordshire village, not the 1960s R&B vocalist from Chicago whose biggest record on the Checker label – “Who’s Cheating Who” - funnily enough was produced by one Phil Wright. And, yes, for the Stephen Fry-ish read “Who’s Cheating Whom” ), Watlington and Nettlebed..
2) the M25 moving mostly around the 25mph mark for AGES. Unless it was at a standstill. At last we inched towards the M23 to Brighton, which soon became

3) CLOSED, due to something or other - I had by then switched off the traffic reports in an attempt to be serene, rise above it all and listen to Judee Sill’s “Heart Food” – fantastic early 70s Asylum-label CD, heartily recommended.

4) Just as I queued on the outskirts of Shoreham-by-Sea, a mile to the gig and an hour late for soundcheck, my nearside front brake kicked off with the scariest, brake disc-scouring grating noise. I presumed that the pads had finally gone and I was touching metal, as it were.

However, after a team effort to get those black boxes, bits, bobs and bats from car to stage (thanks, chaps) and a lightning quarter hour’s assembly thereof, we were ready to take on the Ropetackle Arts Centre’s finest. And did. A lively crowd, a bit of banter from the cheap seats and the tour was properly inaugurated. Considering we had neither played together nor rehearsed (rehearsed?) for eleven months, or perhaps because of this, we were pretty hot stuff. I had the added help of revenge to wreak on Ms 40, 25 and 23 by means of a Stratocaster and amplifier. Yummy. I love this job. I returned home by way of Southampton and the A34, so I would not have to use my brakes much, nor would I dignify the aforementioned motorways with my presence.
P.J.

PJ Wright's Tour Diary

PJ Wright, slide guitarist extraordinaire recalls the heady days before Christmas when the Dylan Project took to the road, bringing Bob to one and all. This is the first part of PJ's tour diary. More to follow in a few days.

"Firstly, the biggest of “thank-yous” to everyone who has left the comfort of their fireside, braved both elements and British road network (no mean feat sometimes, M6 on a Friday, etc.) to come and see us down the years; I hope we were worth the effort as I can’t remember us having a bad gig, even under severe bombardment conditions - broken strings, dodgy cables, disappearing monitors, momentary power cuts, that sort of thing (even, dare I say, when hidden doors in walls suddenly give way to the pressure of relaxed guitarists).

And this is where my next “thank you” comes in – band members past and present have consistently played their hearts out, Bob’s fantastic material bringing out the best in us. To be up there trying to enter “the Zone,” aware that the melody in the monitors is, in my opinion, produced by one of the niftiest voices that the twentieth century ever turned up; aware of a world-class bass-player and drummer providing a groove that reaches the toenails; hearing Phil’s fantastically sympathetic, authentic and cool keyboards slot into that groove. Well, I don’t mind admitting that I sometimes hear myself play something and think “Wow, did I just do that?”

So thanks chaps, you have made it very easy to keep lugging from the van and setting up the large pile of electric string, pedals, big black boxes, stands and that annoyingly complex bit of machinery that is the pedal steel guitar, night after night (and to think I was in a band once where I only sang and blew a bit of harmonica..).

Suffice it to say, as long as the two previously mentioned groups of people keep showing up, God willing, so shall I – our own version of Bob’s Never Ending Tour would be just tickety-boo with me."

More in a few days time.
PJ