Dick Gaughan - No More Forever
This was recorded on a 2-Track Revox in Bill Leader’s front room in July 1971. We had to stop recording and go to the pub when the traffic noise was too heavy!
It was my first record. in January that year, I had moved to London at the invitation of Robin Dransfield to explore the possibility of teaming up with him and Barry. I had known them for several years – Robin was a regular visitor to Edinburgh and Barry lived there for a while in the late 60s. They had just had great acclaim for their Rout of the Blues album with Bill Leader’s Trailer label. The combination didn’t actually work out but they took me round to Bill’s house in Camden Town and introduced me to him and recommended that he make a record of me. I got the guitar out and sang him a couple of songs and he said OK.
I phoned Aly who I had known since he came to Edinburgh from Shetland and was playing in a duo with Mike Whellans and he agreed to play on a couple of tracks. At the time, I was living in a hippy community in Wimbledon, making almost a living by busking the London Underground and Portobello Road – it was a really hot summer and Aly and I rehearsed for the record sitting on the grass at the Crooked Billet outside ‘our’ pubs, the King of Denmark and the Hand in Hand. A year later, I moved back to Scotland to join him in Boys of the Lough after Mike Whellans’ departure.
After all these years, the thing which strikes me about this record is that it fell between two stools regarding the use of Lowland Scots language in my self-conscious attempts to ‘anglify’ pronunciation (as was conventional for Scots to do for many years) while remaining true to the tongue. We have learned better since that time.
Track list:
Rattlin’ Roarin’ Willie–The Friar’s Britches / MacCrimmon’s Lament–Mistress Jamieson’s Favourite / Jock O’Hazeldean / Cam’ Ye Ower Frae France / The Bonnie Banks O’ Fordie / The Thatchers O’ Glenrae / The Fair Flower of Northumberland / The Teetotaller–Da Tushker / The Three Healths / The John MacLean March / The Green Linnet
Catalogue:
Trailer LER 2072
Date:
1972
Credits:
Recorded and produced by Bill Leader
Dick Gaughan: Vocal, Guitar, Mandolin
Aly Bain: Fiddle
Dick Gaughan - Kist O' Gold
This was my second solo recording and was recorded in 1975 by Bill Leader who by this time had moved to Halifax and had an 8-track studio built in his house. In the four years since recording No More Forever, I had spent a year with Boys of the Lough, lived in London, Newcastle, Hull and Accrington, toured almost constantly in UK, Holland, Belgium and Germany and finally moved back to Scotland.
I also gave up performing for the best part of a year, becoming increasingly disillusioned with the way things were developing in the world of folk music. The folk clubs were beginning to split into little ghettoes with some becoming like mini cabarets, where ‘entertainment’ was the god and stand-up comedy (some of it resembling Bernard Manning in content) increasingly dominated. As a reaction to this, others became so antiquarian and regimented that they simply alienated visitors. Much of the campaigning idealism of the 60s had gone and that wonderful spirit of discovery which fired a generation was turning into cynicism.
But what wasn’t obvious was that many of the best progressive comedians in the UK in the 70s and 80s would emerge from the folk clubs as would a great many singers and musicians who would gain a much wider popularity and have a great impact outside folk clubs. It is clear in retrospect that this period was simply a natural part of the evolution and out of it would emerge, at least among the Celts, a whole new wave of musical exploration.
John Prebble’s trilogy on Scottish history, Glencoe, Culloden and The Highland Clearances, had shattered 150 years of silence and 7:84 (Scotland) Theatre Company had blasted through Scotland with their astonishing The Cheviot, the Stag and the Black, Black Oil with its magnificent fusion of comedy, politics, satire, drama and traditional music – Hugh MacDiarmid’s longed-for Scottish Renaissance had begun in earnest.
Before I had gone to London in 1971, I had worked together on occasion with both singer Bobby Eaglesham and fiddle player Chuck Fleming. Chuck had been a member of the ground-breaking JSD Band, had gone south to work with Bob Pegg and the band ‘Trees’. in late 1971, I had done a tour in Holland with Chuck, fiddle player Tom Hickland from Belfast and singer Clive Woolf under the name of ‘Firewater’. I then joined Boys of the Lough and those three were joined by (ex-Trees and Mr Fox) bass player Barry Lyons and by a Scots drummer called Dave Tulloch (who had worked with Clive in Cecil Sharp House) to form a band which they called Spencer’s Feat. Clive then had a very serious stroke which took him out of playing and Bobby Eaglesham joined, with the band name changing to Five Hand Reel. Shortly after this, I was approached but this was during my period of temporary retirement and I declined.
A year later, Chuck decided to leave and I was totally frustrated with being solo and wanted to work with others again, particularly in trying new ideas. I joined Five Hand Reel and 3 days later we played our first gig with what was to be the permanent line-up of Bobby Eaglesham, Tom Hickland, Barry Lyons, Dave Tulloch and me, and began a three and a half year adventure which would involve 3 albums of which I am extremely proud, living in the back of a transit van, a lot of anguish, fights, blood, sweat and tears, getting conned and ripped-off heavily, and, I believe, some of the best and most exciting music I’ve ever been privileged to be part of.
Track List:
The Earl of Errol / The Granemore Hare / Rigs O’ Rye / The Gypsy Laddies / Lord Randal / Maggie Lauder–Cathaoir An Iarla (The Earl’s Chair) / Banks of Green Willow / 51st Highland Division’s Farewell To Sicily / The City of Savannah–Ril Gan Ainm / Raglan Road / Johnny Miner / The Ballad of Accounting
Catalogue:
LER 2103
Date:
1977
Credits:
Recorded and produced by Bill Leader
Dick Gaughan: Vocal, guitar
Dick Gaughan - Coppers & Brass
I’ve frequently been asked why I took the approach I did on this album. It has to be placed in historical perspective. Most musicians playing traditional Irish and Scots music at that time didn’t take the guitar very seriously; if you produced a guitar in a session you’d be expected to provide accompaniment to the ‘real’ players.
A few of us had been trying to change this but there really weren’t very many guitar players had the tenacity to keep banging their heads against what appeared to be a locked door. Paul Brady, Tom Gilfellon and myself had been chipping away for years without making much of a real breakthrough and in 1977, I decided it was time to stop knocking politely at the door and try kicking the damn thing down instead.
There was a long history of releases of solo musicians playing traditional tunes in the format of featured solo instrument with simple piano accompaniment so my adopting this format for Coppers and Brass was a slightly tongue-in-cheek attempt to place the guitar as a solo instrument within this tradition.
Techniques have developed a lot since those days and the crudity and experimental nature of some of the playing makes me cringe on the rare occasions I ever hear any of it these days but I’m still glad I did it. I think it played a small part in breaking down some of the prejudice against guitar and in helping to create space for others to explore the versatility of the instrument.
Track List:
Jigs: Coppers and Brass–The Gander in the Pratie Hole / Reels: O’Keefe’s–The Foxhunter’s / Hornpipes: The Flowing Tide–The Fairies’ Hornpipe / Reels: The Oak Tree–The Music in the Glen / Planxty: Planxty Johnson / Slip Jig: Gurty’s Frolics / Reels: The Spey in Spate–The Hurricane / 6/8 Marches: Alan MacPherson of Mosspark–The Jig of Slurs / Reels: The Thrush in the Storm–The Flogging Reel / 12/8 Jig And Reels: Ask My Father–Lads of Laoise–The Connaught Heifers / Reels: The Bird in the Bush–The Boy in the Gap–MacMahon’s Reel / Jigs: Strike the Gay Harp–Shores of Lough Gowna / Shetland Reels: Jack Broke the Prison Door–Donald Blue–Wha’ll Dance Wi’ Wattie
Catalogue:
Topic 12 TS 315
Date:
1977
Credits:
Produced by Tony Engle
Dick Gaughan: Guitar
Tom Hickland: Piano
Dick Gaughan - Gaughan
My fourth solo recording, done at Riverside Studios in London and one of two I made during the Five Hand Reel years, the other being Coppers and Brass.
Track List:
Bonnie Jeannie O’Bethelnie / Bonnie Lass Amang the Heather / Crooked Jack / The Recruited Collier / The Pound a Week Rise / My Donald / Willie O’ Winsbury / Such a Parcel O’ Rogues in a Nation / Gillie Mor
Catalogue:
Topic 12TS384
Date:
1978
Credits:
Engineer: John Gill
Producer: Tony Engle
Dick Gaughan: Vocal, guitars
Barry Lyons: Bass
Dick Gaughan - Handful of Earth
This was the first album I had recorded in Scotland. For some reason, it seemed to strike a chord with people and it is the most successful recording I have made in terms of acclaim and sales.
It was Melody Maker’s Album of the Year in 1981 and in 1989 it was voted in the Critics’ Poll, and more important to me, the Readers’ Poll, in Folk Roots as Album of the Decade. I have had hundreds of reviews, good and bad, and I pay little attention to them. But when the actual people you’re playing to confer an honour like that upon you, you shed the odd tear of thanks that you’ve been privileged to be able to do something which means something to them. Why they voted it such was a complete mystery to me then and still is today. As a friend of mine says, ‘Never ask one of the actors what they thought of the play’.
After leaving Five Hand Reel at the end of 78 my life appeared to disintegrate. I had had bouts of depression and mental illness on and off for several years and ended up having a total breakdown in 79 – the years of excessive consumption of alcohol etc and unhealthy living, which at that time were all an inevitable part of life on the road, had finally caught up. I spent the next 2 years trying to get some solo gigs again but it was very difficult – I didn’t exactly have a reputation for being stable or reliable – and for most of these 2 years I did very little but work on getting back to health, apart from the odd short tour in Europe, including the making of the Folk Friends 2 album. I was still under contract to make another album for Topic and finally felt well enough to tackle it.
A bit of background to the making of this album.
Just before my breakdown, May 79, the Conservatives under Margaret Thatcher had won the General Election with a majority in England but a minority in Scotland and Wales and we were saddled with the most extreme right-wing government of my lifetime. We had just had the Devolution Referendum debacle and people in Scotland, particularly on the Left, were reeling under the economic consequences of the Thatcher strategy for solving inflation by crashing the economy and creating mass unemployment.
What seemed to be required was to openly stand up and be counted. Although all my solo albums prior to this had included songs which reflected my political ideas, they had been more as chronicler than as protagonist. It was quite clearly time to stop reporting and start participating.
Track List:
Erin-Go-Bragh / Now Westlin Winds / Craigie Hill / World Turned Upside Down / The Snows They Melt The Soonest / Lough Erne–First Kiss at Parting / Scojun Waltz–Randers Hopsa / Song for Ireland / Workers’ Song / Both Sides the Tweed
Catalogue:
Topic 12TS419
Date:
1981
Credits:
Engineer: Robin Morton
Producer: Dick Gaughan
Dick Gaughan: Vocal, guitars
Brian McNeill: Fiddle, acoustic bass
Stuart Isbister: Bass
Phil Cunningham: Keyboard, whistle
Recorded at Robin Morton’s Temple Studios, Edinburgh.
Dick Gaughan - Different Kind of Love Song
After the surprising success of Handful of Earth, I was faced with a problem in terms of making a new recording. I had no intention of making HoE Mark 2. I knew I couldn’t and that, at that stage in my musical development, HoE was the best I could hope to achieve in adding something worthwhile to the reinterpretation of traditional Scots song in an acoustic setting. If I tried to do it again, I would be in danger of becoming formulaic and mechanistic and I have always held a deep suspicion towards “style” for its own sake.
Also, as I said in what I wrote about Handful of Earth, “It was quite clearly time to stop reporting and start participating”. This album was my putting that into action.
I can understand now why it confused many people. Until then, I had always presented a mixture of old and new songs but Love Song was a full-frontal onslaught, basically an anti-Cold War polemic. The political Right, emboldened by Reagan and Thatcher, had created a whole new vocabulary of anti-Soviet rhetoric and much of this had been quite uncritically adopted by Social Democrats and others on the Centre/Left then codified into ‘theories’ by people like Eric Hobsbawm. I was heartily sick of any discussion about Socialism being dominated by invective against the Eastern European countries and the so-called failure of the Left rather than by the urgently needed critique of the failure of Capitalism at the end of the 20th century. in my view, this myopic narrowing of discussion was largely responsible for the rout of the Left in the 80s, the consequences of which have been only too evident in the 90s.
I haven’t a clue who said this other than that it was an American strategic analyst but I think it should be etched into the brain of anyone who claims to be anything other than ultra-Right-wing: ‘Our fear that Communism might someday take over most of the world blinds us to the fact that Anti-Communism already has.’
Track List:
A Different Kind Of Love Song / Revolution / Prisoner 562 / Song Of Choice / The Father's Song / Think Again / As I / Walked On The Road / Stand Up For Judas / By The People / Games People Play
Catalogue:
Folk Freak FF 4000 4013
Date:
1983
Credits:
Engineer: Gunther Pauler / Robin Morton
Producer: Dick Gaughan
Dick Gaughan: Vocal, Guitars
Judy Sweeney: Vocal
Bob Lenox: Keyboards
Dave Pegg: Bass
Allan Tall: Saxophone
Willie Lindfor: Drums, percussion
Dave Tulloch: Drums on ‘Revolution’
Recorded at Tonstudio Pauler except ‘Revolution’ which was recorded at Robin Morton’s Temple Studios.
Dick Gaughan - Live in Edinburgh
In early January 1984, I was doing a gig in the Star Club in Glasgow. I got to the second verse of the second song and my voice went. It was 5 months before I could speak and 7 months before I could sing again.
This concert was the first I had given and I was absolutely terrified. Edinburgh being my home town, the audience that night was largely friends who knew how I felt and when I walked out on the stage, the emotional support from them was like a large pair of arms giving me a huge hug; one of the most remarkable and wonderful moments of my life.
Track List:
Revolution / Now Westlin’ Winds / Which Side Are You On? / Victor Jara of Chile / Companeros / Workers Song / Your Daughters and Your Sons / Four Green Fields / Ballad of Accounting / Jamie Foyers / Glenlogie / World Turned Upside Down
Catalogue:
CM CM030
Date:
1985
Credits:
Engineer: Roy Ashby
Producer: Dick Gaughan
Dick Gaughan - True and Bold
Towards the end of 1983 I was approached by Doug Harrison on behalf of the Scottish Trades Union Congress to see if I would be interested in making a record of songs from the Scottish Mining communities. He was concerned at the fact that at Union congresses he would often sing songs, particularly songs about mining, and find that the very people these songs were about had never heard of them and he wanted to do something to help restore these songs back to the communities they had come from. I agreed wholeheartedly and we began to plan the recordings and list of songs to be included. Then at the beginning of 1984 I had serious voice problems which put me out of action for 7 months.
Two months later, in March ‘84, the National Union of Mineworkers called a national strike against the closure of coal mines and we were into a year of very hard struggle. There was a massive propaganda battle going on with the press and media lined up on the side of the government and there were many artists who aligned themselves on the side of the miners. I have never subscribed to the rather silly notion that artists should be impartial and I took a completely partisan position behind the NUM. Human beings are not robots and I have never met a human yet who was actually impartial about anything – we all have feelings, views and opinions and these influence what we do. Objective reporting is not the job of artists; we describe the universe as we see it, complete with our prejudices and opinions.
Like many other musicians and singers, I spent much of that year doing concerts all over the country to raise money and support for the NUM. But I also believe that singing songs is not in itself enough – if I was to effectively put the miners’ case and claim to speak on their behalf then I had to play as full a part in their struggle as I could so that I could then fully understand their views and represent those properly in concert. So, for most of that year, I was Chair of the Leith Miners’ Support Group which involved spending Saturdays collecting food and money in Leith and then delivering this to the Lothian Central Strike Committee at Dalkeith. in the process, I made many friendships which remain precious to me.
And I saw part of the role of “folk” musicians as being to reintroduce the mining communities we became involved with to the wealth of songs and traditional culture which were rightly theirs. And we were able to do this, not by taking an evangelical approach but by getting out there and fighting on their side. They were able to clearly see that here were musicians taking an openly combative stance in their support and singing songs which were about them and people like them. So they listened and within a few months people who would never have dreamed of setting foot in a Folk Club were enthusiastically joining in with singing songs they had never known existed but which they found actually voiced their experiences and feelings – because circumstances had restored these songs to contemporary relevance and they were no longer merely antiquarian relics of some bygone age.
And, paradoxically, many folksong-loving conservatives who the previous year would have quite cheerfully sung that quaint old ditty, “Blackleg Miner”, were suddenly forced to confront the unpalatable fact that what they had always regarded as a harmless little song about some far-off past events was in reality a venomous attack on scab labour and that it was now impossible to sing it without that being interpreted as a thunderous declaration of support for the NUM.
Track List:
Miner’s Life is Like a Sailor’s / Schooldays End / Farewell to ‘Cotia / Auchengeich Disaster / Pound a Week Rise / Collier Laddie / Which Side Are You On? / Drunk Rent Collector / Blantyre Explosion / One Miner’s Life / Ballad of ‘84
Catalogue:
STUC 2
Date:
1986
Credits:
Engineer: Clarke Sorley
Producer: Dick Gaughan & Clarke Sorley
Dick Gaughan: Vocal, guitars
Jim Sutherland: Percussion
Clarke Sorley: Bass, keyboards
William Jackson: Uillean pipes, whistle
Recorded at Clarke Sorley’s Sirocco Studios in Kilmarnock.
Dick Gaughan - Call it Freedom
NOTES TO FOLLOW...
Track List:
Bulmer’s Fancy–The Silver Spire / Shipwreck / What You Do With What You’ve Got / Ludlow Massacre / That’s the Way the River Runs / Amandla! / Call it Freedom / When I’m Gone / Seven Good Soldiers / Fifty Years from Now–Yardheads
Catalogue:
CM CM041
Date:
1988
Credits:
Engineer: Peter Haigh
Producer: Dick Gaughan
Dick Gaughan: Vocal, guitars
Elaine C. Smith: Vocal
Fos Patterson: Keyboards
Tomas Lynch: Uillean pipes, whistle
Brian McNeill: Fiddle
Allan Tall: Saxophone
Mike Travis: Drums, Percussion
Dave: Accordion
Recorded at Pier House Studios, Edinburgh.
Dick Gaughan - Sail On
NOTES TO FOLLOW...
Track List:
Land of the North Wind / Son of Man / Ruby Tuesday / Waist Deep in the Big Muddy / No Cause for Alarm / The 51st (Highland) Division’s Farewell to Sicily / No Gods & Precious Few Heroes / Geronimo’s Cadillac / 1952 Vincent Black Lightning / Sail on / The Freedom Come-All-Ye
Catalogue:
Greentrax CDTRAX 109
Date:
1996
Credits:
Engineer: Roy Ashby
Producer: Dick Gaughan
Dick Gaughan: Vocal, guitars
Kathy Stewart, Mary MacMaster, Patsy Seddon, Tich Frier, Davy Steel: Backing Vocals
Mary MacMaster: Harp, metal-strung clarsach
Mike Travis: Drums
Stuart Smith, Alan Thomson: Bass
Rab Handleigh: Keyboard
John Henderson: Drums
Patsy Seddon: Gut-strung clarsach
Fred Morrison: Highland Pipes
Recorded at Hart St Studios, Edinburgh.
Dick Gaughan - Redwood Cathedral
More than anything else, I regard myself as a song interpreter. This is a much maligned craft these days and is often written off by use of the crass and meaningless term “covers”, a term invented by the music industry to create, for purely commercial reasons, an artificial hierarchical distinction between those who write songs and those who don’t.
The crafts of singer and songwriter are as different as those of actor and playwright. Some are skilled at both – but they are few and far between. Increasingly, pressure has been applied by the recording industry to singers that they will only be recorded if they write their own songs; this maximises profits for the record companies by ensuring they collect the publishing royalties and own the song copyrights.
The end result of this is that many fine singers end up making records way below their capabilities, padded out with trivial, inconsequential songs about what they had for breakfast and whether or not the sun was shining while they ate it.
Imagine this:
If all actors only acted in plays they had written themselves, theatre would die within a few years.
If all orchestral musicians only played symphonies they had composed themselves, there would be no orchestras.
If all car drivers only drove cars they had built themselves, there would be even greater carnage on the roads.
Add your own analogies. And if all singers only sing songs they write themselves then all songs will die with their authors and in 100 years’ time there will be no folksongs.
Fact – there are many fine singers who can’t write songs and many fine songwriters who can’t sing. Give the work of the fine songwriters who can’t sing to the fine singers who can’t write and there will be a lot more performances worth listening to.
Although this album does contain two of my own songs, it is primarily a homage by a song interpreter to the craft of the songwriter.
Track List:
Muir & the Master Builder / Gone, Gonna Rise Again / Reconciliation / Why Old Men Cry / Thomas Muir of Huntershill / October Song / Ewen & the Gold / Let It Be Me / All The King’s Horses / Pancho & Lefty / Turn, Turn, Turn (To Everything There is a Season) / Fine Horseman
Catalogue:
Greentrax CDTRAX 158
Date:
1998
Credits:
Engineer: Roy Ashby
Producer: Dick Gaughan
Dick Gaughan: Vocal, guitars
Rab Handleigh: Keyboards
Davey Paton: Bass
Steve Green: Drums
Recorded at Hart St Studios, Edinburgh.
Dick Gaughan - Outlaws & Dreamers
In early 2001, I was involved in a discussion on the Usenet newsgroup, uk.music.folk, concerning the difficulties involved in live recording and in creating a “live” feel in studio recording. I have done a live album and have made many studio albums and the feel is different. After the discussion was over, I kept thinking about the subject and began to wonder how close I would be able to get to the feel of a live performance in the studio.
Live and studio recording are two completely different beasts. in a live performance, there are several factors which create the live feel – for example, the presence of an audience and the pressure of having to get it right first time, the acoustic properties of the venue etc – and these do not exist in a recording studio, particularly when the performer is solo. Yes, it is possible to reproduce the acoustics of a concert hall but it seemed to me that the problem was less a technical one than a perceptual one on the performer’s part.
The essential factor in a live concert is the pressure on the performer – there are people listening and watching as the performance is taking place and it would generally be unacceptable for the performer to stop in the middle of a piece and say, “Sorry, but I think I can do this better” and start again. The level of concentration required is very high and is, in large measure, generated by the various pressures. The kind of concentration generated under studio conditions is very different as the pressures are very different. The priority in live performance is to get as good as possible in one playing of the piece; the priority in the studio is to get as close to perfect in as many playings as it takes.
It seemed to me that perhaps one method of creating a comparable pressure to that of a live performance might be to give myself a much tighter deadline than I usually set.
I do not go into a recording studio with a fixed plan. I rarely do arrangements in advance, sometimes I don’t even have a complete list of songs. I believe a recording studio is a creative tool and so I leave plenty scope for accidents, for serendipity to open new doors, for the creative energy to take me down roads I might otherwise have missed. And I thought that using my normal approach to recording, but compressing the entire process into a very tight time limit, might be the key.
Normally, I would allow around 21 days actual recording and approximately one day per track, plus a couple of days, for final refining, mixing and mastering. With this album, the entire arranging, recording, mixing and mastering were done in 40 hours. Four of the songs were established in my repertoire, another I hadn’t sung in 30 years, two more I had sung only a handful of times and had no fixed arrangement for, the instrumental piece I had never played in public, and the other three I had never sung – in fact, two of them still didn’t have tunes when I started recording.
This was the result, warts and all. I didn’t allow myself time to think about anything other than the emotional content of the music and so, yes, there are technical things which normally I would have tried to eliminate. It is completely raw and therefore, I believe, as honest as anything I’ve ever done.
Track List:
The Yew Tree / Florence in Florence / Dowie Dens o’ Yarrow / Tom Joad / Outlaws and Dreamers / When I’m Gone / John Harrison’s Hands / What You Do With What You’ve Got / Tom Paine’s Bones / Strong Women Rule Us All / Wild Roses
Catalogue:
Greentrax CDTRAX 222
Date:
2001
Credits:
Engineer: Oliver Knight
Producer: Dick Gaughan
Dick Gaughan: Vocal, guitar, keyboard
Brian McNeill: Fiddle, concertina
Recorded at Panda Sound, Robin Hood’s Bay.
Dick Gaughan - Lucky For Some
NOTES TO FOLLOW...
Track List:
Whatever Happened / Lucky for Some / Anna Mae / The Devil and Pastor Jack / The Hunter Dunne / Dancing with Eagles / Bleacher Lassie o’ Kelvinhaugh / Come Gie’s a Sang / Different Drum / We Got the Rock ‘n’ Roll
Catalogue:
Greentrax CDTRAX290
Date:
2006
Credits:
Producer: Dick Gaughan
Recorded by, mixed by, mastered by: Dick Gaughan, Ian McCalman
Dick Gaughan: Vocals, guitar
Ian McCalman, Mary Macmaster, Stephen Quigg: Backing vocals
Mary Macmaster: Clarsach
Brian McNeill: Fiddle
Recorded at Kevock Digital.
Dick Gaughan - Live! At The Trades Club
NOTES TO FOLLOW...
Track List:
What You Do With What You’ve Got / No Gods / Instrumental Medley: The Accrington McBrides–Mulvihill’s Hornpipe–The Wexford Assembly / Erin Go Bragh / Thomas Muir of Huntershill / Outlaws and Dreamers / Tom Paine’s Bones / Whatever Happened / Now Westlin Winds / The Hunter Dunne / Instrumental Medley: Caoineadh Eoghain Rua–Bunnafolly Jig–Jetstar’s Revenge–The Tolbooth / Geronimo’s Cadillac / Both Sides the Tweed
Catalogue:
Greentrax CDTRAX322
Date:
2008
Credits:
Producer: Dick Gaughan
Dick Gaughan: Vocals, guitar
Recorded by Ian McHarg at Hebden Bridge Trades Club.