Perhaps her greatest LP, recorded at FAME in Muscle Shoals, Alabama, with Rick Hall and the gang, released by Cadet in 1968. A handful of belters, a couple of Don Covay songs, excellent interpretations of Steal Away and Otis’ Security… the marvellously sympathetic musicianship of Carl Banks, Roger Hawkins, Barry Beckett and co… and the almighty I’d Rather Go Blind.

With Matt Sweeney.

Live in Scotland with Alex Neilson and Harem Scarem.

Back in business, with his best outing for a while, this is class.
Fine songwriting, steeped in its own version of Americana (Don Williams, late Elvis), and richly produced.

Quite different to A Wonder Working Stone and Spoils, the ten songs here are ‘sparse, intimate and concise. The focus throughout is on Alasdair’s deft acoustic fingerstyle guitar and his voice. The songs are variously elliptical and gnomic, direct and personal, romantic and tender.’ With sparing, decisive contributions on clarinet and tin whistle — and from Crying Lion.

A treat for those of us who like their Alasdair Roberts straight-up and hardcore. A pointed, deep selection of mainly Scottish folk songs, recorded live in the studio; beautifully sung, with minimal, exquisite accompaniment by acoustic guitar, or sometimes piano. Sexual oppression, Scottishness, political resistance; stray cows, mystical horses, waterbird royalty. Stiff shots of rapture, fighting talk, heartbreak, and tragedy. Terrific.

Great early-eighties Channel 1 excursion on the same version of DEB’s Revolution rhythm as Barrington Levy’s Black Rose.