Summer Dancing Judy Dyble and Andy Lewis Reviews



The Times Summer Dancing Review 18/08/2017

Guardian 18/08/2017 - Jude Rogers

Folk music

Judy Dyble and Andy Lewis: Summer Dancing review – fittingly odd sunlit pastoral electronica



(Acid Jazz)


Full of weirdness and wonder … Judy Dyble and Andy Lewis

Burrow through folk-rock’s foundations, and you’ll find Judy Dyble, an early singer in Fairport Convention, with the Incredible String Band, and the group that burst, kaleidoscopically, into King Crimson. Producer Andy Lewis, meanwhile, has played on some of Paul Weller’s recent sonic excursions. Together, this odd couple have made a fittingly odd, sweetly sunlit album, full of psychedelic pastoralism edging nervously into atmospheric electronics, sounding like a shyer take on cult late 60s bands such as the United States of America. Dyble’s voice is as English and as characterful throughout as an unpolished church bell, creaking wearily often, but ringing magically too, especially on Treasure, Tired Bones, and the utterly lovely A Net of Memories (London), which sounds like a lost kitchen-sink film soundtrack. These stranger moments fare better than the bluesier ones; they make you think of small-label releases, found in attics, which get reissued on 180g vinyl. More weirdness, more wonder.


  • This article was amended on 25 August 2017 to correct the name of the album’s producer.



Sunday Express 27/08/2017 Martin Johnson


Q magazine Sept 2017



Shindig Magazine! Sept 2017

Mojo Review August 2017

Uncut Magazine August 2017

Prog Magazine August 2017



Ian Burgess Friends of Fairport/Meet On The Ledge CD Rom August 2017

Judy Dyble & Andy Lewis
Summer Dancing
Acid Jazz

Judy Dyble had 35 years away from making music, re-starting her recording career about twelve years ago. That initial slow drip of new material is now becoming quite a flow. Sessions with groups including Big Big Train, a new solo album in the works, a new (Very limited edition) solo ep available, and now this album with Andy Lewis. Musician, producer, songwriter, and sometime bass player of choice for Paul Weller.

Andy’s roots are in R&B, psychedelia and jazz, Judy ‘s the music of Early Jefferson Airplane and the Byrds. Not folk. The mix is rather wonderful, a sort of proggish psychedelia with little jazzy pieces as they create their own world for forty five minutes of music.

From the sound effects introduction through “He Said She Said” this is an album that hooks the listener from the start. Through regular recordings, and live work Judy’s voice is getting stronger with each release. Most of the album is quite gentle, dreamy, and on any listen your favourite track can be the one you are listening to. I am on my seventh listen now, and certain bits of songs warrant mentions here. The title track starts with a gentle, slow Bo Diddleyish beat, which then continues behind all sorts of swirling instruments and dreamy vocals. “Night of 1000 Hours” has a clock ticking loudly through it. I’m sure we’ve all been there lying awake, waiting for the morning. This sums up those sleepless hours perfectly. The piano introduces the jazz, gently, beautifully. This is followed by “London” the roots for both Judy and Andy, once again Judy’s lyrics paint a picture, from memories, as you walk through the streets with her. “My Electric Chauffeur” has a very strict beat to it, with once again sounds surrounding you as you listen. The album is stereo, I venture that a surround sound mix would be even more magical.

Throughout the album there is not a wasted moment, every instrument is used to it’s optimum, and not beyond. Judy is in fine voice throughout, and every lyric is the soundtrack to a short film. It’s an album to put on and hit the “repeat” button. Sit back and enjoy.

Reviews from German magazines

Translated by Mark L Johnson

In the sixties she was the first singer with Folk-rockers Fairport Convention. Judy Dyble then moved on to join the sonic experimentalists who would later become King Crimson. Then she took a long break from music. Luckily she found her way back to music a few years ago. Even more luckily, she met Andy Lewis, known for his work with Blur and Paul Weller, on the way. The 68 year old and the 47 year old: that reads a bit strange but works together wonderfully. On “Summer Dancing” the producer enriches his colleague’s songs with softly woven sounds which remind us of early Pink Floyd. 4 stars/5

Translated by Mark L Johnson

Acid in the primordial soup: Folk icon and British producer weave the season’s most beautiful psychedelic folk songs.


What is wrong with the youth of today? Instead of rebelling, they want to sound like Joan Baez (Right Lucy Rose?) or Bob Dylan (admit it, Trevor Sensor) as undiluted as possible. It takes artists like Judy Dyble to come along and crash their bourgeois parade. Back in the late 60s, the 68 year old Brit sang with Fairport Convention, keystone of the British folk movement, before she moved on to Giles, Giles and Fripp who later formed King Crimson. When Dyble met producer Andy Lewis in 2014, they decided to record and album together. Voilá: Summer Dancing is a nice late summer gift for flower children who are allergic to kitsch. Lewis and Dyble mix psychoactive substances in the primordial soup of folk until it all sounds trippy, enrapturing and lucid. The wonderfully languid “No Words” sounds like it a forgotten 60s favorite. In other places, classic songwriting flows so naturally into bar piano sequences (“Night Of A Thousand Hours”) or sampling (“A Net Of Memories”) that one forgets who is supposed to be modernizing folk: the young rebels or icons like Judy Dyble?

Successful space-folk-pop from an almost wholly unexpected artist.

What an astounding biography: Judy Dyble was the first singer with Fairport Convention, made some recordings with Giles, Giles and Fripp before they became King Crimson and released an album with the short lived band Trader Horne. In 1973 she turned her back on the music business and from then on worked as a librarian. Hers looked like being a short music career which at best would be granted legendary status similar to Vashti Bunyan or Sixto Rodriguez. In 2004 at the age of 55, she decided to give it another try. Since then she has released several albums, initially to faint response. Then 2009’s “Talking With Strangers”, recorded with colleagues such as Robert Fripp, Simon Nicol and Pat Mastelotto served up delicate folk-prog. With Andy Lewis, producer and former bassist with Paul Weller, she has found a spiritual brother and invites us to “Summer Dancing”: 14 pieces of music which oscillate between folk-pop, psychedelic and prog of the listenable sort. The fantastic “A Message” even adds a notable trip-hop aspect to the mix. ”Night Of A Thousand Hours” shimmers and billows psychedelically before flowing elegantly into a jazz piano nighttime bar feeling. Also successful is the track “Such Fragile Things” which sounds, apart from the vocals, like a long lost track from Pink Floyd’s A Saucerful Of Secrets. Summer Dancing is a gentle work, occasionally romantic, gratifyingly very seldom too sweet, but invariably somewhat mysterious. Judy Dyble’s voice and songs are captivating and Andy Lewis’ spacy production, rooted in late 60s British psychedelia, perfects the atmosphere UweSchleifenbaum

From Italian Magazine Buscadero

Translation by Charles Goodger

Summer Dancing by Judy Dyble and Andy Lewis
reviewed by Luca Salmini for Buscadero Magazine

In the list of important missed opportunities that pepper the story of rock Judy Dyble may not be in first place. That privilege probably belongs to Pete Best, the Beatles’ first drummer.  Nonetheless she does command a significant position in view of what happened to Fairport Convention just after she left the group.  In fact Judy Dyble has little to regret.  Whatever happened, to her credit she still has the first Fairport Convention album, the records of The Incredible String Band, the debut of the future King Crimson under the name Giles, Giles and Fripp and the cult project Trader Horne, all achievements that underscore her contribution to that amazing epiphany English music underwent in the late 1960s. The next three decades saw Dyble choose voluntary exile from the scene but then around 2000 her name started to be heard again when the English singer found the strength and inspiration for a comeback and started to release new songs on a regular basis.

Her latest album Summer Dancing came out of a meeting with British producer and musician Andy Lewis convinced that Judy’s enchanting voice, her glorious past and her songs deserved a refreshing and regenerating dose of modernity. Following that first encounter in the Oxford countryside in 2014, they started to exchange ideas, lyrics and demo recordings. Before long they had achieved the special groove that characterises the curious entwining of folk, pop and psychedelia that colour the songs of Summer Dancing. The album is a multifaceted kaleidoscope of pastoral melodies, sampled sounds and electronic effects. They evoke more the visionary contaminations of the Animal Collective rather than the inebriating effusions of Sgt Pepper’s Lonely Hearts Club Band. Experiencing this album may make it easy to lose sight of the horizon – acoustic guitars, harmonica puffs, bucolic tweets and country bells meld in with flashes of synthesisers, undefined noises, buzzes, loops and reverb pops; mesmerizing folk harmonies, and nebulous lysergic deviations all help to make Summer Dancing  an accomplished and entrancing psychedelic pop hybrid. The electro-acoustic chorus of the spacious ballad Up the Hill, the echoing tribal beat of the drums and the  exotic flavours of the title track,  the pounding hillbilly style of The Day They Took The Music Away, not to mention the Sparklehorse-like A Message, the contaminated folk-rock of He Said/I Said, the elegant arrangements of the inspired A Net of Memories (London) , the seductive sixties aura of the high octane reverb in Treasure and the folktronic hymn Such Fragile Things - render the album instantly special.

Summer Dancing never fails to surprise and at times astonish. This is the album that could help Judy Dyble seduce a whole new generation of fans just like at the start of her wayward career.  

Translated from the original Italian by Charles Goodger, FunSongs,


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