May your Holidays be filled with joy and may you have a New Year that fulfills all your dreams and brings you health, happiness and love. And may we all enjoy PEACE in the new year!

Brittle Days: A Tribute To Nick Drake (1992)











01. The Changelings - River Man
02. Loop - Pink Moon
03. No Man - Road
04. The Walkabouts - Cello Song
05. Shelleyan Orphan - Joey
06. Scott Appe - From The Morning
07. The Times - Fruit Tree
08. Martyn Bates - Know
09. The Swinging Swine - Voice From The Mountain
10. Nikki Sudden & The French Revo - Time Has Told Me
11. Tracy Santa - Fly
12. Cilve Gregson - Northern Sky
13. Scott Appel - Hazey Jane I
14. R Stevie Moore - River Man
15. No Man - Pink Moon

Download link in comments.

Loudest Whisper "Maiden of Sorrow" 1975

Irish folk rockers best known for their 'Children of Lir' concept album. This live recording from 1975 continues in a similar vein and is a stage of another folk tale set to music complete with choirs etc. complex muisc for lovers of a rootsy electric folk rock sound with male and female vocals. Simialr to Fairport, The Trees, Steeleye Span, Mellow Candle etc. (Freak Emporium)

The History:
The Loudest Whisper story begins in rural Fermoy, Co. Cork, in the early 60s, when a group of teenagers encountered the music of the Beatles, and decided to form a beat group, the Wizards. The band's initial line-up comprised Brian O'Reilly and Michael Clancey on guitars, John Aherne on bass and Jimmy Cotter on drums, with all four members sharing vocals.

O'Reilly recalls that initially the band was "banging on chairs and playing acoustic guitars", since electric guitars and amplifiers weren't available in Fermoy before 1968. In­deed, musical purists frowned upon all guitars, as Brian notes: "In traditional sessions in those days, they didn't like guitar­ists joining in - that crept in slowly".

The folk dimension that would later characterise Loudest Whisper's work was absent from the Wizards' music, which consisted mainly of Beatles, Hollies and Spen­cer Davis covers. Later, the band discovered Cream, Hendrix and the blues, and their music took a heavier turn. Sometime around 1969 or 1970, they changed their name to Loudest Whisper.

By this time, the band had also undergone some line-up changes. Jimmy Cotter had left for Dublin "which for us, might as well have been a foreign country," notes Brian, and a fan of the band, Brendan "Bunny" Nelgian, was brought in as his replacement, despite never having played drums before. Later, Brian's brother Paud joined as a guitarist, quickly switching to drums, at which point Neligan became the band's lead vocalist.

Rehearsals began in the summer and The Children Of Lir premiered in Fermoy on 7th January 1973. Ron Kavanagh, a singer and guitarist who had also joined the band, took the lead role due to his fine voice and acting ability, whilst the band played themselves, and around 50 other performers were involved. The size of the orchestra, which included five guitarists, was as much for practical as artistic reasons - no stage microphone available, so the band needed to make as much noise as possible.

1974 proved to be a year of intense activity. Fuelled by the reaction to The Of Children Lir, O'Reilly had written another musical, Perseus, inspired by the Greek legend, and this was staged with an outstand­ing vocalist named Geraldine Dorgan playing the lead role. Simultaneously, the band embarked on a recorded adaptation of The Children Of Lir at Polydor's request (despite the show not having been a Loudest Whisper project per se), and prepared to release “William B" as their debut single.

With Tir na N'og's Leo O'Kelly as producer, sessions for The Children Of Lir went famously despite Kavanagh leaving the band ( for a prolific solo career) midway through. Vocals were shared by Neligan, Kavanagh, Kelly and Geraldine Dorgan, and the sound was fleshed out by a string and a children's choir.

The finished recording was a masterpiece of the progressive folk genre; melodic, mystical and dynamic by turns. Singling out highpoints is difficult, but "Mannanan 2" shows just what a gritty edge the band possessed in those days, and "Wedding Song" displays Dorgan's wonderfully rich voice to excellent effect, despite an obvious nod to "California Dreaming" in both the chord progressions and vocal arrangement.

Neligan left the band shortly after the LP's release, and Brian O'Reilly took over the bulk of the lead vocals. Geraldine Dorgan also joined as vocalist and electric guitarist, despite the reservations of some band members about having a female colleague. She also featured heavily in O'Reilly's third and final 70s musical, The Maiden Of Sorrow, staged in 1975.

Amazing Blondel "Fantasia Lindum" 1971

Ground and Sky review
Amazing Blondel's third album sees the group continue with their mellow twin lute, woodwind and close harmony style, but start to experiment a little with song format. The band had obviously settled into a comfortable niche by this time, the trio still using much the same instrumental techniques, but sounding much tighter. They also felt less keenly the need for external aid, with the only guest musician being Jim Capaldi, who plays a military snare on "Siege of Yaddlethorpe."
A glance at the track listing may lead one to believe that the twenty-minute title track is a fully blown progressive epic. In reality, it's a series of short songs and instrumentals linked together by the occasional use of a recurring theme. This track is not all together arranged in an ad hoc manner, however; it flows together well enough, with its last song, "Celestial Light," being a suitable climax before a subdued restatement of the main theme leads to a gentle finish.

The remaining tracks are all strong. The three penned by Gladwin are typical Amazing Blondel fair, while the two dances by Baird offer perhaps the closest thing to an authentic Elizabethan sound and "The Siege of Yaddlethorpe" like something from a Military Tattoo.

This is another fine release by Amazing Blondel, not offering much substantially different from Evensong, but perhaps exploring musical possibilities a little more, and having a little more quality to the overall song writing.

Davy Graham "Large As Life and Twice As Natural" 1968

Original sleeve notes by Ray Horricks:
This is Davy Graham's third adventure on an LP …and along roads that are folk, blues, jazz, Arabic, Indian-and one or two more things. Travelling with a guitar and also Danny Thompson, bass Jon Hiseman, drums, Harold McNair, flutes, and Dick Heckstall-Smtih, saxophones. Travelling like Baudelaire's travellers; 'who move simply to move'. The man himself is equally at home in Edinburgh ('a stately city'); Glasgow ('such warm acid'); or in Athens ('gold and purple in the evening. Smooth as marble hollow solid eyes of panthers. So exhausting for strangers.') But he is never at home in any one place for very long. And this seems to be in exact parallel with his music. For he cannot be pigeonholed: fortunately.

He is a life-member on the roundabout of alteration. Like his deep-down blues, and you have to accept his setting of a 1000 year old Romeo and Juliet story. Go with him on a musical flight to Morocco ('Jenra' : pavilion'd in splendour) and the return journey will be via an extended raga. But always-I should add-in the company of originality. For after introducing North African music to Western guitar, he has now done the same for India. It's a bit like Dr Bannister running his 4-minute mile and then going off in search of another distance. All of which is quiet disparate, but also very thorough and exciting and satisfying. In the past few years Davy has played his folk at the Edinburgh Festival, his jazz in some of the best clubs in London, his Arabic interpretations in Tangier and his ragas to people who know Ravi Shankar's records. (Unlike those who have gone to India for a 3-week Sitar course, he has investigated the form of ragas.) So far nobody who has listened has found his music a disappointment. And certainly not the many who have brought his two previous LPs.

Following this later collection I know have no idea where his next stop will be. He might take a bicycle to Mexico or slip inside a carrier pigeon's message to Senegal. Or it could be Canterbury. At least I know it will be fascination though as his producer of records, apart from supervising the sessions, I have found myself becoming more and more an editor of the ideas, which zoom out from him like flying saucers, with there origins just as mysterious. He will sometimes break off in the middle of a 'take' that another guitarist might become a Faust for, to tell me about three points of recording and it is preserved there for everyone to buy-he rarely performs it before an audience again. "I have to avoid the cliche," he says. "I want to keep them on the move…"
Well on behalf of those of us who have done cur best to keep up with him. I hope he does.

01. Both Sides Now (Mitchell)
02. Bad Boy Blues (Trad.; Arr. Graham)
03. Tristano (Graham)
04. Babe, It Ain't No Lie (Trad.; Arr Graham)
05. Bruton Town (Trad.;Arr Graham)
06. Sunshine Raga (Graham)
07. Freight Train Blues (McDowell)
08. Jenra (Graham)
09. Electric Chair (Unknown)
10. Good Moring Blues (Trad.; Arr. Ledbetter)
11. Blue Raga (Graham)

Cyril Tawney "Down Among the Barley Straw" 1976

This album is subtitled Seduction Songs from the Baring-Gould Manuscripts.

01. Down Among the Barley Straw.
02. Rambleaway.
03. The Ragged Beggarman.
04. The Squire and the Fair Maid.
05. The Hostesss Daughter.
06. A Nutting We Will Go.
07. Bird in the Bush.
08. Strawberry Fair.
09. The Cottage On the Hill.
10. The Bold Dragoon.
11. The Bold Trooper.
12. The Miraculous Hen.
13. The Barley Rakings

http://www.cyriltawney.co.uk/

"The Tree People" 1979

Aquarius Records:
Not to be confused with Doug Martsch's amazing nineties outfit, the Treepeople, -these- Tree People are equally amazing, but are a whole different proposition.
This disc was originally released as a super limited lp way back in 1979 and managed to quietly disappear. Now, here we are nearly three decades later, and whattaya know? There's a whole movement of modern free folk, 'freak' folk and the like, and if you didn't know better, pretty sure we could pass this off as some strange super limited cd-r by some modern folk revivalists. But keen ears would certainly be able to tell. This is so entirely original (especially for the time) and genuine sounding. Mostly acoustic guitars, flute and vocals, the Tree People had two distinct sounds, the first, a lilting melancholy moonlit folk, like Cat Stevens or Van Morrison, a gorgeous lazy drawl, rich and lustrous, over simple folk and fluttering flutes, dreamy and gorgeous, sounding like some lost folk classic one minute, a strange "Girl From Ipanema" style shuffle the next. But even at it's sweetest and softest, the record seems to always have a hint of melancholy, sometimes even a trace of ominous foreboding. Which definitely gives the songs a subtly dark undercurrent. The majority of the record however is spent in full on hippy jam mode. Very Comus-like at times (especially on track two, "Sliding"), wild steel string excursions, dense tangles of fingerpicked melodies and aggressive strummed riffs, with a definite raga like vibe, all over a smattering of hand drums and tablas, a glorious drifting buzzing steel string dronefolk, that just sounds so incredibly timeless. Elsewhere, the same jams evolve into more tranquil acoustic dreaminess, with the flutes floating over sweet lilting melodies, but even then, the songs will be peppered with sudden bursts of buzzing slide guitar, or brief squalls of atonal fingerpicking. SO cool. And considering the current love of all things freaky and folky, it's sort of amazing that stuff like this was already being made 27 years ago!
Obviously, fans of the current crop of modern folk troubadours will find this absolutely essential, Devandra, Vetiver, Espers, Newsom, whatever your particular poison, the Tree People will fit in frighteningly well. Hard to say whether it speaks to the prescience of the Tree People, or just to how much these modern bands have actually been 'borrowing'. Either way, this is absolutely essential.
Packaged in a super deluxe Japanese miniature gatefold style cd sleeve, with a printed obi, and extensive liner notes in English and Japanese!

Stephen Cohen: guitar, voice
Jeff Stier: percussion, recorder
Rachel Lademan: flute
James Thornbury: bass

For more about The Tree People, check Stephen Cohen's own blog:
"The Tree People chronicles"

V.A. "John Peel Presents Top Gear" 1969

Very rare, and very odd, compilation of performances broadcast by Peel on the BBC's Top Gear show in late 1969. Bridget St. John, the gentle-voiced folk singer who would record several albums for Peel's Dandelion label, has four tracks, including covers of John Martyn and Joni Mitchell songs. Experimental composer Ron Geesin has three items that, unsurprisingly, recall the most out-there passages of late-'60s Pink Floyd, whom Geesin worked with for Atom Heart Mother. The Welfare State's one offering is similarly avant-garde, and Sweet Marriage weigh in with a couple of pretty faceless progressive rock numbers; there's also an experimental treatment of "John Peel's Voice," and the "Top Gear Signature Tune." The juxtaposition of wildly different underground styles, as well as the rather unimpressive quality of the music itself, limits the record's appeal almost exclusively to hell-bent collectors. ~ Richie Unterberger, All Music Guide

Welfare State:
Art college freaks from Bradford, Yorkshire, represented by a single track on the John Peel Presents Top Gear album (BBC REC 52S) issued in 1969 and comprising selected sessions from his "Top Gear" radio show. The track in question is Silence Is Requested In The Ultimate Abyss and features backward vocals, hypnotic rhythms, psychedelic noise and a lyric, recited rather than sung, which seems to concern a body being seared and broken. The electronic treatment, under the direction of David Vorhaus, is by White Noise whose album An Electronic Storm (Island ILPS 9099) will be known to some. This mixture of "alchemists, an earth goddess, facts (?), monsters, perspex lutes, poets and freaks" - to quote Peel from the sleeve notes - is weird but interesting.

01. John Peel's Voice
02. Sweet Marriage - Mort
03. Bridget St. John - The River
04. Ron Geesin - Agitation in Anticipation of Offspring Part W
05. Bridget St. John - Song To Keep You Company
06. Welfare State - Silence Is Requested In The Ultimate Abyss
07. Bridget St. John - Night In The City
08. Sweet Marriage - Titania
09. Ron Geesin - Agitation In Anticipation Of Offspring Part X
10. Bridget St. John - Lazarus
11. Ron Geesin - Agitation in Anticipation of Offspring Part Y
12. John Peel - Top Gear Signature Tune

Sample pic: 1, 2

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heavenly-grooves

Finally, John have finished putting up his own blog!

heavenly-grooves

John:
Welcome to the Heavenly Grooves Blog spot. Here you will find a variety of genres (rock, folk, blues, psych, British beat, prog, etc...) all with one commonality - Jesus Christ. Whether you think the artists were demented, deceived or inspired I hope you enjoy the music. I will be posting several albums a week so check back often.

Welcome, John!

Robin Williamson & Clive Palmer "At the Pure Fountain"
Live 1999

Some thirty years after they last recorded together, Robin Williamson and Clive Palmer have rekindled their musical partnership. The two founding members of the Incredible String Band have picked up where they left off with the String Band's first album- in fact, they have reprised some of the repertoire from that period that somehow transcends time and fashion and sounds as fresh and exhilarating at the end of the century as it did back then. As Joe Boyd commented at the time of signing them to Elektra Records: "They were taking Scots songs that hadn't necessarily made the trip over the Appalachians and playing them as if they had." At The Pure Fountain finds Robin and Clive continuing their world music journey assisted by Paula Gardiner: double bass, Phil Tomkins: violin, Maggie Tomkins: accordion, Peter Stacey: soprano and tenor sax, Lawson Dando: keyboards, Gina Brown: keyboards, Bina Williamson: vocals.

Hector Christie's review here: The Living Tradition

John Renbourn & Robin Williamson "Wheel Of Fortune"
Live 1993

This live album, recorded in partnership with Robin Williamson (who plays Celtic harp, rhythm guitar, and whistle) at the Old Town School of Folk Music, is the most beguiling of Renbourn's albums, not a bad achievement 30 years into his recording career. The sound is excellent, the repertory consists almost entirely of traditional folk songs (there are two modern originals by Archie Fisher and Randy Weston) arranged by Renbourn and/or Williamson, and it's all fresh and bracing. Williamson takes the lead vocals on four songs, Renbourn on three, and the other four are instrumentals, with one dazzling piece of storytelling ("Finn and the Old Man's House") to musical accompaniment. Renbourn's contribution is slightly understated in these surroundings, although when he sings, his voice achieves great expressiveness and power. This is also a good showcase for his playing, and the running time, at more than an hour, is generous. ~ Bruce Eder, All Music Guide

Ron Sexsmith "Blue Boy" 2001

For his fourth studio album, Ron Sexsmith abandoned the increasingly baroque textures of Mitchell Froom and Tchad Blake's keyboard-dominated production to work with producer and fellow world-class songwriter Steve Earle (along with Earle's usual studio partner, Ray Kennedy). But if you're expecting the results to be a straightforward singer/songwriter affair, think again -- Blueboy is a stylistically diverse, sonically full-bodied affair, and while it's hardly a full-on rock record, it's certainly Sexsmith's most immediate and forceful set to date. Between the soul horns on "This Song," the reggae accents of "Never Been Done," and the cool jazz arrangement on "Foolproof," Earle's production brings a variety of different flavors to these songs, and while most fall into a smart pop mode not unlike Sexsmith's earlier work, the album's subtle but inventive textures draw the listener's focus into the songs, rather than the arrangements. Earle and Kennedy have also done a fine job capturing the nuances of Sexsmith's vocals, which boast a greater depth than on most of his earlier outings in the studio. But the best reason to listen to a Ron Sexsmith album is always his songs, and Blueboy offers another 14 pieces of evidence that this man ranks among the most gifted singer/songwriters working today. Balancing a youthful charm with a strikingly mature perspective, Sexsmith sings about the stuff of ordinary people -- life, love, and fate -- with a perceptive intelligence, emotional depth, and subtle and compassionate wit that's truly one of a kind. Anyone who has heard his work knows that Ron Sexsmith is a superb songwriter, and Blueboy suggests he's learned how to make records just as strong as his material. ~ Mark Deming, All Music Guide

Link

Smile (pre Queen) "Gettin' Smile" 1969
Released in Japan as 6 tracks mini-LP (1982)

Smile were a London based rock band for about 18 months in the late 1960s. The band Queen was formed out of its ashes. Formed by Brian May (later guitarist for Queen) in 1967, it included Tim Staffell as singer and bassist. It later included drummer Roger Taylor, who also went on to play for Queen.

Roger Taylor joined the group on drums in response to an advertisement which called for a "Mitch Mitchell/Ginger Baker" drummer. He had previously been both drummer and vocalist as frontman for a group known as Reaction. With a manager, roadie, logo designed by Staffell and paid gigs, the group was now becoming professional. They also used the promotions agency Rondo for publicity.

While Staffell and May both studied at Imperial College, their first gig there was on 26 October 1968, as a support act to Pink Floyd, playing mostly variations of covers with wild tempo changes and extreme dynamics. By the end of that year, Taylor had dropped his dentistry course, while May was still enrolled in astronomy.

The group's biggest public performance was on 27 February 1969 at the National Council for the Unmarried Mother and her Child. Held at the Royal Albert Hall, May, Taylor and Staffell performed as a trio on guitar, drums and bass respectively. Keyboardist Chris Smith had been fired the day before, according to Staffell. (According to Chris, he was only briefly in the band and left of his own accord due to wanting to try different styles).

Around this time Freddie Mercury was living with all three, and supported them behind the scenes. However, without a place for him in the band, he continued playing in other groups such as Ibex, later known as Wreckage.

1. Doing Allright (May/Staffell)
2. Blag (Taylor)
3. April Lady (Lucas)
4. Polar Bear (May)
5. Earth (Staffell)
6. Step On Me (May/Staffell)

The Story "Tale Spin" 2006

The Story is a father/son duo consisting of Martin Welham of the classic folk/psych band Forest and his son, Tom. The pair have been touring recently across the English countryside (Somerset seems to be home base these days) and, following an initial unveiling on a split-LP with US folkies Whysp "Tale Spin" marks both their debut full length as well as the first original (i.e., non-reissue) release on Sunbeam. Opening with their theme song, "The Story" is a rolling acoustic gem, full of gorgeous harmonies that leaves me with a laidback Moody Blues taste in my ears. The Welhams mix things up by adding banjo, piano and some strings and winds to "Hope and Pray," another harmonic beauty in the style of CSNY, Help Yourself, or early Brinsley Schwarz.

Welham senior's "Walking the Wall" is a nostalgic recollection of youthful experiences that could equally be directed at both his son and his former bandmates, while junior's youthful exhuberance injects a lightweight, good time poppy groove to his "Anyway" and the backwards guitars and soaring harmonies imbue his "Strange World" with just the right air of mystery.

So, these tale spinning Welhams offer up a whistful collection of melodic folk pop that will appeal both to senior's old cronies with Forest, COB, Fresh Maggots, and Help Yourself LPs in their collection along with junior’ new breed of folkies like Espers, 6 Organs of Admittance and In Gowan Ring. - Jeff Penczak

Daniel Patrick Quinn "Ridin' The Stang" 2005

The Unbroken Circle:
Artists such as Daniel Patrick Quinn give hope to a music industry which seems confused about the future and often exhausted. There is a generation of emerging artists such as this who are young but use on-line labels to distribute their music on their own label. They are therefore able to make music unrestricted by commercial considerations and stay true to their own inspirations and creative development. If they sell small quantities, this does not matter as they produce the albums when ordered and can take their time to develop as they like.

Daniel’s music is that rare thing - personal and unique in an industry which searches for such artists but then seeks to remove the very individuality that attracted them. On his previous album "Severed From The Land" and on this new one Daniel is able to fuse a sense of the ancient with a desire to progress. His music brings together traditional melodies, folk song and interest in landscape supported by electronic and drone instrumentation that produces a new music, beyond folk or ambient and into personal exploration. He is forming "The Rough Ensemble" to play his pieces live later this year which will be essential to see.

This is the kind of new ethnic music for imagined places that Brian Eno and Jon Hassell thought about. However the location of recording is East Lothian and the imagined place is the British landscape with the untold history and myths sitting within. It transcends any sense of the pseudo-archaic and instead produces a radical, authentic sometimes bawdy musical tapestry that evokes the landscape and our existence upon it. Daniel is only twenty four but is able to bring forward a sense of continuity, community and experience over ages in music entirely created by him which is both welcome and astonishing.

We start with "Northern" which combines hovering swirls of droning electronics, violins and finger clicks creating a positively vibrant opening swell of music. He then begins to intone in his dry northern English accent about the land and place. "those clear summer days, the first after the rain has gone, you can see for miles…." and "looking so precisely modelled, carefully contoured like there was some definite thought that went into these hills… the cars look tiny from up here". It's a wonderful combination of music and voice, like Mark E Smith of The Fall joining a communal fireside improvisation led by John Cale. Daniel talks about specific places, recognisable, talking as he travels "metal bridge in the last house before Rockcliffe Marsh and out to the Solway, past the boat house, I wonder who lives there? Over the border go towards Moffaft…"

"there are few signs of human habitation, where the hills lend an ancient aspect to your days, may the road rise to meet you".

It's beautiful, to this reviewer more moving in its informal observation than most poetry, words from the people about their own places. Next track is "The Burryman" which features Duncan Grahl speaking with Daniel and others about the South Queensferry leaf-costumed "green" man known as The Burryman covered in spikey burrs. Here the music is softer, accordion and violin woven into melodic repetitious electronics. Duncan speaks in his broad accent about the burryman going in the pubs and factories taking a drink. It's a relaxed dialogue over the music with lots of joking and laughs amongst those present. The listener feels as though they are sat in the pub, a fire roaring listening to this impromptu communal tale. Then Duncan talks about "Lammas" time, the time of change into harvest which connects to our own "Lammas Night Laments" music series nicely. "The Burryman is a hero… the children of the village are all scared to look at the Burryman, they just peek through their hands you know…." As the song progresses and the Burryman moves towards his duties the music grows with the calls and invocations of the group to encourage him on.

Our third piece is "Make Hay!" an instrumental that combines analogue synthesizers sounding like early Kraftwerk before their robotic phase and combining this with a haunting folk refrain. As it evolves the piece takes on a filmic quality as though Ennio Morricone was working with Ashley Hutchings. On pieces such as this, Daniel's music works as "circles" of repeating and evolving phrases. Their simplicity working as a strength allowing the central melodies to embed themselves into the listeners mind. We are soon then into "Clock House" which continues from the last track as an instrumental but this time more pensively with delicate guitar melodies over rumbling bass guitar and the accordion/violin drone.

After the subdued quality of the previous track the next arrives like a breath of clear early morning air, intoxicating and mixed to sound huge with banks of sustained keyboards and a bright melody. Daniel speaks his intro "they lived down here and they moved on" at the start of the track, "Channelkirk and the Surrounding Area". His voice is hypnotic and full of small laconic inflections, I could listen all day. This piece is quite amazing in it’s beauty, uncompromising, genuinely mysterious and raw. This is where the hope for the music industry lays, at the heart of this music which fuses the old and that yet to come.

"Rough Music" starts with a moody, mysterious minor air and the lyrics more strident "well if I was minded about these guys, mind I'd like to see the bastards locked up". It feels like a manifesto, a statement of rejection and defiance to targets unknown. The spoken refrain of "Ridin' the Stang" seeming both a promise and threat as it is menacingly intoned.

"Over and Over" continues the moody instrumental quality at first before an electric violin and guitar come in with a lighter melody, lifting the piece but retaining the tension. Surging layers of synthesizer weave into the music taking it from the land to an almost cosmic level of exploration, music that is beyond influences and into new realms of its own. It is clear as we listen that Daniel is not so much interested in preserving the land as it was, but in exploring it now, changed but still pivotal to our lives, our footsteps weaving new layers of history over the old.

All too soon we have reached the eighth and final track called "The Ennerdale Fence" which is a kind of hazy, dreamt communal folk song. It has an insistent beat but vocals that fade in and out with the drone reaching a raga like intensity. The instruments fuse into surging union with electric guitars ringing out over the top. Somehow it seems to fulfil the forgotten promise of a uniquely British psychedelic music created on Pink Floyd's "Piper At The Gates of Dawn" and then forgotten for decades. But here, here we have it reborn. British melodies, folk and the surreal combine once more into music that reaches outside time and into the heart of this land as a brief fuzzed electric guitar squall leads back to our summer slumbers.

Like all the most inspired and inspirational music, Daniel's transcends its influences and genres expressing an aspect of musical creation not heard elsewhere. Recommending this music does not really do justice to how quietly essential it is. I found it connected with some instinct and shared memory deep inside, an element of British experience that none of us can express but many feel. Music from and about the land and our communities, Daniel's music simply demands to be heard.

Serenity "Piece Of Mind" 1972

Freak Emporium:
Beautiful and little known album from New Zealand released in 1972. It's a classic piece of acoustic and electric progressive hippy folk rock that is reminiscent of Magna Carta but with a US West Coast feel. A superb dreamy blend of cool trippy, summer folk rock sounds with a pop edge. Now on CD from Kissing Spell!

Serenity were a Christchurch based pop/folk trio around for a short time in 1972. They released a good album that year called "Piece Of Mind" and from that album came two singles, "Where Is The Lord"/"Millions" and "Pig"/"Sandelmaker", all on the Down Under label.

"Big Lost Rainbow" 1973

It is not hard to figure out why record labels wouldn't touch Big Lost Rainbow and why it stood no chance of gaining a widespread audience at the time of its 1973 release date. The album runs completely counter to the pompous hard rock that was plastered all over the airwaves at the time and is far too subtle and mature for mass consumption. Although their initial gig was played before a crowd of 10,000, Big Lost Rainbow were not cut out for the arena. Their music requires a much more intimate setting and response, and their sole album is a surprising musical delight constructed out of elements of folk, jazz, and classical music, all of which expose gorgeous, supple melodies, mostly composed by lead vocalist and guitarist Ridley Pearson. The album brings to mind the best aspects of soft early '70s folk-pop, but unlike much of that genre, there is a genuine sorrow (as opposed to anger) threaded throughout the music; a sorrow, perhaps, brought about by the changing times but one that is not the least bit cynical. It is, instead, a sort of celebratory sentimentality. The songs are all exceedingly strong. Big Lost Rainbow infuse the music with an uncanny emotional resonance whether they are expressing joyous or melancholy sentiments. The opening cut, "Sail" (written by Otis Read), is powered by harmonies nearly equal to those of Crosby, Stills & Nash, while "Oh! Idaho" is a lilting, upbeat tune that soars with scatty harmonies a la Seals & Crofts. Even the upbeat songs, though, are not exactly bouncy. The album is entirely drum-less, so acoustic guitar, piano, bass, and cello are all up front with Pearson's vocals, which sound like a gentler, more somnolent Jonathan Edwards or James Taylor. When the mood is slowed down, the songs are incredibly touching. "Slow Rider" has a hint of the Bee Gees in their most heartbreakingly fragile and evocative melodic moments. And the gorgeous "Allegiance of Apathy," the one song included from the group's 1992 reunion, offers not only evidence that the members still have the magic but also a perfect, poignant closing for the album. Overall there is a tender, communal hippie vibe to the album, very sunny and optimistic without descending into silliness and entirely avoiding jadedness. There is a sense of lost innocence and the process of growing wiser, as if the band is singing a lullaby to the wistfulness of youth. From beginning to end, Big Lost Rainbow is romantic and lovely. ~ Stanton Swihart, All Music Guide

Nick Drake

"John Peel session"
Recorded at Yalding House, London, August 5th, 1969.

Time of No Reply
Three Hours

Download (re-post)


"A Stranger Among Us - Searching For Nick Drake"
(BBC Documentary 1998)

Google Video: Part.1, Part.2
or
AVI format: Part.1, Part.2

Thank you, Sins We Can't Absolve!

Mason Proffit

Recommended by Sean MacNair...

"Movin' Toward Happiness" 1971

Based in Chicago, Mason Proffit played a style of country-rock that owed less to the more pop-oriented style of L.A. bands like Poco than it did to the newly bluegrass-happy Grateful Dead of American Beauty and its emerging offshoot, the New Riders of the Purple Sage. Despite the pedal steel guitar, fiddle, banjo, and Dobro, the Talbot brothers, who led the group, were less about a new Nashville than about a fusion of the Old West with hippiedom. They lamented the plight of Native Americans in "Flying Arrow," and while they could pick a mean hoedown on "Old Joe Clark," their version somehow managed to express antiwar sentiments. They recognized the connection between the cowboy myth and the independent spirit of truck drivers, and they managed to mix it all in with a sort of primitive Christianity. In this, they were very much of their time. Mike Cameron's "Good Friend of Mary's" fit into the emerging Jesus cult that identified the Christian savior as a kind of proto-hippie, preaching peace and love while wandering the country in long hair and sandals, and the Talbots sang it with their warm tenor harmony in complete sincerity. Such music wasn't going to make it far out of the early '70s, but in 1971 it was perfectly appealing, and Movin' Toward Happiness managed to make the national charts despite being released on the band's own label, suggesting that they had the potential to appeal beyond a cult. ~ William Ruhlmann, All Music Guide


"Last Night I Had the Strangest Dream" 1971

Though this album sank without a trace when it was released, time has been kind to Last Night I Had the Strangest Dream, and it is now hailed as a work of genius. Justifiably so, since every track is proof of a band with wonderful instincts for melody and how to frame a musical idea. Mason Proffit was an ensemble that played a blend of music that was more country than rock, with occasional folk and blues influences to make things interesting. Though a few of their songs were straightforward love songs and celebrations of country virtues, many were uncommonly sophisticated for 1971. The song "Jewel" is a pure tearjerker, a sad tale of a young black woman who is used and abandoned by a wealthy white man. The tragic story is set to a weeping steel guitar and is sung in a voice that sounds anguished, and it is a marvelously affecting track. The title track and "Eugene Pratt" are noteworthy for their gentle insistence that something is wrong with the society in which we live, and something should be done about it immediately. Other bands were experimenting with country-rock but never achieved this subtlety and grace, and there was a whole genre of protest music which lacked those same two attributes. The fact that both were in the same package, but were ignored at the time that they were released, is just a darn shame. This band's catalog cries out for a re-evaluation and re-release, starting with this album. ~ Richard Foss, All Music Guide


"Rockfish Crossing" 1972

Mason Proffit earned a major-label contract with Warner Bros. Records in 1972 after its second and third albums, Movin' Toward Happiness and Last Night I Had the Strangest Dream, both made the charts in 1971 despite being released on small independent labels. Warner probably thought it was getting in on the country-rock trend already receiving national exposure via the Flying Burrito Brothers on A&M and Poco on Epic, and it might well have worked out that way. Rockfish Crossing, the group's Warner debut, was an accomplished blend of country and rock on which the Talbot brothers, who led the band, sang pure harmonies on folk-rock songs, played convincing country hoedowns, covered country standards like "You Win Again," and even included some timely social consciousness in "Were You There," with its references to My Lai and Wounded Knee. They dressed up in Western gear on the album cover like 19th century desperadoes, Civil War soldiers, and buffalo hunters. It's hard to say why this appealing and apparently trendy package wasn't successful, but Rockfish Crossing, unlike its two predecessors, didn't sell well enough to make the charts, much less expanding Mason Proffit's following. The country-rock hybrid was a delicate mixture, one not really perfected until the Eagles did it a little later. (Neither the Flying Burrito Brothers nor Poco actually sold records in significant quantities.) It may be that Mason Proffit, despite earlier indications, simply fell between the stools of being too country for the rock audience and too rock for the country audience. But the group's music was an accomplished blend of the two styles. ~ William Ruhlmann, All Music Guide


"Bare Back Rider" 1973

Mason Proffit's second major-label album and fifth album overall was similar in construction to its predecessor, Rockfish Crossing. Once again, the Talbot brothers and their supporting players turned in a combination of effective originals that touched on subjects from romance to politics with some enthusiastically performed country covers, notably a version of "Setting the Woods on Fire" that sounded like a deliberate attempt to impersonate Jerry Lee Lewis and featured a furious kazoo solo. The political element came out in "Black September/Belfast," with its reflections on Northern Ireland and Vietnam. You'd have thought that music this impressive could get a hearing, but Mason Proffit appeared at a time when music fans were more polarized than musicians, not only by music but by politics and culture. Despite the band's evident affection for traditional country music, their left-wing political stance and status as hippie rock musicians meant they could never be accepted in Nashville. And their music was too overtly country for them to score a pop hit. Thus, they were doomed to appeal only on the country-rock-oriented Los Angeles club scene and to some music critics. Bare Back Rider did a little better than Rockfish Crossing had, even scraping into the charts for a couple of weeks, but that wasn't the level of success a major label expected, and Mason Proffit was forced to hang up its spurs. ~ William Ruhlmann, All Music Guide


amazon.com

Tir na nOg "Spotlight: BBC Recordings 1972-1973"

by danimik:
As a callow youth, I saw a duo perform in Cardiff. though there were but two of them, the energy and enthusiasm, the talent and musicianship they brought to the stage that night was awesome. Vigorous, tuneful, thoughful, sincere, poingnant by turns, by the end of the end of the set, I had become a huge fan.
I bought their lp's when the came out. Then I bought their cd's as they became available, and as I moved my collection steadily away from vinyl. All beautifully crafted, delicate, where the value of silence was given as much weight as any of the notes. Yet, superb as they all were, somehow, they failed to capture that enthusiasm, that energy I had heard on stage that night.
This cd brings it all back for me. Perhaps it isn't technically their most gifted production. Perhaps it is a little ragged in parts.

But it brings all the memories riding back from the first note to the last.

Eleven of these tracks were recorded for BBC Radio One, the other two recorded live at about the same time. All of them a well worth a listen, if you like intelligent acoustic music, with thoughtful lyrics, strong melodies, super voices and great musicians.

The Eternal Savings and Trust Company "Wind and Spirit" 1972

Very Rare Massachusets Female/Male vocal Hippie Jesus Folk Rock with garagey electric Guitar, exotic percussion and spacey female vocals, using electric instruments and flute, percussion, harmonica.

01. Don't Fool Yourself
02. Day Of The Lord
03. Maranatha
04. Living Water
05. Karin
06. Ocean
07. Set Me Free
08. Wind And Spirit
09. Freedom In The Spirit

Download link in comments.

Thank you, John!

The Damascus Road "A Glimpse of Freedom" 1977

Story of Damascus Road
by original member Steve Schalchlin:
We began as a group when I was going to Jacksonville Baptist College in Jacksonville, Texas. We were both singing for a hometown cable channel raising money for kidney machine a lady in town was needing. They sang a Gospel song and I sang "Happiness Is A Warm Gun" by the Beatles. (?)

As we matured (i.e. someone gave us a Love Song album), we shed our quartet clothes overnight and began writing songs that we could relate to. We were very young as writers, though, and had no other bands in the area to get inspiration from, so that's why our album veers so wildly from one style to the next. We had no artistic focus, really. Our "best friend" was Tom Autry, whose album you also have on the list. We played gigs together.

Most of our ministry (and we were a ministry -- Tommie Helm, the leader of the band, would preach when we held revivals) took place in East Texas, Louisiana, and -- well, West Texas. Texas is pretty big, so we were always in our van. The biggest concert we did was a July 4th celebration which drew in thousands of young people from all over the state. We set up on a mountaintop in East Texas. It was a fantastic event every year.

Tommie even hand lettered a "Declaration of Dependence" upon God which looked liked the Declaration of Independence, and we all signed it.

We never made any money, of course, despite five grueling years of playing and singing. For me, I learned to sing and to write. The songs on the "Glimpse of Freedom" album were among the first I ever wrote. (I wrote and sang the easy listening ones you hated.)

Toward the end of the band, though, just as we were getting really good and even headlining area festivals (on top of groups like Petra, etc.), we had to break up. I had a crisis of faith and told them that I could not go on because to do so would have been hypocritical. One thing our band had going for it was absolute integrity to the Word in our personal deportment.

It, unfortunately, left the band high and dry. I was the main songwriter and driving artistic force. They tried to hold it together, but couldn't. I think even Tom Autry joined for awhile. Finally, they broke up. The twins, Johnnie and Tommie Helm still live in Jacksonville two doors down from each other.

I personally drifted for years and years, playing in cover bands and doing a little theatre, first in Dallas and then around the country. Soon, I landed in NY and then LA, where I became Managing Director of The National Academy of Songwriters.

I currently have a musical playing in New York called, "THE LAST SESSION," which is about a band reunion in a recording studio. Though it confronts sensitive issues like AIDS and homophobia, it seems to be very popular among conservative church groups as it is among those who oppose Christian conservatism.







Members:
Tommie Helm (leader, back-up vocalist and evangelist)
Johnnie Helm (Tommie's twin brother, lead vocals and lead guitarist)
Steve Schalchlin (keyboards, lead vocals)
Dennis Byram (drums, lead vocals)
Pat Asher (bass guitar, back-up vocals)

Download link in comments.

Thank you, John!

South African Rock

From Brian Currin, owner of Ramases website...

Brian Currin:
You seem to love late 60's, early 70's Folk and Prog .... are you aware of the South African Prog Rock scene from that era?
Freedoms Children, Abstract Truth, McCully Workshop, Otis Waygood, Third Eye, etc, etc ....

Please take a look at The South African Rock Encyclopedia if you get a chance....

A great starting part is 'Astral Daze', a compilation I co-produced....

Retro Fresh (scroll down to 'Astral Daze')

Cheers

Thanks for the info, Brian.

Robin Williamson

"Winter's Turning" 1986

Winter's Turning is British folksinger Robin Williamson's album in tribute to the coldest season of the year. Featuring a few holiday-themed songs as well as several traditional folk ballads and traditional numbers, Williamson delivers an album that captures the icy thrill of the snow as well as the emotions it brings. Anyone looking to find an album that reflects the winter and all that it brings may want to give this album a listen. ~ Bradley Torreano, All Music Guid

Sample pic: Click




"Ten of Songs" 1988

Ten of Songs is a delightful introduction into the storytelling side of Robin Williamson. These ten original pieces may not all be stories, per se, but Williamson's approach to each casually ebbs and flows between speaking and singing. His delivery evokes the Celtic heritage of sung ballads and story songs-traditions that have fascinated Williamson since his earlier days in the Incredible String Band. An electric guitarist, bassist, and drummer join Williamson on such riveting tracks as "Skull and Nettlework." Elsewhere, though, Williamson plays his usual array of acoustic instruments, including harp, guitar, cittern, and whistle. Listeners fond of Williamson's musical storytelling should also investigate his double-disc Gems of Celtic Story set.

Presented by Keef...
Time Machine: A Vertigo Retrospective

The sheer collectibility of anything on the Vertigo label is one of those peculiar quirks that few people, collectors included, can truly quantify. True, Vertigo was blessed with one of the most compulsive label designs ever devised: a black-and-white swirl that can, indeed, induce vertigo in anyone who looks at it for too long. True, too, the label prided itself in giving voice to talents who might otherwise never have been heard, and wrapped almost every Vertigo album in the kind of ambitious packaging normally reserved for supergroup concept conceits. And one can also be impressed by the label's insistence on defying even the most remote limits of the period's (the early '70s) commercialism, with a clutch of albums that seriously could not have been expected to sell more than a handful of copies apiece. But it is astonishingly unlikely that any single set of ears can truly take as much pleasure from, say, the first album by Affinity as they do the second by Black Sabbath, or who could slip from Keith Tippett to Jade Warrior without undergoing some kind of major cultural dislocation. Which means, of course, that there are a lot of unplayed LPs lying within any sizable Vertigo collection — and a lot of tracks on this collection that will have you reaching for the fast-forward button after less than a minute. Persevere! Although the three CDs here certainly wander across the Vertigo show, the compilers have done a masterful job. Eschewing some of the more defiantly outré contributions to the catalog (mainly the seriously jazz/freeform-shaped ones), Time Machine instead portrays a label that cared dearly for what modern ears would term the "cutting edge" of the early-'70s British prog-folk-post-psych circuit: Colosseum, Juicy Lucy, Clear Blue Sky, Warhorse, and Doctor Z are all here, cut through with a few glimmers of genuine chartbusting inspiration — Sabbath, Uriah Heep, Alex Harvey, Rod Stewart. Inasmuch as most Vertigo albums are now considered rare (reissues from the likes of Akarma and Repertoire notwithstanding), Time Machine is most readily likened to a glimpse inside the most fabulous bank vault in British rock history. But it is also a reminder of a time when the new release sheets were not put together by money-mad automatons, all hoping to make the next round of American Idol. Most of these guys wouldn't even have made the qualifiers for Hit Me One More Time, and more power to them for that.

Disc: 1
01. Colosseum - The Kettle
02. Juicy Lucy - Who Do You Love?
03. Clear Blue Sky - My Heaven
04. Manfred Mann's Chapter Three - Traveling Lady
05. Black Sabbath - Behind The Wall Of Sleep
06. Cressida - To Play Your Little Games
07. Gracious! - Introduction
08. Affinity - Three Sisters
09. Bob Downes - Walking On
10. May Blitz - I Don't Know
11. Nucleus - Torrid Zone
12. Rod Stewart - Handbags And Gladrags
13. Gentle Giant - Nothing At All
14. Ben - The Influence

Disc: 2
01. Dr. Z - Evil Woman's Manly Child
02. Jade Warrior - Borne On The Solar Wind
03. Patto - The Man
04. Juicy Lucy - Thinking Of My Life
05. Jimmy Campbell - Half Baked
06. May Blitz - For Madmen Only
07. Tudor Lodge - The Lady's Changing Home
08. Beggars Opera - Time Machine
09. Colosseum - Bring Out Your Dead
10. Warhorse - Mouthpiece
11. Uriah Heep - Lady In Black
12. Freedom - Through The Years
13. Sensational Alex Harvey Band - Midnight Moses
14. Magna Carta - Lord Of The Ages

Disc: 3
01. Atlantis - Living At The End Of Time
02. Ramases - Life Child
03. Beggars Opera - Mcarthur Park
04. Nucleus - Song For The Bearded Lady
05. Gentle Giant - Pantagruel's Nativity
06. Gravy Train - Ballad Of A Peaceful Man
07. Ronno - Powers Of Darkness
08. Status Quo - Paper Plane
09. Ian Matthews - Little Known
10. Vangelis O. Papathanassiou - Let It Happen
11. Jade Warrior - Mwenga Sketch
12. Aphrodite's Child - The Four Horsemen
13. Black Sabbath - Spiral Architect

Presented by Keef...
Blodwyn Pig "Getting To This" 1970

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s. ~ Richie Unterberger, All Music Guide

01. Drive Me Abrahams
02. Variations on Nainos Abrahams
03. See My Way Abrahams
04. Long Bomb Blues Abrahams
05. The Squirreling Must Go On Abrahams, Pyle
06. San Francisco Sketches: Beach Scape/Fisherman's Wharf/Telegraph Hill Lancaster
07. Worry Pyle
08. Toys Abrahams
09. To Rassman Berg
10. Send Your Son to Die Abrahams
11. Summer Day [*]
12. Walk On the Water [*]

Sample pic: 1, 2

Presented by Bobby...
Over The Hills & Far Away: The Music Of "Sharpe" 1996

I can't remember where I found it and it's only @128 but it's listenable. Of the tracks with vocals the main vocalist is John Tams who was also a leading character of the series (Daniel Hagman) He was also with The Albion Band at one time.
One again many thanks for the download of Vin Garbutt I first heard him through a lecturer at a college I worked at when I lived in England.

Thank you, Bobby!

The Sharpe series on television and video has been a great success. This music from the series includes some songs that have been passed down from the era itself, as well as original music by John Tams (Rifleman Daniel Hagman in the series) and Dominic Muldowney. The notes include the words to the traditional songs. This is rousing and poignant music at its best, and is a worthy addition to your music collection.

The Albion Band "Rise Up Like the Sun" 1978

Rise Up Like The Sun is an folk album released in 1978 by the Albion Band. It features the flowering of a collaboration between John Tams on vocals and melodeon and Ashley Hutchings on electric bass. This is not the first album on which they worked but it remains the most fulfilling for listeners. To build the sound Hutchings brought in two of this former compatriots from Fairport Convention, Dave Mattacks on drums and tambourine, Simon Nicol on vocals, electric guitars and acoustic guitar. In addition another ex-Fairporter, Richard Thompson contributed songs and backing vocals. Having assembled the principal contributors and an ambiance that encouraged thier friends to drop in, Hutchings gave Tams the freedom to act as the project's musical director. They were joined by Philip Pickett on shawms, bagpipes, curtals and trumpet, Pete Bullock on synthesiser, piano, clarinet, sax, and organ, Michael Gregory on drums, nackers, and tambourine, Ric Sanders on violin and violectra, Graeme Taylor on electric and acoustic guitars. Kate McGarrigle, Julie Covington, Linda Thompson, Pat Donaldson,Martin Carthy, Andy Fairweather-Low, and Dave Bristow make guest appearances.

The reviews for Rise Up Like The Sun were mostly positive, although opinion was divided on some tracks, such as "The Gresford Disaster". For many, though, the outstanding track of the whole album is "Poor Old Horse", building up from a single fiddle over 6 minutes to a massed choir with high voices ( Kate McGarrigle, Julie Covington and Linda Thompson) and gravelly guitars. 'Poor Old Horse" was released as a single in 1978 and named as "Record of the Week" by the BBC's Simon Bates, but made no impact on the charts.
In music magazine surveys, this album often appears among the top three English folk-rock albums of all time, alongside Fairport Convention's Liege and Lief and Shirley Collins' No Roses.
John Tams and Graeme Taylor went on to form The Home Service. Philip Pickett became one of Britain's most respected scholars of medieval music. Ric Sanders went on to join Fairport Convention and both Nicol and Mattacks returned to the Fairport fold.

Personel:
Pete Bullock - synthesiser, piano, clarinet, baritone saxophone, organ, wind
Michael Gregory - drums, nakers, tambourine
Ashley Hutchings - electric bass, vocals
Dave Mattacks - drums, tambourine, synthesiser
Simon Nicol - vocals, el guitar, ac guitar, dulcimer, keyboards, vocals
Phil Pickett - shawms, bagpipes, curtals, trumpet, wind
Ric Sanders - violin, violectra
John Tams - vocals, melodeon, keyboards
Graeme Taylor - electric guitar, acoustic guitar

Guests:
Martin Carthy - guitar, vocals
Richard Thompson - guitar, vocals
Linda Thompson - vocals
Julie Covington - vocals
Pat Donaldson - vocals
Andy Fairweather-Lowe - vocals
Dave Bristow - keyboards
Kate & Anna McGarrigle - vocals

Produced by Joe Boyd & John Tams

Tracks:
1. Ragged Heroes (John Tams):
Written as a way of announcing that the songs and tunes would be a rallying-call for English folk music. Towards the end, Martin Carthy's counter-melody makes for interest harmonies.
2. Poor Old Horse (Traditional sea shanty):
Usually called "The Dead Horse". First collected in 1917. The song was sung at the end of the first month on board ship. Sailors would make a horse figure from rags and tar, hoist it to the yard-arm, then cut it loose and let it drift out to sea. The verse about "Sally in the garden" seems to have drifted in from a different unrelated shanty.
3. Afro Blue/Danse Royale (Santamaria/Anon medieval):
An instrumental track combining latin-jazz (John Coltrane, 1963) on violin, with a medieval French dance tune on bagpipes. Only the folk-rock band "Gryphon" had ever attempted anything like this before.
4. Ampleforth/Lay Me Low (Trad/Trad):
A fiddle tune followed by a hymn from the American non-conformist New Lebanon Church of 1838.
5. Time To Ring Some Changes:
Richard Thompson did not record his song until "Small Town Romance" (1984). Although he was present on the "Poor Old Horse" track, he isn't on this cut.
6. House In The Country (Stewart):
The travelling Stewarts of Blairgowrie wrote this song about the difficulty of finding a place to live. It acquired extra resonance during the 1990's when it was sung to highlight the problem of homelessness among the young.
7. The Primrose:
Several tunes with this title originate in the 1880's. The one that survived was first recorded by Jimmy Shand in the 1950's and by Oscar Woods in 1968. The first half uses John Kirkpatrick's version and the second half uses Rod Stradling's version.
8. Gresford Disaster:
On September 22, 1934 265 colliers died at the Gresford mine in North Wales. Ewan MacColl sang this song on" "Shuttle and Cage" (1957).

Message from Kevan Bundell

Kevan Bundell said...
If you like "Presence" please take a look at Ivor & Kevan's web site where you can see what we've all done since. There have been CDs from Veronica, Paul, and Ivor & Kevan - including most recently "Stood on the Shore" from Ivor & Kevan, released December 2006 - Please see : www.bundellbros.co.uk

Presence - Presence

Matthews Southern Comfort

"Matthews' Southern Comfort" 1970

This is a transitional album for Matthews. Having recently exited Fairport Convention, this record pays tribute to that period of his career in both material ("A Castle Far") and in the choice of musicians who back him (many of them from Fairport Convention). At the same time, songs like "A Commercial Proposition" indicate where Matthews is headed on 1971's Later That Same Year. ~ Jim Worbois, All Music Guide

Ian Matthews - vocals
Gerry Conway - drums, congas, tamborine
Ashley Hutchings - bass guitar
Richard Thompson - electric and acoustic guitars
Roger Coulam - piano, hammond organ
Gordon Huntley - pedal steel guitar
Pete Wilsher - fuzz steel guitar on "Colorado springs"
Simon Nicol - electric guitar
Dolly Collins - flute organ on "The castle far"
Pol Palmer - flute
Marc Ellington - finger symbols

Sample pic: Click

Download link in comments.


"Second Spring" 1970

With this album, Matthews' Southern Comfort is a real band and, in addition to Matthews, also includes Roger Swallow (ex-Marmalade) and Marc Griffiths (ex-Spooky Tooth). Though there is really nothing that makes this a memorable record, it's still quite a nice record overall. If you already know his work on Elektra, Mooncrest, or even Later That Same Year, it would be well worth your while to search this record out. ~ Jim Worbois, All Music Guide

Ian Matthews - vocal
Carl Barnwell - guitar
Mark Griffiths - lead guitar
Andy Leigh - bass
Ray Duffy - drums
Gordon Huntley - steel guitar
Tom Paley - banjo on "Ballad of Obray Ramsey"
Roger Churchyard - fiddle on "Jinkson Johnson" & "Southern comfort"
Martin Jenkins - mandolin on "Southern comfort"

Sample pic: 1, 2

"Julie Covington" 1978

On the heels of her 1977 U.K. hit -- a cover of Alice Cooper's "Only Women Bleed" -- Julie Covington went back into the studio with producers Joe Boyd and John Wood to record 11 more tracks for what would be her self-titled second album. Boyd helped put together a stellar cast to support Covington -- including Richard Thompson, Simon Nicol, Ian Matthews, and Trevor Lucas from the various incarnations of Fairport Convention, as well as Steve Winwood, John Cale, Andy Fairweather-Low, and a collection of top-shelf session players. When it came to material, he was also helpful in gathering a fine collection of songs for Covington to wrap her powerful, theater-honed voice around. Boyd brought Thompson's "I Want to See the Bright Lights Tonight" and Sandy Denny's previously unreleased "By the Time It Gets Dark" to the project, while Covington added the Weill/Brecht composition "Barbara's Song" from her days in the theater, to a list that included tunes from Kate Bush, Steve Winwood, and Kate and Anna McGarrigle. There's a slight commercial sheen to the music that gives the Thompson and Denny tracks a certain accessibility ("Bright Lights" was the first single), while "Barbara's Song" fits naturally with Andy Fairweather-Low's dancehall shuffle "Dancing in the Dark," or John Lennon's "How." On the other hand, Tom T. Hall's rocking "I Can't Dance" is stiff and not really well-suited to Covington, while Anna McGarrigle's "Dead Weight" seems forced and a bit rushed, lacking the subtle venom and dark humor of the original. Reissued in 2000, Julie Covington...Plus, which is a nice mix of folk-rock and pop, adds the bombastic "Only Women Bleed" along with a respectable cover of Little Feat's "Easy to Slip" to the original 1978 release (Julie Covington). Both songs were previously only available as a single. ~ Brett Hartenbach, All Music Guide

Julie Covington: vocals
Richard Thompson: guitar, mandolin, vocals
Ian Matthews: vocals
Trevor Lucas: 12 string guitar, vocals
Simon Nicol: rhythm guitar
Steve Winwood: organ
John Cale: piano, clavinet
Willie Weeks: bass
Neil Larsen: keyboards
Chris Spedding: roland synthesizer
Russ Titelman: acoustic guitar
Andy Newmark: drums
Ray Cooper: percussion
Plas Johnson: saxophone
John Kirkpatrick: accordion
Greg Prestopino: vocals
Andy Fairweather Low: vocals
Gary Travers: vocals

Produced by Joe Boyd & John Wood

Nick Drake Bootlegs

Christmas Gift for you...

"Tanworth-in-Arden" 1994














01. My Sugar So Sweet (trad.)
02. Get Together (Dino Valenti)
03. Don't Think Twice, It's Alright (Bob Dylan)
04. If You Leave Me (Pretty Mama) (trad.)
05. Courting Blues (Bert Jansch)
06. Strollin' Down The Highway (Bert Jansch)
07. Blues Run The Game (Jackson C. Frank)
08. Winter Is Gone (trad.)
09. Here Come The Blues (Jackson C. Frank)
10. All My Trials (trad., duet with Gabrielle Drake)
11. Tomorrow Is Such A Long Time (Bob Dylan)
12. Cocaine Blues (Luke Jordan)
13. Milk And Honey (Jackson C. Frank)
14. Summertime (Gershwin/Heyward)
15. Black Mountain Blues (J.C. Johnson)
16. Rain (Nick Drake)
17. Bird Flew By (Nick Drake)
18. To The Garden (Nick Drake)

Sample pic: Click

Get it from De musica alterque


"Tanworth-in-Arden II" 2000














Cover Art by Lizardson

01. Fly (same as Time Of No Reply version)
02. Place To Be (fingerpicked version)
03. Hazey Jane 1
04. Parasite
05. Poor Boy
06. Things Behind The Sun (instrumental)
07. Black Eyed Dog (instrumental)
08. Guitar instrumental
09. Electric guitar instrumental
10. Voice From The Mountain (fragment)
11. Piano instrumental
12. Guitar instrumental
13. Piano instrumental
14. Piano instrumental
15. Time Has Told Me
16. Saturday Sun (take 1)

Sample pic: Click

Download


"The Complete Home Recordings" 1996














01. Come Back Baby
02. Geth Together
03. Don't Think Twice, It's Alright
04. If You Leave Me (Pretty Mama)
05. Courting Blues
06. Strollin' Down The Highway
07. Blues Run The Game
08. Winter Is Gone
09. Here Come The Blues
10. All My Trials (trad. - Duet With Gabrielle Drake)
11. Tomorrow's Such A Long Time
12. Cocaine Blues
13. True Song
14. Summertime
15. Black Mountain
16. The Season Of The Rain
17. The Reasons For The Seasons
18. To The Garden
19. Princess Of The Sand
20. Joey Will Come
21. The Seasons
22. Been Smoking Too Long
23. Nick Drake Interview (Source unknown)
24. John Martin Interview about Nick Drake (Saturday Live 25/5/85)

CD Cover: Front, Back

Download


"The Ultimate Rarities Volume 1"














01. Blossom Friend (The Seasons)
02. Saturday Sun (take one)
03. Saturday Sun (take two)
04. Saturday Sun (take three)
05. Mayfair (takes one and two)
06. Mayfair (take three)
07. Mayfair (partial)
08. To The Garden (take two)
09. Untitled
10. Get Together
11. Been Smokin' Too Long
12. Don't Think Twice It's Alright
13. If You Leave Me (Pretty Mama)
14. Courting Blues
15. Leaving Me Behind
16. My Sugar So Sweet
17. Strange Meeting II
18. Strolling Down The Highway
19. Blues Runs The Game
20. Winter Is Gone
21. Here Comes The Blues
22. All My Trials
23. Tomorrow Is A Long Time
24. Cocaine Blues
25. True Song
26. Summertime
27. Spoken Intro
28. Old Black Mountain
29. Morning Monologue

Downlaod


"The Ultimate Rarities Volume 2"














Cover Art by Lizardson

01. The Reasons For The Seasons
02. Day is Done
03. Thoughts Of Rain
04. Fly
05. Fly (Alternative take)
06. Joey
07. Place To Be
08. Hazey Jane
09. Parasite
10. Parasite (Alternative take)
11. Instrumental I
12. Instrumental II
13. Three Hours
14. Strange Meeting
15. The Reasons For The Seasons (Alternative take)
16. To The Garden
17. Joey (Alternative take)
18. Thoughts Of Rain (Alternative take)
19. You And The Blossom

Sample pic: Click

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"Time Has Told Me" 2000














Side A (Disc.1):
A1. Get Together (Dino Valente)
A2. Been Smoking Too Long (Robin Frederick)
A3. Don't Think Twice, It's Alright (Bob Dylan)
A4. If You Leave Me Pretty Mama (Traditional)
A5. Courting Blues (Bert Jansch)
A6. My Sugar So Sweet (Blind Boy Fuller)
A7. Strolling Down The Highway (Bert Jansch)
A8. Blues Run The Game (Jackson C. Frank)

Side B (Disc.1):
B1. Winter Is Gone (Traditional)
B2. Here Comes The Blues (Jackson C. Frank)
B3. All My Trials (Traditional - Duet With Gabrielle Drake)
B4. Tommorrow Is A Long Time (Bob Dylan)
B5. Cocaine Blues (Luke Jordan)
B6. Milk And Honey (Jackson C. Frank)
B7. Summertime (George Gershwin/Dubose Heyward)

Side C (Disc.2):
C1. Black Mountain Blues (J. C. Johnson Or H. Cole)
C2. Nick's Monologue
C3. Strange Meeting I/Bird Flew By
C4. To The Garden
C5. Joey
C6. Rain

Side D (Disc.2):
D1. Blossom
D2. Time Has Told Me
D3. Saturday Sun (First Take)
D4. Thoughts Of Mary Jane (Arranged By Richard Hewson)
D5. Day Is Done (Arranged By Richard Hewson)
D6. Fly (Second Take)

Side E (Disc.3):
E1. Place To Be
E2. Hazey Jane I
E3. Parasite (First Take)
E4. Parasite (Second Take)
E5. Brittle Days I
E6. Brittle Days II

Side F (Disc.3):
F1. Poor Boy
F2. Time Has Told Me
F3. Work In Progress 3
F4. Voice From The Mountain
F5. Brittle Days III (Variation)
F6. Far Leys
F7. Brittle Days III
F8. Work In Progress 7
F9. Impromptu Sound Check
F10. Black Eyed Dog (Guitar Track, Alternate Take)
F11. Rider On The Wheel (Guitar Track)

Sample pic: 1, 2

Download part.1
Download part.2


"Second Grace" 2001














01. Day Is Done
02. Blossom Friend
03. Mayfair
04. Mayfair
05. Mayfair
06. Joey
07. Joey
08. Leaving Me Behind
09. Instrumental
10. Instrumental
11. Three Hours
12. Betty's Blues
13. Fly
14. Fly
15. Hazey Jane
16. Parasite
17. Saturday Sun
18. Saturday Sun
19. Saturday Sun
19. Place To Be (Incorrectly labelled "Saturday Sun")
20. Strange Meeting No. II
21. Bird Flew By
22. Thoughts of Rain
23. To The Garden
24. Early Morning Dialogue

CD Cover: Front, Back

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BBC Radio Documentary

''Kaleidoscope: feature on Nick Drake''
BBC Radio 4 on 20th December 1997
Presented by John Watson

''Lost Boy: In Search of Nick Drake"
BBC Radio 2 on 22nd May 2004
Presented by Brad Pitt

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These are reuped here:
http://time-has-told-me.blogspot.com/2008/07/again.html

String Driven Thing "BBC Radio 1 Live in Concert"
















01. Let Me Down (Adams)
02. My Real Hero (Adams)
03. Night Club (Adams)
04. Sold Down The River (Adams/Smith)
05. Circus (Adams)
06. Black Eyed Queen (Exell/Roberts)
07. Man Of Means (Exell/Roberts)
08. Overdrive (Exell/Roberts)
09. To Know You Is To Love You (Wright/Wonder)
10. Timpani For The Devil (Smith)
11. Keep On Moving (Exell/Roberts)

Track.01-05: Live in London, 1973
Chris Adams: guitar, vocals
Pauline Adams: guitar, percussion, vocals
Graham Smith: violin, viola
Bill Hatje: bass
Colin Fairley: drums

Track.06-11: Live in London, 1974
Graham Smith: violin, viola
Kimberley Beacon: vocals
Alun Roberts: guitar
James Exell: bass
Colin Fairley: drums

Download link in comments.

"Siloam" 1977

Acid Archives:
Siloam is to American folkrock what groups like Presence, Aslan and Sanctus are to the British scene. Melodic textures of 12-string guitar, piano, percussion and male/female harmonies combine with compassionate songwriting and skilled musicianship to create a wonderful work of fragile beauty and homegrown charm. Gently strummed mid-tempo numbers like "Mystery", the minor-key "We Beseech You" and the breezy "For This Reason" all are sheer perfection for the genre. Tracks like "The Shepherd" and "Day Of The Lord" even have a dreamy psych edge to them. Others reveal a delicate VU "Femme Fatale" kind of quality. Very nice acoustic lead guitar work throughout. A seven person outfit from Dayspring Community in St. Louis. Not an expensive LP. [KS]

One-way.org:
Moody Christian folk and folk rock private press with a trancelike, drifting vibe. Male and female vocals (solo and chorus), electric and acoustic guitars, bass, drums, keyboards, etc. At times the sound reminds me of 'More' or 'Meddle' period Pink Floyd during their more quiet and introspective tracks, other times it sounds like Guitar Ensemble. Songs include 'Fear The Lord', 'Mystery', 'Weary Traveler', etc. Cool cover art.

01. The Shepherd
02. We Beseech You
03. Oh My Lord
04. It Is A Good Thing
05. Mystery
06. Phillipians
07. For This Reason
08. Day Of The Lord
09. The Lord Is My Light
10. Fear The Lord
11. Weary Traveller
12. Psalm 73

Download link in comments.

Thanks, John!

Ken Scott "Angela" 1974

UK Profile Records GMOR 005

Not certain, but maybe he is writer of guidebook: Archivist (Vintage Vinyl Jesus Music 1965-1980).

This is very fine mellow folk album.

01. Do You Want To Know
02. There's Only One
03. Angela
04. How Can You Prove
05. Your Love Is So Real
06. There Were Times
07. Don't Be Wise
08. I've Tried
09. Surrender
10. As I Am Singing To You

Download link in comments.

Thanks, John!

John:
Actually this is no the same Ken Scott that puts out The Archivist.

Thanks again!

Mick Softley "Songs For Swingin' Survivors" 1965

Softley's debut LP is one of the rarest '60s British folk albums, and one of the most coveted by collectors. While it's not as musically impressive as it is collectable, it's notable as one of the first U.K. singer/songwriter folk albums in the contemporary style pioneered earlier in the U.S. by Bob Dylan and the North American performers Dylan inspired. Indeed, there were few others in Britain taking a similar approach at the time of Songs for Swingin' Survivors' release, with the exception of Donovan and perhaps Bert Jansch. Early Donovan is an unavoidable point of comparison when listening to this solo acoustic guitar album, both for the earnest social consciousness and romanticism, and also since Softley actually wrote a few songs covered by Donovan in 1965. One of them, "The War Drags On," appears here in Softley's own version, and while it's not as good as Donovan's, it's notable as one of the first protest songs to directly mention the Vietnam War. Softley isn't as good a singer or tunesmith as early Donovan, however; his voice is a bit on the nasal and restrained side, sometimes coming off a little like a male equivalent to how Marianne Faithfull sounded after her voice lowered. Other than "The War Drags On," the voice of protest is felt in "After the Third World War Is Over," but, in fact, Softley was a fairly versatile writer, espousing early Donovan-like romance in "All I Want Is a Chance" and "What Makes the Wind to Blow"; got-to-ramble troubadourisms in "Keep Movin' On"; and a surprisingly direct (for 1965) reference to cocaine addiction in the love lament "Jeannie." Not everything is youthful singer/songwriting, as there are also covers of "Strange Fruit," "The Bells of Rhymney," and Woody Guthrie's "Plains of the Buffalo," as well as a couple of folk-blues instrumentals. Though it might be a minor album in all, it's still a rather good one, more tuneful than many a mid-'60s folk record based around original material, with impressive guitar work. ~ Richie Unterberger, All Music Guide

Jim Capaldi "Oh How We Danced" 1972

Oh How We Danced isn't so much a solo effort from one of Traffic's founders -- it is more of an extension to what Traffic had been doing at the time. Jim Capaldi, drummer, songwriter and sometime singer for that band, found that he had more songs in him than Traffic could use on any given record, so he went about assembling this disc to use up some of the excess. Oh How We Danced uses the Muscle Shoals Rhythm Section along with various combinations of Traffic along with ex-Traffic member Dave Mason and even Free's Paul Kossoff for maximum effect. The truth be known, if you were to intersperse some of these cuts in with cuts sung by Winwood, you would probably think they all sound pretty much alike. Highlights here include "Eve," "Don't Be a Hero" and the Al Jolson classic "Anniversary Song," which is where Capaldi gets the title of the disc from. The track "Open Your Heart" is actually a complete Traffic lineup circa Low Sparks and it wouldn't have sounded out of place on that disc either. Capaldi's Oh How We Danced isn't anything but fine music made to be enjoyed. ~ James Chrispell, All Music Guide

Jim Capaldi: acoustic guitar, piano, drums, keyboards, vocals
Dave Mason: harmonica, electric guitar
Steve Winwood: organ, bass, guitar, keyboards, vocals
Paul Kossoff: electric guitar
Sue Glover: vocals
Sunny Leslie: vocals
Jimmy Johnson: electric guitar
Jim Gordon: drums
Roger Hawkins: drums
Mike Kellie: drums
Trevor Burton: bass
Rick Grech: bass
David Hood: bass
Chris Wood: flute, wind, electric saxophone
Muscle Shoals Horns: horn
Rebop Kwaku Baah: percussion, conga
Barry Beckett: organ, piano
Robert Griffin: piano
Produced by Jim Capaldi & Chris Blackwell

Tudor Lodge

"Let's Talk" 1997

Twenty six years after their memorable classic Vertigo LP of the 70's, comes this second album of songs from the new Tudor Lodge. The delicate blend of the two guitars, a trademark of the first album, is still there in many of the arrangements, but the music has moved on.
Eight of these tracks were recorded in the mid 80's when Tudor Lodge was John, Lynne and Lyndon (tracks 2, 3, 6, 7, 10, 11, 12 and 15). The sessions were produced by Paul Windsor, a friend and local musician, who also played bass on some of the tracks. They were supported by Chris Collingtree and Roger Keene adding drums and percussion to selected tracks.

The remaining songs were recorded by Lynne and John in the autumn of 1996. On these sessions they played all the instruments.


"Dream" 1999

Tudor Lodge, originally formed in 1968, was/is a much loved and highly appreciated folk-rock group that has managed to keep its vitality and freshness throughout the passing years. Folk-rock was the creative mix of England's vast folk musical tradition and rock's brilliant verve. Tudor Lodge's homonymous first album has become one of Vertigo label's most sought after albums. It was a magnificent mixture of Celtic magic and 60's atmospheric, delicate fluidity and elegant lyrics. This release was followed by a mid-eighties one, "Lets Talk", and "It All Comes Back", a worthy collection that spans the 1970 – 1997 interval and features some previously unissued recordings. "Dream" is their latest melodic offering. Recently released, it is brilliant folk-rock album full of excitement, beauty and haunting melodies. Unlike the recent re-union rush of old groups that have managed to spend their money and are trying to capitalise on their glorious past, Tudor Lodge are still true to themselves and their calling. Their album is not a regurgitation of the past but a creative evolution wrapped in melodious sweetness and flowing harmonies. Amazingly delicious. -Casa Gazette, Summer 2000

Sakalli

Sakalli:
I started a new music blog at http://sakallimusic.blogspot.com
It is what I hope will become a wonderful blog of music. 60s70srock, progressive rock, folk rock and many other weird-o stuff...

Welcome!

Gothic Horizon "Tomorrow's Another Day" 1972

Freak Emporium:
After their excellent 1971 debut on Argo, the bands second effort followed in 1972. A bit rockier than the first release with a more expensive production it retained the soothing, relaxing, gentle and slightly melancholy atmosphere whilst adding a more commercial edge. For the fans of Magna Carta or Tir Na Nog.

Dave Thubron:
Gothic Horizon made two albums: 'The Jason Lodge Poetry Book' (Argo ZFB 26) 1970, which also gained an American release: ([USA:] London PS592) 1971; and 'Tomorrow Is Another day' (Argo ZDA 150) 1972. Their music is not gloomy, brooding, damp, ghoulish, dark, threatening, creepy, bloody, horrifying or any of the other adjectives which spring to mind when one thinks of "Gothic". Instead it is warm, chatty, light, breezy, informal, witty. The albums are sometimes hyped as "psych-pop" (the former especially on account of its convoluted title and colourful pop-art cover) or even "acid-folk", but essentially they are neither of these things; they tends mostly towards folk and acousticism. However there are some tracks here to delight the psychedelically-inclined. The title track of the first album, 'The Jason Lodge Poetry Book', is great. Complex pop of sufficient quality to delight the pop-syke faithful. 'Song For Susan' is so close in sound and style to Fairfield Parlour that it just about escapes charges of plagiarism. 'A J Lone's Dog' is ragtime pop; and unsurprisingly with a title like 'Willow Tree Vale Song' this song is folk. But 'A Third For Jason Lodge' is very weird. Bizarre changes and references to flying, mushrooms and toadstools!

Andy Desmond (g,vo,hmca)
Richard Garrett (vo)
Mike Simmons (g,hmca)
Paul Cartwright (ds,per)
Jim Mosley (b)
John Gosling (kbd)
Mark Helme (g)
Barrie Evans (g)

Strings&Brass Arr. by John Gosling
Producerd by Kevin Daly

Message from Leo O'Kelly

Leo O'Kelly:
Hi from Leo O'Kelly and Tir na nOg. Just recovering from a very nice gig Sonny and I did only last night in Dublin. We do occasional gigs together, tghe next being Saturday 30 December 206 in The Cobblestone, Dublin. That Emmet Spiceland album is very hard to get; I lent mine, and never got it back. I bought the album in 1968, before I knew I would be joining one of my favourite bands a year later. I replaced Donal Lunny in the group; Donal returned later and we toured USA and Canada together, just before Tir na nOg was formed...and we're still doing it 37 years later! And loving it! Thanks for remembering us. Leo


We are so glad to meet you, Leo!
Here is not only old fans but also new fans who discovered your music through this tiny blog!

Shirley Collins

"The Sweet Primeroses" 1967

Shirley Collins is one of England's finest interpreters of English traditional song. Though not a technically accomplished singer, her breathy vulnerable style brings a convincing sincerity to everything she does. This CD features all of Topic 170 originally issued in 1967 along with the four track E.P. "Heroes In Love" from 1963. On a number of the songs she is accompanied by her sister Dolly on portative organ which provides a beautiful and haunting backdrop to Shirley's vocals, other tracks feature Shirley accompanying herself on guitar or banjo and a few are unaccompanied. A couple of cuts feature a chorus that were not allowed to be identified on the original album though it is pretty obvious who they were - the Young Tradition. Songs include some of the cornerstones of English folk song such as as All Things Are Quite Silent/ Polly Vaughan/ Streets Of Derry/ George Collins/ False True Love/ Spencer The Rover/ Rambleaway and one of my all time favorites - The Sweet Primroses - a lovely song under any circumstances but the combination of Shirley's vocals and Dolly organ playing are mesmerizing and never fails to send a shiver down my spine. Almost as good is the chilling Cruel Mother where Shirley's limited banjo playing and the chorus lends the song an eerie ambience. CD sound is excellent. Booklet includes original introduction by A.L. Lloyd and notes on all the songs by Shirley. (FS)

Forced Exposure:
One of the greatest English folk singers, with the Topic Records The Sweet Primeroses LP released in 1967. Those unfamiliar with the topography and historical geography of the SE of England probably picture bland, flat, grassy country -- over-farmed, distorted, contorted by man -- a land with no bones and no secrets. Anyone who has walked at dusk through the dark hollows of the ancient Weald or, with a stiff sea-breeze, on chalk downs in the footsteps of prehistory knows different. Shirley Collins' music, particularly where accompanied by the sonorous arrangements of sister Dolly, exemplifies this ambivalent environment of her ancestors. Born and brought up in Sussex, Shirley and Dolly were surrounded by song. The hymns and ballads of the countryside sung in church or in the air raid shelter, the songs, collected by Cecil Sharpe, sung at school. In the Collins family existed an echo of that tradition which had mostly disappeared by the 1950s, the ancient and wise tradition of song. Over the downs another pocket of traditional knowledge -- the Copper Family -- kept the candle burning too, but Shirley and Dolly, who had received a formal musical education, took the tradition on, exploring medieval instrumentation, working with innovators Davy Graham, Mike Heron, Robin Williamson, Ashley Hutchins, travelling on song collecting trips to the Appalachians and creating a body of work which is still relevant and resonant today. But it is on these early, simple songs that I think we hear Shirley and Dolly at their best. Singing the sad songs of longing, love and loss. Here we hear the beginning of their exploration of the dark underbelly of medieval rural music, what Shirley later described as 'the black horror of medieval song behind all the trappings.' Shirley's pure, innocent, unaffected singing casts sunlight shafts across the dark tales of child murder and fairy magic while Dolly's purpose built portative pipe-organ stirs in the shadows. This true folk music, like true poetry, raises the hackles on the back of your neck in acknowledgment of some ancient, almost forgotten truth.

Shirley Collins: banjo, guitar, vocals
Dolly Collins: vocals), portative-organ
The Young Tradition: chorus
A.L. Lloyd: introduction
Tony Engle, John Marshall: producer
Bill Leader :engineer

Recommend by Shane...
"The McPeake Family" 1962


Shane:
Just came across this site the other day - its a real find! Got a load of great stuff already. Maybe people are already familiar with the McPeake Family (from Belfast, Ireland). Theres some biographical info at this site. Their music is really great and probably my favorite recorded Irish folk music. Its very much at the traditional end of the folk spectrum - hardly a hint of psych in it - but the voices and instruments (mostly harp and pipes) are really rich and warm. I recorded this off vinyl - i dont think that it has been issued on cd or that it is still readily available. This is my first attempt to rapid-share something so i hope it works and that someone will like it!

Ron Sexsmith "Whereabouts" 1999

That the term "singer-songwriter" is no longer one of abuse is at least partly because of the excellent Ron Sexsmith. A thirtysomething Canadian who sounds sometimes like a young Jackson Browne and sometimes like the Ray Davies of Village Green Preservation Society, moon-faced Ron writes and sings sweetly droopy songs that melt the heart and assuage the soul. Sexsmith brings an expanded palette to Whereabouts: banjos and clarinets, piccolos and English horns, all enriching his deceptively direct, predominantly 4/4-time songs. Produced and engineered by those masters of understatement Mitchell Froom and Tchad Blake, it's a marginally bolder record than 1997's lovely Other Songs. The Kinks and Harry Nilsson are all over "The Idiot Boy" and "Beautiful View," while "Right About Now" is a smoochy soul ballad that Boz Scaggs might have sung back in 1976. For those who prefer their Sexsmith sparse, a sprinkling of forlorn ballads ("Doomed," "In a Flash") brings up the rear. Twelve near-perfect songs, the whole clocking in at under forty minutes. Who could really ask for more? -- Barney Hoskyns

The Watersons

"For Pence and Spicy Ale" 1975

Notes by A. L. Lloyd:
All tracks trad. arr. Watersons pub. Mole Music Ltd except 13. M. Waterson pub. Mole Music Ltd and 12. trad. arr. Waterson. For Pence and Spicy Ale was recorded at Livingston Studios, Barnet, March 1975, recording engineer Nic Kinsey. Mike Waterson and A True Hearted Girl were recorded at Riverside studios, January 1977, recording engineer John Gill. Front sleeve illustration--postcard of Molly dancers probably from Hunstanton--hand-coloured by Julia Bennett Studio, London.

Producer's note by Tony Engle:
In the early summer of 1975 Topic released "For Pence and Spicy Ale" by The Watersons. At the recording the group was at the top of their form. It had been several years since they had recorded and this new record marked their return to the British Folk Scene. Mike, Lal and Norma Waterson were three-quarters of the original group and Martin Carthy was the new member—he had replaced the original fourth member, John Harrison. The record was greeted with considerable acclaim from critics and audiences alike and is considered by many to have been the group's finest recording. Two years later the Watersons were back in the studio, but this time it was not as a group. The Watersons have always been fine individual voices in their own right so the plan was to make two records—one featuring Mike solo and a second, featuring the solo and duet talents of Lal and Norma. This didn't stop them helping out on each others' records, however. In addition Lal's daughter, Maria, also lends her voice to these recordings and the occasional accompaniments are by Jim Eldon (flute & whistle), Peta Webb (fiddle), Rod Stradling (melodeon) and Tony Engle (anglo concertina). With this reissue the extra playing time available on CD has allowed me to mix in some of the best tracks from the solo projects with the original album. I hope that you, the listener, enjoy these recordings as much as I did making them and subsequently compiling them for this record.

Review:
This lovely album, almost entirely a cappella, was first released by The Watersons in 1975. It is considered by many to be their finest recording and includes the participation of Martin Carthy in addition to family members. This reissue also includes some later solo Waterson recordings which feature others helping out. This record sounds like the back room of an old pub in its charming immediacy. You really get a sense of the fun it is to sing these old songs with affection and respect. -- Richard Meyer

More about the album: 1, 2, 3

Buy


"Sound, Sound Your Instruments of Joy" 1977

Sleeve Notes:
This is a record to remind us of what we've lost since the flood of Victorian hymnals, notably Hymns, Ancient and Modern (1861), pushed out so many noble traditional melodies and replaced them with sanctimonious dirges, genteel but of small spirit. The move towards a truly popular kind of hymnals had started at the outset of the eighteenth century with the young aggressive Isaac Watts and his Hymns and Spiritual Songs, and as the number of dissenting & evangelical groups grew so the use of folksong-based melodies increased, till by the time of the religious revival called the Great Awakening there was a mass of believers prepared to 'take the Kingdom of Heaven by storm' with forthright folk hymns to match their militant faith. In this movement, Britain and America were inextricably bound together. A pioneer of the Great Awakening was George Whitefield (1714-1770), an English Calvinist (his famous chapel is in the Tottenham Court Road) who campaigned along the American seaboard among poor dissenters - many of them Quakers and Shakers of British origin - while a brother-preacher, Shubael Stearns, was stumping through the hill-settlements of the Central Appalachians. George Pullen Jackson has remarked that 'practically everything these evangelists did was highly offensive to instituted religion. They romped over all denominational lines, preached wherever they could get a crowd, held extravagantly emotional revivals, spread salvation for all through faith and "believer's baptism"'. And notably theirs was an exuberant singing movement. The Baptists and later the Primitive Methodists were nicknamed Ranters because of their unrestrained singing.
Many of the songs in use among the Ranters were set to originally British melodies, transformed into camp meeting spirituals in America, and now returned to their homeland in new and powerful shape. Incidentally, the Primitive Methodists were so strong in the Industrial areas of the Midlands and North that many pioneers of the trade union movement learnt their oratory and organizational skills from experience as lay preachers. On the Northeastern coalfields in the 1830s and '40s, local revival hymnwriters were also the makers of strike songs.
It should not be imagined that the users of homespun hymns were all rampant revivalists of Holy Roller type. Most were sober folk with a deep feeling for independence in their religious ways, and their hymns reflect their spirit firmly in text and tune. Noble as many of the melodies were, the Victorian hymnbook compilers seemed to consider the folky hymns not fine enough, not respectable enough, and they scornfully pushed them aside. We know some of these pieces from their frail survival in oral tradition among a few country choirs. We know many more through their appearance in hymnbooks used among gatherings of country dissidents in America (some of these, particularly the Southern Harmony of 1835 and the Sacred Harp of 1844, printed in a kind of patent music notation called 'shape notes' for the sake of quick learning, are still much in use in the upland South). On this record the Watersons give us a panorama of sacred song, from the deep folklore of wassail songs and vernacular carols, through various folky kinds of meeting-house hymn, and on to exuberant camp meeting pieces. Some pious folk songs or near folk songs that we've lost, or that have become unfamiliar, but all well worth restoring to life. --A. L. Lloyd. 1977

More about the album: Click

Sample pic: 1, 2, 3, 4

Buy

Famous Jug Band "O For Summer" 2002

After a break of some thirty years, The Incredible String Band's Clive Palmer is back in the studio with fellow Jug Band members Pete Berryman, Jill Johnson-Sharp and Henry Bartlett.

This is the third album from The Famous Jug Band (much championed by Ralph McTell with whom its members worked) and is again produced by the legendary Pierre Tubbs. Recorded in a village hall in Dorset, England this album of brand new songs is yet another charming venture in English pastorality.

Featuring Jill Sharp's clear, pure voice over the accompaniment of Pete's accomplished guitar playing, Clive's banjo and the distinctive trademark jug-playing of Bartlett (critically regarded as the country's leading exponent of the art).

Psychedelic Folk:
Clive Palmer used to be with the Incredible String Band during their first album, and is especially remembered for his two exceptional albums of C.O.B. from which I especially like the melancholic songs. The Famous Jug Band had two albums with Clive Palmer back somewhere in the seventies. I have the reissue of their first 1969 album "Sunshine Possibilities", an album which I like very much. I know the variety in it takes lots of listeners some time before full appreciation. The melancholy from Clive's voice can still be heard on this album, slightly tempered (-the beautiful song "Sitting alone" reminds very much C.O.B.-). The songs are virtuous, fine folk songs with a good production. You can hear the atmosphere of the cold barn where the recordings are done and where an improvised studio has been installed. Female vocals are by Jillian Johnson-Sharp. Also Peter Berryman from the original band is there. Michael Barlett is replaced by his brother to make this reunion project.

John Martyn "Sunday's Child" 1974

John Martyn's follow-up to 1973's Inside Out is a much more song-oriented, less experimental effort which concentrates on the joys of home and family. Sunday's Child skillfully blends the sensual ("You Can Discover") with the sweet ("My Baby Girl"), the modern ("Root Love") with the traditional ("Spencer the Rover"), and the tormented ("Sunday's Child") with the satisfied ("Satisfied Mind," "Call Me Crazy") while retaining its cohesiveness. The record, his sixth on his own, shows the many facets of Martyn's playing, from his effects-driven electric guitar to his signature acoustic work, which can be both aggressive ("The Message") and gentle ("Lay It All Down"). This album contains a collection of strong original songs, as well as a pair of wonderful covers: the traditional British ballad "Spencer the Rover" and the country standard "Satisfied Mind." His last recording of new material for three years, Sunday's Child is a fine farewell to this period of John Martyn's ever-changing career. ~ Brett Hartenbach, All Music Guide

John Martyn - guitar, vocals, Moog, clavinet
Danny Thompson - bass
Liam Genochey - drums
Tony Braunagel - drums
Terry Wilson - electric bass
Al Anderson - electric bass
John Bundrick - piano
Kesh Sathie - tablas
Beverley Martyn - vocals

Timmothy "Strange But True" 1972

Freak Emporium:
Very limited new release on Rockadelic of this loner/rural rock/folk album from 1972. The feel is similar to early Neil Young with soulful vocals, great songs and a mixture of electric and acoustic guitar. The songs are what makes this album really work however and a desolate protest vibe permeates throughout giving the material it's distinct and timeless flavour..


Acid Archives:
Post-Blues Company rural hippie folkrock LP with a bluesy undercurrent. Notable Neil Young influence on an album that's not at all as strange or eccentric as made out to be, could have been a major label item. Excellent opening track is a rather clever marriage of "Down By The River" and "Wooden Ships". The rest shows Timmothy trying out various loner folk and swampy folkblues moves, although the songwriting tends to be somewhat lacking and the personality isn't arresting enough to compensate. If you're in the right late-night mood this may sound quite atmospheric, at other times the two-chord drone and lack of hooks may annoy. Not a great album to my ears but should appeal to genre fans, and clearly better than LPs such as Geoffrey and Georgie Leonard. [PL]

Stark-sounding singer/songwriter album with a very obvious Neil Young fixation. I think it's best when it's at its most electric, but even the mellow stuff is better than most in the genre. The album has a deep, personal feel to it and it will connect with the right listener. [AM]

Sample pic: Click

Download link in comments.

Michaelangelo "One Voice Many" 1971

Record Seller:
Delicate and melodic baroque soft/psych band with a mellow hippie aura…it's vocally not unlike the softer moments of the Peanut Butter Conspiracy and Comfortable Chair…a nice album ton be taken in the drawing-room with perfumed tea...

Acid Archives:
Great folk-rock album, led by "Angel," who plays the autoharp like one. Several instrumentals are given meat by some very hot guitar playing, and for once the male vocals are actually as appealing as (or more than) the female vocals. "Son," which integrates drug abuse, Vietnam, parents who don't understand their kids, and that same old three-chord structure you've heard a zillion times, is transcendent. Some mellower folky songs are very lovely. Overall, one of the very best major label folk-rock albums. A real sleeper. [AM]

Michael John Hackett: drums
Robert Gorman: bass
Steve Bohn: guitar
Angel Autoharp: autoharp, composer

arbor,
The link of Duncan Browne "Give Me Take You" is still active.

Reynard "Green Anthem" 1979

Cover photo is their 1st album.

Parchment tribute site:
This little-known gospel band from Liverpool released two albums of traditional-sounding English folk in the late 70s, using the influence of English carols to create new music.

Their first album from 1976 Fresh From The Earth had major input from members of the last line-up of Parchment. It was produced by John Pac and Sue McClellan and Pete Yates-Round provided backing vocals.
I had never heard of them although they recorded with the same label, Grapevine, as issued Parchment's last album.

Even more interesting is the identity of the band's mandolin player, Dave Rycroft, presumably related to Keith Rycroft, the Parchment founder member who left following the severance of their contract with Pye Records in about 1974.

Fresh From the Earth contains a version of Golden Game which, therefore, predates Parchment's version on Rehearsal for a Reunion and seems to have more lyrics.

Reynard must have been reasonably well known as they headlined at Kamperland, Holland, in 1978 along with Parchment. They released their second album Green Anthem in 1979. Prior to 1975 they were known as Flight.

Download link in comments.

This album is shared by John. Thank you!

Terry Friend:
The Stonefield Tramp recording sessions are now complete. Mixing and Mastering of this album takes place in January 2007. I will keep you all posted with details of progress. May I take this opportunity to wish you all avery Merry Christmas. Terry Friend.

Message from Terry Friend

Bridget St. John

"Ask Me No Questions" 1969

Bridget St John was one of the first acts signed to John Peel's legendary Dandelion Records. Cherry Red are re-releasing her first three albums with several bonus tracks that are appearing on CD for the first time. The first two albums also feature John Martyn playing guitar on some tracks. Ask Me No Questions was originally released in 1969. 'The music within was a treasure trove -- friendly, poetic, organic, a little sparse maybe but played and sung for all the right reasons. John Peel served as producer and guide after hosting Bridget at the BBC studios. The album opened with the two songs chosen for her debut 7" and both were staples of her live repertoire. 'Curl Your Toes' was exactly what it said, sung in that sunny low register one always associates with Bridget. The album's title track was its piece de resistance -- a magnificent sound picture of pastoral England and a fine companion piece to the Floyd's 'Grantchester Meadow' -- an amazing number with harmony vocals and second guitar by John Martyn, with its middle section full of the sounds of the countryside before the guitars come back a second time. Sadly, Ask Me No Questions did not sell in huge quantities but it certainly gained her a small but dedicated following and laid the foundations for her albums that followed in the 1970s -- and its naive and minimal production values, delicate playing and heartfelt singing make it an album I return to often especially when I want to evoke the atmosphere of the late '60s.' --Nigel Cross, linernotes.


"Songs for the Gentle Man" 1971

This was Bridget St. John's second album, originally released in 1971. "If her debut album had shown little in the way of 'production values,' then her second LP tipped towards the other end of the scale. Recorded at Sound Techniques in Chelsea, where everybody from Fairport to Nick Drake had made albums, this was a far more sophisticated work than its predecessor. And a more confident and outward-looking Bridget had emerged from its shadows too! The album opened with 'A Day A Way,' with Bridget's gentle lilting voice and guitar gliding in and out of the lush woodwinds. Organized around a small chamber orchestra, Songs For the Gentle Man was replete with strings, horn and piano. As critic and author Kim cooper, writing about it in Lost in the Grooves, so eloquently expressed, this is 'a set of cool, pastel originals garnished with a pinch of John Martyn or a splash of Donovan... Imagine a Nico of the buttercups, all sunshine, smiles and cautious optimism... a small record, yet one that fills the room and lingers.'" --Nigel Cross, linernotes.

Buy

"Bermuda Triangle" 1977

Released as a private pressing on the aptly named Winter Solstice label, Bermuda Triangle who hail from Long Island New York released this gem in the height of Punk...1977. A combination of The Farm Band and Bobby Brown (the solo act from early 1970's California), Wendy Carlos meets Joan Baez the band were made up of a female singer/bassist/female drummer/violinist and a guy who sings and plays the electronic auto harp/organ and piano. The sound is totally lost in time and transports you back to the carefree days of the early seventies and is extremely trippy. You have to check out the wah wah auto harp, the weird percussion and bass, a great listen almost pre-dates the current folktronica scene. This wild album has to be heard and is quite superb from folk to reels to country all bathed in this misty auto harped glory. (Forced Exposure)

Acid Archives:
Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL]

Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre. [AM]

01. Nights in White Satin
02. Right Track
03. Dream On
04. Lark in the Morning
05. Free Ride
06. Standing Together
07. Louisiana
08. Night Train
09. Wind

Micah Blue Smaldone

"Some Sweet Day" 2004

Some Sweet Day sounds like it was recorded in the twenties; its simple guitar-and-vocal compositions are attempts at rekindling the Jimmie Rodgers and Blind Blake sound - heck, there's even a cover of old-timey classic "In the Jailhouse Now." Smaldone has the bluesy acoustic guitar going, as well as the familiar country-folk vocals, and his compositions revel in the genre's best aspects - skillful plucking, mesmerizing melodies, and that indescribable sense of wholesomeness that enraptures the listener.
"Springtime Blues" is the song that grabs you first (partially because it's the first song, but also because it's bloody amazing) - it has a dreamy, bittersweet feel to it and a strange sort of timelessness. It may have been recorded just recently, but it stands up to some of country-folk's better songs. "My Angel's Wings" is another strongpoint, along with title-track "Some Sweet Day" (complete with yodeling) and the absolutely heartwarming "Boats up the River," a John Jackson cover. The record's instrumental tracks also impress - be it the playful "Ice Cream Socialist" or the curiously introspective "Pine Needle Rag." There aren't really any duds on Some Sweet Day - the only limiting factor is the listener's attention, which depends on his or her appreciation of old-timey country-folk music. For those lucky open-minded music fans, though, Micah Blue Smaldone's Some Sweet Day could become the type of record that gets you feeling good time and time again. (Matt Shimmer)

Sample pic: Click



"Hither and Thither" 2005

Micah and his Regal steel-bodied resonator return for another collection of olde tyme vaudevillian hootenanies that had me pining for a slow barge down the mighty Mississip’ listening to Leon Redbone’s greatest hits on a boom box. The fantastic element about his material is that they are all originals (save Jelly Roll Morton’s “New Orleans Bump”). So fans of the Roaring 20’s and Swinging 30’s of Nawlins’ jazz houses will certainly find a lot to like across these dozen denizens of the deep blue sea.

Smaldone can make his guitar do amazing things, such as replicate the tinny twang of a banjo on “Winter’s Truce” or the nostalgic ping of a harpsichord on the jolly opener “Swamp of the Swan,” which occasionally segues into an old familiar tune that I’ll let you figure out. Smaldone’s vocals on the sad lullabye “Cold Black Crepe” have the distinctive aura of having been recorded in a cavernous space such as a garage, basement, church or coffeeehouse. Thus, he made the correct critical decision to present the songs in a laid back, lo-fi atmosphere that’s perfect for the ragtimey feel to most of the tracks. The mastering by Harris Newman (a favorite who’s been reviewed in these pages before) treats the product with the care and attention that benefits these artefacts-styled recordings.

Smaldone’s voice drifts into a Jolson-like bellow for “More Than I Can Bear,” while his vibrattoed wail on the mournful “Sporting Sorrow Blues” will bring a tear to more than one listener’s eye. His guitar work here (and on “Funny Farm,” with it’s swaying melody and ascerbic delivery that Dylan fans will immediately recognize from “I Don’t Believe You”) still reminds me of Tiny Tim on the ukelele, an observation I also offered about his debut – a comparison that Micah vehemently denied. The delicate, ballet-styled minuet of “Summerbelle, Winterbelle” brings back fond memories of Stephen Foster and strolling through Disney’s theme park rendition of old time Americana or down the streets of Mayberry, offering head nods and tips of the hat to Sheriff Andy Taylor, Floyd the Barber and Goober and Gomer Pyle.

If nothing else, Smaldone is a master at recreating a kinder, gentler America – free of wars, hatred and unpronouncable, incurable ailments and diseases. This is front porch sittin’ and backyard barbecuin’ Americana for the masses. So don your best Sunday duds and get out on the dancefloor for the “Tatterdemalion Stomp,” which has got to be easier to do than pronounce! Smaldone tackles the aforementioned “New Orleans Stomp” with all the dexterity and aplomb of Jorma at the peak of his powers. A vast improvement on the debut, “Hither and Thither” is highly recommended to fans of Redbone, acoustic Hot Tune and the old fashioned Americana of Stephen Foster and Scott Joplin. (Jeff Penczak)




Micah Blue Smaldone as Joey Ramone

Clive Palmer "Just Me" 1978

A much respected UK folk artist and virtuoso banjo player, Clive Palmer first entered the world of music during the early '60s playing bluegrass and traditional songs in a duo with Scotsman Robin Williamson. In 1965 they were joined by Mike Heron and became The Incredible String Band. Palmer recorded one album with the band before quitting and moving to India.

He returned to the UK in 1967 and made an album of Victorian banjo songs with producer Peter Eden which, save for a couple of songs dotted about on compilations, has never been released.

Returning to group work, Palmer was in a string of bands including Crooks & Nannies, Temple Creatures and Rhombus (none of whom ever made a record) before forming Famous Jug Band in 1969. Once again, he only stuck around for one LP- Sunshine Possibilities - and in 1970 put together another band, C.O.B.. They made two LPs and one single between 1970 and 1972 before splitting.

A Palmer solo album finally emerged in 1978 entitled "Just Me" followed by a collection entitled The Archive Tapes in 1989 and a cassette-only album House of Images in 1993.

After this it is not entirely clear what musical projects he was involved with as no new releases emerged until 1999- a reunion LP with Williamson entitled At The Pure Fountain and an LP with poet Bob Devereux- Suns & Moons.

Since then Palmer has released other LPs with Williamson and even reformed The Famous Jug Band for an album in 2002. More recently he rejoined Heron (along with Fluff and Lawson Dando) in The Incredible String Band as well as releasing another solo LP in 2004 entitled All Roads Lead To Land.

Tracks:
01. East Virginia (Traditional)
02. Bamiyan (C Palmer) said to be inspired by his time in Afghanistan.
03. The Blackbird (Traditional)
04. Girl From The North Country (B Dylan)
05. Cripple Creek (Traditional)
06. Gentle Maiden/Gunnerton Felcuddy (Traditional)
07. State Of Arkansas (Traditional)
08. House Carpenter (Traditional)
09. Downtown Dandies (C Palmer)
10. Summers Night (C Palmer) written in a caravan on Bodmin moor in 1969.
11. The Wandering Minstrel (Traditional)
12. Foggy Mountain Breakdown (E Scruggs)
13. Jack In The Box (Traditional)
14. Melody In D (C Palmer)

"Harmonium" 1974

Harmonium were probably the most beloved and best known progressive band to come from Quebec in the 70's. The first version of the group was a trio consisting of vocalist, guitarist and main songwriter Serge Fiori, bassist Louis Valois and yet another singer and guitarist in Michel Normandeau. It was this line-up of the group who completed the band's self-titled debut in 1974, with the help of guest Rejean Emond on drums. It's definitively their most modest and least progressive album (meaning also their least interesting one), but it never the less became their most popular release home in Quebec where several of the songs became huge hits. Musically the record was acoustic and sophisticated folk with some very minor progressive hints. The eight songs are all dominated a lot by the two acoustic guitars and Fiori's vocals, which by the way definitively are some of the most pleasant I've heard from a French language singer. There's also some nice vocal harmonising between Fiori and Normandeau, which reaches a climax on the gorgeous ending of the opener "Harmonium" that also features guest Alan Penfold on flugelhorn. There's also some unaccredited piano, flute and harpsichord on several of the songs. Best songs include the earlier mentioned "Harmonium", "Aujourd Hui, Je Dis Bonjour a La Vie" (featuring an acoustic showcase from the two guitarists), the pretty "Vielles Courroies" and their signature tune "Pour un Instant". But it's hard to not feel that the band's full and true musical potential yet had to surface, no matter how good these songs are. And the sing-along ending of "Un Musicien Parmi Tant D'Autres" is a bit too cheesy for me, sounding like some sort of union-anthem. Luckily, Fiori & co. would quickly ditch this basic approach to the music, and instead explore their full progressive strengths and abilities on the two next albums. (vintageprog.com)

Sample pic: Click

Recommend by Sean MacNair...
"The Talbot Brothers" 1974

High-class country rock album from Mason Proffit graduates John and Terry Talbot. Less electric and kickin' than bands like the Outlaws, but more of a rootsy feel than the Eagles and all their imitators thanks to an acoustic emphasis and use of banjo, dobro, steel guitar, and harmonica. Hawaiian guitar leads grace the beautiful acoustic piece 'Trail of Tears'. Fast pickin' on hoedowners 'Comin' Home To Jesus' and 'Moline Truckin' (the latter was deleted when the album was re-issued as Reborn on the Sparrow label). Several mainstream label musicians assisting to create consistent professional sound throughout without a hint of fluff.

Sean MacNair:
Does anyone out there have an obscure Russian album called The Trumpet Call by Valeri Barinov and Trumpet Call?

Allan Taylor

"Sometimes" & "The Lady" 1971

Allan Taylor is one of England's most-respected singer/songwriters. His songs have been covered by artists on both sides of the Atlantic, including Don Williams, Frankie Miller, Fairport Convention, Dick Gaughan, the McCalmans, the Fureys, the Clancy Brothers, and De Dannan. Folk Roots praised him for his "ability to crystallize a mood and evoke an era with the ease of a computer memory access, crafting perfect songs with dramatic changes in the spirit of Brecht, Bikel, and Brel." The Oxford Book of Traditional Verse felt as strongly, writing that Taylor was "one of the most literate and sensitive of contemporary songwriters in terms of words and music and one who is capable of exploring more complex subjects than most of his contemporaries." Inspired by the folk revival that swept the United Kingdom in the mid-'60s, Taylor left school at the age of 16 to run a local folk club. Stepping out as a professional musician five years later, he was greatly supported by members of Fairport Convention. Their friendship was cemented when he toured as opening act for the group's national tour. His 1971 debut album, Sometimes, featured instrumental accompaniment from Fairport's drummer Dave Mattacks, fiddler Dave Swarbrick, and bassist Dave Pegg. Moving to New York in 1972, Taylor recorded The American Album with Nashville and Los Angeles session players. He remained in the United States through 1974. Returning to England, Taylor formed a group, Cajun Moon, featuring fiddler Brian Golbey and keyboard player Jon Gillaspie, to perform American folk and roots music. Signed by Chrysalis in May 1976 following a tour with Steeleye Span, the future seemed secure for Taylor and the group. Their dreams faded, however, when Taylor damaged his vocal cords and was forced to rest for three months. The hiatus put an end to the band's momentum. By the time he had healed from surgery and was ready to return, the group had folded. Resuming his solo career, Taylor signed a publishing deal with Chrysalis and a recording deal with Rubber Records. His first new album, The Traveller, featured instrumental backing by melodeon and accordion player John Kirkpatrick. The album received the Grand Prix du Disque de Montreux for Best European Folk Album in 1980. Taylor spent much of the '80s and early '90s as a student. Although he continued to record, much of his focus was devoted to his studies. He received a bachelor's degree from Leeds University in 1983, a master's from Lancaster University in 1985, and a doctorate from Queens University in Belfast in 1993. His thesis explored the creative process and the power and aesthetics of song. ~ Craig Harris, All Music Guide

"Sometimes"
Allan Taylor: acoustic guitar, vocal
Dave Mattacks: drums
Dave Pegg: bass
Dave Swarbrick: violin
Tony Cox: orchestral arrangements

"The Lady"
Allan Taylor: acoustic guitar, vocal
Andy Roberts: electric and acoustic guitar
Dave Mattocks: drums
Bob Ronga: bass
Pete Stanley: banjo, dulcimer
Tony Cox: keyboards
Ian Matthews: backing vocals
Royston Woods: backing vocals
Tony Halsted: horn
Robbie Hewlett: bass
John Wibraham: trumpet
Produced by Tony Cox

Link

Bert Jansch - The Black Swan (2006): CocoaMusic

Prydwyn & Green Crown

Prydwyn "At the Feet of Mary Mooncoin" 1995

Green Man Review:
Right from the gitgo, let me state that any man who can gleefully sing of the ritual castration in worship of the Goddess Cybele and from there leap vigorously into a love song, a sprightly love song at that, has got my vote. In Olvardil Prydwyn's debut CD, At the Feet of Mary Mooncoin, not only does he provide such entertainment, but he also demonstrates a more than nodding acquaintanceship with language and the joy of poetic expression holding true to the bardic tradition to which he aspires. There is little self-consciousness or self-aggrandizement in the rendition of the ballads, but rather a sincere invitation to listen to a tale well told.

Prydwyn, under the influence of an education in the Classics and doctoral work in Celtic studies, performs solo on At the Feet of Mary Mooncoin. accompanying his vocals with harp, whistle and guitar. An eclectic mix of folksongs and originals with a style heavily influenced by Prydwyn's Pagan outlook, one certainly does not need to be Pagan to appreciate the poetry of the original lyrics or the gruesome ironies of the traditional "I loved her so I killed her" folk ballads.

I was prepared to not like any of this stuff. There is already enough devotional material in the world, which is utterly sincere but not really fit to be shared. Imagine my surprise! The lyrics are well written, the music melodic, with a strong traditional flavor neither derivative nor boring. Author/artist Prydwyn espouses music as religion and At the Feet of Mary Mooncoin has made me a convert.

Starting with "Naked Beauty," Prydwyn's ode to the Goddess, to the gleeful interpretation (and translation) of Catullus' "Cybele and Attis," the musical interpretations reflect humor, irony and a devotion to the story-telling implicit in our modern interpretation of the bardic tradition. While more than half of the songs are originals, the artist also provides interpretations of several traditional Celtic folk songs. It is a credit to the artist that to decipher whether many of the songs are original or traditional Celtic tunes I had to consult the liner notes. Prydwyn's originals, "A Maid Walked Slow" especially, blend seamlessly with traditional ballads like "The Death of Young Andrew" and " The Nobleman's Wedding." Julia Sulo prettily backs up vocals on a beautiful Scottish Gaelic song, "Fhira' a Bh`ata."



Green Crown "Washed in Her Blood" 1998

The debut CD from Prydwyn (also of Stone Breath) and company. You´re not likely to find a group of more talented musicians. Truly magical music: psychedelic-Celtic and folk-rock tastefully and masterfully blended into a fluid musical prayer to the gods and goddesses.

Psyche Van Het Folk:
The best and most significant release I knew so far, and which I considered one of the best starters (of the whole genre of pagan folk as well) is "Washed in her blood" (1998), a beautiful prog/psych folkrock release with the talent of Prydwyn (one of the most mature beautiful bards around, also harp-and guitarplayer, with occasional other instruments), Whitedeer (percussion & tablas), Jim Brewer (flutes & percussion), Violette, acoustic bass, Diana McFadden, cello, and some other occasional musicians. Songs of Country Joe McDonald, Gong, Incredible String Band, all songs related with Pagan themes-, were interpreted with their typical, and beautiful original sound. It's one of the best pagan releases I know of.

krautuniverse

Let's welcome Krautlover and his blog "krautuniverse"!!

Nutshell

"In Your Eyes" 1976

Record seller:
This is a fantastic copy of the LP 'In Your Eyes' by Nutshell on the UK Myrrh label. It's a great folk psych offering with some religious overtones. The female vocals are beautiful and the musicianship is superb.

Freak Emporium:
Nutshell is a trio folk group similar to Parchment, Tantalus, The Johnstons and Mr. Fox. One of the good example of the British folky sounds in the 70s.

One-way.org:
A British folk group whose music revolved around the song writing talents of Paul Field. On this first album Pam May and Heather Barlow round out the trio whose most obvious parallel is the American trio 2nd Chapter of Acts.

01. Snowball
02. Heaven Only Knows
03. Tell Me That The Sun Will Shine Again
04. In Youe Eyes
05. Jesus Is Forever
06. Stony Ground
07. Butterfly
08. Most Unusual Love
09. Today
10. Living Joy
11. Black Notes White
12. Redeemed


"Flyaway" 1977

A second album "Flyaway" is the best album among 3 others, continues in the vein of mellow folk songs. The songs "Moonlight" and title track "Flyaway" are exceptional.

01. Walking Into The Wind
02. Sara
03. Moonlight
04. Conversation Pieces
05. Flyaway
06. Feel Like A River
07. Safe And Sound
08. For Each Other
09. Bedsitter And Sometimes

Vin Garbutt "The By-Pass Syndrome" 1991

H. Christie:
Observe if you will my following and highly opinionated list of great British singers, for it is, I promise you, germane to this review. Dick Gaughan: Nic Jones: Rod Patterson: Vin Garbutt: Ray Fisher: Dave Burland: Martin Carthy: June Tabor: and Archie Fisher. If pushed to produce two other lists titled "Great 'Live' performers" and "Great Recording Artistes" I'd place four from that first list of nine in the "Great Live" category and only three in the "Great Recording" category.

Garbutt would appear on all three lists, and therefore when I came across this disc in a Virgin store I wondered why had I not seen it reviewed or even acknowledged. The answer fell into place shortly thereafter, when I read the only review I've yet see, by Colin Irwin. This reviewer spent more space on his view of the life and times of Vin Garbutt than on the silver plastic concerned, managed to get wrong the title Vins' previous album, and hardly seemed to command a grasp of his subject. A new "-ism" I though, regionalism where image conscious reviewers loudly proclaim their internationalism, whilst remaining uncomfortable with the mores and accents of regions distant from their own in their own country. Reading on through, I realised there was another answer, and I have to tell you, ladies and gentlemen it is that Vin Garbutt is NOT POLITICALLY CORRECT.

I'll spare the reader too much historical repetition except to say that Vins forcefully expressed pro-life views constitute a GREAT MISTAKE not only in the eyes of the "right on" crowd, but obviously from P.C. reviewers. I personally don't subscribe to much of Vins views in this sphere and think the sentiments on "Dish of Glass", (an example of the pro-life genre which appears on the album), bordering on the ludicrous. I'd be greatly disappointed, however, if the man suppressed his passionately held but obviously risky views and took instead to chundering out thinking leftie polemic to a safe constituency of folkies largely left-of-centre in its views. (Note that I use the term "unthinking" - by so doing I'm acknowledging that there is a great deal of the other kind of leftish political material around i.e. the thoughtful, capable of appreciating nuance, type. It's the ideological posers and headbangers that'd have you believe that they spend their time re-cycling old pullovers back into sheep, or believe that the closure of the Timex factory is a victory, that I object to. It's those posers I believe Garbutt has fallen foul of).

Enuff..... already to the album. This is the second album Vin has done using other musicians in addition to his own distinctive accompaniments... a total of eleven in fact. It's perhaps typical of his desire to plough his own furrow that he's experimenting in this direction, at a time when the trend as represented by the recent spate of MTV inspired albums in the "Unplugged" series is one of artists such as Clapton, Rod Stewart and Neil Young going in the opposite direction i.e. stripping back and going acoustic. This time out I think the musicians more sensitively used than on "When the Tide Turns", as shown on Phil Minchips "If I had a Son" (the dream of an old miner of his offspring getting a job in the sunlight) and on the title track, although they do get a trifle "busy" on the rockier "Page Three Girl". "Nawas's Song" is a standout, the tale of an individual casualty of Saddam Hussein's persecution of the Kurds, that has much in common with "Carol Ann Kelly" from the previous album, both using the individual horror that happens to a child to highlight the obscenity of war that other "civilised" nations seem unconcerned with. Those who have seen Vin in concert over the years will be familiar with the song which he was singing long before the Gulf War.

It's the "Bloom of the Broom" that does it for me though. I remember him saying some years ago that he had a New Zealand ecological song that he thought might bore people though he personally liked it a great deal. It is utterly beautiful, with a tumbling descending chorus that would deter all but the hardiest of floor singers. Here I'll lapse into cliche and say that this track alone is worth buying the album - not original certainly but true. The Garbutt sleeve notes are worthy of note in their own right (write?) too. Describing the Weeping Broom in this song he notes that it is ".... a New Zealand species of Broom. Not to be confused with the Scottish "small ping brush". "The November Wedding" (another excellent track familiar to audiences" is described as a "sentimental love song bordering on the emetic". And there's more .... and I pray that there'll continue to be for years to come on the evidence of this album. If you haven't heard it, seek it out it's well worth it, and an additional bonus will be the distance you put between yourself and the bone-heads who would seek to disregard this profoundly talented performer.

More info here: Click

Important:
Unfortunately, track 12 "Over the Fields" is incomplete song, and track 13 "November Wedding/The South Wind" is missing.

Download link in comments.

Finn MacCuill "Sink Ye ~ Swim Ye" 1978

Finn mac Cuill began at Stirling University in 1972 when Tony Ireland met Nick Keir and started playing gigs together. The first residencies were in Edinburgh, notably the St Clair and Doric Hotels. After a spell with Miriam Titteron as vocalist, Tony and Nick returned to playing as a duo, working with John Cairney and in a Folk and Poetry programme with Norman McCaig, as well as the usual round of pubs and clubs.

Soon they formed the Finn mac Cuill Folkshow with actors Colin Brown, and (latterly) Megg Nicol and Avril Stewart. This theatre group toured quite extensively in Scotland, and although the scripts were, with hindsight, crap, they were often quite well received. The logistical problems and personality conflicts in the Folkshow became too much, and after the infamous "Battle of Carrubbers Close" Keir and Ireland decided to return to a purely music- based act.

To this end they were joined by John Wilson.... a fine singer... on vocals, guitar and bass This line up produced the flawed LP "Finn mac Cuill".but toured reasonably successfully in the UK, Germany and Holland. It was not until Madelaine Taylor joined the group that the band really took off. The picture above shows that line-up at Blackford Hill Pond circa 1976...left to right: Ireland, Keir, Taylor, Wilson.

Together they produced the much better "Sink Ye Swim Ye" album. Before it could be released the band was involved in a nasty van accident and, although no one was seriously hurt, the bands finances and morale never recovered. Keir and Taylor played some gigs as a duo, but soon even that ceased. A hiatus of about a year followed until Keir and Ireland met again and , lured by the prospect of a tour of Germany persuaded Wilson back on the road and the last throes of the band began.

The tour of Germany, marked as it was by vile hotels, food poisoning, eccentric management and unsuitable venues proved nearly as devastating as the van accident, but a lifeline was thrown by 7:84 Theatre Scotland and the band joined them for tours of "Joe's Drum" and "Swings and Roundabouts", a happier experience altogether. With Ireland deciding to leave the UK and live in Germany the group was joined by Richard Cherns (later of RunRig and Theatre Alba). Cherns' undoubted instrumental skills failed to gel with the other members' music and when Keir left to pursue a solo career the band came to a halt.

Personel:
Madelaine Taylor (vocals, guitar, spoons)
Tony Ireland (guitar, dulcimer, vocals)
John Wilson (bass, guitar, vocals)
Nick Keir (mandolin, vocals, recorders, whistle)

Sindelfingen "Odgipig" 1973

The Princess was written in 1973, immediately after the Odgipig album and became the band's finale piece at live performances. It represents a struggle between good and evil and includes a chase section and a royal procession at the end. Drummer Roger Thorne was forced to leave the band at the end of 1973 and was replaced by the 12 year old Matthew Letley, brother of bassist Mark; it is Matthew playing on this 1974 recording, which represents the closest Sidelfingen ever came to capturing their live sound. (Kissing Spell)

This was to my knowledge the only album released by this British group while they still existed (I've heard of a live-album called "Triangle" but I don't know anything about it). The music on "Odgipig" is progressive rock with a slight folk-influence and long, complex tracks. The songwriting is good, and there are lots of interesting parts and themes in the tracks. So then this is just good?? Well, unfortunately not! My problem with this album is the arrangements. The only additional instrument to the basic drum, bass and guitar is a glockenspiel. You can may say that this sparse instrumentation gave the band a sound of their own, but in my opinion it don't explore the full potential of the compositions. What I'm trying to say is that the songs need richer and more powerful arrangements than this. If they had added some Mellotron, Hammond-organ and a better production, then this could really have been something! Not bad, but it could have been much better. (vintageprog.com)

Personel:
Roger Woods - Oscillators and Glockenspiel
Richard Manktelow - Vocals and Guitars
Roger Thorne - Drums and Percussion
Mark Letley - Vocals, Guitars, Bass and Recorders

Robin Williamson "Songs of Love and Parting" 1981

Robin Williamson first came to prominence as a member of the Incredible String Band, continuing on his merry way with two more groups, before finally turning solo in the late '70s. One wonders what took him so long to do so, seeped as he was in the great bardic tradition, an occupation of one, not many. But perhaps like the journeyman of old, these bands served as the apprenticeship necessary before Williamson could embark on his own. In any event, Williamson exquisitely resurrected this ancient art first on-stage and then on record. Songs of Love & Parting dates from these early days and was originally released in 1981, a 13-track acoustic set of songs and poems subtly set to music. Now album is lovingly reissued on CD, accompanied by a lavish booklet that annotates each of the tracks, reproduces the lyrics, and includes atmospheric photographs that capture the setting and feel of a number of songs. And atmosphere is all important to this album, the evocative music capturing and enhancing the mood of the songs. Williamson supplies most of the instrumentation -- harp, bagpipe, guitar, whistles, and so on, with guests assisting with strings and horn as necessary. Dipping across Britain's rich folkloric tradition, feted native sons (both Keats and Dylan Thomas serve as inspiration), Irish poems, and Welsh legends, Williamson's songs peruse history, culture, and the rhythms of life and death, the ancient rubbing easily against Williamson's modern writings. ~ Jo-Ann Greene, All Music Guide

Harvest Flight
"Sinner Man / You Can Tell the World" (Single 1972)

Harvest Flight put out a dull early Christian rock album in the early 1970s that drew from the laid-back California sound of its day for its musical arrangements. The lyrics, however, were centered around Jesus, Christianity, and salvation. ~ Richie Unterberger, All Music Guide


This title is shared by John.
Thank you!!

Animal Collective "Prospect Hummer" 2005 EP
(Feat. Vashti Bunyan)

Following a hugely successful 2004, Animal Collective return with their first release of 2005 - a brand new four-track EP, which features the sweet voice of the near-legendary Vashti Bunyan. Having long been huge fans of her sole album, the recently rediscovered 1970 gem, "Just Another Diamond Day", Animal Collective happened to meet Vashti when they played in Edinburgh on a 2003 tour supporting Four Tet (Four Tet's Kieran Hebden had recently played as part of Vashti's band during her first live set in over 30 years at the Royal Festival Hall). Following this meeting, ideas were hatched and conversations began, culminating in the group selecting these three beautiful songs for her to make a home in.

Acoustic-based and once again recorded by their friend Rusty Santos (who co-produced "Sung Tongs" along with the band), "Prospect Hummer" centres around the three harmonised vocal tracks, "It's You", "Prospect Hummer", and "I Remember Learning How To Dive", all of which were recorded over three days in March 2004 at Idle Luxury Studios in London, immediately before the band set off on their European tour to promote "Sung Tongs". Weaving their luscious, multi-layered web around Vashti's singing, these three tracks feature Animal members Avey Tare, Panda Bear and Deakin. A fourth track, the instrumental "Baleen Sample" was completed late last year, and includes samples from band member Geologist, who was absent from the Four Tet tour.

Besides a huge mutual admiration, another link that both artists share is their experiences of people attempting to pigeonhole them both into some kind of folk-ish ideal. Whilst rising to critical prominence around the same time as artists like Devendra Banhardt, Iron and Wine, Espers, Joanna Newsom and Vetiver, Animal Collective have always balked at the idea of being part of some kind of "Avant- / Modern American Folk" scene – and anything more than the most cursory listen through their back catalogue will amply illustrate the changing nature, uniqueness and breadth of their music. Similarly, whilst obviously remembered for the autobiographical folk settings of "JADD", Vashti is likewise insistent that her music stands on its own two feet, entirely separate from any scene-creation.

Jimmy Campbell "Half Baked" 1970

This obscure folk-rock artist from the late '60s left a track record of a few albums and a handful of obscure single releases, including the languid "Lyanna" and the demanding "Don't Leave Me Now." Campbell first came to prominence as a singer/songwriter on the folk club scene. He signed a contract with the interesting Fontana label, which released much cutting edge folk-rock and psychedelic music. He recorded one album and three singles for them before switching dizzily to the Vertigo label. The resulting album took a proud place in this label's catalog, right between the largely forgotten Dr. Strangely Strange and the grandly remembered Paranoid by Black Sabbath. It was definitely Campbell's most famous album, entitled Half Baked with just a note of derision. The album's title track is in turn the most well-known cut by this artist. The label had high hopes for the song, which was also included on The Vertigo Annual compilation, one of the first wave of promotional collections featuring new artists. There must have been optimism that the song's success would carry the album as well, since the latter was pressed in enormous quantities considering the relatively unknown status of the artist. When the single never took off, the label and the world in general was left with many, many Half Baked albums, carrying the artist's commercial failure forward into the misty world of record collecting, where the album has never become particularly collectable because of the large number of copies originally pressed. His next move was to form the group Rockin' Horse, whose 1971 album for Philips is in contrast something collectors look for, but hardly ever find. The band continued without him, making another self-titled LP for RCA. Campbell did one further solo album before calling it quits. ~ Eugene Chadbourne, All Music Guide

Sample pic: 1, 2

John Dummer Band (featuring Nick Pickett) "Blue" 1972

Shortening their name to John Dummer, they signed to Vertigo, recording "Blue", with a cover designed by Roger Dean. The music was still competent blues-rock, but nowhere near as good as their earlier, late-sixties offerings on Mercury.

Freak Emporium:
Exact repro of the 1972 Vertigo album by this UK blues boom outfit including the die cut sleeve.This album featured the outstanding talents of Nick Pickett on guitar and is a great take on progressive Blues with some great spacey moments.

Sample pic: Click

Paper Bubble "Scenery" 1970

Released in 1970 on Deram by this UK psych/folk/pop band. Produced by Dave Cousins and Tony Hooper of The Strawbs, the album has drawn comparisons with that band and The World Of Oz.

Strawbs' member Cousins and Hooper were invited to produce an LP for Shrewsbury band Paper Bubble. No sessions people are credited on the sleeve, which indicates that all instruments and voices are those of the band, Terry Brake, Brian Crane (both vcls, gtrs) and Neil Mitchell (bs). However, all the songs are published by Strawberry Music and the engineer is ... Tom Allom, who later produced many Strawbs and Hudson-Ford recordings.

Scenery was recorded in 1969 and came out in 1970. The cover had two different pressings, same design but different colours.

It is believed that sessions took place for a later album also to be produced by Dave and Tony, which unfortunately never saw the light of day. The Velvet Opera had played a few times at the White Bear, and Cousins and Hooper got Hud and John involved in those recording sessions along with Rick Wakeman. Cousins recalled in an interview in ZigZag magazine: "Rick was on keyboards and I thought then how remarkable that band could be without ever imagining that six months later it would all come true, and John, Hud and Rick would join Tony and I in the Strawbs."

The Big Huge
"Crown Your Head With Flowers, Crown Your Heart With Joy" 2004

Psychedelic Folk:
After disbanding the Baltimore-based band Sonna (=kind of tapestry alternative music) Drew Nelson decided to fall back on his folk interests. With the help from Michael Lambright, Jim Redd and Chris Freeland he developed some ideas that led to this home-recorded album. The music has interpretations of traditionals combined with singer-songwriter playing, (a fine example is "Harbor to a Hill"), experienced and developed in a relaxed way, as developed over some experience in quiet American folk bar experiences.
"The Big Huge" might refer an interest in the Incredible Stringband album, but I found it first hard to tell why this reference could be meaningful. On "Autumn Hymn" Drew tries to sing with odd variations, which is possibly the influence from ISB, still in a slightly "Americanized" way. But also on "Dogwood and Sky" you can hear how Drew really tries seriously to make a similar effort as ISB to renew the British folk tradition with some slightly different vocal variations, even if it isn't the same as ISB did, because here it sounds in a way more traditional. Also he doesn’t always succeed too well to sing this perfectly, it still is a clever direction. The album has a certain young sound, which is recorded with such a calm self-expression the result makes it surely worth hearing. Still I'm curious how the group will develop further.
The combination of arrangements also is nice. "A Lofty Hill a Shady Nook" is a beautiful instrumental with accordion and acoustic guitar.


Unbroken Circle:
This band of three members is from Baltimore in the US but has on the whole a distinctly English folk sound. Perhaps this is to be expected as their band name is of course drawn from the excellent album of the same name by The Incredible String Band from 1968. This Incredible String Band reference is carried forward too into the music which is simple but effect folk song with some psychedelic elements occasionally woven in.

'Lows at the Highland Game' starts with bell chimes before a moodily atmospheric acoustic guitar refrain which leads us into the quite gorgeous guitars and vocal of 'Harbor To A Hill'. We have here direct folk song of the highest order, reminding of the simpler Dr Strangely Strange songs. The sound is very specifically English which is surprising given the band are from the US. 'Sweetest Lily' is a stark scrubbed banjo song with a wonderful melody. 'Slumbering Lioness' uses accordion drones that brings us towards James Yorkston's sound whose fans would enjoy this album greatly. Melodically the shifts between notes in the lead vocal hint back to the Incredible String Band influence.

There is a feeling of playing in a garden, delicate and part of the air on the next 'Autumnal Hymn'. After a solo vocal 'Bonnie Boy' we go into accordion and acoustic instrumental 'A Lofty Hill, A Shady Nook'. Next 'Dogwood and Sky' is again a vocal song with clapped hands and a sustained air of expectation. 'Atop A Secret Mountain' has musical percussion and a song that really does sound like late period Nick Drake without being slavish to that great artist, indeed it sounds like Dulcimer of the late 60s. Penultimate song 'Willie of Winsbury' is a traditional song also done in the last couple of years by Kate Rusby here done starkly on banjo. 'A Fond Farewell' rounds off the album nicely with an instrumental restatement of one of the musical themes on the album and then a vocal song which bids us farewell.

This has a been a very soft, exploratory album that has strong performances and one the band can build even further upon for subsequent releases. It's a great discovery and one of the more directly folk releases of the recent era. They deserve your support.

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Langley Schools Music Project - Innocence & Despair: The Fringe

Davy Graham "Midnight Man" 1965

Graham went into a somewhat harder-rocking bluesy groove on this record, though a strong jazz feel was always present in the rhythm especially. More than any other Graham LP, this offers proof that the guitarist would have established himself as a major star on the folk circuit in the '60s -- if only his singing was better. As a guitarist, he's simply wonderful, combining folk, jazz, and blues styles into an invigorating, idiosyncratic style that can both swing and attain a delicate sadness. As an interpreter, he's relentlessly imaginative, breathing new vigor into overdone R&B standards, or devising fresh folk arrangements for Beatles and Paul Simon tunes. But as a vocalist, he's adequate at best; if he had even possessed the modest expressiveness of a Bert Jansch, the material would be that much more striking. Almost none of these tracks are available on Graham compilations, and this rare LP is definitely worth seeking by those who are familiar with some of his other '60s work. Especially excellent are the jazzy "Hummingbird" and the instrumental cover of Lalo Schifrin's "The Fakir," which blends the rhythmic drive of Charles Mingus with hypnotic raga-esque riffs. ~ Richie Unterberger, All Music Guide

Sample pic: Click

Vin Garbutt "When the Tide Turns" 1989

Vin's album 'When The Tide Turns' was released in 1989 but became unavailable to Vin shortly after and was therefore very difficult to get hold of. It was re-released in 1998 with the extra track 'The Court Of Cahirass' under the title, 'When The Tide Turns Again'. This album was a departure from Vin's past, solo, traditional style as he has a band of outstanding musicians accompanying him. Robbie McIntosh (of The Paul McCartney Band), Alan Whetton, (Dexys Midnight Runners) Simon Mayor, Hilary James and Phil Mulford, to name but a few, the best from the folk, rock and jazz worlds. The result is Vin's songs as we had never heard them before, with the punch of the folk-rock style music and the harder punch of Vin's uncompromising lyrics.

This album is almost as good as 'The bypass syndrome', with Vin's choice of material and self-penned songs being as astute as ever. Way before the meteoric rise of property prices, Vin sang 'Where the hell are we going to live' - an upbeat song concerning the problem with home-ownership that many people on low paid jobs face today. 'When the tide turns' is a gentle ballad with a soothing saxophone. The lyrics reflect that the 'brains of today' concern themselves with reducing human population as opposed to really sorting out the world's problems. Vin puts it far more eloquently than I did! Nica Nicaragua has a Spanish/Mexican feel to it. As well as the ubiquitous tin whistle tracks, there is a verbal discourse that Vin sings completely unaccompanied. 'Not for the first time' has an upbeat feel, belying its theme of job-losses in Northern England. The final track is a statement of integrity. Vin's stance on abortion was viewed unfavourably by the media. Here he apologises for any upset caused to the listener with a soaring refrain of 'it's the last thing I'd ever intend', while gently reaffirming his position on the issue. Vin is one of our most overlooked songwriters, grappling with real issues while 'bubblegum' dominates the airwaves. Folk music at its best!

Michael Chapman "BBC Sessions 69-75"

This collection of BBC performances by British singer/songwriter and guitarist Michael Chapman is one of the more rewarding titles in the series. These sessions mark the period of Chapman's earliest creative peak as both a performer and recording artist and cover the period of some of his most compelling outings, with Rainmaker, Fully Qualified Survivor, Lady on the Rocks, and Pleasures of the Street among them. Chapman's voice and guitaristry were on a par with John Martyn's, and in many ways he was more innovative. These live sessions offer an intimate and telling view of the depth and breadth of his gifts. Recommended. ~ Thom Jurek, All Music Guide

Homestead & Wolfe "Our Times" 1973-75

Subtitled: The Gold Star Tapes (1973-75). "Originally released in 1975, Homestead & Wolfe's lone and unknown privately pressed LP is an artifact so lost to time, it has never appeared in any discography, list of rare records, or catalog, anywhere. However, exist it does, and now their story can be told. Anopheles Records has sat tight lipped on this discovery for the last year while researching and preparing this reissue from the original master tapes and with full cooperation of the group. Homestead & Wolfe was a folk-harmony group based around the United Methodist Good Samaritan church in Cupertino, CA. Comprised of two female lead vocalists, one male lead vocalist, and buttressed with superb male and female harmonies throughout, H&W performed original material in a rich, melodic folk-rock-country style that is well executed, as well as earnest and personal. These 15 tracks were recorded at the legendary Gold Star Studios in Hollywood between 1973-75. Engineered by Stan Ross, these recordings feature top flight studio musicianship from legendary 'wrecking crew' drummer Hal Blaine, guitarist Ben Benay (Goldenrod, Darius), acoustic guitarist Al Casey, monster bass player Ray Pohlman, not to mention one of the world's most renowned and respected pedal steel guitar players, Jay Dee Maness (Buck Owens, the Byrds' Sweetheart of the Rodeo LP). The harmonies and arrangements of H&W recall both the Mamas and the Papas and the Carpenters at times, but much of the music deals with darker themes: the story of Wounded Knee told in 'See The Children Die', the organ fueled psychedelia of 'Your Freedom's In Question', aimed at the Nixon administration at the time, remains apropos today, and recalls the work of Growing Concern, Birmingham Sunday, Art of Lovin' and the Poppy Family. There are plenty of surprises here, as we located 6 unreleased tracks to augment the 9 tracks on the original album, including the startlingly great and dynamic cut, 'Beat of the Drum', which sounds as if the Bangles were hired to front Goldenrod for a one off single. The full color 16 page booklet tells the story in their own words, features images of the touring group and recording sessions at Gold Star, and maintains the high standard of archival work Anopheles Records is known for. Homestead & Wolfe represents a highly unusual and strikingly original blend of unproven but talented young vocalists, top quality session players and engineering, and a truly rare chemistry that makes this one of the great folk-rock discoveries of the last 10 years." (Forced Exposure)

"Rainbow Promise" 1972

Rainbow Promise, teenage Jesus freak jam band from Texas, early 70's recording, recorded in Ohio, on a Springfield MO label. 2 pressings with different cover variations were made, only sold at their concerts.

Acid Archives:
Christian melodic rock with a loose westcoasty vibe and sound a la Wilson McKinley, has three killers in a row at the beginning of side 1 up there with the best in the genre, another 3-4 numbers that are OK, and a couple of rather painful duds. Clearly above average for the style, and a popular item since many years. There is some confusion around the pressings of this LP, but the second version is credited to Steve Powell & Rainbow Promise and has a completely different cover (showing a pink old-style theatre marquee inside a black border). It also appears that at least some copies came with the 2nd pressing discs in the 1st press sleeve. Both runs are pretty rare. [PL]

Excellent laid-back West Coast style Christian rock. Similar to Wilson McKinley, though not as good (what is?). The lyrical message is a tad awkward at times, but the vocals are strong and heartfelt, and the abundance of echo-heavy guitar is beautiful and often transcendent. The first song on side two is especially dreamy. A couple of good-timey duds dull the overall impact of this album, but the good stuff here is right at the top of this genre. [AM]

Personel:
Steve Powell (electric rhythm guitar)
Leonard Brannon (electric bass)
Richard Slaton (acoustic rhythm guitar)
Ric Bowers (electric lead guitar)
Dennis Jones (drums)
Brother Elijah Morse (coordinator and advisor)

Sample pic: Click

This album is shared by John. Thank you, John!

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Gay & Terry Woods

"The Time is Right" 1976
















Gay and Terry's third and final album for Polydor was released in autumn 1976 and was electric folk with support from Fairport Convention's Dave Pegg and Dave Mattacks and Andrew Bodnar and Steve Goulding from Graham Parker and The Rumour.

Dave Mattacks: drums
David Morrison: guitar
Gay Woods: dulcimer, conductor, vocals
Terry Woods: bass, guitar, mandolin, vocals
Dave Pegg: bass
B.J. Cole: guitar (steel)
Timi Donald: drums
Pat Donaldson: bass
Tristan Fry: vocals (background)
John Gillaspie: keyboards
Brian Golbey: violin

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"Tender Hooks" 1978















Nick Clark:
Even in 1978, Steeleye Span were just a memory for Gay Woods and husband Terry. They had left after just one album and started The Woods Band using material they had written together. Unfortunately, after only the same output – one album, they disbanded and the husband and wife team was left to their own devices. After a time of living on their farm in Ireland they returned to the studio as a duo and enjoyed their most creative and successful musical phase. ‘Tender Hooks’ comes out of this mid-seventies time and given the styles around then, it is a wonder it was not a much bigger commercial success even than it was. In the same year as its release, Renaissance had a hit with ‘Northern Lights’ – a song not too dissimilar to some of the material on ‘Tender Hooks’.

With the benefit of hindsight, it is possible to see why the album was so well acclaimed. The two had a wide repertoire of distinct musical styles to draw on, all of which were popular in that time and now make us folk of a certain age a touch wistful for what has passed. The album opens with ‘We Can Work This One Out’ – a song you will be singing long after the album is put away. It’s one of the most catchy and easy to listen to and the mixing on the album brings Gay’s voice to the front. It’s a very commercial sound. After that ‘Friends of Mine’ changes style with the emphasis on acoustic guitar. Likewise with ‘Full Moon’ it’s very much of it’s era. Terry takes vocals on ‘I’ve a Lady’ – a much more upbeat number and does it comfortably with backing vocals from Gay. ‘The Reward’ is much folkier and a bit like what you would expect nowadays – lovely vocals and a tune that stretches Gay and shows what a fine disciplined singer she had become.

Side two (on the old vinyl) commences with another bouncy opener ‘I Won’t Believe It’ featuring a banjo line from Terry extending the range of sounds on the album before another rockier number ‘Dreams Come True’ gives him a chance to up the tempo again. ‘Piece of Summer’ is much slower, another ballad from Gay and by this time the different pace of each track has made the record much more interesting. ’Lonesome Blue’ is just that. A solitary blues- inspired number with Terry’s guitar matching and playing off Gay’s lead vocal. The album closes with ‘Heart of Stone’. For me, this is the highlight of Terry’s performances on ‘Tender Hooks’, a great vocal to back up a superb guitar riff, presumably by guest musician Phil Palmer.

This is a Steeleye Span website, so how will ‘Tender Hooks’ suit Spanners fans? Well, it doesn’t equate to anything the band were doing at the time to my mind. It is, as I’ve said, very commercial, but I don’t consider that a bad thing. The assets Gay has brought to Steeleye, the strong and soulful voice and the new Irish slant are not present in force here. Her voice is good but it’s not called upon to sing material which would take her onto the level she has reached in the last few years since rejoining. It is much more constrained by the type of music. So don’t buy this album thinking it is Steeleye, it isn’t. However, I do recommend the record on it’s own merits. If it’s part of your past, it’s a long overdue transfer to CD anyway. If you buy it blind having not heard any of it before, you won’t be disappointed. It’s very much worth having. Beautifully crafted, some lovely songs and a great variety of genuine, well-played music that is in such short supply nowadays. A fine record!

Kate & Anna McGarrigle: piano, vocals
Martin O'Connor: accordion
Phil Palmer: guitar
Jim Russell: drums
Neil Toner: mandolin
Gay Woods: dulcimer, vocals, conductor
Terry Woods: bass, vocals, guitar, mandolin
Fran Breen: percussion
Keith Donald: saxophone
Pat Donaldson: bass
Jolyon Jackson: organ

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Dark - Teenage Angst: Latimo's Psychedelicatessen
Dark - Anonymous Days: Latimo's Psychedelicatessen

"Teenage Angst" seems deleted. Please ask him if you need.

Circulus "Clocks Are Like People" 2006

Looking as though they've been dreamed up by English Heritage as a fine example of Ye Olde Merry England, Circulus are folk revivalists in the most kitsch sense of the word.

With one foot in the rock-folk fusion of the 1970s, and the other firmly in Renaissance England, second album Clocks Are Like People marries fat Moog synthisers with blended flutes and baroque guitars to produce a record that sounds suspiciously like a Morris dance given a prog-rock makeover.

This album is less twee and more psychedelic than its predesescor, and while, with its stirring pipes and ersatz feel is often patently absurd, it also contains some lovely pastoral moments, notably the mournful, autumnal flavours of To the Fields. Still as mad as frogs, however, and likely to send purists running to the hills.

Michael Tyack: vocals, guitars, saz, cittern
Lo Polidoro: vocals
Sam Kelly: drums, vocals
Ollie Parfitt: moog, synthesizers
George Parfitt: bass
Will Summers: flutes, recorders, crumhorn, shawm
Victor Hugo Llamas: bongos, percussion

Italian folk music

Let's welcome Danny and his blog "Italian folk music"!!

The Wicked Lady "The Axeman Cometh" 1968-72

Wild early 70s hard psych rock trio with blasting fuzzed wah-wah guitar from Martin Weaver (Dark).

Wicked Lady exemplifies the "record collector" bands that gain new life through reissues: in this case, Kissing Spell's albums The Axeman Cometh and Psychotic Overkill. Their appearance marked some belated recognition for the power trio, which Northampton singer-guitarist Martin Weaver formed in 1968 with drummer "Mad" Dick Smith and bassist Bob Jeffries. However, Wicked Lady never came within a whisper of the stratospheric status attained by Cream, or the Jimi Hendrix Experience. The band's liberal use of feedback -- and large biker following -- kept them relegated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970, but Smith and Weaver soon regrouped with new bassist, Del "German Head" Morley. The new lineup duly set about documenting its existence, as captured on Psychotic Overkill -- whose feel is looser than Axeman Cometh. The effect is a shotgun marriage of Black Sabbath-style rifferama, supported by a less risk-taking rhythm section. Weaver's vocal style lacks charisma, but his wah-wah and fuzz-driven guitar style carries the day. The highlights include a bluesy cover of Hendrix's "Voodoo Child," the sex 'n' drugs snapshot of "Sin City," and the howling, 21-minute epic, "Ship Of Ghosts." But Wicked Lady's erratic ways proved too difficult for clubowners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.) Wicked Lady imploded in 1972, but Weaver rebounded that same year by joining the Dark, a more psychedelic- and progressive-outfit. Their Round The Edges album became a Holy Grail for collectors -- because only a handful of copies were made for band members and their associates. (Kissing Spell reissued the album in 1991.) Weaver next teamed with classically-trained keyboardist Dave "Doc" Wadley -- who'd worked with a pre-Sabbath Tony Iommi -- in the Mind Doctors. Kissing Spell also reissued On The Threshold Of Reality, an album of laidback instrumental "head" music.Weaver most recently surfaced on the re-formed Dark's Anonymous Days (1996), which featured material written in the 1970s and 1990s. ~ Ralph Heibutzki, All Music Guide

1. Run the Night
2. War Cloud
3. The Axeman Cometh
4. Life and Death
5. Wicked Lady
6. Out of the Dark
7. Rebel
8. Living on the Edge

Question from a visitor

Alex:
I thought you might be able to help me out with this question. I was wondering if you have a rare christian compilation folk album from the early 70s that is from a christian summer camp and it called something like "river raft" or summer camp? The cover is black and white and shows a bunch of hippy kids sitting on a rocky river edge. There is a really great song on side 2 that I have been trying to track down for years. I wish I knew the name of the album. If anyone would know, it would probably be you. I love your blog! It rules!

Can anybody help for this question?

James Yorkston and the Athletes "Moving Up Country" 2002

In 2002 there was a media interest in new folk music that was primarily driven by the reviews given to this album and that of Cara Dillon. There was a perception in the media of accessibility in this music without losing an ancient, evolving quality in a contemporary setting. In this regard the media had accurately found an album that fused a number of factors quite brilliantly. Yorkston is part of an extended musical community in Scotland that has evolved without recourse to of significant influence from external sources. This has bred a confidence and distinctiveness to the music that is attractive and in a society that voraciously consumes and moves on, something quite unique. Like many modern folk based artists Yorkston has a gentle, enveloping quality to his music and this is supported by a warm production that helps the music appeal to more than just a folk fan. A notable factor in it's appreciation was the legend that a dance music magazine hailed it as a masterpiece and listening to the music the use of accordians, violins and harmonicas in slow, sustained layers gives the music an almost ambient sheen at times. However this is not lifestyle or coffee table music, but personal, crafted songs from an obviously talented artist.

The title 'Moving Up Country' talks of becoming more not less remote, of distancing the artist from external factors, of finding the source. It is perhaps not accident then that the reviewer saw musical comparisons between this album and the first two by The Band, the US rural folk rock band who retired to the country to achieve focus and were in turned influenced by this. The sustained organs and melodic interactions are highly similar as is the careful attention to song writing. James Yorkston isn't a luddite though and technology is used to subtle effect notably within 'Tender To the Blues'. This is a warm, friend of an album that you're always pleased to see. As folk music it is not wild and intense or introspective and personal. Instead it is observational or like reading a diary. The artist will be an interesting one to watch and see how he evolves, subsequent albums could go in many directions. 'I Spy Dogs' for example shows the band capable of rocking out like a folk version of Ray Charles' 'What'd I Say' and final track 'I Know My Love' swells in an epic coda to almost sound like Pink Floyd. The 'Patience Song' highlights a conventional ballad with electronics that could with more conformity be a contender for the Badly Drawn Boy style of authentic pop star credibility. By staying out of the limelight he has thankfully avoided becoming a disposable media darling and has the room to develop. Perhaps being based in Scotland and having a musical community around may help in this respect. For now we can luxuriate in this genuinely rustic and highly enjoyable debut.

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Ashley Hutchings "Rattlebone & Ploughjack" 1976

Ashley Hutchings is a pivotal figure in the re-emergence of British traditional music placed into it's original country based context. He was a founder member of Fairport Convention, Steeleye Span but had left both and formed the Albion Country Band originally to back his wife Shirley Collins on her 'No Roses' album but then it became his vehicle to realise British traditional music in a dynamic, electric setting. This became his life's musical work evolving into the Etchingham Steam Band, Albion Dance Band and then the enduring Albion Band. Although it is tempting to think of the bulk of his work as 'solo' this is not correct as artists such as John Kirkpatrick played a vital role themselves in these ventures. The most direct presentation of a purely English traditional music was his first solo album and archival work "Rattlebone and Ploughjack".

This album weaves together two long tapestries of traditional music moving from spoken word to music and back. It presents the original sounds of British festivals, revels and customs. These include various specified Morris Dancers, Hobby Horses, Plough Monday, Hornpipe dances, gypsies, reels and Tudor step dances. The tracks are field recordings from many decades, there is speculation that some are recreations but if this is the case the joins do not show. It's a definitive work, a library of such traditions preserved and more importantly alive for the listener.

Listening to the music here there are no traces of folk-rock for which Hutchings was known. This is a work that sought to capture an English musical heritage before it was lost, the original English folk music. The music is often simple, minimal and stark, often just a few acoustic instruments such as accordion, fiddle, percussion. The vocals are not professional and are not produced, this is music from the country as it was made, crude, direct, archaic and sometimes chaotic. Listening to the album is genuinely like stepping back hundreds of years, it is a composite peek into another era. Not only is it a wonderful if unique work, it is a treasure of British archival recording. When you listen to this now strange music and are transported back to the curious customs and festivals, traces of pagan origins seeping through we connect the modern and ancient, magic and work of the ordinary person in a vibrant way.

Sample pic: Click

Celebrated Ratliffe Stout Band "Behind The Mask" 1979

"Behind The Mask" is their 3rd album, recorded at Quest Studio, Luton, Bedfordshire in 1979. While obviously nowhere near as rare as the first two privately pressed albums, this won't have a three figure price tage either. Shared male / female vocals, exotic instrumentation and fabulous flight of folk fancy. If your musical tastes include ISB, Forest or Spirogyra you will find a lot to treasure with this LP.

Tracks:
01. Have You Got A Penny
02. The Circus Come To Town
03. Highland Plaid And Tink-A-Trink
04. Bound For Rothwell Market
05. Song And Dance Man
06. Old George Dawson
07. A Season's Tale
08. England
09. Tickeli And Majoret
10. Summer Will Be With Us Bye And Bye
11. Goodby Dear Friends

Personel:
Tom Hall: vocals, guitar, recorder and banjo
Jaye Woodfield: piano accordion, english concertina, piano, glockenspiel and synthesiser
Gerald Claridge: acoustic bass guitar, guitar and banjolele
Diane Hall: vocals and harmonium
Paul "Russ" Burgess: fiddle, recorder, crumhorn, piano and synthesiser
Martin Winning: clarinet and saxophone
Roger Swallow: drums and percussion
Nigel Pegrum: percussion and flute

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Julie Felix "Lightning" 1974

Julie Felix isn't too well-known in her native United States, but since 1964 she's been a major British folk music star and has been compared over there with Joan Baez. Felix was born in California, of mixed Mexican and Native American ancestry. A natural singer by inclination, she was drawn to folk music at an early age but was unable to get a career started in America, even amid the folk revival of the early '60s. In 1964, she decided to go hitchhiking across Europe, and instead of heading home at the end of her travels she made England her destination. She arrived there just in time to catch a fresh wave of enthusiasm for American folk music, fostered by Bob Dylan's emergence internationally as a singer and songwriter. American folk musicians had always found a welcome among England's folk enthusiasts, but just then, thanks to Dylan, the sheer number of folk listeners had ballooned to massive proportions. Felix also found a natural audience for her work -- she had an engaging voice and manner, a distinctive Mexican guitar (a gift from her father), and her combined Mexican and Native American backgrounds, which made her stand out from other of her compatriots, who were white and male. And suddenly, Felix had a major career -- the same year that she arrived in England, she became the first solo folk performer signed to a major British label when she got a contract from English Decca. Felix debuted with a self-titled album and a single of Ian Tyson's, "Someday Soon," and she also scored a hit on television, on The Eammon Andrews Show. By 1965, she was a headlining performer, referred to in The London Times as Britain's First Lady of Folk. She cut two more LPs for Decca over the next two years, including an album of Bob Dylan and Woody Guthrie songs, and was also one of the biggest exponents of the work of Leonard Cohen before he'd established himself beyond a small cult of listeners in England. She also began getting recognized for her commitment to charitable causes, and not only raised money for hunger relief but visited several of the more troubled countries in the Third World. By the end of 1965, she'd filled Royal Albert Hall for one of her concerts, reportedly the first folksinger based in England to accomplish that feat. In 1966, she moved to the Fontana label, for which she cut three albums -- her 1966 album, Changes, is regarded as one of her best, mixing traditional and contemporary material and utilizing the support of Martin Carthy and Dave Swarbrick; meanwhile, on-stage, she came under the wing of Brian Epstein, who booked her and Georgie Fame together at the Saville Theatre, with a then-unknown Cat Stevens appearing as the opening act. By 1967, she was well-enough established to be a featured weekly guest on David Frost's television series, and by 1968 had earned her own television variety series, with guests that included Dusty Springfield, Leonard Cohen, Donovan, and Richard Harris. Her late-'60s recordings included Going to the Zoo, a delightful collection of children's songs on Fontana, and in 1969 she was one of the artists featured at the Isle of Wight Festival. Finally, in 1970, Felix had her first pop hit when she reached the British Top 20 with her version of "El Condor Pasa," recorded under the auspices of producer Mickie Most -- indeed, Felix was the first artist on Most's newly formed RAK label to have a hit record, and she later recorded the album Clotho's Web (1972) for RAK. She also made her long-delayed debut on American television, courtesy of her longtime friend David Frost, who booked her on his Metromedia-produced talk show. Felix scored a second hit for Most with her cover of "Heaven Is Here" before moving to EMI in 1974. The mid-'70s marked a period of extreme change for Felix, who was an unapologetic 1960s liberal with a strong commitment to social issues. She became disillusioned with the direction of the world as the '70s wore on, with their more hedonistic orientation. Finding northern Europe a more agreeable place to live and work, she moved to Norway and subsequently enjoyed hit records both there and in Sweden. Felix returned to California late in the decade and used the time to recharge her social conscience -- by the early '80s, she was heavily involved in the human rights campaign in Latin America. She returned to England and resumed her career, writing songs for the first time and directing her activities toward new age philosophy and interests, in addition to political issues. In the mid-'90s, Felix released her first new album in a decade, Bright Shadows, on her own label, Remarkable Records. At the outset of the 21st century, she continues to enjoy a full schedule of performances in England and attention from old listeners who remember her from the 1960s and newer audiences who know Felix for her 1990s music. Her new music has received mixed critical and popular reception, but her 1960s repertory still elicits serious enthusiasm from her audience. ~ Bruce Eder, All Music Guide

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"Mapleoak" 1971

Mapleoak was the brainchild of former Kinks bass player Peter Quaife and was formed in April 1969. The group recorded a rare single and album for Decca Records. Quaife only appeared on the single.

Origins:
Guitarist Stan Endersby (born July 17, 1947 in Lachine, Quebec, Canada) travelled to London, England in the spring of 1968 to visit his actor brother and to check out the city's vibrant music scene. On his first day in London he met Kinks bass player Peter Quaife at the club, Hatchettes. Quaife was impressed by his playing (Endersby had sat in with the house band) and told him he wanted to leave The Kinks and form a new group. Endersby agreed to join this band, but when Quaife decided to postpone his departure, he spent the next six months jobbing around with various local groups, including Horace Faith's soul band.

In the autumn, Endersby returned to Toronto, where he provided the music to an American TV show called "The Cube", which was produced by Jim Henson (later of the Muppets' fame) and filmed at CFTO for NBC. The studio band also included former Bobby Kris & The Imperials, Flying Circus and Olivus members Marty Fisher (born December 26, 1945 in Vancouver, British Columbia, Canada) and Gordon MacBain (born August 5, 1947 in Toronto, Ontario, Canada). When the recording ended, Endersby briefly gigged with Leather and then played with Transfusion (later briefly known as Crazy Horse), the house band at the Rock Pile, but in March 1969, he received a phone call from Quaife who was ready to put the band together.

Peter Quaife's new band is revealed to the press:
On April fool's day, Endersby and Fisher arrived in London to join Quaife and English drummer Mick Cook in the new group. Quaife's outfit was revealed to the world in a centre spread of Britain's NME magazine two days' later and was great surprise to the other Kinks, who were unaware of Quaife's musical plans.

After adopting the name Mapleoak (a combination of the two countries' national emblems – the Canadian Maple Leaf and the English Oak), the quartet quickly rehearsed at the Marquee (and played at the Factory in Birmingham in May) before embarking on a month tour of Denmark. Returning to the UK, Cook left and was replaced by Fisher's former band mate MacBain.
Turning down an offer from Muff Winwood to record for Island, Mapleoak signed a deal with Decca Records and began recording at West Hampstead studios, but they didn't like the results and moved to De Lane Lea. During this period, the band played at the Marquee with Renaissance, performed at the Speakeasy and appeared at the London Palladium on a show that also featured Matt Monroe and Roger Whittaker. Mapleoak also undertook a European tour, taking in Brussels, Antwerp and Hamburg.

A lone single coupling MacBain's "Son of A Gun" and Endersby's "Hurt Me So Much" was released in April 1970 but flopped. Soon afterwards, Quaife left the band.

Mapleoak records early country rock record in UK:
Reduced to a trio, and with Fisher providing the bass parts on the keyboards, the band continued to perform on the continent and in the UK. The new line-up returned to De Lane Lea studios to record an album, which was released nearly a year later in early 1971. The record is an early example of country rock and one of (if not) the first to be made in England. It contains a number of Bruce Cockburn's early songs as well as ex-Children member Bill Hawkins' "Frankly Stoned".

By the time the album appeared the group had returned to Toronto, and, following a final date at the Night Owl, broke up. Fisher and MacBain subsequently jobbed around while Endersby went solo before playing with Rick James's Heaven and Earth. Peter Quaife, who had moved to Denmark temporarily, later moved to Belleville, Ontario. He now lives in Denmark.

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England "The Imperial Hotel" (Unreleased 23 min song 1975)

This is a limited CD for audience of Japan Tour 2006.

Sleeve note:
Special mini-CD of The Imperial Hotel produced by Club Citta' and Strange Days Records under license from Garden Shed Music.

Robert Webb - keyboard, vocal
Jamie Moses - guitar, vocal
Mark Ibbotson - drums, vocal
(Moog bass added by Robert Webb)

Recorded at Marquee Studios, London, 1975
Engineered by Phil Holding

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Chris Harwood "Nice to Meet Miss Christine" 1970

Nowadays Chris Harwood is being touted as Britain's great lost female folksinger. That's understandable -- her sole record, Nice to Meet Miss Christine, launched the tiny indie Birth label in 1970. The album disappeared soon after, probably because most listeners were unable to get beyond the first track, the exceedingly self-righteous, anti-racist "Mama," whose justified anger doesn't exonerate the song's lack of melody. Or maybe it was due to the fact that Nice wasn't really a folk album at all, as the guest musician roster makes clear. Guitarist Peter Banks was a founding member of Yes, pianist/organist Tommy Eyre would soon be joining Rainbow, brass and woodwind player Ian McDonald hailed from King Crimson, drummer Pete York came from the Spencer Davis Group, and guitarist Mike Maran would eventually become Britain's top musical arranger. Not a folkie in sight, but one hell of a lineup, expanding the sound of what one assumes was Harwood's own group -- guitarist Dave Lambert, bassist Roger Sutton, and drummer J. Kay Boots. Thus the songs sound phenomenal (even if the transfer to CD creates a hollowness at the center), the musicianship is flawless, and the set is as eclectic as one would imagine with these players on board. Jazzy fusion, jammy prog rock, pomp rock, revved-up R&B, and combinations of all of the above swirl across the set. The musicians are so busy showboating that melodies are mostly ignored, most spectacularly on the covers of Dave Mason's "Crying to Be Heard" and Crosby, Stills & Nash's "Wooden Ships," a situation Harwood does little to resolve. She's best showcased on the sultry blues of "Flies Like a Bird," but elsewhere too often slides into waspishness or worse -- harangues. A musical Margaret Thatcher is no good thing, but that's how Harwood comes across, all hectoring tones and wagging finger, even on the love songs. It's no surprise, then, that the iron chanteuse never made another record, but if you can ignore her, the backing is sensational. ~ Jo-Ann Greene, All Music Guide

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Magna Carta

Following titles are kindly uploaded by Arie
Thank you so much, Arie!!

To downloader:
Please rename "rar.html" to "rar". Good Luck

"Midnight Blue" 1982

This album was released in 1982, and re-released in 1998 by HTD. It is readily available on both the HTD label, catalogue number HTDCD101, and also the Talking Elephant label, catalogue number TECD031.
It features the track Highway to Spain, which is only second to Airport Song for being an instantly recognizable Magna Carta song. The lineup includes Lee Abbot on Bass, Lee Burgess (from 10 CC) on Drums, and Vic Emerson (from Sad Cafe) on Keyboards.

01. Slowbone
02. Natural Lovin' Man
03. It's So Easy
04. Have A Nice Day
05. Until I See You Again
06. Written In The Wind
07. Midnight Blue
08. Danny
09. I'll Walk Mine
10. Strangers In The Land Of Ulysses
11. Cajun Cannonball
12. Little Bit Of My Heart
13. Highway To Spain

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"One to One" 1988

This was the first album to feature Linda Simpson (then Taylor), and also featured Gynn Jones, Paul Burgess, and Will Jackson in addition to Chris Simpson. Soon after it was made the record company closed down and the album faded into oblivion, until re-released with bonus tracks as Rings Around the Moon in 2000.

01. Tiger's Eyes
02. Evergreen
03. Love On The Spinning Wheel
04. Sure Don't Bother Me
05. Fooled By A Promise
06. Rings Around The Moon
07. Living With A Woman
08. Everytime
09. Rhythm Of My Life
10. Long Distance
11. Love In Our Time
12. Wild Geese

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"Old Master & New Horizons" 1991

This is a compilation album with four new songs, released on the Mercury label, catalogue number E5106602. It featured Simon Carlon on Guitar. It's available is limited.

01. Romeo Jack
02. Elisabethan
03. Airport Song
04. Autmn Song/Epilogue
05. Time For The Leaving
06. Sponge
07. Wayfarin'
08. Roll On
09. Wish It Was
10. Two Old Friends
11. Father John
12. Isn't It Funny
13. Nothing So Bad
14. Mixed Up Sensations/Old Man
15. I'm Gonna Take You Down
16. You Are Only What You Are
17. Stop Bringing Me Down
18. One Man's Heaven
19. You And I
20. Forever

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"Heartlands" 1992

Although this album includes the first recording of such classics as Paradise Row and For the Gypsy, it never made the impact that it should have as the recording company went bankrupt soon afte the release. The album features Chris and Linda Simpson on Guitars and Vocals; Paul Burgess on Drums; Will Jackson on Guitar and Keyboards; Eddie Jackson on Bass; Nippy Noya on Percussion; and Frank Schaafsma on Mouthharp.

01. Low Stoney Grooves-Perfect Lovers
02. Circus Of The Heart
03. For The Gypsy
04. Country Born
05. Lovers & Friends
06. Paradise Row
07. Ticket To The Moon
08. Merryfield
09. Diamond In The Dust
10. Blues Bar Cafi
11. Love Runs Wild
12. Down To The Heart
13. State Of The Art
14. Rings Around The Moon
15. Funny Cut

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"State Of The Art " Live 1993

This album was recorded live at the Vredenburg in Utrech in the spring of 1993. It includes many of the Magna Carta favourites, and features Chris Simpson on Guitar and Vocals; Linda Simpson on Guitar and Vocals; Paul Burgess on Drums; Will Jackson on Guitar; and Jonathan Barrat on Bass. The album is readily available.

01. Perfect Lovers
02. For The Gypsy
03. Lovers And Friends
04. Listen To The Man
05. Merryfield
06. I'll Walk Mine
07. Airport Song
08. The Old Man
09. Two old Friends
10. Ticket To The Moon
11. Cancer Child
12. Diamond In The Dust
13. Country Born
14. Bluesbar Cafe
15. Paradise Row
16. State Of The Art
17. Lord Of The Ages

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"Live Tracks" 2001

No info for this one.

01. 1297
02. Banjo
03. Country Born
04. Fooled By A Promise
05. I Would Do Anything For Love
06. Love Runs Wild
07. Mid Winter
08. Ring Of Stones
09. Sea And Sand
10. Soliloquy Wild Horses
11. Spring Song
12. The Boatman
13. Time For The Leaving
14. Wind On The Water
15. Wondering

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"Gold Collection" 2003

A highlight collection of songs taken from older and recent albums.

CD 1
01. For the Gypsy
02. Perfect Lovers
03. The Brigde At Knaresborough Town
04. Danny
05. Merryfield
06. Little Bit Of My Heart
07. Banjo Man
08. Sting Of The Gin
09. Living With A Woman Like You
10. Travellin' Man
11. Highway To Spain
12. Terminal Case Of You

CD 2
01. Airport Song
02. Lord Of The Ages
03. Jigsaw Man
04. Ulysses
05. Only Love Knows How
06. World In The Palm Of My Hand
07. Song For John
08. Midnight Again
09. Seasons In The Tide
10. San Francisco Bay Blues
11. Wild Geese
12. Some Kind Of Man

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Jasper "Liberation" (UK Bluesy Prog 1969)

Brilliant 1969 UK progressive psych with a blues feel. Don't let that put you off though - early Jethro Tull had a blues edge and this album is very similar in feel to that band. Definitely a classic of the era. Features superb psych artwork. (Freak Emporium)

Above album was originally released on Spark Rec. Not too much is known about the band. The ingredients of this record are mostly blues-based styles, quite competent guitars, some flutes. It has a bit gloomy mood. To me the best are blues-style tracks "Baby Please Don't Go" and " St. Louis Blues", both slow, with nice vocals. Album is very easy to listen to, but really nothing spectacular. I think it's good example of British blues invasion. The key personage in the band was Alan Feldman - keyb. who later on went to form F.B.I.

Personnel:
Alan Feldman - Keyboards
Chico Greenwood - Drums
Nicky Payne - Vocals, Harmonica, Flute
Steve Radford - Guitar
Jon Taylor - Bass

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"Affinity" 1970

The self-titled album by this short-lived outfit displays a lot of potential, which if not wholly successful has an individuality separating them from their more jazzy and progressive peers. If Linda Hoyle's talent for fusing the vocal traits of Bessie Smith, Grace Slick, and Sandy Denny together semi-successfully is the defining point, then Lynton Naiff's pounding Hammond workouts fall somewhere between the exceptional and the overdone. With the addition of John Paul Jones' fine brass arrangements, which are to the fore throughout, a very soulful feel reminiscent of the latter work of Julie Driscoll with the Brian Auger Trinity is created. And the album's variety of moods sustains interest throughout. "Coconut Grove" (the Lovin' Spoonful song) is given a similar slow treatment to Donovan's diversions into jazz on Sunshine Superman, notably "The Observation," while a heavier element is supplied by a few heavy Hammond numbers, with a take on Dylan's "All Along the Watchtower" being the most impressive. Although over 11-minutes long, some complex progressive organ work similar to Caravan's David Sinclair is displayed, preventing it from becoming predictable. A forlorn baroque Harpsichord interpretation of the Everly Brothers' "I Wonder if I Care as Much" adds a haunting quality to the set with Jones' string arrangements and Hoyle's vocals working hand in hand, and "Mr. Joy" allows the young singer to pay patronage to her heroin Grace Slick, in which the Jefferson Airplane comparisons can really be heard. At times overambitious. And a plethora of cover versions given the progressive treatment instead of Affinity originals is a major let down. But as an early work of post-'60s progression, this album is a pleasurable experience recalling the days when musicians and singers really worked hard at what they did. ~ Jon 'Mojo' Mills, All Music Guide

01. I Am And So Are You
02. Night Flight
03. I Wonder If I'll Care As Much
04. My Joy
05. Three Sisters
06. Coconut Grave
07. All Along The Watchtower
08. Eli's Coming *
09. United States Of Mind *
10. Yes Man *
11. If You Live *
12. I Am The Walrus *
13. You Met Your Match *
14. Long Voyage *
15. Little Lonely Man *
*Bonus Tracks

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