Monday, April 30, 2007

The Bothy Band

"The Bothy Band (1st album)" 1975


[Uilleann piper Paddy Keenan] began playing around Dublin with singers Micheal and Triona Ni Dhomhnaill. Fiddler Paddy Glackin then joined them followed by flute player Matt Molloy. Next came accordion player Tony MacMahon and then Donal Lunny. They called themselves Seachtar, the Irish word for seven. [Ronan Nolan]

The band, featuring Lunny on bouzouki, piper Paddy Keenan, flautist Matt Molloy and fiddler Paddy Glackin had originally come together to back accordionist Tony MacMahon on a series of RTE radio broadcasts. Micheal and Triona O'Domhnaill (brother and sister) soon joined on guitar and clavinet respectively. MacMahon soon departed to concentrate on TV/radio production, and the band proper debuted in concert at Trinity College, Dublin, in February 1975. [Colin Harper]

Micheal O Domhnaill had recently returned from Scotland, where he happened across a photograph taken in the 1890s of a group of tattered musicians. The Bothy Band, it was titled, in reference to the migrant Irish laborers who worked in England and Scotland and were housed in stone huts known as bothies. [Shamrock Irish Music]

By the end of the year Glackin had left to be replaced by the legendary Tommy Peoples, and it was this line-up that recorded "The Bothy Band 1975." [Harper]

Although The Bothy Band's concerts and recordings both contained their share of vocal highlights, often drawn from the vast store of Neilli Ni Dhomhnaill - the singer's aunt - they're remembered most vividly for their instrumental firepower, in an all-traditional repertoire of Irish and some Scottish tunes. The magnificent wildness and ferocity of Paddy Keenan's piping, the fiery verve of People's fiddle, and Molloy's supple, muscular flute meshed triumphantly with compellingly forceful yet fleet-footed rhythm work, in which Lunny's self-styled hacksaw bouzouki technique, fusing rhythmic attack with elements of harmony and counterpoint to generate extra lift, played a crucial role. [Geoff Wallis, Sue Wilson]

The front-line powerhouse trio of Keenan's pipes, Peoples' fiddle and Molloy's flute resulted in the release of an awesome and explosive musical energy that has rarely been equalled. Their devastating live concert appearances at home and abroad, coupled with their ground-breaking album releases, won scores of new fans for the Bothies. Many of these were rock or pop music lovers with no previous interest in, or indeed knowledge of, Irish traditional music. Witnessing the group live, in full spate, was an experience never be forgotten. Unquestionably, their innovative fire-brand approach to the music represented, as did Planxty's mixing of traditional and contemporary, a supreme example of the urbanisation of Irish rural music. It was music that moved artists such as Bob Dylan, Paul Simon and Emmylou Harris to seek out their albums and marvel at the band's instrumental firepower and declare themselves firm fans of the group. [Curtis]

At the same time, where Planxty had borrowed from a rock-band format in their arrangement of instruments within a band, the Bothies went a stage further and harnessed the power of rock'n'roll rhythms to traditional material and acoustic instrumentation. [Wallis/Wilson]

The Bothy Band were instantly lethal. You knew instinctively and immediately that here was a band on another planet to all the others. Hearing them for the first time was a bit on the where were you on the night Kennedy was assassinated? lines. [Colin Irwin]

The lead-instruments - fiddle, pipes and flute: they were raucous - the standard of playing was just incredible, and then the backing was so intense it was unbelievable. They were revolutionary in sound, yet the lead instruments were basically just playing straight, but they came with a fire in their belly. [Frankie Kennedy, Altan]

Presented by FolkPhile #5

Childe Rolande "Foreign Land" 1996

FolkPhile:
Here's another recommendation for a good folk/psych album, this time on a CD. If you're able to share it, the links are below.

This is a contemporary folk band from the UK. In fact, they just had a concert this past weekend! One of their band members died recently of a heart condition and his loss is felt quite keenly, making it necessary for the band to move in a slightly different direction. Their website is:

Childe Rolande (official web site)

Sunday, April 29, 2007

To play "FLAC" file

Serge (comment on The Doors post):
Hi there! Thanks for this live recording. Unfortunately, I'm unable to open the files: I've got a Mac Os Tiger & it's always a problem with FLAC files. What software should I use? Thanks also for everything else on the Time Has Told Me blog.








greg davis said...
Cog is a great player for Mac OSX. it can play FLAC, SHN, mp3, pretty much anything you throw at it.

SCION said...
VLC (Video Lan Controller) will play FLAC files for you just fine.

The Fallen Angels

"Second Album" 1968
(aka "It's a Long Way Down" or "The Rroulette Masters vol.2")

The second LP is one of the ultimate examples of the East Coast psych sound; moody, intricate, with a peculiar intensity. A long time favorite of late 60s collectors and no wonder as it has the makings of a masterpiece. Hard to pinpoint really, but some parts are like a high-brow Common People, others like a folkrock Mandrake Memorial. Arrangements and songwriting are most impressive, with "A Horn Playing On My Thin Wall" being a personal favorite. Often compared to the equally rare Morning Dew LP but this is deeper and more original. The Sgt Pepper of DC, though of course much better! A German original pressing exists. (lysergia)

Anthony Phillips

"The Geese and the Ghost" 1977

Anthony Phillips was one of the founding members of Genesis, having attended the Charterhouse School in Surrey with Peter Gabriel, Tony Banks, and Michael Rutherford. Phillips and Rutherford (who had played together in another band before linking up with Gabriel and Banks), were the principal composing members of Genesis during their formative years, right into their first recording venture on English Decca ("Silent Sun" etc.) under the aegis of Jonathan King. Much of Phillips' and Rutherford's music was too subtle and introspective to work for the fledgling band on stage, and eventually composition became more of a shared effort. By the time the group cut its second album, Trespass, however, Phillips had receded into the background, propelled by a crippling onset of stage-fright that forced him out of the line-up following the album's release. His influence, ironically, was felt very strongly on their subsequent breakthrough third album, Nursery Cryme, the title track of which (the band's first number to attract a wide audience in progressive rock circles), for its introduction and opening minute, used material that Phillips had written and recorded (as a demo) as early as 1969.

Little more was heard from Anthony Phillips until 1977, when he favored us with his first solo album, The Geese and the Ghost, followed by Wise After the Event a year later, and then a collection of early demo recordings, Private Parts and Pieces, also issued in 1978. Phillips has re-emerged periodically, working in a style that is much closer to the classically influenced original Genesis sound than to the work of the current version of the group. He retains a cult of fans, similar in certain respects to Peter Banks of Yes (another guitar player who quit an art-rock band at a critical early juncture in their history), but recording more frequently. He also writes a considerable amount of music for television and movies, and remains a guitarist of supreme skill and confidence, steeped in classical, pre-Baroque, and folk influences, able to record entire albums featuring only his acoustic instrument. Phillips' skills on the keyboard, principally synthesizer and Mellotron, are more limited, and were never exploited within a group context, but his studio recordings reveal a distinctive character to his compositions on those instruments as well. ~ Bruce Eder, All Music Guide

Presented by FolkPhile #4

Allan Taylor "Roll On the Day" 1980














FolkPhile:
Time for me to give back to this blog by sharing another album!

This time it's Allan Taylor's Roll On the Day. I've been a fan of Taylor's music for many years and was privileged to attend one of his concerts a few years back. He's a guitar virtuoso as well as an outstanding singer and songwriter!

Ron Sexsmith

Fillmore, San Francisco, CA [April 5th, 1996]
(Opening for John Hiatt)

Ron Sexsmith -- vocals, guitar
Jason Mercer -- bass
Don Kerr -- drums

01. From a Few Streets Over
02. Lebanon, Tennessee
03. Summer Blowin' Town
04. Words We Never Use
05. There's a Rhythm
06. First Chance I Get
07. In Place Of You
08. Wastin' Time
09. I Was Made to Love Her [Stevie Wonder]
10. Secret Heart

Download link in comments.

Friday, April 27, 2007

Presented by FolkPhile #3

Bonnie Dobson [Argo 1972]

FolkPhile:
Here is the link for Bonnie Dobson's eponymous album on the Argo label. Arguably her best folk offering, though her earlier releases on Prestige are also very enjoyable.

Speaking of Prestige, none of Dobson's LPs have been reissued on CD. It's really a shame. Only a few tracks on samplers are available. So, those of us who are her fans have to search high and low for her recordings. Well worth the effort!

Download link in comments.

YES!!

The Doors

Live In Philadelphia '70 [FLAC]

The infamous Miami incident of March 1969 created sufficient controversy to cut short the remainder of that tour. The Doors played a date or two to round out the year, but it wasn't until 1970 that they recovered their momentum. The outstanding Morrison Hotel album was in stores, and the band was riding high on a wave of potent synergy. They kicked off the new tour in Boston on April 10th.

May 1st found them at the Spectrum in Philadelphia, a venue that had a reputation for unruliness. Ray Manzarek recalls the atmosphere that night in the liner notes to this release:
We couldn't even begin to play until all the people were in their seats. They were all jammed up at the front—anticipating Morrison, Densmore, Krieger and Manzarek—but we couldn't take the stage until they went back to their seats and listened in an orderly fashion. Only then would the Fire Marshal allow the show to continue. His whole trip was: You have to clear the aisles. What if there's a fire? Well, the place was made of metal and concrete; what was going to burn, except for The Doors' music? So we waited until the Fire Marshal gave the OK to the MC, who said, 'Ladies and gentlemen, from Los Angeles, California, The Doors.' Immediately, everyone who'd been made to sit down stood right back up. But by then it was too late. We just burned and jammed and played our music with the whole place rushing up to the stage.
Several shows on the 1970 tour were recorded on multi-track for the Absolutely Live album, and the attention to detail exhibited by engineer Bruce Botnick and his team resulted in superior sound quality both in the arena and on tape. Bruce also mixed and mastered this release, a true monument to the live Doors experience.

01. Announcer "Sit Down"
02. Tuning
03. Roadhouse Blues
04. Break On Through
05. Back Door Man/Love Hides
06. Ship Of Fools
07. Universal Mind
08. When The Music's Over
09. Mystery Train
10. Wake Up!
11. Light My Fire
12. The Concert Continues
13. Maggie M'gill
14. Roadhouse Blues
15. Been Down So Long/Rock Me Baby
16. The Music Capital Of The World, Philadelphia
17. Carol
18. Soul Kitchen

Presented by FolkPhile #2

Pauline Filby "Show Me a Rainbow" 1969

FolkPhile:
Here is the link to Pauline Filby/Show Me a Rainbow. It's rated as highly collectible and is apparently quite rare. Since I like folk-psych so much (and that includes religious folk) I decided to attempt to "hunt down" this LP. It was easier than I'd thought and I found a copy online from an Australian seller.

Pauline Filby was, of course, a member of the UK group Narnia in the early '70s. Their album "Aslan Is Not A Tame Lion" was reissued on CD and it's in my collection. I tend to like Rainbow better, though - it showcases her wonderful voice better than Aslan does.

I hope that you'll enjoy this album.

Download link in comments.

Thanks again!!!

Thursday, April 26, 2007

Presented by FolkPhile

Michael Raven & Joan Mills "Death and the Lady" 1972

FolkPhile:
Until I did some research on the UK folk group Miles Martin Folk Group, I wouldn't have dreamed that such a blogsite as this exsisted! It's so good to see this wonderful and rare folk music shared with the world. Thanks for doing it - also, thanks for giving Michael Raven & Joan Mills/Death and the Lady the wider audience it deserves!

I have many similar albums and would love to upload and share some of them. One in particular is Pauline Filby's Show Me a Rainbow, found from an Australian record seller a few years back. It's rather rare and quite good. I will post the link here after uploading.

Thanks again!


Tracks:
01. Death and the Lady
02. The Jolly Highwayman
03. Lisa Lan
04. Ladies Don't Go A-Thievin'
05. Robin Hood's Dance
06. Staines Morris, etc
07. Saraband
08. The Lichfield Greenhill Bower Processional
09. The Captain's Apprentice
10. Can y Melinyd + Troseg y Gareg
11. Sarah Collins
12. The White Gloves
13. La Russe Waltz + Paris Polka
14. The Queen of the Night

LP Cover: Front 1, 2, Back

Download link in comments.

FolkPhile, thanks for this SUPER RARE item!!!

Link

Nick Drake "Family Tree" (2007)
















US press release:
Family Tree, to be released on June 19th, 2007 on Tsunami LG/Fontana, will feature previously unreleased tracks from the vaults of the Estate of Nick Drake. The album, produced by Drake Estate manager Cally, tells the story of Nick Drake’s musical development in the years prior to recording his official debut, Five Leaves Left.

Family Tree explores the upbringing of an artist who-- in his tragically short career-- produced three albums which continue to be treasured by fans. Recorded in the late 1960’s, the 28 tracks feature lo-fi recordings made on a reel-to-reel tape recorder at his home, Far Leys in Tanworth In Arden, as well as eight songs recorded on cassette during his sojourn in Aix En Provence. The inclusion of two songs, “Poor Mum” and “Try to Remember”, written and performed by Molly Drake bears testament to her musical influence on her son, conscious or otherwise.

After Nick Drake’s death in 1974, his parents Rodney and Molly Drake began to receive visits from fans compelled to understand more about the source of his music by traveling to the place where he lived and died. For Rodney and Molly, this was no invasion of privacy. On the contrary, aware that this might be the beginning of the recognition that their son had longed for in his lifetime, they invited those fans in and quite often shared the music a young Nick had recorded on an early reel-to-reel recorder. Often fans left with their own cassette tapes of those songs.

Some third and fourth generation versions of these tapes circulated among collectors on rare bootlegs for decades. The overwhelming fan demand for unreleased material or stronger versions of these poor-quality bootlegged songs has thrown up a challenge to the estate to release something worthy of his legacy.

The Family Tree release will include a letter written from Gabrielle Drake to her brother in which she reminisces about their growing up, their family life, and explains how she has tried to preserve his legacy as she thinks he would approve. “I hope that, in the circumstances, you could have given “Family Tree” your blessing. Or if not, that you could have at least looked on with that wry smile of yours.”

Family Tree, unlike Nick’s albums which contained only his own material, features the young artist mastering the compositions made famous by Bob Dylan, Blind Boy Fuller, and Jackson C Frank. It also showcases his early songwriting skills on tracks like “They’re Leaving Me Behind”, “Blossom” and “Come Into The Garden”. In segues between tracks, the listener hears Nick speaking aloud to himself, even laughing in between takes. The album also includes two versions of songs that ended up on Nick’s first album ‘Five Leaves Left’ which were recorded by his arranger Robert Kirby whilst they were both studying at Cambridge University in 1968.

You need only hear Nick and Gabrielle’s exquisite blood harmonies on “All My Trials” – or Nick playing clarinet with his aunt and uncle on “Mozart’s Kegelstatt Trio” – to realize that this was a house whose inhabitants entertained themselves and each other by playing music. In the album closer “Do You Ever Remember?” Molly Drake sings not just for their sorrow, but also for the laughter that once resounded throughout a happy, loving home. It’s a laughter that resounds – sometimes literally – throughout the whole of Family Tree. In doing so, it brings us closer to who Nick Drake was than perhaps any written account of his life thus far.

In addition to the release of Family Tree, 2007 will see the release of an upgraded version of the Fruit Tree Box Set – which includes Nick Drake’s three original studio albums; a new book; as well as a DVD of the “A Skin Too Few” documentary. Fruit Tree will also be available in limited edition vinyl.

Track listing:
01. Come In To The Garden (introduction) (Nick Drake)
02. They're Leaving Me Behind (Nick Drake)
03. Time Piece (Nick Drake)
04. Poor Mum (M.Drake) performed by Molly Drake
05. Winter Is Gone (Traditional, arr: Nick Drake)
06. All My Trials (Traditional) performed by Nick and Gabrielle Drake
07. Kegelstatt Trio for clarinet, viola and piano, (W.A. Mozart)
08. Strolling Down the Highway (Bert Jansch)
09. Paddling In Rushmere (Traditional)
10. Cocaine Blues (Traditional)
11. Blossom (Nick Drake)
12. Been Smokin’ Too Long (Robin Frederick)
13. Black Mountain Blues (Traditional)
14. Tomorrow Is A Long Time (Bob Dylan)
15. If You Leave Me (Dave Van Ronk)
16. Here Come The Blues (Jackson C. Frank)
17. Sketch 1 (Nick Drake)
18. Blues Run The Game (Jackson C. Frank)
19. My Baby So Sweet (Traditional)
20. Milk And Honey (Jackson C. Frank)
21. Kimbie (Traditional)
22. Bird Flew By (Nick Drake)
23. Rain (Nick Drake)
24. Strange Meeting II (Nick Drake)
25. Day Is Done (Nick Drake)
26. Come Into The Garden (Nick Drake)
27. Way to Blue (Nick Drake)
28. Do You Ever Remember? (M. Drake) performed by Molly Drake

bolachas grátis or
Zinhof

Thanks for the info, David!!

Sunday, April 22, 2007

Link

Magna Carta - Seasons: La nuit détend

Saturday, April 21, 2007

Link

Sibylle Baier "Colour Green"
(Recorded in Germany in the 1970-1973)

Colour Green, the one and only release from German underground folk denizen Sibylle Baier, has been around since the early '70s, albeit in her closet. Recorded on reel-to-reel in her home between 1970-1973, the budding actress, seamstress, writer, mother, and singer/songwriter chose family over fame, and it wasn't until the tapes landed in the hands of Dinosaur Jr.'s J. Mascis that they began their ascent into the world that they so eloquently describe. A wistful rendering of Vashti Bunyan, Leonard Cohen, and Joni Mitchell, Baier's conversational voice can be both tragic and comforting, turning the simplest task ("Driving") into a sepia-toned snapshot of longing. Each track is like a field recording of the highest quality, with every whisper of the locale present, yet unintelligible. Like Anne Briggs with a guitar or Nico without all of the junkie baggage, Baier, who would silently haul out the tape machine and press record late at night when her family was asleep, conveys the purest of intimacies with the kind of confidence only secrecy can afford. From the opening cut, when she sings "tonight when I came home from work/there he, unforeseen sat in my kitchen," the listener can't help but be transported behind the soft closed eyes that grace Colour Green's basement-scavenged, yellowing cover. ~ James Christopher Monger, All Music Guide

Wednesday, April 18, 2007

Hunter Muskett

Doug Morter said...
Hi, As a founder member of the group Hunter Muskett, I notice you are selling downloads of our material through your site. Who do I get in touch with concerning your release of our product, as we do own the copyrights to these recordings. My name is Doug Morter and you can contact me through dougmorter@hotmail.com

Hunter Muskett (on Time Has Told Me)

I'm sorry, Mr. Doug Morter.
I'll delete your "product" on my site.


Doug Morter said...
Hi Lizsardson, Thanks for the appreciation, and I have no problem with folks downloading/purchasing our material, as long as someone lets us know! It may be nearly forty years old, but it still means a lot to us, and it's great to know there are still appreciative folk out there, but it's important that whoever is re-releasing our stuff is aware that we ain't dead yet! Thanks,
____Doug Morter
_____Chris George
_______Terry Hiscock

Thanks Mr. Doug Morter,
We are always respecting great musicians like you.

Nick Drake?



artgeezer:
Live footage of Nick Drake in the cro... Live footage of Nick Drake in the crowd at an unknown 70's folk festival. Got sent this vid by a mate. He reckons the suit jacket, short sleeves long arms and general appearance are a givaway. What do you think.

and here is...
"Northern Sky" & "Way To Blue" remixes (without accompaniment)
Download

Monday, April 16, 2007

Boys of the Lough

danny said...
if you are interested in other Boys of the lough album,
please check: The Celtic Circle

Thanks for the info, danny!!

Sunday, April 15, 2007

Davey Graham

"All That Moody" 1976

After a six-year sabbatical in which he taught music, Davey Graham came out of retirement to release this retrospective of sorts, All That Moody, in 1976. This collection did contain both his most well-known songs, as well as a few personal favorites, but in re-recorded form. Unlike in the past, where this approach had led to some artistically bankrupt releases that tricked the public into buying what they thought were originals, this effort is a bit different. Sure it gave the underappreciated artist some more revenue and added a tidy anthology to a rather skimpy and hard-to-find catalog. But it also allowed Graham to give a decidedly Eastern feel to the majority of the numbers present, whereas this raga-fied approach was merely part of his considerable repertoire in the past. With help from Keshav Sathe and Roger Bunn, Graham effectively and impressively showed why he not only is considered the father of the modern British folk movement, but also a real innovator in bringing world music to a traditionally Western form. And while the remakes don't completely render the originals obsolete, they do give listeners some nice alternative versions. The instrumentals, as usual, work best, as Graham's vocals are not his strongest point. Likewise, the numbers that dabble in blues, jazz, or ragtime, while adding a touch of variety, really don't impress as much as the genre-fusing ones. Rollercoaster Records not only released this lost gem in 1999; they added six additional cuts, making this an item any true folk fan should buy on sight. ~ Brian Downing, All Music Guide


"Playing In Traffic" 1993














01. Jinaco
02. Amalia
03. Joy of My Heart
04. Majuun
05. Aydede
06. Sita Ram
07. Arioso
08. Rain & Snow
09. Kitty's Rambles
10. Bury My Body
11. The Ram in the Thicket
12. Don't Let Your Deal Go Down
13. Buhaina Chant
14. The Preacher
15. Somethin'
16. The King of Denmark's Galliard
17. Guardame Las Vacas
18. Capricho Arabe
19. Hesamalo
20. Jenra
21. Ramkali

Friday, April 06, 2007

Papa Bear's Medicine Show

"At the Retinal Circus" (June 21, 1968)














First time on CD (in 2003) for this legendary band that existed from 1967-1969. Their only album was actually a bootleg, made in 1970 in an edition of 105 copies. This is different material entirely from that original album, recorded in 1968 in Vancouver's main psychedelic venue, the Retinal Circus. Good soundboard sound and music in the vein of the Doors, Lovin' Spoonful with a touch of old timely music thrown in.

Sunday, April 01, 2007

Colin Hare

http://www.myspace.com/colinharemusic

Liner notes from the forthcoming "Down From Pitswood" EP: -

"....It was at London Stansted Airport on January 6th 2006 that Andy Morten handed me a disc of old BBC sessions of Honeybus, recorded by a fan on an ancient tape recorder. I didn`t hear the songs until 5 AM after our Felipop gig the same night. As I listened I realised that these songs had never been formally recorded by the ‘Bus and decided there and then that this was my next project.

'Incredibly Bad' and 'Follow the Plan' were recorded for John Peel and David Symons shows which were broadcast in 1968. On arrival back in England, 'The Man in the Office' dropped in after a conversation on air with a Dutch radio presenter. 'Down from Pitswood' with Duncan Maitland’s 'Bremner-esque' guitar licks puts us right back in March Hare land.

So... after a long and exceptionally hot summer, I am now glad to announce the release of this EP which would probably not have happened without help and contributions from Duncan Maitland, Rory Doyle (the only drummer I know to nail Pete Kircher’s style), Elaine Patience (violin), Rachel Firmager (cello) and of course Frank McGing who engineered that first session at Crowboy studios in Dublin.

I`d like to thank Andy Morten for coming up with the archive disc and Hanky Panky Records for their eagerness to issue this belated Honeybus EP.

Colin Hare, September 2006"

Incredibly Bad
Just Like Me
Down From Pitswood
To My Maker
She's Out There

Download 5 songs (96kbps)
2006 - - - - - - 6 7 8 9 10 11 12
2007 1 2 3 4 5 6 7 8 9 10 11 12
2008 1 2 3 4 5 6 7 8 9 10 11 12
2009 1 2 3 4 5 6 7 8 9 10 11 12
2010 1 2 3 4 5 6 7 8 9 10 11 12
2011 1 2 3 4 5 6 7 8 9 10 11 12
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