Friday, March 30, 2007

Andrew King

"The Bitter Harvest" 1999

Artist and singer Andrew King has released an album of traditional English folk songs entitled The Bitter Harvest. Andrew will be familiar to Sol Invictus fans for his artistic, literary and musical contributions to Tony Wakeford's On magazine, and the album is distributed by World Serpent. Andrew is an enthusiastic and highly knowledgeable exponent of traditional song as well as entertaining a certain obsession with the Baroque.

The singing is essentially unaccompanied but drones and percussion are effectively deployed in places in a supporting role. Andrew's distinctive voice and clear articulation are impressive. The melody line is adorned with grace notes in traditional style, but strength and control ensure that he stays in tune.

His choice of material - dark and murderous - includes classics of the folk repertoire such as 'The House Carpenter' and the melodic gem, 'Brigg Fair'. The distribution of this album, complete with learned notes, puts to shame the effort now being made by the old-established folk labels.

Rik - 19 June 1998

"The Amfortas Wound" 2004

The Amfortas Wound is the second release of traditional song from Andrew King, following the unaccompanied songs of The Bitter Harvest (released via World Serpent). On The Amfortas Wound Andrew King brings the listener eleven traditional songs with a slight musical experimentation particularly using the harmonium and drones. On The Amfortas Wound he is aided by Hunter Barr, Andrew Trail and John Murphy. The trio normally record under the name Knifeladder, here they are guided by Andrew King to embelish the songs with industrial-atmo drone.

"The natural state of all created matter is one of pain" writes King in the liner notes and as such many of these songs are concerned with death, and quite usually at the hands of another. 'Lord Thomas and Fair Eleanor', a fateful tale of abandoned love, sung over a drone and extended by a mock flute organ refrain. 'The Prentice Boy' a vicious murder ballad. 'Cruel Lincoln' a ballad of mindless slaughter involving Cruel Lincoln, a nurse and the murder of the Lord's lady and child. The old Scottish ballad 'Love Henry' tells the story of a man who is murdered for refusing the advances of a lady. 'Worcester City' is tale of unrequited love that ends in death for the damsel and her deadly admirer as a result of poisoned wine. Death also arises from misadventure. 'The Wild Wild Berry' with its buzzing harmonium and ominous drone tells of the dreaded woody nightshade.

The largely unaccompanied 'Down in the Meadow' collects a number of disparate verses of which the second may be familiar to listeners of Sol Invictus (as it featured on early versions of 'Abbatoirs of Love'). An excerpt from 'The Week Before Easter' even made an appearance on Current 93's Thunder Perfect Mind (as spoken by Shirley Collins on 'A Beginning'). Yet these are merely pointers to explain the importance of traditional song to those associated with the industrial folk genre. The Amfortas Wound details Andrew King's obssession with traditional song.

'The Knights Templar Dream' is clearly Masonic, and Irish in descent. The sectarian divide is clear as King's notes point out that the printer used different coloured paper stock depending upon the religion of the recipient. 'Gethsemane' is King's arrangement based on Peter Bellamy's musical setting of a Rudyard Kipling poem. The poignancy of this track is increased as it features a recording of the gas shell bombardment from the First World War.

Andrew's extensive knowledge is evidenced in the liner notes for each track providing an insight into vernacular history. The Amfortas Wound is unique within the pages of Compulsion online and while it may not be to everyone's taste it is produced with considerable love and in its own way represents an important point in capturing these songs and ballads for subsequent generations.

The package is completed with a booklet containing full lyrics, their history and a number of artworks by Andrew King, from his Alchemical Emblems series. An ultra-limited edition of 33 copies are available with lenticular prints but these will probably have gone by now. For more information go to

Thursday, March 29, 2007


Jade - Fly on Strangewings: Prog Not Frog

Tuesday, March 27, 2007

Ron Sexsmith & Kerr

"Destination Unknown" 2005

For a songwriter who is so closely in touch with the gentle and childlike side of his musical nature, Ron Sexsmith has always swung pretty hard with the pop stick, mining his songs for all their hooks in the studio, and while there's no arguing that Sexsmith has a great way with a melody, it seems just a bit surprising that it's taken him 14 years after the release of his debut to cut an acoustic album. Destination Unknown was recorded as a collaborative project with Don Kerr, who has played drums and cello with Sexsmith's road band for years, and the performances are largely centered on their harmonies, with Kerr's supportive tenor dovetailing nicely with Ron's leads. And while this isn't billed as an "unplugged" set, the arrangements are dominated by acoustic instruments and have the casual, unforced feel of a back porch guitar pull. Like many of Sexsmith's best albums, the surfaces of Destination Unknown are modest enough that they nearly obscure just how strong the craft really is; while there isn't much fuss in the arrangements on these sessions, what's here is balanced with commendable skill, the picking is expert, and the presence of occasional glossy moments such as the string section on "Chasing Forever" suggest this album's low-key approach was guided by aesthetics as much as budget or convenience. And Sexsmith has rarely sounded more comfortable or compelling as a vocalist; these 13 songs are beautifully cast in his own special mold, and he brings them to rich life on these recordings with Kerr's harmonies adding an invaluable assist. Destination Unknown is one of Ron Sexsmith's most straightforward and unadorned albums, and it also happens to be one of his best. ~ Mark Deming, All Music Guide

Sunday, March 25, 2007

Ron Sexsmith

"Retriever" 2004

While Ron Sexsmith has had little problem establishing his identity as a songwriter with the warm, compassionate intelligence of his lyrics, as a recording artist he's been a bit harder to pin down. After escaping the tape-loop jungle of Mitchell Froom's production on his first three major-label albums, Sexsmith has seen his music matched with the roots-oriented pop approach of Blue Boy and the subtle electronic textures of Cobblestone Runway, each successful but in decidedly different ways. At first listen, Sexsmith's sixth album, Retriever, sounds like an attempt to move back to the style of Other Songs or Whereabouts, but without the production excesses of those sessions; many of the melodies boast '60s-influenced pop hooks, and Martin Terefe's production subtly reinforces the Beatlesque qualities of the music, with occasional side trips into the land of '70s singer/songwriters ("Whatever It Takes" could almost pass for a lost Bill Withers track). But the results have a more open and organic feel than Froom's thematically similar work, employing real strings and less cluttered arrangements, and Sexsmith sounds quite comfortable in these surroundings. While Sexsmith sounded decidedly awkward and self-conscious as a singer on his early albums, he's grown into a vocalist who delivers his material with a genuine and compelling commitment on his recent albums, and Retriever sounds like his most confident and accomplished set to date. And as a writer, Sexsmith is still gloriously one of a kind, a man who can write about love without sounding either cloying or bitter, and can document both the bright and dark sides of life with honesty, heart, and clear perception. Most songwriters could go their whole careers without penning a song as strong as "How On Earth," "Imaginary Friends," or "For the Driver," and those are just three of the high points on Retriever; if you know Sexsmith's work, then you already have a good idea of how good this album is, and if you don't, this is a fine place to get acquainted. [The album was issued in Japan with the song "All Too Much" included as a bonus track.] ~ Mark Deming, All Music Guide

01. Hard Bargain
02. Imaginary Friend
03. Not About To Lose
04. Tommorow In Her Eyes
05. From Now On
06. For The Driver
07. Wishing Wells
08. Whatever It Takes 
09. Dandelion Wines
10. Happiness
11. How On Earth
12. I Know It Wells
13. All To Much (Japanese bonus track)

Huge Earthquake Hits Our Town

My house is ok except tableware shelf... ;;;

Saturday, March 24, 2007


"Legend (Red Boot)" 1970

Southend's Mickey Jupp:
In the early 60s The Paramounts were the most popular band in the Southend area. Another popular band was The Orioles, led by Mickey Jupp. They played the same kind of R&B, but while The Paramounts got a record contract, The Orioles didn't. The band broke up in 1966, but Jupp returned in 1969 with a new band, Legend, who, as the first English band to get a contract with Bell Records, recorded one album, Legend, in a session that lasted only eight hours.

They followed that with one gig at Staines, Middlesex and broke up just before the album's release. The album was an acoustic pop / R&B album with Jupp on vocals, guitar and piano, Chris East on vocals, twelve string guitar & harmonica, Steve Geer on string bass (on some songs played with a bow) and vocals and Nigel Dunbar on drums . The "unplugged" album stills sounds fresh today.

Jupp still had a record contract, but no band: he got some help from the Procol camp. David Knights, who had just left Procol Harum, became Jupp's manager. With help from some old friends from Procol Harum, he recorded a single as Legend. The song is called Georgia George (Part One) and is a primitive rocker close in style to some of the rawest Paramounts tracks. [See here for Frans Steensma's authoritative additions to this account]

The story of Legend then continues when Jupp came to put together a new band. The new Legend had Jupp on vocals, guitar and piano, Bill Fifield on drums, Mo Witham on guitar and John Bobin on bass. They recorded an album called, once again, Legend, for Vertigo in 1971: it is known as 'The Red Boot Album' because of the red boot on the cover. It's a very good album, produced by Tony Visconti for David Knights Productions. Bill Fifield then left to join T Rex as Bill Legend. At his home page, Tony Visconti says: 'Bill and I had worked together when he was the drummer in the group Legend, a superb rock and roll group headed by Mickey Jupp, from Southend. Bill played great on Hot Love and Marc made him an offer he couldn't refuse.'

CD Cover: Front, Back, Inside
Sample pic: 1, 2

"Moonshine" 1971

The second and last album by Legend was called Moonshine, also on Vertigo (1972). Bill Fifield had been replaced by Bob Clouter. The album was not as good as its forerunner, but the contributions from Procol continued. Once again it was produced for David Knights Productions, but by the band themselves this time. Matthew Fisher arranged strings on three songs. Legend Mk III (Jupp, Bobin, Clouter, Witham) broke up in 1971. Now, the story goes as follows (a conversation Paul Moules -of the Mickey Jupp homepage- had with John Bobin). "We played a gig somewhere in the north of England and was driving down to Dover to catch the ferry to drive across to Italy (MJ didn't fly at this stage of his life). They were trying to think of ways of getting out of doing the gig, in the end John rang the promoter and said they couldn't make it, thinking that they were one of several bands doing the gig. They ended up going across to Italy as they found out they were the only band booked at this venue. On their return, Bob and John left the band which spelled the end of Legend.

Stonefield Tramp

Terry Friend said...
Rob flew in from Texas for a very brief visit this week. Behind the scenes the boys at FFG and Pete Kiely have been working on the mixing and mastering of the new Stonefield Tramp album. This is now complete! Rob will soon be taking the production duties over. This album will be released sometime this year. You will be notified when that happens. All the best to you all from Terry Friend. It would be a good idea to keep an eye on my website for updates on this and all my other recording projects.

Stonefield Tramp web site
Stonefield Tramp (on "Time Has Told Me")
Terry's message (on "Time Has Told Me" July 23 - March 23)

Thursday, March 22, 2007

500,000 hits!!

Let me say 500,000 thanks to all!!

Monday, March 19, 2007


KarinFredrika's Videos
Fredrikas communitysubstit... (Her own blog)

Fredrika said...
Hey, thanks for putting this on your blog, that's really cool! =)//Fredrika

My pleasure. Hope you'll get a job soon and take a good life with your boyfriend.
Thanks for your music!
Good Luck!!

Saturday, March 17, 2007

Danny Cavanagh "A Place To Be" 2004
(A Tribute to Nick Drake)

Daniel Cavanagh, born October 6 1972, is an English guitarist and singer who formed the British doom metal band Anathema in 1990 with his younger brother Vincent Cavanagh. Danny has several side projects such as Antimatter, whose music has a very similar feel to the more recent works by Anathema, and Leafblade. In 2002 Danny left the band, but changed his mind and rejoined soon thereafter, going on to write almost the entire A Natural Disaster album.

Let's now discuss your solo album "A Place To Be". When and how did you get an idea to record a tribute to Nick Drake? How much has he influenced your music and your songwriting?

Daniel Cavanagh:
I had the idea in 2003 after I had been learning Nick's songs at home. I found his style interesting and relaxing to play and his songs seemed suited to my singing voice. Maybe I was looking for some inner peace and tranquility, after some difficult years, and I found in his songs something peaceful that helped me to go through times. There is a poem on the Nick tribute which hints at this. I don't know how much he has really influenced my songwriting, but I guess there is an influence there somewhere. He used many strange tunings on his guitar, which I have done in the past Anathema releases, and some new ideas take this further, so I suppose Nick had an influence there. There is an honesty and a nakedness to his songs that laid his emotions bare, and I found that a nice parallel, as I have done this throughout our career.

Could you say a few words about the recording process? Who was in the studio with you? How much were the recordings different from the way you work in the studio with Anathema?

Daniel Cavanagh:
The studio sessions were late night sessions here in Liverpool with me and Gavin Attard, the engineer and co-producer. They were relaxed sessions and I enjoyed them. Mostly the songs were recorded live guitar and vocals together, which gives the songs a natural feel to them.

While working on Nick's songs, did you try to get closer to his unique tunings or was your intention to play everything your style? In general, do you think that you had enough creative freedom on this album, given that it's a tribute?

Daniel Cavanagh:
Creative freedom? I don't understand. I guess I just wanted to play the songs in my own way. My voice, my hands. I wasn't trying to re-interpret Nick's stuff, I was just trying to sing it. I wasn't too interested in changing them. I almost could say I recorded this album for myself, and possibly for an old friend. Even though they are not my songs on there, it does feel like my heart is in the performances, as at that time I identified strongly with this material.

Why is the release limited to 1,000 copies? And how many copies will the Russian label Irond print on a license from Strangelight?

Daniel Cavanagh:
The idea to release it as a limited edition seemed good as, although it is a personal recording, people would inevitably want to hear it and I thought it might be a good start for Duncan's label as it is surely going to sell all 1,000 copies. I do not know the answer to the second question. (smiles)

01. Cello Song
02. One Of These Things First
03. Place To Be
04. Road
05. Rider On The Wheel
06. Black Eyed Dog
07. River Man
08. Clothes Of Sand
09. Fly
10. Northern Sky
11. From The Morning

Thursday, March 15, 2007

by phantom 4

David Laibman & Eric Schoenberg "The New Ragtime Guitar" 1971

David Laibman (December 25, 1942 - ) is Professor of Economics at the City University of New York and has been editor of the marxist journal Science & Society. since 1990.

David Laibman is also known as one the most influential arrangers and players of fingepicked ragtime acoustic guitar. His innovative guitar arrangements of piano rags by such composers as Scott Joplin and Joseph Lamb are generally viewed to be among the best available. Many players of acoustic ragtime guitar feel that Mr. Laibman founded this genre of music in the late 60's to early 70's and was greatly responsible for the subsequent revival in string ragtime. David Laibman still performs this material in concert although these are rare events.

Dave Laibman released many influential recordings. One of the most influential was The New Ragtime Guitar, an LP of ragtime duets recorded with his cousin Eric Schoenberg and released on Folkways Records in 1970. Still available as a CD from Smithsonian-Folkways, it is widely credited with sparking the 1970's stringed ragtime revival. Another popular solo LP of Laibman's has been rereleased on CD as Ten Classic Rags. It is comprised entirely of Mr. Laibman playing 10 of his guitar arrangements of Scott Joplin and Joseph Lamb ragtime piano compositions.

Finally, Laibman has issued teaching books and tapes on his arrangements. They are periodically offered in different formats at

Eric Schoenberg is an American guitarist known for his fingerstyle guitar playing, as well as a recording artist and designer of acoustic guitars.

He owns Eric Schoenberg Guitars, a guitar store in Tiburon, California, U.S.A., which sells vintage and luthier-made acoustic guitars.

Eric and his cousin Dave Laibman were among the first transposers of classical piano ragtime to the guitar. This resulted in their album, Contemporary Ragtime Guitar, on Folkways Records.
He has performed, toured, recorded and written extensively.

Download link in comments.

Thanks again!

Monday, March 12, 2007

RIP Krysia Kocjan

Anonymous said...
I regret to post that Krysia Kocjan-Haber died on Wednesday, February 21st, 2007. She gracefully fought lung cancer for 2 and a half years but finally succumbed.
[25 February, 2007 01:57]

Anonymous said...
God rest her soul. I knew Krysia in London in the 70's when she was working with the Kinks and later recording her solo album,and she had the spirit, courage and intellect to match her beautiful singing. What a loss.
[03 March, 2007 12:22]

Allan said...
Krysia was a wonderfully gentle soul. Elfin in stature she had one of the most amazing singing voices I have ever heard. If you have heard Al Stewart's 'Roads to Moscow' then you will have heard her. She sings backing vocals on that track that never fail to make the hairs on the back of my neck stand on end...

Krysia started out singing with another friend of mine, Tom Hoy. We grew up on the same street together, Woodland Street. With Robin they formed a group called The Natural Acoustic Band. After two albums and on the brink of greater success Krysia was enticed to America and spent the rest of her life there, sometimes touring with the Al Stewart Band or doing studio work for The Kinks and others.

Even though we hadn't seen each other for such a long time, almost two decades, I will so miss her gentle presence on this globe.

Krysia is at the back of my mind constantly at the moment and how she was in those days, so sweet, so gentle - distinctly elfin, she couldn't have been much more than five foot tall... But what an amazing singing voice... I know everyone who knew her will be saddened to hear she's now lost to us and will have her in their thoughts just now...

All the little shared moments are presenting themselves to my mind. A little group of us standing at the Park Road bus shelter, me cradling a lost kitten we'd found. Going to see NAB down South, with Martin Carthy on the same bill complete with Morris Dancers, locally (with Beggars Opera in Kensington Halls) and in Edinburgh . Inviting everyone including roadies and hangers-on back to my place on Howe Street in Edinburgh. All of us going to see the String Band for the first time at the City Halls in '69. Walking home together after a night at 'Morroch', Jim's place, along beside the Allander Water...

The Sixties seem distinctly further off than ever now. Krysia's passing, for me, is a very pivotal nail in the coffin of those blessed memories...
[12 March, 2007 09:36]

Sunday, March 11, 2007

Presented by panos1

This is moving hearts! i dont know the way to post in your site so take a look here get it and then you can post it if you like!
I found about 30 albums i was desperately looking for in vinyl in great shape!so i started immiadely!i rip them of in 256k!
I split them in 3 selfetracted rars so if you like get the first one listen to the first songs and then decide if you want the rest!

"Moving Hearts" 1981 [Vinyl rip, 256kbps]

panos1: A brilliant irish rock folk!extremely beautiful acoustic guitaristic riffs!
Listen to Hiroshima Nagasaki Russian roulette AND you will understand me!

Together for only four years, Moving Hearts had a profound effect on the development of modern Celtic music. One of the first Irish folk bands to use electric instruments, after Horslips, Moving Hearts took a high-energy approach to their tradition-rooted music. Recalling an early appearance by the band, Q magazine wrote, "saw them in Dublin, must have been 1982, and they just blew me apart...they're a sort of Celtic Little Feat." The original lineup of Moving Hearts united some of Ireland's best musicians. Multi-instrumentalist Donal Lunny and singer, guitarist, and songwriter Christy Moore had previously played together in Planxty. Guitarist Declan Sinnott had produced and arranged material for such Celtic performers as Mary Black and Sinéad Lohan. Dublin piper Davy Spillane had performed with Horslips. Within a few months, the band was joined by saxophonist Keith Donald, a veteran session player and a member of such jazz bands as Jim Doherty's Spon and Noel Kelehan's Quintet. Moving Hearts was rounded out by drummer Brian Calman and bassist Eoghan O'Neill. Although the original band performed together for two years, the departure of Calman over "musical differences" signaled the first of several personnel changes. Following the release of the group's second album, Dark End of the Street, Moore left to pursue a solo career and was replaced by vocalist Mick Hanley. After recording one album with the band Live Hearts Hanley was replaced by female vocalist Flo McSweeney. The changes continued, however. By the time that they recorded their final album, Moving Hearts had become an all-instrumental unit. Politics played an important role in Moving Hearts' repertoire. The struggles of hunger strikers and the impoverished in Northern Ireland were addressed through such songs as "Landlord" and "On the Blanket," while the proliferation of nuclear weaponry was reflected in such tunes as "Hiroshima Nagasaki Russian Roulette" and an emotional interpretation of Jackson Browne's "After the Deluge." Moving Hearts was featured as the backup band on Van Morrison's 1985 album, A Sense of Wonder. In the aftermath of Moving Hearts' breakup, several members went on to perform in the cast of Bill Whelan's musical production, Riverdance. ~ Craig Harris, All Music Guidee

Christy Moore - well-known balladeer, formerly of Planxty
Donal Lunny - Irish producer/musician, formerly of Planxty and the Bothy Band
Declan Sinnott - guitarist
Keith Donald - jazzy saxophonist
Eoghan O'Neill - bass player
Davy Spillane - pipe player, now a well-known solo performer
Brian Calnan - rock-influenced drummer

Producer: Donal Lunny
Engineer: Andrew Boland, Cathy Considine, Kevin Moloney, Pearce Dunne

o Hiroshima Nagasaki Russian roulette
o Irish ways and Irish laws
o McBride's
o Before the deluge
o Landlord
o Category
o Faithful departed
o Lake of shadows
o No time for love

Friday, March 09, 2007

by phantom 3

thought I would share some ragtime guitar labums
there were a few of these on kicking mule in the 70's
- absolute gems
anybody else got any of these?

V.A. "Contemporary Ragtime Guitar" [KM107 - circa 1974]

This was the seventh LPs released by Kicking Mule Records in the early 1970s. It's surprising success helped define the company as a label that specialized in guitar soloists.


V.A. "Flat Pickin Guitar Festival" [SNKF124 - circa 1976]

If you think that two LPs' worth of flatpicking sounds like a pretty monotonous prospect, no one would blame you, but in this case, you'd be mistaken. The 23 tracks that make up this single-CD reissue vary wildly in terms of style and execution, from straightforward bluegrass like Dick Fegy's renditions of "Big Sandy River" and "Fire Hose Reel" to Eric Thompson's adaptation of two Irish reels and Richard Lieberson's jazzy "Paddy on the Swingpipe." Doc Watson is well represented with three tracks ("Fisher's Hornpipe/Devil's Dream," "Down Yonder," and "Liza/Lady Be Good"), and David Bromberg kicks in an atypically subdued version of "The Kitchen Girl." Most of the other guitarists are relative unknowns; although Dan Crary ("Fishing Creek Blues/Arkansas Traveller") will be well-known to bluegrass fans, only hardcore guitarheads are likely to recognize names like Michael Aumen, Barry Solomon, and Eric Thompson. Regardless, all of them play beautifully, and the stylistic variety of the program makes it a great listen from beginning to end. Highly recommended. ~ Rick Anderson, All Music Guide


Ton Van Bergeyk etc... "I Got Rhythm" [SNKF125 - circa 1976]


Lasse Johansson "Ragtime Guitar Duets" [SNKF120 - circa 1975]

Lasse Johansson


Wow... really fantastic.
Thanks always!

Someone please add review of those albums. I have no time...

Bermuda Triangle

Hi from ROGER and WENDY (Bermuda Triangle). We are now at About to rerelease a remastered 1977 BT disc w/bonus track. And soon a LIVE CD "The Missing Tapes". Also on the website is a continuing story ea.monthof that era. A bootleg was released on Radioactive without our OK, but in the end it made it accessable to people around the world, from UK to Belgium to Germany and Japan. We'd love to hear from you. There's a place on our web. ALL OUR BEST

Bermuda Triangle (at Time Has Told Me)

Thanks for the info ROGER and WENDY!! We all love your music!!

Friday, March 02, 2007

Jonathan Kelly

"Twice Around The Houses" 1972

Article taken from his Biography:
During the following year 1971, Jonathan released no records but concentrated of playing concerts and writing, something that was to turn out to be very fruitful. In the summer of 1971 Jonathan was invited to play the Cambridge Folk Festival and he took the event by storm. At last the record buying public had recognised his immense talent. All of the music magazines of the day were knocking at his door for interviews and when in 1972 Jonathan released his much anticipated album 'Twice Around the houses' his public were not to be disappointed, the music press were enthusiastic and the album received rave reviews. A single was released to help cash in on the album's popularity, 'Madeleine' bw 'Sligo Fair'

1972 was a busy year for Jonathan, he toured with the Strawbs bettween January and Match completing 25 concerts and help raise his profile considerably, Jonathan also appeared at several festivals in the summer including Bickershaw, Lincoln, Reading and Chelmford. Jonathan also managed to spent much of 1972 playing in folk clubs up and down the UK and was very popular, one person remembers Jonathan turning up unannounced at the Bay horse Folk club near Doncaster. "Jonathan was in the area and turned up to meet friends and watch some music, when he was spotted he was asked to sing, he politely refused saying he was tired, but the audience wouldn't take no for an answer. Jonathan finally agreed and performed three songs in the interval, as he tried to leave the stage, the audience pushed tables up to the front in order to stop him, begging him to sing more. Jonathan pointed out that the McCallmans, a popular folk group were due back on stage, at that point one of the McCallmans shouted out from the back of the room, 'You carry on John, we're getting paid anyway!' and so carry on he did, a wonderful performance and a night to remember"

"Wait Till They Change the Backdrop" 1973

RCA decided to invest more money in Jonathan's next album due to the popularity on TATH, his next album 'Wait Till They Change The Backdrop' (1973) was warmly received by an enthusiastic music press and the public alike. This time the album had a gatefold cover and featured amongst others the Sutherland Brothers who were a short while later to have a hit themselves. A single was released to coincide with the album 'Let the people stay', backed with 'Mother Moon' a song Jonathan often featured in his performances.

Jonathan was now fully embroiled in the hippy lifestyle and culture, believing in peace and love, indeed he signed autographs, 'Peace and love, Jonathan Kelly' unfortunately there was one side of this coin, which wasn't admirable, namely drugs! Jonathan was now an active drug-taker and the more he was embroiled in that scene the more his behaviour changed and along with it his judgement.

Sample pic: 1, 2

Download link in comments.

Presented by phantom 2

Rab Noakes "Do You See The Lights" 1970

A gift for writing hook-laden songs and sensitively interpreting the work of American singer/songwriters has brought Rab Noakes to the forefront of Scottish pop music. His 1970 debut album, Do You See the Lights, included "Together Forever," which became a folk-pop hit for Lindisfarne. His second album, Rab Noakes, produced by early Dylan producer Bob Johnston, released in 1972, featured guest vocalist Gerry Rafferty. Noakes subsequently played guitar and sang background vocals on Rafferty's debut album, Can I Have My Money Back. Although he agreed to form a band, Steeler's Wheel, with Rafferty, he left the band to resume his solo career before the group recorded their Top Ten hit "Stuck in the Middle With You." Noakes has continued to record on his own. His third solo effort, Red Pump Special, released in 1973, was recorded in Nashville and produced by Elliot Mazer. His fifth album, Restless, was released on Ringo Starr's label, Ring O'Records, in 1978. Although he released the equally memorable albums Rab Noakes in 1980 and Under the Rain in 1983, he didn't release another album until 1994 when he recorded Standing Up, a scaled-down recording featuring his solo guitar and vocals. Since the album's release, Noakes has toured with a band, the Varaflames, featuring ex-Dire Straits drummer Pick Withers, Lindisfarne guitarist/bassist Rod Clements, and harmonica player Fraser Spiers. In a review of the band's performance at the Eaglesham Roots 'n' Bluegrass Festival in June 1999, the Herald wrote that the set was "a roots festival in itself as (Noakes) collected Sam Cooke, Rufus Thomas, Fred Rose, Dylan, early Motown, and Beck voodoo blues and a handful of his best originals into a homogenous, hugely satisfying, style."

After working as music director for the BBC television series Your Cheatin' Heart, Noakes accepted a position as senior executive producer for BBC Radio Scotland. He left the post to form his own production company, Neon, which he runs with personal and business partner Stephanie Pordage. In January 2000, Noakes appeared on the multi-artist compilation, People on the Highway: A $Bert Jansch Encomium}. ~ Craig Harris, All Music Guide
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