Richard & Linda Thompson - A Little Night Music - Nocturnes BBC 1981

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Part 2

 

 #Richard & Linda Thompson #folk rock #British folk rock #contemporary folk #singer-songwriter #ex-Fairport Convention #1970s #music video

It’s nearly 55 years since Richard Thompson began his career in music. A pioneer of folk-rock, hugely influential singer-songwriter and one of Britain’s most astonishing guitarists, he was only a month out of his teens on the morning of 12 May 1969 when all promise was nearly stopped short. His band, Fairport Convention, had been signed on the spot in 1967 when producer Joe Boyd saw his talent with a guitar at 17, and their mission to reconnect British rock with the older, beautiful songs of their home country was well under way. He’d already jammed with Jimi Hendrix and supported Pink Floyd; now Thompson’s band had recently finished their third album, Unhalfbricking, with singer Sandy Denny. A work full of ambitious originals and covers that still regularly appears in best British album polls.
That morning they were driving back to London from a Birmingham gig, approaching the last service station on the M1. Guitarist Simon Nicol was trying to sleep off a migraine, stretched out on top of the speakers in the back. Thompson’s girlfriend, fashion designer Jeannie Franklyn, was asleep. Thompson was dozing between her and roadie Harvey Bramham, who was driving. “It was starting to get light. Nearly dawn, nearly home,” Thompson writes in Beeswing, his forthcoming memoir. Thompson noticed the van, travelling at 70mph, suddenly veering towards the motorway’s central reservation. In those days there were no crash barriers. He turned his head to Bramham – his eyes were closed. Thompson grabbed the wheel to avoid hitting a pole. The van came off the road. In one of the most arresting passages of the book, he describes crawling over to Jeannie a few yards away. He is bleeding, with broken ribs; he finds her upside down on a sloping embankment. They had been together a fortnight: he didn’t really know her at all, and then she died. Martin Lamble, the band’s 19-year-old drummer, also didn’t survive. Remarkably Nicol got out and walked down the road, flagging down a passing car. He is still the leader of Fairport Convention, 52 years later.
But Thompson left in early 1971, still shell-shocked by the crash, to pursue a solo career that flew well beyond British folk. Ever since, he’s lovingly explored and excavated genres from rockabilly to flamenco, music-hall to pop. A favourite of both Robert Plant and Elvis Costello, Thompson has also been covered by acts as varied as feminist punks Sleater-Kinney, REM, David Byrne and, most recently, Mark Ronson, who covered the 1974 title track of Thompson’s album with first wife Linda Thompson, I Want to See the Bright Lights Tonight. Ronson tweeted how much the song had given him comfort during lockdown. “It’s the ultimate song about a messy weekend night out. I miss that all very much.”
That period of Thompson’s career is especially rich: he met Linda in 1969, and they married in 1972, then made fantastic music together for the next decade. Linda is one of Britain’s greatest, but most overlooked, singers, possessed of a bold, beautiful voice that carried the songs Richard wrote for her, and accompanied dramatically with his guitar. Their story outside music is dramatic too. It involves Richard’s conversion to Sufism, a move with their two young children to a rural commune without hot water and electricity, subsequent adultery during pregnancy, and a traumatic tour after their breakup where Linda kicked Richard in the shins while he played guitar solos (it’s known by their fans as The Tour from Hell). From: https://www.theguardian.com/music/2021/mar/14/richard-thompson-beeswing-fairport-folk-rock-interview

Richard Thompson left Fairport Convention after 1970’s Full House, his reputation secured as an excellent songwriter and guitarist. He released a spectacularly unsuccessful solo album, Henry the Human Fly, in 1972. He then married Linda Peters and they released six albums between 1974 and 1982; their relationship broke down before an ill-fated North American tour in 1982. The duo’s music is often melancholic, and it’s a common trick of Richard Thompson to pair upbeat music with depressing lyrics. They often play acoustic folk-rock, especially on their early albums, but 1978’s First Light uses an L.A. rhythm section and 1982’s Shoot Out The Lights has few vestiges of folk remaining. Linda and Richard share the vocal duties – while Richard’s gruff voice is limited, Linda’s pristine voice is able to capture a range of moods, from joy on ‘I Want To See The Bright Lights Tonight’ to resignation on ‘Walking on a Wire’. The pair’s first album, 1974’s I Want To See The Bright Lights Tonight and their 1982 swan song Shoot Out The Lights are generally considered as their strongest. In between they spent time in a Sufi Muslim commune, taking three years away from music. Richard has stated that he considers their late 1970s albums as weak, as he didn’t have his mind on the job.  From: https://albumreviews.blog/reviews/1970s-album-reviews/richard-and-linda-thompson/

Four decades after Richard and Linda Thompson released 1974’s I Want to See the Bright Lights Tonight, their beautiful and terrifying first album as a duo—after their music failed to attract significant commercial interest; after the conversion to Sufism, the three kids, the arduous years spent living on a religious commune; after he left her for another woman just as mainstream success seemed within their reach; after she clocked him with a Coke bottle and sped off in a stolen car during their disastrous final tour —after everything, Linda was working on a new song about the foolishness of love. It was a lot like the songs Richard used to write for them in the old days: Despairing, but not hopeless, with a melody that seemed to float forward from some forgotten era, and a narrator who can’t see past the walls of his own fatalism. “Whenever I write something like that I think, ‘Oh, who could play the guitar on that?’” she recalled later. “And then I think, ‘Only Richard, really.’”
Can you blame her? Though both Thompsons have made fine albums since the collapse of their romantic and musical relationships in the early 1980s, there is something singular in the blend of her gracefully understated singing and his fiercely expressive playing, a heaven-bound quality that redeems even their heaviest subject matter, which neither can quite reach on their own. As lovers, they could be violently incompatible, but as musicians, they were soul mates. The existence of latter-day collaborations like Linda’s 2013 song “Love’s for Babies and Fools,” one of a handful of recordings they’ve made together since the 2000s, proves the lasting power of a partnership that seemed doomed from the start.
The Thompsons met in 1969, while Richard was working on Liege & Lief, the fourth album by Fairport Convention, the pioneering British band he’d co-founded when he was 18. With his bandmates, he envisioned a new form of English folk music, combining scholarly devotion to centuries-old song forms with the electrified instruments and exploratory spirit of late-’60s rock. The misty and elegiac Liege & Lief was their masterpiece, but it had come at a price. Months earlier, Fairport’s van driver fell asleep at the wheel on a late-night drive home from a gig, and the ensuing crash killed Martin Lamble, their drummer, and Jeannie Franklyn, Thompson’s girlfriend at the time. According to Thompson, the decision to press on and record Liege & Lief was driven in part by a desire to “distract ourselves from grief and numb the pain of our loss.”
The folk-rock musicians who orbited Fairport in London comprised a hard-drinking scene, where money was usually tight, and revelry and song took precedence over talk about feelings. “They didn’t send you to therapy in those days - we didn’t grieve properly,” Richard Thompson told a podcast interviewer this year. The losses would keep coming. Nick Drake, an ex-boyfriend of Linda’s and occasional collaborator of Richard’s, who struggled to find an audience during his short life, was sliding toward oblivion by the early 1970s. And Sandy Denny, the radiant and mercurial former singer of Fairport, as well as a close friend of both Thompsons, was not far behind him. The fading spirits of fellow travelers like these haunt I Want to See the Bright Lights Tonight. Its songs treat drink, festivity, and even love as fleeting escapes from life’s difficulties, staring through the good times to the black holes that often lie behind them.
Richard lasted for one more album with Fairport, then left the band with hopes of making it as a solo artist. Legend has it that Henry the Human Fly, his 1972 debut, was the worst-selling album in the history of Warner Brothers at the time. He was working steadily as a session and touring musician, but at the ripe old age of 23, he couldn’t help feeling a little washed up. Linda’s career as a folk singer, despite the arresting clarity of her voice, had been only moderately successful, and she was entertaining thoughts of cashing in, going pop. She was only a “weekend hippie,” she has said. And though he was still a few years away from embracing Muslim mysticism, he was already something of a monastic: declining to cash checks for his session work, and following a devotion to modernizing English folk that was so intense it led him to turn down invitations to join several high-profile bands because their styles were too American. Despite their differences in approach to life and career, something clicked. She moved into his Hampstead apartment, and they married in 1972.
Their reason for starting a musical duo was practical, but also sweetly romantic: They wanted to spend more time together. They began touring the UK’s circuit of folk clubs, humble institutions that mixed socialist idealism with commercial enterprise, often operating in the back rooms of local pubs, where Richard and Linda would share stage time with whatever barflies wanted to belt out “Scarborough Fair” or “John Barleycorn” on any given night. Audiences were receptive, but it was a rugged and unglamorous way to make a career, even compared to the modest success Richard had seen with Fairport Convention. After about a year on the circuit, they were ready to graduate to bigger stages, and to make an album.  From: https://pitchfork.com/reviews/albums/richard-and-linda-thompson-i-want-to-see-the-bright-lights-tonight/

Cat Stevens - Father and Son

 #Cat Stevens #folk rock #pop rock #album rock #singer-songwriter #1970s #music video

This song is a conversation between a father and son, with the father counseling his son to stay home, settle down and find a girl, telling him this is the path to happiness - after all, it worked for him. The son, though, feels compelled to leave and is frustrated because his dad makes no effort to understand why he wants to go or even hear him out.
Stevens made up the story, but his relationship with his own father, Stavros Georgiou, was an influence on the song. His dad owned a restaurant in London, and Cat (known to his dad as Steven Georgiou) worked there as a waiter right up until he signed a record deal at age 17. Stavros was hoping his son would join the family business. When he appeared on The Chris Isaak Hour in 2009, Stevens said: "He was running a restaurant and I was a pop star, so I wasn't following the path that he laid out. But we certainly didn't have any antagonism between us. I loved him and he loved me."
Stevens veered away from his upbringing again in 1977 when he rejected Christianity and became a Muslim, changing his name to Yusuf Islam.
The generational divide that plays out in the lyric can apply to many families, but Stevens had a specific storyline in mind, writing it from the perspective of a father and son in a Russian family during the Russian Revolution (1917-1923). The son wants to join the revolution but his father wants him to stay home and work on the farm. Stevens, a huge fan of show tunes, wrote it in 1969 for a musical he was working on called Revolussia, which is set during the Russian Revolution. The song is part of a scene where the son feels it is his calling to join in, but his father wants him to stay home. The musical never materialized, so the song ended up being the first one written for Stevens' Tea For The Tillerman album. The song has a very unusual structure, which owes to its provenance as a number for a stage musical. There's no chorus, but the son's part is sung louder, providing a kind of hook. The dialogue is an interesting lyrical trick with the father and son expressing different perspectives on the situation.
This is the song that got Stevens signed to Island Records. His first two albums were issued on Deram, a division of Decca. Stevens met with Island boss Chris Blackwell to talk about the musical he wrote this song for, but when Blackwell heard the song, he set his sights on getting Stevens on his label as an artist. Stevens' first Island release was Mona Bone Jakon earlier in 1970; it was not just a new label for Stevens, but a new producer as well, with former Yardbird Paul Samwell-Smith taking the helm from Mike Hurst (ex-Springfields), who helped Stevens get his deal with Decca.
In 2020, Stevens released a re-recorded version of "Father and Son" for Tea for the Tillerman 2, a re-imagining of Tea for the Tillerman 50 years later. The revamped rendition brings together his smooth vocals from when he was just 22, and the seasoned voice of the 72-year-old Stevens. Chris Hopewell's top-frame animated video for the new version of "Father And Son" nods to the original release with groovy clips from the original 1970 video.  From: https://www.songfacts.com/facts/cat-stevens/father-and-son

Beth Orton - Shopping Trolley

 #Beth Orton #folktronica #folk rock #trip-hop #contemporary folk rock #electronica #singer-songwriter #music video

Has Beth Orton ever sounded as angry as she does on "Worms", the caustic kiss-off that opens her fourth album? "I'm your apple-eatin' heathen, any ol' rib-stealin' Eve," she sings on the chorus, turning talk of original sin into empowering invective against some unnamed target. It's an odd song with an odd little shuffle to it, and even though it sounds uncannily like Fiona Apple (right down to her rushed cadence at the end of the second verse), the track reminds you how singular Orton seemed on her first two albums and how much she buffed away the rough edges on her third album, Daybreaker, an AOR makeover that aimed for but missed the same listeners who one year later made Norah Jones a sensation.
So it's nice to have the old Beth Orton back. It's also nice to have Jim O'Rourke at the helm, particularly because he puts some rhythm back into her songs. Orton needs it, too: Her voice hits your ears at an angle, as if refracted prismatically, and O'Rourke's sturdy beats don't reset that angle to perpendicular so much as make sure it hits its target with a little more force. Comfort of Strangers is strongest when O'Rourke and percussionist Tim Barnes translate Trailer Park's spacey effects into earthier rhythms, especially with the oscillating bass line and tight drum beat on "Conceived". They let loose on "Countenance" and are joined by what sounds like a full band on "Shopping Trolley". The intro to the title track sounds like "Walk on the Wild Side", but to their credit, Orton and O'Rourke undercut that seedy strut with handclaps, sparkling piano, and perhaps her most straightforward performance.
Orton's vocals - so arced and mellifluous - reign over all other sounds on Comfort of Strangers. On Daybreaker, her voice sounded like an empty vessel, beautiful but conveying very little; here it has a very real personality behind it, one that allows itself to be angry, cynical, hopeful, and snide - a complex and compelling emotional mess. This attitude fits her songwriting well, giving her words added resonance. On "Heartland Truckstop" she sings, "I wanted to love, but I turned 'round and hated it," and her strong, glaring delivery of that second line - as if she's making eye contact through her voice - reinforces not just the wordplay, but the cheated disappointment of the sentiment.  From: https://pitchfork.com/reviews/albums/6050-comfort-of-strangers/

Carole King - Pleasant Valley Sunday (demo)

 #Carole King #singer-songwriter #pop #folk pop #pop rock #Brill Building #1960s #1970s

Carole King established her solo career in 1971 with her hit album Tapestry, but in the lead up to this she had already written hits for artists such as The Shirelles, Aretha Franklin, The Monkees, The Drifters and more. To celebrate her music and 'Beautiful - The Carole King Musical' currently in London, we've put together a list of popular songs you probably didn't know were hers.

The Beatles - 'Chains' 1963

Originally written for girl group The Cookies, 'Chains' became a popular cover song for Liverpool bands, and was an early track in The Beatles' live sets. In 1963, The Beatles recorded a version for their debut album LP Please Please Me. George Harrision took lead vocals and this was the first time fans heard him singing on a commercially-released song.

Dusty Springfield - 'Goin’ Back' 1966

Made famous by Dusty Springfield, the song perfectly describes the loss of innocence when becoming an adult, and hoping to recapture an essence of youth. David Crosby lost his place in the Byrds after criticising their decision to record the song. It has been covered by Freddie Mercury, The Pretenders, Bon Jovi, Phil Collins and Diana Ross among many others.

The Shirelles - “Will You Love Me Tomorrow” 1960

The Shirelles' original is one of the most well-known soul tracks ever recorded. Lead singer Shirley Owens originally didn't want to record this track, as she believed it sounded too country. This became Carole’s first No. 1 at the young age of 18. It was later recorded for her 1971 album, Tapestry. It has been covered countless times, by everyone from Dusty Springfield to Amy Winehouse. Apparently, Carole hailed the Bee Gees' cover as the "definitive" version.

The Monkees - 'Pleasant Valley Sunday' 1967

Gerry Goffin wrote the lyrics about the faults of suburban life, based on the street he and Carole lived on called Pleasant Valley Way in West Orange, New Jersey. It became one of The Monkees' most successful singles.

The Byrds - 'Wasn’t Born to Follow' 1968

Released in 1968 on 'The Notorious Byrd Brothers' album, it was used the following year to great effect on the soundtrack of Easy Rider. It has also been covered by Dusty Springfield, appearing on the 1999 'Dusty in London' album of lost recordings. Carole recorded her own version in 1969 when she was fronting a group called 'The City'.

Steve Lawrence - 'Go Away Little Girl' 1962

The lyrics consist of a man asking a young woman to get away from him, so that he will not be tempted to cheat on his girlfriend and kiss her. Control yourself, please. Later recorded in the 70s by Donny Osmond.

Aretha Franklin - '(You Make Me Feel Like) A Natural Woman' 1967

Made famous by Aretha Franklin, it also appears on Carole's 1971 album, Tapesty. This powerful song has been taken on by various female powerhouses, including Celine Dion, Mary J Blige, Kelly Clarkson, Bonnie Tyler and, obviously, Rod Stewart.

From: https://blog.seetickets.com/2016/01/18/19-popular-songs-you-might-not-have-known-were-written-by-carole-king/

Carole King & Gerry Goffin

 

Patti Smith - Dancing Barefoot

 #Patti Smith #art punk #proto-punk #art rock #hard rock #new wave #alternative rock #singer-songwriter #1970s

Jeanne Hebuterne was married to a famous artist in the early 1900s. They had a child together, and she was pregnant with another. In 1920, her husband died, from either drug addiction, illness (or both). Two days later, Jeanne threw herself off a building, killing herself and her unborn child, leaving their first child orphaned. In ‘Dancing Barefoot’ Patti Smith looks at this shocking story of love, loss and grief, probably through the lens of her own relationships. She grabs the cliche "Oh God, I fell for you" with both hands, and twists it into a grotesque meditation on love and death. That last line is repeated over and over while Smith recites some cryptic poetry, probably representing the last thoughts in Jeanne's mind before she died.  From: https://songmeanings.com/songs/view/3530822107858544768/

"I had the concept to write a lyric line that would have several levels - the love of one human being for another and the love of ones creator," Patti Smith wrote on her website. "So in a sense, the song addresses both physical and spiritual love."
The lyrics didn't come with the album, but a blurb on the sleeve read, "Dedicated to the rites of the heroine," which was the only way to know for sure that Smith wasn't singing the homophone "heroin." Smith says she was asked to change the word to avoid confusion and make the song more marketable, but she refused. This certainly stymied the song commercially, but Smith wasn't going to compromise her art.
Jim Morrison of The Doors was an influence on this song. "I always imagined Jim Morrison singing it, which resulted in me singing and recording it in a lower vocal register," Smith wrote. "I wanted the verse to have a masculine appeal and the chorus to have a feminine one." At the end of the song, Smith recites some of her poetry ("The plot of our life sweats in the dark like a face..."), which is something Morrison innovated on Doors songs like "Peace Frog" and "The WASP (Texas Radio and The Big Beat)." In some live versions, Smith would start the song with this spoken intro:
    We shut our eyes, we stretch out our arms
    And whirl on a pane of glass
    An affixation
    A fix on anything
    The line of life, the limb of tree
    The hands of he
    The promise that she
    Is blessed among women
"Dancing Barefoot" is one of Smith's most popular songs, and one of her favorites, performed at most of her concerts. It was never a hit, but neither were any of her songs with the exception of the Bruce Springsteen-written "Because The Night." Considering her acclaim it's surprising how few albums she sold and how rarely she made the charts. A song like "Dancing Barefoot" certainly could have become a hit if she had made some concessions and did the standard promotion, but that wasn't her M.O. Fans, journalists, and other musicians (like Springsteen) did what they could to spread the word, but mass appeal eluded her, which seemed to be for the best. Even decades later, many listeners are pleasantly surprised to discover her music and peel back the layers of her lyrics.
On the album notes, the song is dedicated to "Jeanne Hebuterne, mistress of Amedeo Modigliani." Modigliani was an Italian painter who died from tuberculosis in 1920. The next day, Hebuterne joined him in death by jumping out of a window.
"Dancing Barefoot" is the theme song to the 2023 miniseries Daisy Jones & The Six, about a fictional band from the '70s. The series uses a lot of original music, but producers felt "Dancing Barefoot" encapsulated the story better than anything they could write. The main character, Daisy (played by Elvis Presley's granddaughter Riley Keough), makes a spiritual connection with music that eventually leads her to the band.
From: https://www.songfacts.com/facts/patti-smith/dancing-barefoot

Sally Rogers & Claudia Schmidt - Way Down The Road

 #Sally Rogers #Claudia Schmidt #folk #traditional #Americana #contemporary folk #singer-songwriter #a capella

Sally Rogers is a singer/songwriter and educator, who is originally from Beulah, Michigan and now resides in Pomfret, Connecticut. In her youth, Sally lived by the family farm and was exposed to music at an early age, as her mother was a pianist and the organist for the local church. Folk music was very popular in the ‘60s and early ‘70s, and singers like Joni Mitchell, Joan Baez and Judy Collins, were dominating the charts. After receiving a guitar for Christmas, Sally began to learn and explore songs from these and other popular artists. During her college years at Michigan State University, she studied Music Education and frequented the legendary coffee house The Ark… which showcased popular touring folk artists of the day. At The Ark, she attended ballad workshops, hoots, guitar and folk gatherings. During this time, she added the dulcimer and banjo to her arsenal and continued to expand her repertoire. After graduating college with a teaching degree, Sally began to perform regularly at local venues and clubs. She met the established Canadian folk singer Stan Rogers and he persuaded her to audition for a booking agency in Toronto. This turned out to be a good move because after passing the audition, she began to perform at major festivals and fine venues throughout Canada and the United States.  From: https://musicguy247.typepad.com/my-blog/2020/05/sally-rogers-interview-mountain-dulcimer-music-teacher-claudia-schmidt-howie-bursen-quilts.html

I first heard Craig Johnson sing "Way Down the Road" at the North Country Folk Festival in Ironwood, Michigan, where I was also performing. The version of "Way Down the Road" that I transcribed from Craig's set at the North Country Folk Festival is quite close to the version attributed to Sally Rogers. The differences are minor, mainly in syntax and punctuation. Since I was sitting next to Sally during Craig's performance, it is reassuring to know that our versions are nearly identical. Although I lost my transcription a while ago, I was able to reconstruct it from the information on this thread.
- Brian Humphrey

I remember back in '33
When we were still down in Tennessee,
Just gettin' by took all your time,
Away down the road.
The word went out in '41
Uncle Sam said get the big job done,
So we hired out at Willow Run
Away down the road.

Blow your whistle up through the pines
Out across the mountains and the Clinchfield Line
Blow for better times
Away down the road

Well we come from the mountains and the damp coal mines,
Started in to working on Henry's lines,
Eight hours steady and overtime,
Away down the road.
The city folks didn't want us 'round,
So they moved us out to the edge of town,
Salt box houses on the bulldozed ground,
Away down the road.

Chorus

We were strong backs bending in the welder's light,
Rivet guns pounding on a windy night,
A rich man's war, a poor man's fight,
Away down the road.
Punch in, punch out, make your time,
Hurry with the turret boys, you're getting behind,
The bombers roared low in the blacked-out skies,
Away down the road.

Chorus

You try to pay the rent man, try to save a buck,
Patching up the tires on a wore-out truck,
City folks pass and holler "Hey Kentuck",
Away down the road.
You say you'll move back south when the war gears down,
But your dreams die easy when your check comes round,
Caught between the mountains and a factory town,
Away down the road.

Chorus

Now the plant's closed down and the gates are closed,
New cars rust in the rain and snow,
Let me sleep where the gunstick laurel grows,
Away down the road.
You can bury me down in Tennessee,
'He lived for a dollar' - let my tombstone read
And died unknown in a strange country,
Away down the road.

From: https://mudcat.org/thread.cfm?threadid=534

Jorma Kaukonen - Genesis

 #Jorma Kaukonen #ex-Jefferson Airplane #ex-Hot Tuna #folk rock #blues rock #acoustic blues #singer-songwriter #1970s

Genesis, the opening song on Jefferson Airplane guitarist Jorma Kaukonen’s first solo album from 1974, has always been a favorite of mine. It details his plea toward a new beginning that was needed in his relationship with his wife, due to some typical thoughtless indulgence that frequents the lives of traveling musicians. In the liner notes of the re-release we read the following:
Although a wistful romantic ode on its surface. what many apparently don’t realize is that the song is a confessional. Says Jorma, “It’s about a guy who cheated on his wife and got caught. I was living the rock and roll life and one thing led to another and I was forced to fess up. The good news is I got a good song out of it. The bad news is I don’t even remember who it was that caused the song to be written. “At the time,” he continues, “my wife Margareta and I realized we were really miserable and we were trying to be happier together. I was writing a lot of true love songs—true love almost always gone wrong but saved at the last moment. Some people have suggested that wouldn’t it be nice if you could write songs like ‘Genesis’ all the time, and I always say, “Yeah, it would be, but it would be great not to have to be in the place I was when I wrote it.’ Many of the best songs get written in a state of abject misery. I prefer to write fewer songs and have less cataclysmic events in my life.”
Thus, “Genesis” is one of those songs that is ultimately both sad yet beautiful. Sad in it’s potentially cataclysmic origination yet beautiful in its expression of a new beginning. The “flying angel” cover art used for the album called “Quah” was created by his wife. Jorma dedicated the re-issue of the album to the memory of Margareta.  From: https://manifestpropensity.wordpress.com/2014/01/25/genesis-by-jorma-kaukonen-a-song-born-from-the-cataclysmic/

Jorma Kaukonen's 50 plus year career began in his hometown of Washington DC when he and friend Jack Casady formed their first band, the Triumphs. Later, attending Antioch college, Kaukonen learned the fingerpicking style of guitar playing and got his introduction to the music of the Reverend Gary Davis which became an integral part of his performances. Moving on to northern California, Kaukonen enrolled at Santa Clara University where he played in coffee houses and accompanied Janis Joplin on some acoustic demos. From there Kaukonen helped form Jefferson Airplane, followed by Hot Tuna and when that band broke up, he continued a solo career he began when Hot Tuna was still active. Jorma Kaukonen has continued his solo career and work with Hot Tuna over the decades. His career has also been marked by numerous collaborations, from working with Jaco Pastorius to collaborating with former members of the Grateful Dead.  From: https://wnrn.org/decade-of-difference-jorma-kaukonen-2/

Andy M. Stewart - By the Hush

 #Andy M. Stewart #ex-Silly Wizard #Scottish folk #Irish folk #traditional #singer-songwriter

Andy M. Stewart was a Scots singer and songwriter who was at the forefront of a resurgent contemporary Scottish folk scene in the 1970s as the voice of the Edinburgh-formed group Silly Wizard. In their early days the band held a residency at the small but popular Triangle Folk Club in the city, a Saturday night haunt which typified Edinburgh’s rich folk scene of the time alongside venues like the Crown and Edinburgh Folk Club; at the height of their popularity they toured to great appreciation in Europe and the United States – and sold out an annual engagement at the Playhouse during the Edinburgh Festival. The reasons for Silly Wizard’s success were many, but easy to broadly sum up: on the one hand, the striking musical virtuosity of the prodigiously talented young brothers Johnny and Phil Cunningham from Portobello, on the other the marvelously soft but powerful vocal ability of Stewart, and in between the skills of key prime-era members Gordon Jones and Martin Hadden.
A well-spoken raconteur on the live stage, whose ability to introduce his songs informatively and with genuine humor enhanced the experience of hearing them, Stewart wrote music and lyrics which are – particularly in the case of his ballads – rich and still freshly emotive. A skilled banjo player who used his middle initial to distinguish himself from the elder Scots singer who shared his name, Stewart’s skills lay in interpreting Scottish folk standards and in writing additions to the canon which were at once traditional and modern. His songs ran a range of emotions from the delicate romance of The Queen of Argyll to the knowing humor of The Ramblin’ Rover.  From: https://www.scotsman.com/news/obituaries/obituary-andy-m-stewart-singer-and-songwriter-1997406

By the Hush / Paddy's Lamentation

O.J. Abbott from Hull, Quebec, sang the emigrant and Civil War song By the Hush, Me Boys in a 1957 field recording made by Edith Fowke. It was included in 1961 on his Folkways album Irish and British Songs from the Ottawa Valley, and in 1975 on the Leader album Far Canadian Fields, which was offered as the acoustic companion to Fowke's Penguin Book of Canadian Folk Songs. She noted in the Leader album's booklet:
Although this song obviously came out of the American Civil War it seems to be unknown in the United States. O.J. Abbott learned it from Mrs. O'Malley, the wife of an Ottawa valley farmer, for whom he worked back in the 1880s. We can only surmise that she must have heard it from some Irish-American who wandered up to Canada after the Civil War.
This is an interesting combination of two themes common in many Irish songs: that of emigrating, and of becoming involved in other countries' wars. Of course thousands of Irish emigrants did ‘fight for Lincoln’, and the ‘General Mahar’ mentioned was probably General Thomas Francis Meagher, commander of the famous Irish Brigade that distinguished itself on the heights of Fredericksburg and in the battle of Richmond. His promise of a pension ‘if you get shot or lose your head’ is a fine example of Irish graveyard humour.

Edith Fowke collected this song, also known as Paddy's Lamentation, in 1957, from O.J. Abbott (1872-1962) who was born in Enfield, England, and came across to work in Ontario lumber camps. It has been found in print as a broadside ballad called Pat in America, but it appears that Abbott's version might be the only one collected in oral tradition. The realisation that Irish immigrants were essentially drafted off the ships into the Union Army during the Civil War provides the distressing backdrop for this song. General Meagher led the renowned Irish-American Sixty-Ninth Brigade from New York.

Will Finn and Rosie Calvert sang Paddy's Lamentation in 2018 on their Haystack album Beneath This Place. They noted: A song from the Irish Diaspora, this story was unfortunately true for millions of Irish immigrants who fled terrible conditions in Ireland for the promise of a new start in America, only to be conscripted into a civil war that they had no stake in.

More Maids sang By the Hush on their 2021 CD Fourmaids. They noted: This song is among the first ones Barbara Coerdt learnt when she started getting interested in Irish Music, and she is very grateful to have come across it on Andy M. Stewart's epic solo recording. It is one of the saddest emigrant songs as it tells the story of a man who gets no chance to start a new life but is drawn into the American Civil War, loses his leg and is denied the pension he was promised. In the end he only wishes to be back home, poor in “dear old Erin”—“dear old Ireland”.

From: https://mainlynorfolk.info/folk/songs/bythehush.html

Laura Love - I Am Wondering

 #Laura Love #folk #Afro-Celtic #Americana #Afro-Carribean #folk pop #funk #R&B #world music #singer-songwriter

Laura Love's restless, musically adventurous spirit has carried her in a remarkable array of directions. A bass player with a unique vocal style, Love has performed everything from grunge to jazz to bluegrass. She has covered songs as diverse as Hank Williams' I'm So Lonesome I Could Cry, Jackie DeShannon's Put a Little Love in Your Heart, and Kurt Cobain's Come As You Are. Most remarkably, she has melded her own funky, folky genre from African and Caribbean rhythms, Irish melodies, and R&B. She calls it Afro/Celtic. "Love has a powerful raspy voice not unlike Toni Childs, and she uses it to full advantage — howling , crooning, and even yodeling," Lahri Bond wrote in Dirty Linen magazine. "These tunes usually have spiritual underpinnings that give Love's lyrics a simplicity with a lot of depth. Love often strings together 'nonsense' words that serve as rhythmic connecting devices similar to scatting or African chant."
With self-deprecating wit, the singer described her sound to Billboard as "more like confusion than fusion. I don't really devour a lot of music, but I hear snippets here and there at festivals without meaning to. Some of it just sinks in — the really emotionally grabbing stuff — and sticks with me. But I've always loved Appalachian — the high lonesome, bluegrassy, mournful, minor-key white soul music — and I love black soul music. Time magazine music critic Christopher Farley has described Love as more traditionally folky than musically exotic, believing that Love could be a descendent of Joni Mitchell, and her songs address typical coffeehouse subject matter. "Love has a voice rich with dark shadings and rural twang," Farley wrote. "She calls her music Afro/Celtic, but it's mostly front-porch folk with a few twists."
Love made her jazz-singing debut for a "captive audience" at a penitentiary in her home state of Nebraska in the early 1980s. She was 16 years old. Later, she developed a following in the Seattle music scene, where she played grunge rock in the early years of her career. Eventually, Love found — or, more accurately, created — her own niche. "The Afro-Celtic label doesn't communicate the full flavor of Love's songs," Nelson George wrote in Playboy. "Her songs have bright, lilting melodies that contrast nicely with lyrics that focus on poverty and pain. But Love isn't as heavy-voiced or didactic as Tracy Chapman. Her vocals are lighter, higher-pitched, and less guarded than those of her fellow pop-folkie. As pained and bitter as the songs are, Love suggests there's room for optimism."  From:https://musicianguide.com/biographies/1608000914/Laura-Love.html

 

Richard & Linda Thompson - A Heart Needs A Home

 #Richard & Linda Thompson #folk rock #British folk rock #contemporary folk #singer-songwriter #ex-Fairport Convention #1970s #music video #The Old Grey Whistle Test

Richard Thompson left Fairport Convention after 1970’s Full House, his reputation secured as an excellent songwriter and guitarist. He released a spectacularly unsuccessful solo album, Henry the Human Fly, in 1972. He then married Linda Peters and they released six albums between 1974 and 1982; their relationship broke down before an ill-fated North American tour in 1982. The duo’s music is often melancholic, and it’s a common trick of Richard Thompson to pair upbeat music with depressing lyrics. They often play acoustic folk-rock, especially on their early albums, but 1978’s First Light uses an L.A. rhythm section and 1982’s Shoot Out The Lights has few vestiges of folk remaining. Linda and Richard share the vocal duties – while Richard’s gruff voice is limited, Linda’s pristine voice is able to capture a range of moods, from joy on ‘I Want To See The Bright Lights Tonight’ to resignation on ‘Walking on a Wire’. The pair’s first album, 1974’s I Want To See The Bright Lights Tonight and their 1982 swan song Shoot Out The Lights are generally considered as their strongest. In between they spent time in a Sufi Muslim commune, taking three years away from music. Richard has stated that he considers their late 1970s albums as weak, as he didn’t have his mind on the job.  From: https://albumreviews.blog/reviews/1970s-album-reviews/richard-and-linda-thompson/

Linda Thompson's experience with Sufism was, by her own reckoning, not such a good one. She moved to a commune in Maida Vale with Richard, then her husband, after making "Hokey Pokey," and she describes her experience there as grim and self-punishing. For awhile, Richard's mullah told him not to play the guitar, so he didn't play the guitar. Richard & Linda Thompson, British folk-rock royalty, disappeared for a few years in the mid-'70s. Before they did, they sent this epistle. "A Heart Needs A Home" pointed straight toward the "Pour Down Like Silver" LP, Thompson's most explicit bout of Sufi songwriting. "Home" caps "Hokey Pokey," a collection of songs that describe the world as a cold, forbidding, sin-soaked place. Richard Thompson turns to Allah in emptiness, and finds fulfillment there. Odd, then, that he didn't sing it. He gave the song to Linda. Perhaps he identified with her so strongly back then that he felt no separation between his perspective and hers. Or maybe he was trying to convince her of something. Since leaving the commune (and the marriage), she's occasionally suggested that her heart was never really in it; that she followed Richard to Maida Vale because she loved him, and she wore the headscarf because that's what was expected of her. Do we believe her? She certainly does not look uncomfortable singing "A Heart Needs A Home." On the contrary: Linda Thompson is completely possessed, her eyes on the great beyond. Maybe she's singing about Richard, maybe she's singing about Allah. Maybe it doesn't matter. The Sufis have a concept called wahdat-al-wujud: God is the only reality, and all that we perceive is a decipherable pattern emanating from Allah. Nothing exists that isn't a piece of the divine. Linda might have got it better than the mullah did. She might have got it better than Richard did.  From: https://www.nj.com/entertainment/music/2010/08/song_of_the_day_a_heart_needs.html

First Aid Kit - War Pigs

 #First Aid Kit #indie folk #Americana #country folk #folk rock #folk pop #singer-songwriter #Swedish #Black Sabbath cover #music video

You wouldn’t imagine that the mellow folky tones of First Aid Kit would pair well with the frenzied howling maelstrom of Black Sabbath. Sometimes defying convention is a thrill and music proves that time and time again. In fact, defying convention is something that First Aid Kit have had to do in their own usual field anyway. "We had a lot to prove, especially being in a genre that’s dominated by a certain type of man – you know, nerdy, bearded men listening to folk,” Klara Söderberg told The Telegraph. “We felt we had to prove we were serious about music and we weren’t just doing this because we thought it was trendy.” Her sister Johanna adds: “I felt there was a lot of sexism in that as well.” Thankfully, they persevered and have been offering up blissful music ever since, not least last year’s cracking album Palomino. Throughout their musical journey so far, they have remained defiant enough to venture into a range of genres and let their individualism and undoubted talent shine through.
That’s just as well when it comes to covering Black Sabbath because very few songs have the raw, mystic power that the anti-war juggernaut of ‘War Pigs’ contains. It is, in essence, an outcry. “Britain was on the verge of being brought into the Vietnam War,” Geezer Butler recalls, “there was protests in the street, all kinds of anti-Vietnam things going on. War is the real Satanism. Politicians are the real Satanists. That’s what I was trying to say.” The anthem remains one of the great opening tracks, blasting Paranoid off like the gunshot at the start of a race. Everything about the band was rough, tumble, and raw. Even their debut album was pieced together in a day, as Tony Iommi recalls, “We thought we have two days to do it and one of the days is mixing. So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff.” While Ozzy Osbourne’s thunderous screech is hard to match, the duo bring their own sense of power to it. As Alex Turner of the Arctic Monkeys once correctly identified, there is just something special about siblings harmonizing.  From: https://faroutmagazine.co.uk/first-aid-kits-cover-black-sabbath-war-pigs/

Carly Simon - That's The Way I Always Heard It Should Be

 #Carly Simon #pop rock #folk rock #singer-songwriter #1970s #music video #TV concert

Most love songs exist in the present tense: “I love you.” Occasionally, some delve into the past, reminiscing about when the lovers met or how far they’ve come in their relationship. The idea of the future in these songs tends to be hazier, defined at best by an assumption of everlasting love. (Even the seemingly noncommittal “I may not always love you” of “God Only Knows” is a red herring.) The narrator of Carly Simon’s 1971 single “That’s the Way I’ve Always Heard It Should Be,” however, is fixated on predicting the future of her relationship, and what she foretells is bleak. She and her husband-to-be may be in love now, but within that love, hate - for each other, for themselves - lurks like a dormant virus. For her, a marriage proposal isn’t a declaration of love; it’s the trigger for that virus to attack, replicating itself till they’re both stricken.
As Carly Simon’s first single and opening track on her debut album, “That’s the Way I’ve Always Heard It Should Be” (co-written with lyricist Jacob Brackman) introduced the singer as an archetypal ’70s woman, attempting to reconcile traditional relationship models with the gains of second-wave feminism. On the surface, the sentiments in the song’s chorus could have been drawn from a wedding song like “Chapel of Love,” where marriage stands for happily ever after:“you say it’s time we moved in together/ and raised a family of our own, you and me.” The minor-key verses surrounding the chorus, however, bespeak only doubt. Simon recounts her negative observations of other married couples over a fragile piano-strings arrangement: her parents ignoring each other in separate rooms; the frustration and dissatisfaction of her college friends.
Rather than marriage bringing two people together, all she can conjure is disconnection, the couples uniting only to “cling and claw and drown in love’s debris.” She also worries that marriage will mean giving up an equal relationship for the lesser position of wife (“you say we’ll soar like two birds through the clouds/ but soon you’ll cage me on your shelf”). It’s this sacrifice that she fears will breed hate, from resentment between the two partners, to self-loathing, to eventually even disgust from their future children.
Her dismal observations in the verses shift to his entreaties for marriage in the chorus, and with his more conventional perspective comes a more conventional rock arrangement. Thudding drums trample over the music-box instrumentation. The tinkling piano keys swap out for crashing chords. Simon’s voice is no longer a whisper tip-toeing around empty hallways, but something more forceful, even a little sarcastic (see the title line).
By the end of the chorus, though, the brashness fades. The instrumentation drains away, leaving Simon’s voice suspended in midair, supported by only a faint string line. Her tentative “we’ll marry” sounds less like a statement of purpose than a question, an impression furthered by the unresolved melody line. By the third and final chorus, she appears to have assented to his proposal, altering the opening of the refrain from “but you say it’s time” to “well, OK, it’s time.” Simon’s voice on the final “marry” is doubled for the only time in the song’s run. Does this imply a successful partnership between the narrator and her husband? Or is it the ghost of her future self, echoing from a lonely room?
Crucially, the words “hate” and “love” appear exactly the same number of times in the song (twice each), creating a perfect ambiguity as to which path their marriage will follow. For all the narrator’s prognostications of misery, the song suggests there’s an equal chance that the relationship will continue to flourish. She can be no more certain of her future than those lovers in songs foretelling eternal bliss.
From: https://oneweekoneband.tumblr.com/post/39585806110/carly-simon-thats-the-way-ive-always-heard-it

The Schaefer Brewing Company had been sponsoring a summer concert series in New York’s Central Park prior to 1971. In August of that year, The Beach Boys, Ike and Tina Turner, and several others hosted the Good Vibrations From Central Park show. The who’s who of the music world was in attendance. James Taylor, Carole King, Art Garfunkel, and George Harrison. Not to mention the hosts, The Beach Boys and Ike and Tina Turner. The magic was certainly alive that night. One of the most well-received acts was Carly Simon.
This was one of Carly’s first appearances on National Television as a solo artist. She had been performing with her sister Lucy as a duo named The Simon Sisters for a few years. Carly walked on stage, captivating the hundreds of attendees in the audience. Her stage presence was insanely awe-striking. She performed two songs that later became hits. “Anticipation” was performed but wouldn’t be a hit for another six months. Next, Carly sang “That’s The Way I Always Thought It Should Be.” Simon mentioned prior to singing it, “Gonna sing a song that I heard on Jone’s Beach today. Anyways, it’s kinda a weird song about marriage.” This was Simon’s first single. She received a standing ovation by whistling and applauding fans. Some of her contemporaries listened to the budding star backstage. Art Garfunkel and George Harrison chatted in the wings, and I’m sure they were just as awe-struck as the Central Park attendees. From: https://dailyrockbox.com/carly-simon-gets-standing-ovation-guess-whos-backstage-listening/

Betty Davis - Nasty Gal

 #Betty Davis #funk #R&B #soul #funk rock #singer-songwriter #1970s

Picture yourself in a hot sweaty New York City nightclub in 1969, surrounded by the musical elite: Miles Davis, Jimi Hendrix, Sly Stone. The drums are pounding, an out-of-tune guitar is wailing. A beautiful woman crawls across the stage, growling into the microphone, her voice summoning fierce femininity and raw sexual energy, taking rock ‘n’ roll into a new era of sound — gritty, unbridled and raunchy. No, it’s not Janis Joplin or Tina Turner. Her name is Betty Davis. But no one would fault you if this wasn’t your first guess. When Betty Davis died on Feb. 9, the world lost a groundbreaking artist who created and inspired many of the famous sounds of the 1970s, and yet her name was omitted from the lexicon of musical history until recently. Obituaries are pouring forth, lauding her genius and contributions and lamenting her lack of commercial success. What very few of these official records of Davis’ life will state outright, however, is that her lack of recognition was a direct result of misogyny and racism.
Growing up in 1990s Berkeley, I had no clue Betty Davis existed. Bay Area rock was Santana, the Grateful Dead, Journey. Rock ‘n’ roll spoke to this 14-year-old Black girl’s alienation and frustration with the world, but also perpetuated those same feelings of alienation. I was the lone Black female face at every concert I went to. Local bands Green Day and Rancid were carrying on Berkeley’s rock legacy, yet that lineage was consistently represented as male and mostly white. I first learned about her by reading Miles Davis’ autobiography. By this point I was a professional background singer touring with local funk bands. Even as I performed with artists such as George Clinton or sang alongside members of Fishbone, I still thought my role in rock was to support a man musically. In his book, Miles described his second wife as an unparalleled performer. The woman who inspired his 1970 album “Bitches Brew.” The woman who changed his style and musical ear. It was an inspiring recollection of her. But Betty Davis remained a rock ‘n’ roll mirage. What happened to her? How had this larger-than-life woman been reduced to an anecdote in her ex-husband’s book?
In 1968, Betty Davis (then Betty Mabry) was a fixture of the New York club scene. She had built somewhat of a name for herself as a songwriter, most notably penning the Chambers Brothers’ hit “Uptown (to Harlem).” Known for her wild stage antics, flamboyant fashion and sexual magnetism, she was primed for stardom. She was friends with Jimi Hendrix and Sly Stone. She went from dating South African trumpeter Hugh Masekela to marrying American trumpeter Miles Davis in 1968. By the next year, she was recording her first album for Columbia Records with her husband at the helm. Betty Davis embodied punk rock and brought feminine sexuality to the fore, long before Madonna writhed in a wedding dress singing “Like a Virgin.” She created gritty punk/funk long before Rick James proclaimed it as his own. She bought Miles Davis his first wah-wah pedal, inspiring his foray into fusion with “Bitches Brew.” She was gestating the future of music but, even then, the record execs balked at her fierce rock ‘n’ roll. When her relationship with Miles dissolved, her recordings were shelved in a vault. Leaving New York behind, Betty migrated to San Francisco, finding communion within the Bay Area’s music community. Recorded at San Francisco’s renowned Wally Heider Studios, her debut album, “Betty Davis,” featured the region’s top musicians, including members of Sly & the Family Stone, Santana and the Pointer Sisters. It was a confident, alluring funk record, and it declared her prowess as both a woman and a rock star. She followed it up with “They Say I’m Different,” recorded at Sausalito’s Record Plant, and “Nasty Gal,” for which she went back to New York. Davis released these albums in a burst of creative energy, one each year from 1973 to 1975. Betty’s music should have fit right into the social climate of free love, feminism and civil rights in 1970s San Francisco. Instead, the public backlash was swift and crippling. The NAACP teamed up with conservative church groups to have her banned from radio for “indecency.” She was boycotted. Prevented from performing. Her album sales floundered. While white women were allowed to be sexually liberated in the free-love era, Black women were not. While Black men were allowed to gyrate onstage, Black women were not. The same sexual magnetism that made Robert Plant famous was indecent coming from Betty Davis. The American people couldn’t handle a fully empowered Black woman like Betty Davis making rock ‘n’ roll.
Eventually her music went out of print, and she went on to live a quiet private life far from her previous incarnation as a punk-funk queen. Then, as the decades passed, the tides began to change. In 2007, I opened a copy of The Chronicle with the headline “A funk queen steps out of the shadows,” written by acclaimed music critic Jeff Chang, about two of Betty Davis’ albums being rereleased. I clipped the article, ran to Amoeba Records and listened to her music. In the newspaper’s picture, I saw myself. In the music, I heard who I could be as a funk diva. With each Betty Davis rerelease, multitudes of young Black women have been able to see their embodied selves through her music. And thankfully, Betty, who died at 77, lived long enough to see it. Nearly 50 years after the release of her debut alum, Betty Davis has legions of disciples, each of us born from her vision of Black female empowerment. Amongst my local community of Black women in rock, I hear these sentiments echoed. “She showed me I could have raunchy, sex-kitten swag, and still be soft,” Oakland rock musician Femi Andrades told me. “Her music gave permission to express my rage, my sexuality, myself, unfiltered. Raw.” Berkeley singer-songwriter Viveca Hawkins said simply, “I’m grateful to know that it’s OK to be that bold.”
From: https://datebook.sfchronicle.com/music/how-betty-davis-paved-the-way-for-black-women-in-rock-and-funk

Fotheringay - Too Much Of Nothing

 #Fotheringay #Sandy Denny #Trevor Lucas #folk rock #British folk rock #singer-songwriter #ex-Fairport Convention #Bob Dylan cover #1970s #Beat-Club

Fotheringay was a short-lived British folk rock group, formed in 1970 by vocalist Sandy Denny on her departure from Fairport Convention. The band drew its name from Denny's 1968 composition "Fotheringay" about Fotheringhay Castle, in which Mary, Queen of Scots, had been imprisoned. The song originally appeared on the 1969 Fairport Convention album, What We Did on Our Holidays, Denny's first album with that group. The band expressed Denny's vision of the potential of folk rock to express complex meaning and deep personal emotion, using traditional ballad forms, but with the power of a rock band. Their self-titled first album was one of only two albums, as they broke up a year later, in January 1971, while working on their second (recently released). The rhythm section was formed by Gerry Conway and Pat Donaldson, lauded by Denny as the best in the business. In the absence of Richard Thompson - who was prepared to tour with her, and act as session musician, but wanted to follow his own career - lead guitar was taken by Jerry Donahue, whose transatlantic country roots and softer personality brought a different, less edgy feel to the music. However he was a skilled technician, with great feel, as he showed on their album, and later Fairport Convention records. The group was completed by rhythm guitarist and second lead vocalist Australian Trevor Lucas, whom Denny was to marry, and who also later accompanied her back into Fairport.  From: https://www.last.fm/music/Fotheringay/+wiki

Emmylou Harris - Wayfaring Stranger

 #Emmylou Harris #folk #country #folk rock #country rock #Americana #progressive country #traditional #singer-songwriter #bluegrass

There have been many iconic pairings in country music and about half of them involve Emmylou Harris. Gram and Emmylou. Willie and Emmylou. Skaggs and Emmylou. Linda Ronstadt and Emmylou. The list could go on through a litany of country greats and each one would probably remember their collaboration with Harris as among the highlights of their career. One of the most powerful harmonizers in the genre, her delicate singing style had a thread of iron running through it, a strength that gave her mournful twang a heartrending power that made her contributions to ballads and breakup songs essential to the evolution of country as a whole. It’s a shame then, that her solo career should be, while overall consistent, somewhat of a letdown, with a string of minor classics early in her career followed by a slew of releases that never really lived up to everything she offered as a singer. There are, to my mind, two albums that fully live up to the enormous artistic talent Emmylou’s displayed over the years: the titanic comeback that was 1995’s Wrecking Ball, and Roses In the Snow, perhaps the most complete expression of Emmylou’s potential and the perfect closer for the early period of her career.
Roses In The Snow, for the most part, stays true to bluegrass convention, although the music occasionally tends toward gospel and her country roots, two styles which have always had significant overlap with bluegrass. Ranging from wellworn classics to new compositions, she effortlessly makes each piece her own, indelibly marking her takes on the old classics and claiming the new cuts as incontrovertibly her own. Her take on Wayfaring Stranger, one of the archetypal examples of traditional American song, instantly becomes the standard against which all other iterations of the song are measured, the doleful hymn to the hope of a better world beyond this one a clear highlight in Emmylou’s career. No less astonishing is her take on Simon and Garfunkel’s The Boxer, which, by staying largely faithful to the original within her bluegrass framework, she more than lives up to, although she can’t quite lay claim to the song like she can with Wayfaring Stranger.  From: https://www.sputnikmusic.com/review/78184/Emmylou-Harris-Roses-in-the-Snow/

Country Joe & The Fish - The Return Of Sweet Lorraine

  #Country Joe & The Fish #psychedelic rock #folk rock #psychedelic folk rock #psychedelic blues rock #acid rock #singer-songwriter #1960s

The “CJ Fish” album was the sixth to be issued by Vanguard Records in 1970, and was the last to feature new material from the group as the only subsequent album was the historical retrospective “Life And Times of Country Joe & The Fish”, issued the following year, by which time the band had broken up and Joe McDonald had embarked on a solo career. The new album can be seen as an attempt by Vanguard to see if they could steer the group towards a more mainstream pop rock position, with production duties being handled by Tom Wilson whose credits by then already included Bob Dylan and Simon & Garfunkel. The group's earlier material had been extremely varied, ranging from blues and jug band music to folk, ballads and eastern-influenced rock, but they had gradually been cutting slightly more commercial material, some of which sat in the then-emerging country rock vein almost akin to Poco and others. This however was not a country rock album, but rather a pop rock one with a more uniform set of songs that producer Wilson was able to meld into a cohesive sounding whole.
The Fish line-up that cut the album was different from what is seen as the classic one. Gone were David Cohen, 'Chicken' Hirsh and Bruce Barthol, and now alongside Joe McDonald and Barry Melton were keyboard player Mark Kapner, bass player Doug Metzner (ex-Group Image) and drummer Greg Dewey (ex-Mad River). The album opens with Melton's very pop-oriented ‘Sing, Sing, Sing’, perhaps strangely not picked for single release at the time, and he also contributes the rockier ‘Silver And Gold’. Otherwise all the songs are from McDonald's pen, and are uniformly professional, varying from the gentle piano-led jazzy ‘Mara’ and ‘She's A Bird’ with its dreamy guitar soundscape midway through to ‘Rockin' Round The World’ which is much more upbeat and funky, as you would expect. ‘Hang On’ is an easy jog-along country-tinged song, while ‘The Baby Song’ is solidly romantic and miles from some earlier Fish material, though here is a later nod to the group's past with ‘The Return of Sweet Lorraine’. Hints of Joe's political leanings surface briefly on ‘Hey Bobby’, built on the well-trodden ‘Hang On Sloopy’ chord progressions, and the album closes with another easy mid-tempo poppy song ‘Hand Of Man’.  Before this however had come the longest track, ‘The Love Machine’, which allows much more instrumental interest. The new players, on other tracks professional but somewhat anonymous, put their heads above the parapet here with some of the invention of earlier Fish line-ups. They provide sudden keyboard interjections and solos, interesting bass runs and even a strong drum break, lifting this track as one of the most interesting and evocative of the band's history. Although quite different to much of what had gone before, this album can be seen as a solid addition to the group's canon, even though it was to be their swansong, and as such no collection should be without it.  From: https://acerecords.co.uk/c-j-fish

Sally Rogers & Claudia Schmidt - Some Fathers Have Gone To Glory

 #Sally Rogers #Claudia Schmidt #folk #traditional #Americana #singer-songwriter #contemporary folk #a capella

A version of this Appalachian spiritual,  titled "Some Mothers Have Gone to Glory," was sung by Jean Ritchie in 1951 and recorded by Alan Lomax.

Pioneering the use of stereo recording in the field, Alan Lomax made his “Southern Journey” in 1959–60, returning to the rural South (after 10 years abroad) and rediscovering its still-vital traditions. He traveled from the Appalachians to the Georgia Sea Islands, from the Ozarks to the Mississippi Delta, recording blues, ballads, breakdowns, hymns, shouts, chanteys, and work songs. When they were released by Atlantic Records (1960) and Prestige Records (1962), these recordings served as inspiration and guide to a new generation of musicians passionately interested in the heritage this music represents.  From: https://www.culturalequity.org/rounder-records/southern-journey

 Alan Lomax was an American ethnomusicologist, best known for his numerous field recordings of folk music of the 20th century. He was also a musician himself, as well as a folklorist, archivist, writer, scholar, political activist, oral historian, and film-maker. Lomax produced recordings, concerts, and radio shows in the US and in England, which played an important role in preserving folk music traditions in both countries, and helped start both the American and British folk revivals of the 1940s, 1950s, and early 1960s. He collected material first with his father, folklorist and collector John Lomax, and later alone and with others, Lomax recorded thousands of songs and interviews for the Archive of American Folk Song, of which he was the director, at the Library of Congress on aluminum and acetate discs.  From: https://en.wikipedia.org/wiki/Alan_Lomax

 

Jean Ritchie

Lisa Loeb - Gypsies, Tramps And Thieves

 #Lisa Loeb #alternative rock #pop rock #folk rock #singer-songwriter #1990s #Cher cover

Q: You’ve had some interesting covers, such as Cher’s hit, “Gypsies, Tramps & Thieves.” Did you record the song because you like it or did someone bring it to you?

Lisa Loeb: That was one of my favorite songs from when I was growing up. There was a guy named Bob Kulich who puts together a lot of cover albums and he usually calls on heavy metal guitar players to do them.  A long time ago when I was dating Dweezil Zappa, he asked Dweezil to be a part of an Ozzy Osbourne covers album.  We both suggested that I sing “Goodbye To Romance,” which is an Ozzy Osbourne song. After a little bit of a fight Bob thought it was a good idea and I did this song with all these other great musicians playing on the track.  It was a really interesting experience and added variety to the album.  So Bob called on me to do some other covers.  When the Cher covers album came up, “Gypsies, Tramps And Thieves” was always one of my favorites.  It’s so mysterious sounding and dramatic, definitely not something I wouldn’t do myself, I don’t think.  I was so excited to have the opportunity to sing that song.

From: https://news.pollstar.com/2014/04/18/a-few-minutes-with-lisa-loeb/

Rosalie Cunningham - Ride On My Bike

 #Rosalie Cunningham #ex-Purson #psychedelic rock #art rock #neo-psychedelia #hard rock #singer-songwriter #music video

Rosalie Cunningham: The Soundtrack Of My Life

Singer-songwriter Rosalie Cunningham picks her records, artists and gigs of lasting significance, and reveals why Stackridge might be better than Genesis.

Having started out as a teenager with Ipso Facto in the late noughties, singer-songwriter Rosalie Cunningham emerged as the guiding force of Purson. The band’s billowy psych-prog sustained itself for two essential studio albums before Cunningham called time in 2017. She’s since embarked on a grippingly eclectic solo career. Her latest album, Two Piece Puzzle, is rich, dark, playful and wonderfully adventurous. We really wouldn’t expect anything less.

The first music I Remember hearing

I was exposed to a lot of cool music growing up, because my dad was a musician. But the first song I remember, when I was about three or four, was Love Grows (Where My Rosemary Grows) by Edison Lighthouse. I don’t know if it’s because the character in the song had a similar name to me, but something just sort of stuck.

The first song I performed live

My first proper gig was an underage rock night when I was thirteen. We did a short set, mostly covers, and a couple of very primitive songs that I’d tried to write. We opened with 20th Century Boy by T. Rex. The guys in the band were quite a bit older than me and were into punk, so we also played Ever Fallen In Love by Buzzcocks and something by The Misfits.

The singer

Different styles mean different favourites for me. As a frontman and singer, Freddie Mercury was just the best. When it comes to rock/soul, I’d say Steve Marriott. And for female vocalists it has to be Sandy Denny. She’s got such a rich voice, but I also love the vulnerability of it.

The songwriter

Lennon and McCartney are way above everyone else on the top tier, then it’s Bowie. He was so idiosyncratic and wrote so many great classics. He’s definitely a massive influence on me. Even if you strip him right back to just an acoustic guitar and vocal, the songs are still just as good.

The guitar hero

Mick Ronson’s signature sound had so much attitude, it was so badass. I think it’s just the best guitar sound there is. Musically, as an arranger, he was ridiculously intelligent too, which a lot of lead guitarists aren’t really known for. He was incredibly humble and understated in that sense. But when you listen to anything he was involved with, it’s quite clear he was a genius.

The greatest album of all time

My favourite Beatles album changes quite regularly, but I think Abbey Road, as a sort of final statement, is a masterpiece. It stands separate from the others. It’s so far ahead of its time, but it’s also completely timeless. My dad used to do music journalism for the live industry, and I actually met Paul McCartney backstage on his American tour in 2004, when I was fourteen. I freaked the fuck out, I couldn’t speak at all. I sat next to him eating lunch, for about an hour.

The best record I've made

I’m proud of all the Purson stuff and my first solo album, but I have to say the new one [Two Piece Puzzle], don’t I? The best is always the latest.

The worst record I've made

Ipso Facto was my first sort of proper professional band. We never actually did an album, though, just a bunch of singles. And none of them were very good. It’s charming in a way, but it’s like having an old diary from when you were a teenager out on display on the internet. It’s so embarrassing. I was far too young to be in the public eye.

The most underrated band ever

Stackridge made some incredible albums in the seventies, particularly The Man In The Bowler Hat, which was produced by George Martin. If you like theatrical, psychedelic prog, it’s genius. I’d rate it above a lot of Genesis’s stuff. I had absolutely no idea that Stackridge were uncool, so maybe that’s why they’re underrated.

The best live album

In terms of heavy rock bands, I love Deep Purple the most, probably because of the organ sound. They were really on fire with Made In Japan. That noise coming out of the speakers is like going on a ride. It blows your head off. It’s just kind of outrageous.

My guilty pleasure

I have a soft spot for musicals. I’ll stick on the Grease soundtrack and sing along with all the different parts, which drives Rosco [Wilson, her partner] absolutely mad, because he hates it.

My Saturday night party song

Rosco and I haven’t been going out much lately, but we stay in and have party nights indoors. We always put on Down In Mexico by The Coasters and that’s when the party starts. It gets us dancing around the living room.

The song that makes me cry

Howlin’ Rain’s Strange Thunder is a really moving song. The subject matter is about suicide anyway, but it’s actually the way that the song progresses, musically, that causes this tidal wave of emotion by the end. It gets me every time. There’s also an Elvis one, If I Can Dream, that really moves me whenever I hear it.

The song I want played at my funeral

I’d have to go for Gotta Get Up by Harry Nilsson, because the lyrics – taken in that context against a sort of upbeat melody – would be a nice little black comedy moment to end on.

From: https://www.loudersound.com/features/rosalie-cunningham-the-soundtrack-of-my-life

Disappear Fear - Is There Anybody Here

 #Disappear Fear #folk rock #folk pop #alternative folk #indie folk #power pop #worldbeat #singer-songwriter #1980s #1990s

Beneath Disappear Fear’s veneer of catchy tunes, poppish folk rhythms, and the sophisticated harmonies of blood sisters Sonia Rutstein and Cindy Frank, beats a heart of hardcore social feminist consciousness. Born and raised in Baltimore, the sisters formed Disappear Fear in 1987. As the name implies, they call for unity and an end to injustice, and seek to break down the prejudicial barriers that keep people apart. Rutstein composes most of the songs and her compositions have been compared to those of Phil Ochs, Joni Mitchell, and Bob Dylan. Their harmonies and approach are reminiscent of the Indigo Girls. After three critically acclaimed self-released albums and an EP, the duo signed to Philo Records. In 1995, their self-titled album for Philo Records received a Gay & Lesbian Alliance Against Defamation award for Outstanding Album. In June 1996, they released Seed in the Sahara. That same year, Sonia also began pursuing a solo career, returning to Disappear Fear only for occasional guest appearances for almost a decade.  From: https://www.allmusic.com/artist/disappear-fear-mn0000154744/biography