Tag Archives: Lp

Pachyman – Pachyman In Dub – A Review


Pachyman In Dub – Permanent Records – PERM 062

a3605236939_10Pachyman In Dub, released this year (2019) is an homage to all that was great about 1970s Dub Reggae.

Pachyman, an obvious enthusiast for Roots Rockers Reggae and the sonic qualities of that genre, delivers into ’nuff skanking ear worms deep and heavyweight  baselines, like Robbie Shakespeare in his own Barbell label days, with the accompanying phasing and echo effects of Dub Master King Tubby straight outta Drummilie Avenue and some oh so tasteful keyboards over the top in the style of Winston Wright or Bernard ‘Touter’ Harvey. You can hear the influence of producers like Bunny Lee and Lee Perry and the mixing touch of engineers like Errol Thompson and the then Prince Jammy. pachyman.bandcamp.com

His lines are choice, and he’s listened and absorbed, you can tell he has a great ear and he has heard what you have heard, and he has heard the word and that word is DUB. He plays everything and very musically indeed.

Each tune is a little ‘Dub’ gemstone, shining brightly on it’s own, and what I enjoyed was that he has treated each ‘Dub’ as a stand-alone production in their own right, i.e., unlike their 70s counterparts, they are not the re-cycled versions of vocal or instrumental original songs, they are stand alone tunes in their own right and his love for the genre rings true all the stronger for this treatment. They are each a little Dub imagining. I’m hoping we may hear a Deejay version of this Lp, or even that he retrospectively gets some singers and players to produce one away originals on the rhythms he’s created, because those rhythms are strong.

It suffers a little from the outboard he’s used to create it, as the sound at times can seem a little flat and the audio field isn’t as wide as you might want to enjoy, but something about the bottom end and mid range sound, the lack of a truly clean and crisp top end and the flat Mono nature of the mix down gives it more of an original feel. It sounds like an Lp produced, perhaps not at a leading studio of the time like Channel One, but perhaps somewhere where they hadn’t quite got the sound totally sussed yet, working on a smaller budget, possibly making it all the more accurate and retrospectively correct, .. has he gone to the ultimate degree to produce a truly ‘retro’ sound? Probably not, but it’s fun to play with the idea that the concept might just go this deep.

I only found out about this Lp a number of mere months after it was released by Permanent Records in the USA, and with no European distribution and already SOLD OUT but the time I knew of it I was left to hunt down a test pressing, pay through the nose for it and then pay the import tax when it came into the country, making it considerably more expensive than many rare Lps of original material I have sourced through the years. But, I believe it’s worth it, which says a lot I think for the quality of the music and the ear of it’s creator.

Check out ‘Jumpy’, my favourite tune of the Lp, but they’re all good. I suggest your roll up on a copy.. soon.

 

Bigmikey02112019

 

MRS Authentic Jamaican Calypsos – The Mento Series and their sleeve notes.


Authentic Jamaican Calypsos & All Jamaican Calypsos – Stanley Motta’s 10″ Lp Output

In the 1950s Stanley Motta the early Jamaican record producer, released 5 x 10″ Lps, each a collection of Mento songs and instrumentals previously released only on 78rpm single. Rare and sought after they all host a collection of illuminating sleeve notes, which reflect the perceived exoticism of a Caribbean Island holiday destination to the nascent tourist and the long held traditions of Jamaica’s people in song.

They are indispensable to any collector of early Jamaican recorded music, folk music enthusiast, or lover of the Roots of Ska, Rocksteady and Reggae. Many of the lyrics, themes and songs feature in Jamaican popular culture today and once recognised one cannot ignore Mento’s influence on all styles of Jamaican music that followed because the first recorded Jamaican song was birthed on a Mento 78rpm record, one released by Stanley Motta in 1953.

Sleeve notes . . . 

Sleeve notes can tell the interested party so much about the time, the music and the people making it, that they are offered here for those of you interested in that history, but perhaps unable to get hold of the actual Lps themselves (yet).

Authentic Calypso?

Although labelled as Calypso, this is not, this is Mento, a distinct style and genre of music, related to Calypso, the form mainly of Trinidad, but that of Jamaica. In the 1950s though an audience in the USA who had fallen for the romanticism of Calypso would consume a variety of musics, providing it had the attraction of being called Calypso, hence much Mento has wrongly been attributed to this form. It’s something that annoys those that evangelise the Jamaican style, the peculiarly distinct sound of Mento.

The Series

Numbers 1-4 feature the same cover artwork in a variety of colours, the 5th edition has an entirely different cover and is actually called ‘All Jamaican Calypsos’ though it states ‘Series 5’ on the sleeve and shares catalogue and matrices with the other volumes, BUT different sleeve notes. And finally there was a collection, again with different variant artwork to the first 5 volumes and sleeve notes, released in the U.K. on London International Records. All are pictured below, and the accompanying sleeve notes transposed for volumes 1-4, then for Series 5 and finally for the London International  Record label release. It is thought that the sole London International release may have been part of a deal in exchange for pressing the other 1-4 Authentic Jamaican Calypso series and ‘All Jamaican Calypsos’ 10″ Lps for Jamaican release. Those releases all state ‘Made In England’. The London international release was only ever sold in England as far as I can find out.

Sleeve Notes Vols 1-4

CALYPSO JAMAICA

The visitor to Jamaica can never quite forget the music of the island. He finds himself haunted by the memory of the soft murmur of the trade winds, and the breaking of the blue Caribbean on white sand shores. But more haunting than ever, above the music of nature, is the music of the streets, the endless varied obligato against which the life of Jamaica is lived. It is heard in the plaintive cal of the coconut seller, whose “Jell . . . oooooohhhh … Jell . . . oooohhhh” trumpets through the streets in the cool of the morning as he offers the tangy-sweet liquid of the green nut to thirsty passers-by. There is music in the short barking call of the fishmonger who pushes his squeaky-wheeled wagon or rides his laden bicycle from the flat of the plains to the twisted roads of the hills to bring is sparkling catch–grunts, snappers, jack, cutlass — all the glistening treasure of the deep. It is in the laughter tinged gossiping of the market-place, where broad-accented countrywoman and sophisticated city-bred higher meet to share the latest scandals.

Yes, there is music everywhere in Jamaica. It pulses in the traffic of the streets, where the brazen voices of modern auto horns argue with the sharp sudden accents of the donkey driver; it is in the quiet avenues of the suburbs where modern houses sprawl on cool green grounds; it is in the teeming slums where the crowded population finds expression in laughter, and in the provocative music-story of the island.

Jamaica’s music is the mento and calypso. Calypso is the general term that is applied to the ballad song of the islands, the song that tells a story and nudges laughter or amazement as the mood chooses. This is the fiery, fast sometimes risqué song of the troubadour who finds his inspiration in everyday happenings and spins his melodies and words to both intrigue and entertain the listener. Calypso is generally associated with Trinidad, but is a generic term, common to all the Caribbean islands.

Then there is the music that is peculiarly Jamaican — the mento. This is the specific tempo of the island. The result of the meeting of Afro-Latin influences is a distinctive beat and rhythm in the music of Jamaica that identifies it to the tuned ear. To the foreigner there is little difference, but to the Jamaican, dancing his swivel-hipped measures to the reedy prodding of bamboo flute and guitar, bongo and mambo drums, to the tuned intervals of the marimba box, it is unique, a native tempo that has it’s route through the slave chants, the French quadrille, the Spanish flamenca, the English round, all the polyglot, pulsing beats of the many people who have blended their histories and lives to make the golden people of the Caribbean.

Jamaicans are proud of their music. They are proud because in the distinctive beat of their music lies all their own history. Here is the musical meeting ground of the Chinese, the English, Welsh, Irish, Scots, the Portuguese and Spanish, in fact, all the varied people who are hidden behind the designation “Jamaican.”

In this envelope you will find captured not only the music of the Jamaican, but all of the varied tempos of the Caribbean. They are performed by native musicians, often with handmade native instruments. But always they are played with the rollicking devil-may-care musicianship that comes so naturally to the West Indian. Here you have transfixed in a record, moments of pleasurable memory.
Here you have CALYPSO JAMAICA.

Sleeve Notes Vol 5

CALYPSO JAMAICA

FullSizeRender 16. . . Jamaica’s carefree people have expressed in song all of the throbbing vitality that is so much a part of their country. Their songs are humorous, gay, sometimes happy, sometimes sad, but always enjoyable. It is music with a distinctive character that marks it as unmistakably Jamaican. Its distinctiveness is a combination of the musical dialect of Jamaican speech, the unique sound of native instruments and the subtle rhythm that marks it and separates it from the music of the other West Indian islands. The musical dialect of back country Jamaicans is basically English so interwoven with colloquialisms and the burr of local accents that is is almost unintelligible to anyone not familiar with the island’s speech. It is this distinctive Jamaican accent that gives added interest to the Jamaican calypso. There is also a unique character to the music itself which derives from the hand-made instruments played by calypso troubadours. These are the bambasax, an instrument wrought from bamboo by dextrous native craftsmen, with a bit of wood from a matchbox serving as a reed; the marimba, a deep-toned bass instrument that is just a simple box with bits of metal spring called “reeds” because of their similarity to harmonica reeds, and is normally used in place of the bass fiddle; the chattering marraccas, seed-filled gourds; and a whole family of drums from tiny, tenor bongos to big-voiced congo drums. Bamboo fifes and flutes, bambolins, a violin-like instrument comprised entirely from bamboo, and such conventional instruments as guitars, saxophones, trumpets and bass fiddles add their voices to the song of Jamaica. With voice and instrument, the Jamaican calypso troubadour regales, entertains and amuses, having a wonderful time himself as he brings you . . . CALYPSO JAMAICA.

Sleeve Notes – Authentic Jamaican Calypsos – LONDON International

FullSizeRender 19The visitor to the West Indies awakes to find himself in a tropical paradise — the birds sing and speak, the waters sparkle and laugh in the dancing sunshine, the leaves rustle to the tune of it all: and all is music. The people are happy — they rise with a song and they sing all day, even as they work. The Calypso which is the fold song of the West Indies is the pièce de resistance to this wonderful setting of life and beauty. The Calypso is the crux of it all — its fascinating, pulsating beat and rhythm remain forever in the heart of the visitor stirring up vivid memories of the romance of the West Indies.

No matter where you go among these islands — Jamaica, Barbados, Trinidad, Grenada, Antigua — in any one of the long chain of islands, and irrespective of the language, you will hear the Calypso. It is a common link — the link in this chain of jewelled isles.

The Calypso is a form of minstrel music. The singer, or Calypsonian, cites the chief events of the time, recounts the noble or infamous deeds, as the case may be, of some person past or present. He might sing of the latest scandal or the state o politics. On the other hand, as he frequently does, he might describe some amusing incident in the everyday life of the ordinary person or comically examine the behaviour and habits of domestic and indigenous animals. The Calypso always provokes laughter. it is witty, comic, subtle, ironic. It discusses human relationships in an intimate way, yet it is not vulgar. The spice of the Calypso lies in the ability of the Calypsonian to tell you even about the most intimate things in such veiled, juicy and allegorical language that stirs you, shocks or startles you and yet leaves you to say, “Honi soit qui mal y pense” or otherwise, “Whom the cap fits let him draw the string”.

The Calypso is not only an expression of little doings and things and of great happenings, it is in itself an expression and a manifestation of the local society and tradition and its very interesting historical background and intricate blend of peoples, For once upon a time these islands were the El Dorado of the West — the rendezvouz of the buccaneers, the chosen land of pioneers and the Empire builders and the glorious battlefields of the sea-faring powers, Spices, sugar, tobacco, cotton, cocoa made them prized jewels in the Crowns of Europe, as also did their strategic position as the gateway to the Americas. Thus it was that all manner of people settled upon these islands. The indigenous Amerindians were out-numbered, decimated, and soon practically disappeared. Labour for the plantations was drawn from Africa and India. Descendants of the latter to-day form the great bulk of the population together with large numbers of persons of mixed descent having the spicy complexions drive from fusions of Spanish, French, English, Scottish, Dutch, African, Indian, Portuguese, Chinese and may others who settled there and completely mixed themselves into one solid society. The Calypso is the common denominator of all these cultures.

The pulsating rhythm of the African “tom-tom” blends with the tempo of the Spanish “quarto” and is polished off by the lilting sing-song of the French accent. The old-time Calypsonians or “chant-wells” (note the combination of French and English) used to sing in Patois or broken French. English is now commonly used for Calypso, but with the original exciting accent and intonation. It is written in four-four time, yet very subtly the singer can get in a good many words and syllables to a bar — or very few when he chooses.

Some say, a long time ago slaves on the plantations were not allowed to gossip — so the chanted to the same rhythm as their tom-toms as hey worked. these chants became cities as hey added strange words not understandable by their masters, telling of what was going on, and, in fact gossiping about their masters and the village. When “dancing the cocoa” or cutting the sugar cane or celebrating after work, these ditties became their folk songs. the leader was the “chant-well” later known as the Calypsonian.

The Carnival in Trinidad , celebrated on the two days preceding Ash Wednesday, is a relic of the old Spanish customs. At that time there is universal frolicking, singing and dancing in the streets. All sing the Calypso. The custom has greatly fostered the art of the Calypso. Trinidad’s Carnival and her very cosmopolitan background made her the home of the Calypso. From there it spread to all the other islands — to Jamaica, Barbados, Grenada, etc. And now the world is getting to know of this sweet tantalising, minstrel music.

Summarising?

There are of course gaping holes in the tracery of the slightly amateurish musicology you see reflected in the sleeve notes, and yet some rather good early insights into the links shown in and around the Caribbean and it’s musical trade routes. For me the last set of notes on the purely U.K. only release on London International shows a mildly patronising attitude, awash with the kind of romantic notions that refused to engage with the pain of slavery, African servitude and the serfdom of other indentured ethnicities on the island. It also looks at the music therein from the angle of Calypso, and almost completely ignores the very Jamaican nature of the release, the differences between Mento and Calypso or the individuality of Jamaica.

In short all of the sleeve notes are much better than I would expect from what can be a rather blinkered and one dimensioned western approach to any and all cultural pursuits of non European ethnicity in a then 1950s world.

All the issues talk of the cultural influence of speech patterns, Patois, city hubbub and in mentioning the “chant-well” the notes are harking to the West African Griot praise singing and the very culture that helped give rise to Calypso in particular.

I’m also personally intrigued to find or see and more importantly hear a bambolin!
To my knowledge even with a large Mento collection at my listening disposal, I never have.

©MIKE MURPHY Feb 2019

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Daniel Romano – Finally Free – An Album Review


Daniel Romano – Finally Free – New West Records NW5255 – Released 2018

IMG_4102I’m going to be totally honest here, and brutally frank. I don’t know what the fuck this Lp is ‘really‘ about. That fact, in combination with my assertion that it is a work of beauty and genius has got me seriously fucked up and confused, I don’t get that way often. I like it though when I do. I like it when I can’t tuck something into a pigeonhole, when it tells me to get my listening ears on properly. I like it when it is music so obviously and adventurously wonderful. But when records are just pretentiously impenetrable, I lean quickly to placing them into the category ‘shite’ to be ignored, and money recently wasted.

I don’t normally have a hard time working out what an artist is trying to do, writing about, saying, who they sound like or where their influences lay, but that’s not the case with Finally Free. Daniel might feel finally freed by this Lp as if it were some cathartic exercise in musical self assertion, but it’s got me quite possibly ‘finally stumped’ in working out what’s going on with it.

But that’s a GOOD thing. I’m bored with knowing what the hell I’m hearing. In my dotage I need something I’ve not ever heard the like of before too keep my interest. To make me want to review it for instance, in a blog.

Just who the hell is Daniel Romano?

R-7294448-1438207251-8959.jpegI first ‘discovered’ my version of Daniel Romano, isolated and without musical guidance, while trawling YouTube for Alt Country songs, and found a wonderful song, that appears with an alternative title, feel and mix on his Lp. ‘If I’ve Only One Time Askin” but is on YouTube called ‘More Love From A Stranger’. I was immediately struck by his songwriting, playful attitude to wearing revival Nudie style suits with a big hat, and his obvious and only slightly submerged obsession with Hank Williams Jnr. The song was strong. Sounded like a man headed for romantic oblivion at the bottom of a bottle, and had me hooked. Shortly thereafter I bought the frankly disappointing cd album ‘Come Cry With Me’ on import. The songs were nowhere near as strong as his YouTube appearance and I put any further exploration of his music aside for a while.


Then recently while at a record store in Brighton England I took a punt on what is a recent but not latest release by him, Finally Free, the record I’m here to try and review. I bought it partly because Romano’s stuff just doesn’t appear in the UK without a pricey import tariff generally. It’s hard to find, and expensive when you do. The point I’m making is that my experience of his music was not explained or taught by anyone, he’s a rare thing for me a discovery I made. His music is a place I found, not one I was shown to, or recommended. I don’t know his story, I’m in a dark room and it’s as if he keeps his history close to his chest, there isn’t a lot out there about who is, or has been. I think he likes it that way, I think he likes to play with his perceived image. Do you Daniel? Is that what it’s about for you?

IMG_4695I took Finally Free home, listened, loved it, listened again, loved it more, couldn’t get the lyrics at all, found them impenetrable. Were they pretentious as fuck, or heartfelt? Then listened to the Lp over two months lots of times, loving it. But not getting any closer to the centre of it.

I had questions to answer.

The artwork by Daniel on the Lp sleeve and on the reverse of the frankly ugly poster included was it naïve, or just shitty? Was the assertion on the outer sleeve notes that the Lp was mastered on the stolen land of the Haudenosaunee, Anishinabek and Huron-Wendat, but produced and mixed on the stolen land of the Haudenosaunee and Anishinabek just so much pretentious waffle or meant from the heart?

I remain confused and as yet unconvinced of just what he’s trying to do. That’s a good thing, I feel wrong-footed, confused, but loving the sound, the sound, the music, the music which carries all doubt straight through to the second side’s run out groove.

Don’t fuck me around Dan!

Is he just fucking with us, one minute he’s a finger picking singer songwriter (I’m here citing early YouTube videos of his performances), then he’s rhinestone cowboy, a hard drinking’ country star, then he’s alt something, love poet, romantic bard and fine artist who states that the Lp is ‘A Collection Of Poems In The Language Of Love’, and whom refers on the rear of the sleeve to his penmanship on it as ‘Notes From The Author’. Is he playing with us again, this time trying to impart on himself and perhaps the Lp project the perception of a literary milieu.

He's Canadian you know . . .
The first Lp I bought (and not the one I’m reviewing), the disappointing ‘Come Cry With Me’.

The cover, an area previously explored as a thing of artistic potential by Daniel Romano is left filled by ugliness, an ugly 3d photo, and two of the nastiest colours you could pick for anything, even a death warrant, and yet the innards, the guts of the Lp, the music, the production, arrangement, mix of musical happenstance and composition are deftly combined to produce a thing of utter transcendence. Some of the chord progressions are just wondrous, and not one song feels copied, hackneyed or unoriginal.

To all intents it looks like an Lp where the artist is trying way too hard to be noticed, way too hard to impress, to be original, not to quote and re-quote other musical styles and other artists, and yet he manages to do exactly that, to be beautifully original and to prevent the listener being able to catalogue his sound and style. I have my own opinions of course of where some of the sounds hail from, you will have your own when you listen to it (and I hope you do). I can hear strong hints of The Incredible String Band then The Beach Boys, The Byrds (back in 8 Mile High days), Crosby, Stills and Nash, Bob Dylan, Earth Opera, The Velvet Underground, Rocky Horror style Rock Opera shenanigans, Nick Drake, and the sonic 60s excesses of an LSD fuelled musical decade. Like all great music it sounds like you’ve heard it before, but you know you haven’t.

Unlike those Lps of old that used to say in little text long the top edge of the sleeve –  ‘File Under ‘Rock N’ Roll’, you won’t get any such advice from Mr. Romano. It’s going to have to go in a section all of it’s own. ‘Finally Free from category’.

Get it.

© Murphy Feb 2019 ⤄

 

 

 

 

Shit Lp Covers No3


Shit Lp Covers No1


THE BEST OF IAN AND SYLVIA


The Best of Ian & Sylvia – une Lp excellent… ?
img_4546

So, for years my Mum, or should I say Mom, for she is the true American of the family, an Alabama gal, would talk of Ian and Sylvia with a wry smile and a hidden laugh in her voice. I never understood the lilt to her voice as she recounted this folkladymanduo quite and yearned to understand.

Was she remembering the heady days of a Southern education at Auburn, records dropping on to the portable record player like pancakes on a Tuscaloosa griddle? Was she recalling a life unhindered by musical taste or by the demands of her new life as wife to Barry Michael and mother to her two boys Michael Cullen and Barry Christopher? Was she revisiting the strains of Ian and the mysterious Sylvia drifting upon the long corridors of her young ladies only dormitory as friend Sarah berated her for stealing yet another letter from ever missing boyfriend ‘Phillip’ to the soundtrack of a giant weather balloon being woman-handled along those same now time dusted halls of residence?

Such is the un-folk of Ian and Sylvia.

I always got the impression that Mom had once thought them rather fabulous, in an early 60’s preppy U.S.A. folksie way; that they were artistes akin to those used to base ‘A Mighty Wind’, the comic feature film mockumentary outing about Frat-Folk that Spinal Tap’s creator Christopher Guest had made, and I had seen. And they are.

I also postulated that my Dad who was a folk dedicate and hardcore lover had ‘re-educated’ her tastes somewhat with a bigoted bias against all folk second handers … people like Ian & Sylvia would not have impressed my old man, a man taught Banjo by Peggy Seeger and taught musket shootin’ by Doc Watson.

I’m going to tell you about a fantastic tune on this Lp in a moment, but first I need to tell you that the Lp, the Stereo version of the Lp on Vanguard VSD-76269 is a hotch-potch of confused versions of trad folk music, chanson and pop moozack and as such it’s much more Peter, Paul and John Denver, than Clarence Ashley and Bob Dylwot, and much more Wanksy than Planxty.

However there is a tune on here… a bona fide tune, a tune to drop, a tune to impress the rest, a tune to test the best.

Catfish got der Blues?

On side two and in an Velvet Underground-ish stylistic triumph is a rendition of Catfish Blues, where the session guys groove out and Sylvia rocks the mic. The guitarist takes a drug riddled ride on the riff and though Sylvia is obviously sober, it sounds like the session players were out late last night and may possibly have dropped an Owsley.

So you got to check it, the Lp is probably worth all of 25 cents, but this tune, overlooked as it obviously has been (fuck you should see how little it goes for on Discogs), is worth all of that 25 cents on it’s own.

You heard it here first… Catfish Blues here on their collection of ‘The Best’, originally on their Lp. So Much For Dreaming on VSD-79241 (Stereo). So lick it from the top, to the very last drop, .. well track 4 side 2 anyway.

Final credit goes to Uncle Jack Brown for sending this Lp to me in the U.K., such is my international renown as record collector and musically fuelled auteur or as that Joe Boyd might say, musical ‘Eminence Grise‘,  . . . the toss pot.

Murphy

Bright Phoebus – Songs by Lal and Mike Waterson – A review


R-2047800-1260722169.jpegIt seems odd to review an L.p. first released in 1972, but hey, this is new to me, so it may be new to you too. Or you may have been trying to decide to get it or not since 1972 and this just might make up your mind.

I first ran into Lal and Mike Waterson’s own song writing and output as a result of listening to the Anne Briggs’s ‘classic’ L.p. ‘The Time Has Come’, which features a recorded version of ‘Fine Horseman’ by Lal Waterson. ‘Fine Horseman’ is a sublimely poetic song populated by Hardy’esque imagery and it had me intrigued in seconds. Then, when quite by chance I happened upon a re-release of ‘Bright Phoebus’ the 1972 L.p. by Lal and Mike Waterson (and others) which contained Lal singing her own version of this, the song she had penned, I just had to pick it up.

As a brief background, Anne Briggs was sometimes known as the honorary fifth Waterson of the Watersons, a British group of folks singers mostly (during its original tenure) from the same family, one that virtually defined traditional unaccompanied folk song tradition in the folk clubs of Great Britain during the British Folk Revival of the earlier 1960s. What many now lovingly refer to the ‘Wax on me finger’, or ‘Finger in the ear’ genre of folk. (Actually that’s a lie, but they might do for all its urgent self righteousness)

thetimehascome_64612The L.p. has already seen two or three re-issues on c.d. and vinyl and was for a time an underground classic, passed between devotees on ropey self duplicated tape cassettes. This issue from 2017 sees Domino Recording Co Ltd re-issue it on REWIGLP102 in a gatefold format with a good quality booklet and sleeve notes, telling the story of Lal and Mike’s development from members of the traditional singing group into songwriters, and the story of this L.p.’s recording.

The album initially gained rave reviews in much of the music press, but simultaneously alienated stick in the mud brigades of ‘don’t you mess with our traditional music’ fans (who had lots of wax stuck on their fingers, and fingers in ears), which slowed acceptance and sales. The L.p. crept into collective memory and slept on the back shelves of old dusty record stores. However it has since become a wonderful example of musical creation and invention and of the power of musical Art to conquer ears and stupidity over time.

In my mind the album links the Watersons traditionally bound unaccompanied singing style, and that school, with the development of Folk Rock by those such as Fairport Convention. I think it little surprise that Richard Thompson, Ashley Hutchings, Dave Mattacks, Tim Hart and Maddy Prior are all helping out in various ways on ‘Bright Phoebus’, it makes perfect sense. Sticking the two together with guitar glue is Martin Carthy. Having redefined English Folk music by translating it to an instrument not traditionally used for it, he’s the all too important chain link in the album’s musical integrity I believe. Richard Thompson will I believe always be a Rock guitarist who got interested in Folk, not a Folk guitarist who has dabbled with Rock; and so it is Carthy that translates what Lal and Mike Waterson are trying to do here into something we can all ‘get’.

So I’ve alluded to some of the collective that combined to produce the music on this L.p., but what about the songs? As usual it’s such a personal thing, what a song means to any person that I am loathe to impose my opinion on you the potential listener and would much rather you shelled out your hard-earned moolah for a copy, and made your own mind up. However one thing is certain, they are dark in the main, mystery laden, intangible, phantom like songs. You expect the Hound of the Baskervilles to howl on backing vocals, you can hear the creak of the Reddle man’s wagon through the marsh mist rising from the ground as you drop the needle. The rain drizzles onto the stone Church’s boundary walls it dusts onto the heart’s tongue ferns and into the grooves of the record, hope dies, and in the morning sun, is reborn.