Fairport’s Cropredy Convention three-day open-air music festival will celebrate its fortieth anniversary in 2019.
The organisers have announced many of the acts booked for next summer’s event which will take place on Thursday 8, Friday 9 and Saturday 10 August. The remaining acts will be announced in January 2019.
Tickets went on sale from 3 December 2018.
Host band Fairport Convention will open the festival on Thursday 8 August with an acoustic performance then take the stage again on Saturday to play a two-hour headline set. Thursday’s headline act will be The Waterboys whose potent performance makes them one of the UK’s most exciting live acts.
Former Fairport member Richard Thompson will appear with his erstwhile bandmates Dave Mattacks, Dave Pegg and Simon Nicol. Award-winning Martin Simpson, one of Britain’s greatest acoustic guitarists, makes his first appearance at Cropredy. Fresh from a world tour with Robert Plant, Seth Lakeman returns to Cropredy after a ten year absence.
Celebrating 50 years of Jethro Tull’s music, Martin Barre’s band includes the original Tull drummer Clive Bunker and long-time bassist, Jonathan Noyce. Pioneers of Canterbury’s prog rock scene, Caravan will be making their Cropredy debut. Scottish singer-guitarist Zal Cleminson’s /sin’dogs/ are a new high-octane prog-metal band.
Daphne’s Flight features five female singer-songwriters; Christine Collister, Melanie Harrold, Julie Matthews, Helen Watson and Chris While. BAFTA nominee Richard Digance returns to his traditional Cropredy Saturday lunchtime slot. Will Pound and Eddy Jay are, respectively, among the UK’s finest harmonica and accordion players. Award-winning female trio Wildwood Kin play contemporary indie-folk characterised by spellbinding family harmonies. Multi-instrumentalist Lil Jim combines guitar, harmonica and accordion with foot percussion and vocals. Four-piece Tide Lines are shaped by the culture and music of the Scottish Highlands.
Cropredy tickets on sale for Christmas
Cropredy tickets went on sale on 3 December 2018 in time for Christmas.
Three-day festival tickets cost £140. Camping tickets cost £45 for three nights.
The first 1,000 orders will receive a Christmas card signed by all five members of Fairport Convention.
If you’ve ever been to a Cropredy Festival you’ll know exactly what they do on Saturday. They gather together a bunch of former band-mates and old friends and play a mammoth set long into the darkness (subject to health and safety restrictions, of course). These days, Fairport Convention don’t need an excuse to mount a celebration but 2017 marked the band’s fiftieth anniversary and so this was the perfect opportunity to tell the band’s story in music – although not strictly in the right order. Thus we have What We Did On Our Saturday, packaged in an homage to their second album.
The album begins with their first album and (almost) their first line-up. For younger readers that was Ashley Hutchings, Simon Nicol, Richard Thompson, Iain Matthews and Judy Dyble now with Dave Mattacks on drums. They kick off with ‘Time Will Show The Wiser’ and ‘Reno Nevada’ and I was impressed at the way Richard played the sort of guitar lead appropriate to 1967. He couldn’t help himself, of course, and went off on one but I don’t suppose that anyone complained.
Chris While took over on lead vocals for ‘Suzanne’, a slightly less off-the-wall arrangement than the original. Chris does a very good Sandy Denny particularly on the rockier numbers but she’s her own woman and the grace notes and decorations are all her own. Judy and Iain get time off and the others take it in turns so the current line-up doesn’t actually appear until ‘Crazy Man Michael’ when Gerry Conway briefly wrestles the drum stool away from DM. The remainder of the first disc is taken up with selections from Liege & Lief and Full House and they keep ‘Sloth’ to under ten minutes.
The second disc opens with ‘Now Be Thankful’, a song which Chris Leslie is rapidly making his own, even though Richard elbows him off the mic on this occasion. It’s worth noting that Chris doesn’t get a break after the third track until the Fotheringay homage of ‘Ned Kelly’ and ‘Rising For The Moon’ which feature Sally Barker and PJ Wright and introduce Maartin Allcock to the stage. The latter is a feature of the revamped Fotheringay’s set but sadly, of course, Jerry Donahue isn’t available. I have to say, in passing, that Simon does a wonderful job with ‘Fotheringay’. Maart gets to lead ‘A Surfeit Of Lampreys’ and Ralph McTell takes centre stage for ‘White Dress’ but Simon keeps ‘The Hiring Fair’ for himself.
There is only one song that originates with the current line-up and that’s Chris Leslie’s ‘Our Bus Rolls On’ and now we’re on the downhill run. You know how it ends: ‘Matty Groves’ – with both drummers – and ‘Meet On The Ledge’ with everyone back on stage.
As you might imagine, I own a lot of Cropredy recordings and all have their own attractions. For me the 25th anniversary set stands out while the earlier ones: A.T.2 and The Boot have the particular ramshackle charm that we used to associate with Fairport Convention thirty-odd years ago. What We Did On Our Saturday is tight and slick without much in the way of stage chatter – an appropriately serious set to go with such a milestone in Fairport’s history. Exemplary performances as we’ve come to expect, of course, but sometimes I do miss Simon playing rhythm viola!
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Last year I was a Cropredy virgin, but this year on THAT field in August, I knew what the score was. Well, until I tried to do the camping and putting up the tent thing! Every year will bring new things I guess!
Arriving at the Folkmaster’s abode on Wednesday 9th August, things were in full swing for the journey to meet the other Folkingdotcommers in Tesco car park, on the outskirts of Banbury, early the following morning. The kitchen sink was being loaded into the Folkmaster’s car in an orderly fashion, and it was suggested that if I hadn’t bought wellies with me, that I should go out and buy some. Talk about the 11th hour, I found a store and paid for them at 5.29pm when the store closed at 5.30! I was a bit anxious at this point as surely it wasn’t going to rain? I don’t do wet camping, I don’t do camping generally!
Sparrow spit early Thursday morning came, and off we went to Banbury. Not a bad journey, although I slept most of it! (NO – I wasn’t driving)! We all arrived at mostly the same time, Paul, Jonny Mac, No Chance and ourselves were too early for breakfast, so spent some money in Tesco, before we had breakfast. Full English were ordered by all but 2 of us, and then off we set, into the midst of Cropredy bound Festival goers. All wanting to get the best fields and parking. Last year I remember the queues, but this year was plain sailing. We soon found out why, because loads of others had started out before us, so we should have forgone breakfast! We were shepherded in to Field 7B, ended up right in the middle of the field, miles away from the few loos and the even fewer showers. I was panicking already!
Tent time. Paul was in his van, so all he had to do was connect his awning. Few minutes and he was ready. No Chance had a smaller tent and he knew what he was doing, Folkmaster had a new tent which was an air based one, so he got his instructions out and sorted his out, Johnny Mac was ably putting his tent up, and there was little old me, with a new tent. Poles and all.
I tried, dear readers, I really did. The lads were brilliant though, and thank them all for it. It was suggested I wore my new wellies, as mud could well be present, due to the onslaught of rain in the days leading up to the Festival. Visions of Glastonbury encroached in my mind……
We were a bit early when finished, as we couldn’t get into the arena field until 2pm, so were twiddling our thumbs for a while. The usual banter flowed. We were expecting another member of the Folking team – Paul Johnson – but he was nowhere to be seen or heard, so we did the Chariots Of Fire walk with our chairs and bags and waited for the gates to open. On the way there, we were serenaded by medieval musicians, Myal Pyper, who were a delight to listen to.
We finally got in, and headed for our usual spot. Looking at the Stage we headed left, near Leon’s food stall, always a lovely experience to savour their food. The queue for Fairport merchandise was already growing rapidly and that did not stop all day and evening. The staff in that tent were heroes! It was the same the following day!
4pm finally arrived and Fairport Acoustic opened the Festival. Riotous applause from the crowd, a full packed arena, for the Thursday is not what usually happens apparently. A mostly cracking line up and one that I didn’t want to miss. Feast Of Fiddles came next featuring an array of the best fiddle musicians this country has produced, such as Peter Knight of Gigspanner, Hugh Crabtree – melodeon player with attitude, Garry Blakeley, Tom Leary, Ian Cutler, Brian O’Neill and Fairport’s own superb fiddler – Chris Leslie. Phil Beer, Marion Fleetwood and Sophie Crabtree came on later on in the set to enhance the line-up, totalling nine fiddle players! Legendary drummer Dave Mattocks was over from America, Martin Vincent and Dave Harding on guitars and Alan Whetton on sax and keyboards. Awesome!
Show of Hands next – favourites of mine, they played an absolutely blinding set. Highlight was their rendition of Don Henley’s classic – ‘Boys Of Summer’. The whole field was talking about how fab it was.
Chris While guested for ‘Dark Fields’ and it was indeed a lovely occasion to witness her singing on this again. Phil told us that he will be virtually taking next summer off to revive his Folkboat activities, which is why this year they have so many festivals booked and Steve will be doing solo work next summer. Really enjoyed the whole set.
Eventually we met up with our lost team mate – Paul Johnson – who had had a nightmare putting up his tent apparently, and his mobility scooter had a flat battery. Could only happen to Paul!
Next up – The Trevor Horn Band – consisting of three producers – Trevor Horn, Steve Lipson and Lol Crème (of Godley & Crème) who had played and or produced songs for other artists. A kind of covers set but all perfectly connected to these three fine producers. They sounded good too. They got the crowd going and singing along to numbers we all knew, such as ‘Two Tribes’, ‘Relax,’ ‘Video Killed The Radio Star’, ‘Rubber Bullets’ etc. They have over 200 hit singles and albums to choose from and it was very pleasant and lively set. Nice mix.
Headliners for Thursday evening were The Divine Comedy. Frontman Neil Hannon came on and his first sentence had the ‘f’ word in it. He seemed star struck initially about the big crowd and following Trevor Horn and Lol Crème. He didn’t do it for me but I hear that they went down well with some people.
Friday came and rain was forecast. Oh no!! Kick off was at midday after the gates being opened at 11am for the festival goers.
Paul Johnson tests the folking digital interview recorder on Paul Miles, the original co-founder of folking.com – its quite funny so we have kept it in…
Josie Duncan & Pablo LaFuente (2017 BBC Radio 2 Young Folk Award Winners) opened up the proceedings and I could see why they had won this accolade. Scottish traditional, Gaelic, and other influences, songs from the mines and cotton mills. They have played some well-known festivals including Cambridge and in their short time together, are certainly making a mark for themselves.
Another favourite of mine – Gerry Colvin Band – delighted the crowd, for those that were aware of his music and for those that didn’t. A cracking set from Gerry and the Band. Gerry is a delight to watch and although is so hyper, can sing, play and write a fab song. Particularly ‘Watching Feathers Fall’ from his Colvin/Quarmby days. Nick Quarmby, Gerry’s sidekick who left us last year, would have been so proud of Gerry taking centre stage at Cropredy. Gerry gained a lot of fans during that set.
A Cropredy moment for me was asking Gerry later, as I came across him backstage, how he felt and could obviously tell he was ecstatically happy, he said he had met Pet Clark. She spoke to him and said get out of her dressing room. I’m sure he was joking, he usually is!!
Quill were a new name to me. Quite Gothic and I thought the lead singer Joy had a little Kate Bush about her. They have been going since the 70’s, have loyal audiences, and are amazing story-tellers. Really enjoyed them.
Darren Beech and Paul Johnson caught up with Joy from Quill shortly after the set. The Elephant in the Room EP that Joy discusses in the interview will be released on the 23rd of August.
Next up Gigspanner, who a lot of folks were waiting to see (especially the folkmaster, the editor Dai Jeffries and Paul Johnson who are huge fans). While I admire their immense talent, I am not a huge fan myself, but respect that Peter Knight and the Big Band are all superb musicians. They are a little too trad for me.
CC Smugglers were another new one on me, and were superb, in my eyes. The effervescence of the lead singer was palpable and infectious. His shirt was wet through by the time he finished. The rain had arrived by this time but didn’t dampen theirs or the audience’s spirits. CC Smugglers are a band of buskers, who had come together, to form this band. They have even performed at Glastonbury! Definitely ones to watch.
Darren Beech and Paul Johnson caught up with Chris on the Friday.
The annual Chris Leslie Cropredy interview has become a bit of a tradition for us at folking.com and Chris tells us that he looks forward to it as much as we do.
Click the play button below to take a listen.
The absolutely brilliant Pierce Brothers twins came on to a stunning welcome. They were so happy to be there and in tears of happiness! Great guys, great musicians, great energy and great stage presence. So glad the organisers brought them back after last year’s success. Something that is rarely done two years on the trot. I hope they make it third time lucky.
The amazing event of having Petula Clark attend her first festival ever at Cropredy was certainly a scoop. A favourite of my mothers, she would have loved it. Pet at 84 years of age looked and danced as though she was in her 50’s. She sounded great. She performed her hits pitch perfect and aired some numbers from her new album – From Now On, Awesome. She had the crowd eating out of her hand, and they all sang along. A very special moment. Pet did say at the end of her set that she had enjoyed it immensely, and she certainly seemed to have done so, from the audience’s point of view.
Headliner for Friday evening was the Folk Rock Legend Richard Thompson OBE. A co-founder of Fairport in the 60’s he helped pioneer British Folk Rock. He is known as one of the world’s most critically acclaimed and prolific songwriters. He didn’t disappoint. Just amazing. You would have thought four guitarists were on the stage and it was only him, doing it all. His fingers were a blur as he worked so fast. I had the pleasure of meeting Richard at the signing his new album – Acoustic Classic 2, and he was very quiet and unassuming, and lovely to talk to. No ego at all.
I will say at this point that compere for the weekend was Anthony John Clarke, who did a marvellous job of introducing artists and keeping dedications flowing and read them out to the audience. Excellent choice for an MC.
Richard Digance was missed from his usual spot on kicking off proceedings on the Saturday, but he sent a message to say he was busy touring and not to forget his album and books in the merchandise tent. When he came on to the big screens, the audience applauded him, even though it was a pre-recorded message. Lovely.
Richard’s slot was taken by the Ashley Hutchings Morris On Band, who did a marvellous job of performing some classics from the Morris On album, and we had Morris Dancers dancing on stage to complete the scene. Hankies were at the ready and the audience took part in what is usually Richard Digance’s attempt at getting the whole crowd to wave hankies Morris style! A superb sight to see.
Next up ex-Fairport member Judy Dyble and the Band Of Perfect Strangers who took us on a musical journey, ending with her promoting her autobiography – An Accidental Musician – published last year.
Plainsong included another ex-Fairport Member – Iain Matthews and was formed 45 years ago. A very pleasant set, and Iain obviously has his fans.
I then went to try and find a shower, hopefully no queues at this time, so sadly I missed most of the Cats In Space set. I could hear them from afar, but they were visual, and glad I could see even a short bit. Surprisingly only formed last year, they were a tight knit of pop rock genre. All six of them. I enjoyed what I saw. Blew a few cobwebs away!
Marillion followed. Not my cup of tea, but they clearly had their fans there, and were enjoyed by them.
Scottish multi award winning singer-songwriter Dougie McLean OBE followed. He has a global following. I hadn’t seen him before, and certainly did enjoy his set. Full of stories and song, and lots of audience participation. Particularly on his ‘Caledonia’, which has a high regard in Scotland. He also has a Lifetime Achievement Award from the BBC Radio 2 Folk Awards. Superb.
Now was the time for the BIG set!!! Three hours of Fairport and friends. And what a gift to us!!
Difficult to put this all into words as to how the atmosphere of what it was. You just had to be there. Fairport’s Golden Anniversary and an extremely emotional crowd.
Their guests came on during the course of the evening. The wonderful Chris While who picked up the vocal batton for Come All Ye, The Deserter, Tam Lin and Who Knows Where the Time Goes. Richard Thompson came back into the set after the early years stint for Walk Awhile, Poor Will and the Jolly Hangman, Sloth, Now Be Thankful and Sir Patrick Spens. As did Judy Dyble for I Don’t Know Where I Stand andIain Matthews for Time Will Show The Wiser, Reno Nevada and Suzanne in the early years opening piece. Ralph McTell sang us a version of ‘White Dress’ which was the song Dave Swarbrick wrote for Sandy Denny. That was Ralph’s only contribution, which was a shame as he is a great favourite of the Cropredy crowd. All the Folking Team gave a big cheer and Paul Miles kept saying I love him, I love him I don’t know how many times, bless him! Don’t we all!
Former Fairport member Maartin Allcock dazzled us with A Surfeit of Lampreys and Jewel in the Crown with his playing and that electric blue suit . He looked very dapper. We had Sally Barker who also sang ‘Rising For The Moon’, Ashley Hutchings, Dave Mattacks joining Gerry Conway on drums and percussion. Such a wealth of talent, emotion and music was enjoyed by all. The finale of ‘Meet On The Ledge’ had the audience spilling tears all over the now dry grass.
You came, we saw, and you conquered Fairport and all. Congratulations on your Golden Anniversary can’t wait for next year for the start of a new decade.
Feast Of Fiddles was formed in 1994 as a one-off concert ensemble as Hugh Crabtree thought it would be a good idea and Mike Sanderson of Nettlebed Folk Club thought so too!
Their first live recording Live 01 was released in 2002 – quite a long wait for the increasing number of fans of the band. However it was only another two years before the next CD appeared – Nicely Wrong. Three more years before yet another live recording Still Live and then after another three years the first studio album Walk Before You Fly. You guessed it, another three years for the second studio album Rise Above It and with a slight break with tradition it’s taken four years to get to studio album number three. Fast forward and in 2017 their sixth album entitled Sleight Of Elbow will be released.
Feast Of Fiddles embarks on its 24th annual spring tour in 2017 to coincide with the release of their new album. The band that has been variously likened to a “group of geography teachers” or “Bellowhead with bus passes!” doesn’t seem to be slowing down any. A band of musical friends that puts on a show of huge dynamic range performed with passion, joy and a liberal dose of fun. It all started at a folk club but has become a folk-rock institution with seven CDs to their name, several festival appearances and sell out shows up and down the UK. Typically, fiddlers Peter Knight (Steeleye Span), Chris Leslie (Fairport Convention), Phil Beer (Show of Hands), Brian McNeill (Battlefield Band), Ian Cutler (Bully Wee), Tom Leary (Lindisfarne) and Garry Blakeley (Band of Two) add their extensive range of fiddle playing styles to the rock back-line of guitars, keyboards, sax and accordion – all held together by legendary drummer Dave Mattacks. A live music entertainment like no other which is guaranteed to be enjoyed by even the most doubting of friends dragged along!
Feast Of Fiddles at the New Forest Folk Festival:
The new album Sleight Of Elbow is something of a departure for the band as it features a lot of original compositions from within the band and only a single traditional tune. One well established feature of the band is well exposed however and that is Feast Of Fiddles arrangements of tunes from other genres, film or TV.
The title track is one of two pieces by guitarist Martin Vincent which was first aired during the 2016 spring tour – the tour that Martin missed because he was in hospital getting a new valve for his heart. ‘McBrides’ is a tune from the band Moving Hearts and a real test piece for a big band. The Scottish band The McCalmans provide the first of only three songs on this recording – ‘Smugglers Song’, this rousing tale of smugglers going about their business complete with engaging chorus. The band’s arrangement of ‘String Of Pearls’ (best known through the Glen Miller Band) demonstrates perfectly the versatility of Feast Of Fiddles. Used as tour opener in 2016 it instigated immediate spontaneous applause at more than one venue. This is followed by the second song – a beautiful original from Alan Whetton who joined the band on sax and keyboards in 2012. ‘Butterfly’s Wing’ picks up the concept of chaos theory which suggests the brief flapping of a butterfly’s wing in England might result in a tornado in the mid-west of America. Another piece from Martin Vincent – ‘Paper Chase’ is probably the nearest the band has got to jazz. Written for a huge school band when Martin was teaching music the title reflects the frustration of most teachers these days dealing with increasing burden of paperwork. The next track, ‘Siamese Kashmir’, is a classic example of what Feast Of Fiddles is all about. A famous film tune segueing into classic rock. ‘The March Of The Siamese Princes And Princesses’ from the film The King And I somehow seemed to naturally lead to Led Zeppelin’s ‘Kashmir’…or so thought bass player Dave Harding a frequent provider of left field material choices to open the show. A great band tune from Alan Whetton – ‘Three Legged Race’ comes next. Then a past top of show track which starts with the theme music of TV series Mission Impossible and joins with another tune from the pen of Alan Whetton ‘Mission Statement’, together almost inevitably entitled ‘Mission Improbable’. The final track on the album is the only traditional tune and one that has been a feature of the band’s repertoire ever since the very beginning. Frequently introduced as a French dance tune that morphs into a drum solo it is ‘Branle Des Chevaux’ or ‘Horses’ Brawl’ as it is better known in the UK.
After the explicit Englishness of her previous album Hilary James has taken an old direction. Those of you remember Spredthick will be very comfortable with this album – a collection of 20th century standards and classics.
There is an argument that Hilary’s voice is rather too pure for some of these songs. ‘Skylark’, one of three Hoagy Carmichael titles here, is perfect for her. You can imagine her at the microphone in a smoky 1940s nightclub, the band in white tuxedos with an audience of servicemen and their dates enjoying a few hours’ respite. It’s much more difficult for her to roughen those beautiful notes. She manages it for a while on the traditional ‘Frankie & Johnnie’ and uses the lower part of her register for Utah Phillips’ ‘Rock Salt And Nails’. Her version of ‘Need Your Love So Bad’ owes something to Peter Green and Fleetwood Mac although here it is stripped back to guitars and bass and doesn’t resort to massed strings.
Other songs here that really suit Hilary’s style are ‘They All Laughed’ and Patrick Sky’s ‘Separation Blues’ and she opens the album with one of her pieces, ‘Last Show Tonight’ – the break-up of a relationship cast as a performer’s valediction. I really hope it isn’t autobiographical. The final track from which the album’s title comes, is ‘You Don’t Know What Love Is’, Hilary following Ella Fitzgerald and Billie Holiday in covering this late night weepie.
Hilary’s band includes many of her regular supporters including lead guitarist Phil Fentiman and the multi-talented Simon Mayor (the original Spredthick). Simon Price plays drums but is replaced for one track by Dave Mattacks and Brendan Power adds harmonica to ‘Deep River Blues’. These musicians have worked together for so long that it’s second nature to them and You Don’t Know shows how good that can be.
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Often described as obscure yet she worked with John Martyn, Mike Oldfield, Kevin Ayers, and Mike Chapman, championed by John Peel (as the leading female singer-songwriter) and even Terry Wogan, during four well-received albums. And that was just in the 1970s. It’s interesting—and crucial regarding career—that Bridget St John was Dandelion Records first-ever signing and release, when folk’s second wave was rolling via Island in England and (Dandelion’s distributor) Elektra in USA. If Dandelion evolved around their first signing, hindsight and eclecticism suggest differently. The DJ said that “the main reason why we started the label was nobody else was going to record her stuff” – not Elektra, Island, or even the fledgling Apple?
Dandelion was a co-operative where artists had creative control, but when it folded in 1973 (“like a family break-up” St John recalled) the ethos was rare and tastes mutating. There was no Plan B. After John Peel’s death this has been accentuated by the sale of their publishing to a conglomerate, against Dandelion’s principles and a nightmare for those of its roster still active. (It would be even worse if Cherry Red Records didn’t exist.) These origins have put a particular spin on their careers, perhaps contributing to major labels’ lack of keenness and thus the obscurity tag.
Her first demo was made at Al Stewart’s home, thanks to her guitar mentor John Martyn. A boyfriend gave it to Peel at a gig, and within three weeks debuted on Night Ride in August ’68. That distant session is on this box-set at an almost-equally amazing budget price. The three LPs are on replica-label discs, plus singles, Montreux 1972, and a CD of (mostly wiped) BBC sessions 1968-1972. The latter was on a double some years ago, as was Montreux (on Thank You For…also from Cherry Red), but are here in context. It was this radio material, based on solid albums and gigging—like the Dandelion Euro tour sponsored by Polydor with Medicine Head, Beau and Kevin Coyne—that attracted a loyal following.
In a cover reminiscent of legendary folk labels—minimalist but evocative with her picture when a baby – Ask Me No Questions (1969) was produced by Peel in one ten-hour session at CBS Studios with Simon Stable on bongos, John Martyn and Richard Sanders on guitars. The seven-minute title track in doubled vocals of “Ask me no questions, tells me no lies”, with Peel ransacking the library for bird song and bells, is pure Dandelion and ’69. Still played live connecting her to the Dandelion people she says, it was one of the first tunings learned from Martyn. It opens with her recent debut single, the bass-string driven ‘To B Without A Hitch’ about France while enjoying “buttercup sandwiches”. ‘Autumn Lullaby’ lilts through childhood memories of Richmond Park, ‘Curl Your Toes’ tells a by-the-fireside tale, ‘Barefoot And Hot Pavements’ about city wandering, and among the twin guitars one of her most beautiful songs, ‘Hello Again (Of Course)’. There’s even psych without the electricity, a plucking delight (‘The Curious Crystals Of Unusual Purity’). Appended from 45s are Cohen’s ‘Suzanne’ and ‘The Road Was Lonely’, a hypnotic ballad with rare backing harmony.
Peel called her voice and songs “full of woods and hedgerows, startled deer and hedgehogs”, and the rustic imagery and free-wheeling acoustic dexterity is a timeless debut. Songs For The Gentle Man (1971) came from November-December sessions costing £2,000 at Sound Techniques, also used by Fairport Convention and Drake. Produced by Ron Geesin, fresh from Pink Floyd’s Atom Heart Mother, he contributed organ (for Martyn’s ‘Back To Stay’), Sanders returning on guitar, with a chamber ensemble including brass giving a lusher effect. Looking more like an Edwardian muse than a hippy in Kensington Gardens with the photographer’s hound on the gatefold, scenes are woven tapestry-like from another mansion room: ‘A Day A Way’ with jangly guitar/flute/oboe about a seaside day trip, subtle echo-reverb (‘Early Morning Song’), while Donovan’s ‘The Pebble And The Man’ sounds like her own. Absences of people and places, time shared or alone, but it’s not melancholy (the closer’s 40 seconds is about growing into the loved person). Politics are outside her remit but it’s her most confessional LP. Some were ready for her debut as they’re on her January 1969 radio session.
The third disc mirrors Cherry Red’s 2005 release of Thank You For… (July 1972) with a full April ’72 Swiss concert. Here reprised is the MCA 1973 A-side ‘Passing Thru’ (from Leonard Cohen’s own cover on his first live LP), produced by Mike Chapman but uncredited when he rescued its shambolic session. (She guests on his Deal Gone Down the next year.) The Beeb played it a couple of times then decided it was too depressing! With Jerry Boys for co-production, the folk-rock sports the impressive cast of Tim Renwick and Quiver, Andy Roberts (Liverpool Scene, Plainsong, uncredited Beatles sessions), Gordon Huntley (Matthews Southern Comfort), Pip Pyle, Dave Mattacks, Rick Kemp, Sanders, and Martyn. Hand-picked for each song, a spontaneous spark with very few overdubs shines through. ‘Nice’ was on Polydor b/w ‘Goodbaby Goodbye’ about a break-up “at the end of time”; ‘Every Day’ is Buddy Holly with a missing chord! The anti-lynching ‘Lazarus’ (still played with added guitar-thumping) is from early influence Buffy St. Marie’s Many A Mile, and a dreamier version of Dylan’s ‘Love Minus Zero/No Limit’. ‘Fly High’ should’ve charted with its big production, ironically about the music biz (“So please remember all you have and not what you might lose, it isn’t always easy but is better when you do”).
The Montreux concert with Sanders features live premieres of the album, introduced in fluent French, including a hypnotic ‘Fly High’, and a faster ‘Ask Me No Questions’. A visual example is on YouTube from French TV in May 1970. The 19-track BBC disc has an amusing/awful interview with Peel, covers of Martyn, sitar-style guitar Donovan, Joni Mitchell, unreleased songs, and a 1971 In Concert duet with the late Kevin Ayers from their unfinished children’s songs. Her 1970 B-side of his ‘Yep’ is oddly omitted. She contributed to his Shooting At The Moon (1970) with Mike Oldfield (she’s on his Ommadawn and Amarok), and The Unfairground (2007).
After Chrysalis stymied Jumble Queen 1974 (reissued by Beat Goes On), when a ‘Melody Maker’ poll that year rated her fifth best female singer (Maggie Bell was number 1, Shirley Bassey number 9), she emigrated to Greenwich Village where she lives today. From buttercup sandwiches to fast food, it seems a little ironical as she never saw herself in England’s folk scene. A rare recent glimpse is an interview/performance on the excellent TV station of Cherry Red who also released a 19-track sampler (2010, CDMRED440).
“I’m not a narrative songwriter, I don’t sit down to write stories, I just write feelings out,” getting “high off people, ideas and things”. Voice, instrument and lyric allow a place and air for later listening. It doesn’t date, a beguiling delivery of observation and experience tinged with her favourite autumn and nostalgia-driven Englishness swirls like labelmate Beau with a pinch of John Martyn and dash of Donovan. Narrowly missing fame, this is supplanted by cult status more suiting her low profile. This box-set brings dispatches from a more innocent age, when communication meant exactly that and not technology, a time not just to listen but hear. Once heard, never forgotten.
Brian R Banks
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