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View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Lyrics + Detailed Song N...Or MMFLBF
Extended Liner Notes and Lyrics for My Mind From Love Being Free by Lindsay Straw Since so many of these songs were learned primarily from three singers, I feel that it’s worth elaborating a bit on each. Lizzie Higgins & Jeannie Robertson: Nearly half come from the Scottish musical dynasty of Jeannie Robertson and Lizzie Higgins: “Far Over the Forth,” “Lord Lovat,” “When I Was Not But Sweet Sixteen,” and “Lovely Molly.” Jeannie and Lizzie’s powerful, emotional singing styles and repertoire continue to move me, years after stumbling upon them in the Voice of the People collections. Jeannie Robertson was a major figure in the British folk revival. She and her family were Travellers in Aberdeenshire, and were bearers of a rich musical history. Her daughter Lizzie reluctantly performed and recorded Jeannie’s songs and carried on her legacy, as did many other singers who learned from her over the years. Musical Traditions’ In Memory of Lizzie Higgins and James Porter & Herschel Gower’s Jeannie Robertson: Emergent Singer, Transformative Voice, along with the Mainly Norfolk website, have been invaluable resources for further exploring both the songs and singers. Rita Gallagher: Several songs “The Bonny Light Horseman,” “The Mermaid,” and “Lurgy Stream” were learned from Rita Gallagher’s albums. Rita’s gorgeous voice and intricate ornamentation are hugely responsible for my love of oldstyle Irish singing. Rita is from Donegal, and when she was younger she learned from Paddy Tunney and other members of his family. She has also been kind enough to take the time to answer a nerdy folk singer’s questions via email. -
Sheila Stewart
Sheila, Belle and Jane Turriff. Photo: Alistair Chafer “…Where would Sheila Stewart the ballad singing Scottish Traveller, Traditional Singer and Storyteller tradition in Scotland 1935 - 2014 be today without the unbroken continuity by Pete Shepheard of tradition passed on to us by Sheila and other members of Scotland’s ancient Traveller community…” “…one of Scotland’s finest traditional singers, inheriting The family was first brought to When berry time comes roond look for the Stewarts who rented Traveller lore and balladry from all light by Blairgowrie journalist each year, Blair’s population’s berry fields at the Standing Stones sides of her family, and learning a rich oral culture Maurice Fleming in 1954 following swellin, at Essendy. So he cycled up to songs from her mother, some of a chance meeting with folklorist There’s every kind o picker there Essendy and it was Sheila Stewart the most interesting, and oldest, of songs, ballads Hamish Henderson in Edinburgh. and every kind o dwellin; he met (just 18 years old at the songs in her repertoire came from Discovering that Hamish had There’s tents and huts and time) who immediately said she Belle’s brother, her uncle, Donald caravans, there’s bothies and and folk tales that recently been appointed as a knew the song and told Maurice MacGregor, who carefully taught there’s bivvies, research fellow at the School it had been written by her mother her the ballads. Donald could had survived as And shelters made wi tattie-bags Belle. Maurice reported the of Scottish Studies, Maurice neither read nor write, but was an and dug-outs made wi divvies. -
Oral Tradition 29.1
Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village. -
LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye. -
Context, Structure, and Meaning in the Scottish Ballad
Singing Families of Aberdeenshire: Context, Structure, and Meaning in the Scottish Ballad Thomas A. McKEAN The North-East of Scotland is sometimes called “the cold shoulder of Scotland”, with the cold winds coming off the surrounding North Sea. Cold and windy it may be, but it is also home to one of the most remarkable singing traditions in the world: the classic ballad tradition. In Francis James Child’s The English and Scottish Popular Ballads fully two-thirds of the primary texts come from Aberdeenshire. １） The ballad in Scottish tradition is a song that tells a story, a compact narrative communicating history, experience, and happenstance along with the human emotional responses to them. The songs contain some of the most distilled and powerful poetic language to be found anywhere, in the service of dramatic, and sometimes horrifying plots. Before reflecting on the form and structure of the Scottish ballad, I want to focus on the people who sing. There has been extensive research on ballad texts, their background history, and the melodies to which they were sung, but comparatively little attention spent on who sings, why they sing, what it means to them, and how the songs function in their lives. The following may be considered a brief introduction to four prominent Scottish Traveller families, people for whom song is a part of daily life, a part of regular human communication, rather than for performance on a stage. On the way, we will encounter their society and consider their singing style. Families are the basic unit of folk song. -
Bonny Lass Come O'er the Burn Ray & Archie Fisher
TSDL128 BONNY LASS COME O’ER THE BURN RAY & ARCHIE FISHER DOLINA MACLENNAN ENOCH KENT ROBIN GRAY Songs, Ballads and Broadsides from Scotland. Songs, Ballads, Waulking Songs and Mouth Music from the Western Isles. TSDL128 1. The Twa Corbies Ray Fisher acc. 14. Bratach Bana Dolina Maclennan acc. Archie Fisher (guitar) Robin Gray (guitar) 2. Fil U O Ru Hu O Dolina Maclennan unacc. Notes by Norman Buchan 3. Gypsy Laddie Robin Gray acc. himself Notes on the Gaelic Songs and ‘The Gypsie (guitar) Laddie’ by Robin Gray Bonny Lass 4. Beggar Man Enoch Kent unacc. Come O’er The Burn 5. Hug O Ran O Ru Donna Maclennan RECORDING DATES unacc. 02 Ray and Archie Fisher 6. Donal Don Enoch Kent acc. himself Hampstead, St. Pancras and Edinburgh (guitar) 1960 7. Kilbogie Ray & Archie Fisher acc. Archie Fisher (guitar) Dolina Maclennan 8. The Night Visiting Song Ray & Archie Cricklewood 1961 Fisher acc. Archie Fisher (guitar) Enoch Kent 9. Bonny Lass Come O’er the Burn Hampstead 1962 Enoch Kent unacc. 10. Far Over the Forth Ray Fisher unacc. 11. The Butcher Boy Enoch Kent acc. himself (guitar) 12. Port a Beul Dolina Maclennan unacc. 13. Erin Go Brath Enoch Kent unacc. TSDL128 The folk song revival in Scotland is of importance smoke reeking from the wee roon lum of ‘Ma well beyond song itself. The total Scottish cultural Granny’s Hieland Hame’. But in poetry and the novel tradition is a popular one. Our medieval writers – MacDiarmid and Grassic Gibbon – the strength of were at their strongest when drawing on the popular truth began to win through. -
Download PDF Booklet
THE TRAVELLING STEWARTS 1 Johnnie, My Man Lizzie Higgins 2 Willie’s Fatal Visit Jeannie Robertson 3 The Battle’s O’er; Scotland the Brave; The 51st Division in Egypt Played by Donald and Isaac Higgins, pipes 4 Bogie’s Bonnie Belle Jane Stewart 5 McGinty’s Meal and Ale Davy Stewart 6 My Bonnie Tammy Christina Stewart 7 MacPherson’s Lament Maggie McPhee 8 The Drunken Piper; Brig o’ Perth; Reel o’ Tulloch Played by Alex Stewart, pipes 9 Loch Dhui Belle Stewart acc. Alex Stewart, goose 10 The Dawning of the Day Cathie Stewart, acc. Alex Stewart, goose 11 Donald’s Return to Glencoe Sheila Stewart First Issued by Topic 1968. Recorded in Scotland by Bill Leader, 1967. Notes by Carl MacDougall Photograph by Brian Shuel ‘You’ll never see me laughing or shouting at a Pakistani or Later the mass evictions of Highland crofters now anybody like that; no, never... known as the Clearances, where sheep usurped men in the Long, long years ago when I was a wee boy. my auld mother minds of the land-owners, helped swell the ranks of the told me that all travellers came from the same place as these ‘travellers’. The evictions were followed by an orgy of tartan people. and so I never do anything that might offend them. romanticism which we Scots have not yet recovered from; and Anyway, they`re having a hard time of it. just like the this was followed by an orgy of ‘gypsy’ romanticism. Just as travellers...’ every Scot had a kindly, tartan-clad granny in a wee cottage Davy Stewart, itinerant singer. -
The BBC Folk Music and Dialect Recording Scheme (1952-57) As Its Case Study, Tuning Into a Particular Form of Radio Fieldwork
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. National Phonography Field Recording and Sound Archiving in Postwar Britain Tom Western Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music University of Edinburgh 2015 i Declaration I hereby declare that this thesis, submitted in candidature for the degree of Doctor of Philosophy at the University of Edinburgh, and the research within it is my own work, except where explicitly stated in the text, and has not been submitted for any other degree or professional qualification. _______________________ Tom Western 10 August 2015 ii iii Contents List of Figures v Abstract vi Acknowledgements vii Introduction 1 1. Locating National Phonography in the Literature 1.1 Recorded Music 21 1.2 Ethnomusicology, Technology, History 25 1.3 Defining Phonography 30 1.4 Applying this to Folk Musics in Britain 35 2. -
Tradition Label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography
Tradition label Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Tradition Label Discography The Tradition Label was established in New York City in 1956 by Pat Clancy (of the Clancy Brothers) and Diane Hamilton. The label recorded folk and blues music. The label was independent and active from 1956 until about 1961. Kenny Goldstein was the producer for the label during the early years. During 1960 and 1961, Charlie Rothschild took over the business side of the company. Clancy sold the company to Bernard Solomon at Everest Records in 1966. Everest started issuing albums on the label in 1967 and continued until 1974 using recordings from the original Tradition label and Vee Jay/Horizon. Samplers TSP 1 - TraditionFolk Sampler - Various Artists [1957] Birds Courtship - Ed McCurdy/O’Donnell Aboo - Tommy Makem and Clancy Brothers/John Henry - Etta Baker/Hearse Song - Colyn Davies/Rodenos - El Nino De Ronda/Johnny’s Gone to Hilo - Paul Clayton/Dark as a Dungeon - Glenn Yarbrough and Fred Hellerman//Johnny lad - Ewan MacColl/Ha-Na-Ava Ba-Ba-Not - Hillel and Aviva/I Was Born about 10,000 Years Ago - Oscar Brand and Fred Hellerman/Keel Row - Ilsa Cameron/Fairy Boy - Uilleann Pipes, Seamus Ennis/Gambling Suitor - Jean Ritchie and Paul Clayton/Spiritual Trilogy: Oh Freedom, Come and Go with Me, I’m On My Way - Odetta TSP 2 - The Folk Song Tradition - Various Artists [1960] South Australia - A.L. Lloyd And Ewan Maccoll/Lulle Lullay - John Jacob Niles/Whiskey You're The Devil - Liam Clancy And The Clancy Brothers/I Loved A Lass - Ewan MacColl/Carraig Donn - Mary O'Hara/Rosie - Prisoners Of Mississippi State Pen//Sail Away Ladies - Odetta/Ain't No More Cane On This Brazis - Alan Lomax, Collector/Railroad Bill - Mrs. -
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E] Book Contents
The Eskimo Republic For John Powles, former Project Manager of the Centre for Political Song at Glasgow Caledonian University, and for Thurso Berwick. Other books written or co-written by Ewan McVicar include One Singer One Song Cod Liver Oil & The Orange Juice [with Hamish Imlach] Streets Schemes & Stages [with Mary McCabe] Traditional Scottish Songs & Music [with Katherine Campbell] Doh Ray Me When Ah Wis Wee Lang Legged Beasties One Black Isle Night The Eskimo Republic Scots political folk song in action 1951 to 1999 Ewan McVicar Gallus Publishing Linlithgow All rights reserved. The moral right of the author has been asserted. First published in Great Britain in 2010 by Gallus Publishing 84 High Street Linlithgow EH49 7AQ 01506 847935 [email protected] No part of this book may be produced or transmitted in any form or by any other means without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages. This book was researched, created and published through a Writers Bursary grant in 2008 from the Scottish Arts Council, to whom full thanks are given. All interview texts are the copyright of those interviewed, who are thanked for their generous giving of time, knowledge and thoughts. Particular thanks are due to John Powles, Ian Davison, Stuart McHardy and Geordie McIntyre. Song texts are the copyright of the named creators or their heirs. Particular thanks to Marion Blythman, Kaetzel Henderson, Janette McGinn, Meic Stephens, the families of Norman MacCaig and John MacEvoy, Ian Davison and Seylan Baxter to quote from the relevant works. -
9972508.PDF (6.393Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter ^ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JEAN RITCHIE’S FIELD TRIP - SCOTLAND: AN EXAMINATION OF UNPUBLISHED FIELD RECORDINGS COLLECTED IN SCOTLAND, 1952-53 A Dissertation SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of Doctor of Philosophy By SUSAN HENDRIX BRUMFIELD Norman, Oklahoma 2000 UMI Number 9972508 UMI UMI Microform9972508 Copyright 2000 by Bell & Howell Information and Learning Company.