Fairport Convention Brochure Copy 2018

Total Page：16

File Type：pdf, Size：1020Kb

FAIRPORT CONVENTION 2018 WINTOUR BROCHURE COPY Fairport Convention has been making great music for over fifty years. Credited with originating British folk-rock music, the band has been through many changes but the current members retain a passion for live performance. This year’s Winter Tour will feature a mix of long-established Fairport favourites and new material from their most recent studio album 50:50@50 celebrating their Golden anniversary. The concerts will also feature an opening performance by the wonderful singer / songwriter duo Winter Wilson, who have become favourites on the folk scene in the UK and as far away as Australia. Fairport Convention has attracted critical acclaim: the band has won a coveted BBC Lifetime Achievement Award; Radio 2 listeners voted Fairport’s groundbreaking album Liege & Lief 'The Most Influential Folk Album of All Time'; and their story has been celebrated with a major documentary on BBC Four television. Fairport Convention features Simon Nicol on guitar and vocals, Dave Pegg on bass guitar, Chris Leslie on fiddle, mandolin and vocals, Ric Sanders on violin and Gerry Conway on drums and percussion. Whether you are a long-time fan or a newcomer to their music, an evening with Fairport Convention is sure to surprise and delight you. “Impressive musicians with a great back catalogue... (they) take chances and clearly enjoy themselves.” The Guardian “Vigorous and confident...the music leapt around the room.” The Mirror .

Copy Link

Recommended publications

Slap Magazine Issue 90 (April 2019)
Issue 90 Apr2019 FREE SLAP Supporting Local Arts & Performers WORCESTER’S NEW INDEPENDENT ITALIAN RESTAURANT Traditional Italian food, cooked the Italian way! We create all dishes in our kitchen, using only the finest quality fresh ingredients. f. t. i. SUGO at The Lamb & Flag SUGO at Friar St 30 The Tything 19-21 Friar Street, Worcester Worcester WR1 1JL WR1 2NA 01905 729415 01905 612211 [email protected] [email protected] Spring is here as we turn our thoughts to the season ahead, and what a summer it will surely be with all the music and arts events in the pipeline. We again look forward to a few of the local music festivals such as Mello, where Severn Sounds again have a stage focusing on the young talent around the area; Kidderminster, Hereford, Worcester Colleges and Christopher Whitehead, Pershore and Tewkesbury High Schools are all represented, which bodes well for the future of our local music scene. We Apr 2019 bring news of other festivals such as Upton Jazz and Under the Hill festival near Evesham. Poetry lovers are also catered for In this issue, as we SLAP MAGAZINE highlight a vibrant spoken word scene, with articles on the Unit 3a, Lowesmoor Wharf, upcoming Cheltenham Poetry Festival and the Evesham Festival of Words, as well as all the other regular local Worcester WR1 2RS events.. Telephone: 01905 26660 There’s plenty for art fans in these pages too. If you haven’t [email protected] been to see the Matisse exhibition at Worcester Museum EDITORIAL yet, then I suggest you pop along before it ends later in the Mark Hogan - Editor month.
[Show full text]
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
[Show full text]
Cropredy Report.Indd 43 25/11/2010 12:03
FEATURE: FAIRPORT’S CROPREDY CONVENTION 2010 2010 FAIRPORT’S Despite its size, the single stage, eclectic line- CROPREDY up and one-bar-serves-all formula makes Cropredy the great leveller. Words and CONVENTION pictures by Noel Harvey. n the 60s and early 70s, you’re all in it together. labelling of the music as ‘Bible of the great and good (announced festival punters were not Local band Leatherat played a belt noir’, while Martyn Joseph’s or otherwise) stepped up for a overly keen on having too thrashing, metal-hued blend of interjected analysis of Bruce turn. Johnny Logan, Martin Barre, much choice. Perhaps folk-rock that amply justifi ed the Springsteen’s ‘One Step Up, Two Jacqui McShee, and yes, even the it was the pervading ideals of preponderance of fans proudly Steps Back’ may yet fi nd itself (once) late, great Dave Swarbrick Iegalitarianism and free love, or wearing their T-shirts. Cornwall transcribed and handed in as part made an appearance. ere were maybe it was something in the air trio 3 Daft Monkeys delivered an of an essay by some hopeful media classics aplenty, of course. ‘Walk (or the roll-ups). But whatever it eclectic melee of folk, Gypsy and studies student. Awhile’, ‘Crazy Man Michael’, was, you needed neither a degree goodness knows what else with ose in search of bona fi de ‘Matty Groves’ and a fi nal, rousing in logistics nor a clear head to be an energy that was anarchic and legends could happily return home ‘Meet On e Ledge’ must have at the right stage at the right time exuberant enough to permeate and announce they’d seen Rick fi red up many a fading memory.
[Show full text]
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Afﬁnity-Afﬁnity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
[Show full text]
June 2009 Did Really Well with the Mananan Song, Gaining at the VERY LATEST a 3Rd Prize in the Folk Song (9 and Under 14)
IIAULLAULL MANNINAGHMANNINAGH JJIUIU KMANX MUSIC TODAY une j2009 mean souree king chiaullee supporting men in kilts! Stars of the Manx music world, King Chiaullee, have been chosen to support masters of bagrock, The Red Hot Chilli Pipers, as part of this year’s TT music line-up at the Villa Marina Gardens. On Sunday 7th June, the lads take to the stage for a what promises to be a true spectacle! Tickets only £10 online at: www.villagaiety.com www.kciom.com www.redhotchillipipers.co.uk strengyn supporting ‘the gathering’ JonnoPromotions in association with Manx Radio presents... The Gathering - Legends of Folk Rock 27th June, Gaiety Theatre, 7.30pm featuring The Gathering, Derrin Nauendorf, Strengyn. A Who’s Who of folk-rock musicians ... Clive Bunker (Jethro Tull, Pentangle), Jerry Donahue (Fairport Convention, Fotheringay), Ray Jackson (Lindisfarne), Matt Pegg (Procol Harum & Jethro Tull, son of Dave Pegg) & Doug Morter (The Albion Band, Magna Carta) with very special guest Kristina Donahue (who sang with Robert Plant at Cropredy Festival 2008). With support from awesome Australian singer songwriter Derrin Nauendorf and local support from guitar & mandolin duo Strengyn (Paul Rogers & Matt Kelly). Tickets £22.00 & £18.00 concs from the Welcome Centre, www.villagaiety.com and the hotline 694555 www.myspace.com/thegatheringonline www.myspace.com/derrinnauendorf ~ SESSIONS ~ THURS 9pm Singing session at The Brit, Ramsey FRI 8pm Tynwald Inn, St. Johns FRI 9pm Irish at The Mitre, Ramsey Last FRI of month 9pm, Kiaull as Gaelg, Albert, Port St Mary SAT 10pm Manx at The White House, Peel SUN 4pm Irish at the Traf, Douglas Cruinnaght Aeg Manx bands at Ramsey Rocks competitions The Ballaghs will again The Isle of Man Dept of Education and Manx storm the main stage at National Heritage are looking forward to Ramsey Rocks on Friday 2009’s Cruinnaght Aeg youth music, dance and 10 July.
[Show full text]
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
[Show full text]
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters.
[Show full text]
PATTO – the JOHN HALSEY INTERVIEW
PATTO – the JOHN HALSEY INTERVIEW Patto, apart from being one of the finest (purely subjective, of course) bands this country ever produced, were not blessed with good fortune. Forever on the verge of making it really big, they broke up after six years of knocking on the door and finding no-one home. Subsequently, two of their number died while the other two were involved in a terrible car smash which left one with severe physical injuries and the other with severe mental problems. Drummer John Halsey is now the only Patto member who could possible give us an interview. Mike Patto and Ollie Halsall are both gone, while bassist Clive Griffiths apparently doesn't even recall being in a band! Despite bearing the scars of the accident (Halsey walks with a pronounced limp), John was only too pleased to submit to a Terrascopic grilling - an interview which took place in the wonderful Suffolk pub he runs with his wife Elaine. Bancroft and I spent a lovely afternoon and evening with the Halseys, B & B'd in the shadow of a 12th Century church cupboard and returned to London the next morning with one of the most enjoyable interviews either of us has ever done. John Halsey: I started playing drums because two mates who lived in my road in North Finchley (N. London), where I'm from, wanted to form a group. This was years and years ago, 1958, 1959. Want to see the photo? PT: Oh, look at that! 1959! Me, with a microphone inside me guitar that used to go out through me Mum's tape recorder, and if you put 'Record' and 'Play' on together, it'd act like an amplifier.
[Show full text]
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
[Show full text]
SLAP Supporting Local Arts & Performers
Issue 42 SLAP Supporting Local Arts & Performers Welcome to the November issue of SLAP Magazine and another packed issue it is too. If you thought for one minute things might start to go quiet around these parts then think again! We’ve spent some time burning the midnight oil to bring you all the latest goings on from the local arts community including our feature on long established local artist Chris Bourke, as well as amongst others, our very own Katie Foulkes and her debut photography exhibition. Nov 2014 With loads of Theatre news, CD and gig reviews, interviews and previews to the many exciting shows coming up in your area, there’s something within these pages for everyone. We also meet local singer/song writer Tom Forbes, strongly SLAP MAGAZINE tipped for greater things, who also provides our colourful front Unit 3a, Lowesmoor Wharf, cover imagery ahead of his latest release ‘Wallflower’. Worcester WR1 2RS I have to mention two sad losses to the music world which Telephone: 01905 26660 certainly took the shine off deadlining on another issue of [email protected] SLAP this October. Former Cream bass player and solo artist For advertising enquiries, please contact: Jack Bruce who was a big influence to many died from Liver [email protected] Failure at the age of 71. And Alvin Stardust who lost his fight EDITORIAL Mark Hogan against Prostrate Cancer at the age of 72. Only last week Alvin Kate Cox - Arts editor was entertaining fans at the Regal Cinema in Evesham. CONTRIBUTORS Andy O’Hare On a more positive note Wilko Johnson declared himself Chris Bennion cured of pancreatic cancer at the Q Awards following surgery Mel Hall earlier this year.
[Show full text]
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
[Show full text]
Design Issues with 3D Maps and the Need for 3D Cartographic Design
Design Issues with 3D Maps and the Need for 3D Cartographic Design Principles Dave Pegg Abstract Design issues regarding the presentation of geographical information in a th ree- dimensional perspective are varied and complex. This paper looks at some of issues of 3D mapping stemming from its rapid development as a cartographic tool, its growing popularity and accessibility amongst users, and the 3D cartographic principles proposed to manage the design and presentation that are not covered by traditional cartographic principles. Introduction Multimedia cartography has been propelled forward by the rapid technological advances for the capture, manipulation and presentation of geographical data, with most map products now being developed digitally. The quality and accuracy of data capture, data storage & manipulation capabilities, as well as the advancements in software, mean that a cartographer now has the ability to digitally create spatially accurate, detailed and high resolution three-dimensional maps and visualizations. The advent of Digital terrain or elevation models make available the presentation of geographical data in three dimensional space, and allowing precise modelling of not only x and y locations, but the z height creating a three-dimensional landscape. In the case of three-dimensional cartographic mapping, there are many different applications that have been designed for the creation of 3D maps and visualizations, and the development of standards and guidelines in regards to the technical aspects of such models. 3D maps can be done in several different ways, each way creating a different representation of the landscape. 3D maps can be photorealistic, where the landscape is created to match the exact landscape, using techniques of overlaying ortho-photography over a 3D model, or can be “symbolistic”, where the maps are generalized and symbols designed to show object locations and information.
[Show full text]