Tsdl488 Waterson:Carthy Common Tongue

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WATERSON:CARTHY COMMON TONGUE TSDL488 WATERSON:CARTHY COMMON TONGUE TOPIC TSDL488 002 www.topicrecords.co.uk WATERSON:CARTHY COMMON TONGUE TOPIC TSDL488 003 www.topicrecords.co.uk WATERSON:CARTHY COMMON TONGUE TOPIC TSDL488 004 www.topicrecords.co.uk WATERSON:CARTHY COMMON TONGUE 1 Rambleaway / Valentine Waltz 4:35 Norma Waterson : vocal 2 Claudy Banks 6:45 Martin Carthy : vocal, guitar, mandolin Eliza Carthy : vocal, fiddle 3 Rackabello 3:48 4 Lowlands Of Holland 4:44 Saul Rose : melodeon 5 Grand March In The Battle Of Prague / Liverpool Hornpipe Maclaine Colston : hammered dulcimer Barnaby Stradling : bass Wellington Hornpipe 5:26 Lal Waterson, Maria Gilhooley, Mike Waterson & Eleanor Waterson : vocals 6 Meeting Is A Pleasure 3:53 7 Hares In The Old Plantation 4:03 Produced by Tony Engle 8 Flash Company 3:05 There are plenty of bands and individuals playing Scots and Irish music and, indeed, we 9 Maid Lamenting 5:10 ourselves have sung, and do sing, stuff which clearly derives from Scotland and Ireland 10 American Stranger 3:18 whence our families originally came, but this is deliberately an album of English music, a repertoire often ignored but which has balls (or its excellently named female counterpart 11 French Stroller 2:21 ‘clitzpah’) enough for anyone. Having said that, the musical instinct is far too inclusive to 12 Polly’s Love 4:40 allow any notions of ‘purity’ to survive for long, and it is neither possible nor desirable to set 13 Stars In My Crown 2:59 up musical border checkpoints anywhere. However, there is that elusive and ever chang- ing thing called identity. This album is respectfully dedicated to two mighty human beings, both of whom died in 1996, both of whom cleaved passionately to notions of ‘Englishness’, but who would, I think, have been disdainful of any ideas of exclusivity: Dennis Potter and This recording ℗1997 Topic Records Ltd. ©1997 Topic Records Ltd. Walter Pardon. - Martin Carthy This digital booklet ℗2013 Topic Records Ltd. ©2013 Topic Records Ltd. The copyright in this sound recording and digital booklet is owned by Topic Records Ltd. All rights reserved. TOPIC TSDL488 005 www.topicrecords.co.uk.

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“I am one of the last of a small tribe of troubadours who still believe that life is a beautiful and exciting journey with a purpose and grace well worth singing about.” E Y Harburg Purpose + Grace started as a list of songs and a list of possible guests. It is a wide mixture of material, from a traditional song I first heard 50 years ago, other songs that have been with me for decades, waiting to be arranged, to new original songs. You stand in a long line when you perform songs like this, you honour the ancestors, but hopefully the songs become, if only briefly your own, or a part of you. To call on my friends and peers to make this recording has been a great pleasure. Turning the two lists into a coherent whole was joyous. On previous recordings I’ve invited guest musicians to play their instruments, here, I asked singers for their unique contributions to these songs. Accompanying song has always been my favourite occupation, so it made perfect sense to have vocal and instrumental collaborations. In 1976 I had just released my first album and had been picked up by a heavy, old school music business manager whose avowed intent was to make me a star. I was not averse to the concept, and went straight from small folk clubs to opening shows for Steeleye Span at the biggest halls in the country. Early the next year June Tabor asked me if I would accompany her on tour. I was ecstatic and duly reported to my manager, who told me I was a star and didn’t play for other people.
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11> 0514302 76969 establishment,” he hastened to clarify. “I wish it were called the Legion of Honour, but it’s not.” Still in all, he thinks it’s good for govern- M artin C arthy ments to give cultural awards and is suitably honored by this one, which has previously gone to such outstanding folk performers as Jeannie Robertson. To decline under such circum- stances, he said, would have been “snotty.” Don’t More importantly, he conceives of his MBE as recognition he shares with the whole Call Me folk scene. “I’ve been put at the front of a very, very long queue of people who work hard to make a folk revival and a folk scene,” he said. Sir! “All those people who organized clubs for nothing and paid you out of their own pocket, and fed you and put you on the train the next morning, and put you to bed when you were drunk! What [the government is] doing, is taking notice of the fact that something’s going on for the last more than 40 years. It’s called the folk revival. They’ve ignored it for that long. And someone has suddenly taken notice, and that’s okay. A bit of profile isn’t gonna hurt us — and I say us, the plural, for the folk scene — isn’t gonna hurt us at all.” In the same year as Carthy’s moment of recognition, something happened that did hurt the folk scene. Lal Waterson, Carthy’s sister-in- law, bandmate, near neighbor and close friend, died of cancer.
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