Sandy Denny: Under Review (Sexy Intellectual Production)

Total Page：16

File Type：pdf, Size：1020Kb

Sandy Denny: Under Review (Sexy Intellectual Production) This one’s kind of skimpy on the archival footage (often the filmmakers choose to craft impressionistic film collages for songs to compensate), but there is such a dearth of information around about Sandy Denny, easily one of the most mesmeric singers of all time, that I consider this disc absolutely crucial. Fairport Convention vocalist Denny was a tragic folk heroine plagued by insecurity—she never felt comfortable as an artist in the spotlight, preferring to have a band she could lose herself in, (check out her song “Solo” for her lyrical take) — who was nonetheless blessed with a remarkably penetrating voice and superior songwriting talent. (She’s the only “guest vocalist” to ever appear on a Led Zeppelin record, on the Middle-earthy “Battle of Evermore.”) The disc capably illuminates Denny as an artist worthy of rabid cult status, who died under sad circumstances (she fell down a flight of stairs, eventually sinking into a coma), but who was hugely influential on the English folk scene, revered by everyone who knew or played with her. Minor gripe: The commentary by former bandmate Dave Swarbrick is largely garbled, but it appears that this is the way he actually talks—what are you gonna do? A cursory listen to Fairport’s “What We Did On Our Holidays” or “Liege and Lief” should convince anyone with a pair of working ears that the emotionally fragile Denny, with her wounded angel’s voice, was one in a zillion. Natch, the doc glosses over the more unsavory aspects of her character (she could be abusive and her drinking probably contributed to her tumble), but no matter. This entry covers her entire turbulent career, and as such deserves nothing less than total absorption. (John Chandler) .

Copy Link

Recommended publications

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]
SANDY DENNY UNDER REVIEW: an Independent Critical Analysis, Limited Collectors Edition
SANDY DENNY UNDER REVIEW: An Independent Critical Analysis, Limited Collectors Edition The difference between a critical analysis of {$Sandy Denny} or {$The Velvet Underground} and {$The Rolling Stones} is that with a lot less information available on this extraordinary singer the audience is more limited. The good news is that this edition of the "Under Review" series actually lives up to the documentary status it claims, and does, indeed, hold one's attention and inform better than the {^Green Day: Under Review 1995-2000 The Middle Years}, which is basically a bunch of critics blowing lots of hot air. It seems with these "DVD/Fanzine" type commentaries that the lesser known the subject matter, the better the critique. Denny is a singer that deserves so much more acclaim and study, and this is an excellent starting point, as is the {$Kate Bush} "Under Review", and even the {$David Bowie} {^Under Review 1976-79 Berlin} analysis which concentrates on his dark but fun period. {$Fairport Convention} fiddler {$Dave Swarbrick}, journeyman {$Martin Carthy}, {$Cat Stevens} drummer {$Gerry Conway} of Denny's band, {$Fotheringay} and {$Pentangle}'s {$John Renbourn} contribute as does {$Fairport Convention} biographer {$Patrick Humphries}. That's the extra effort missing in some of these packages which makes this close to two hour presentation all the more interesting. Perhaps more important than the very decent {$Kate Bush} analysis by the {^Under Review} team, there's a "Limited Collector's Edition" with a cardboard slipcover. It's a very classy presentation and a very important history that deserves shelf space in any good library.
[Show full text]
14302 76969 1 1>
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.
[Show full text]
Track Artist Album Format Ref # Titirangi Folk Music Club
Titirangi Folk Music Club - Library Tracks List Track Artist Album Format Ref # 12 Bar Blues Bron Ault-Connell Bron Ault-Connell CD B-CD00126 12 Gates Bruce Hall Sounds Of Titirangi 1982 - 1995 CD V-CD00031 The 12th Day of July Various Artists Loyalist Prisoners Aid - UDA Vinyl LP V-VB00090 1-800-799-7233 [Live] Saffire - the Uppity Blues Women Live & Uppity CD S-CD00074 1891 Bushwackers Faces in the Street Vinyl LP B-VN00057 1913 Massacre Ramblin' Jack Elliot The Essential Ramblin' Jack Elliot Vinyl LP R-VA00014 1913 Massacre Ramblin' Jack Elliot The Greatest Songs of Woodie Guthrie Vinyl LP X W-VA00018 The 23rd of June Danny Spooner & Gordon McIntyre Revived & Relieved! Vinyl LP D-VN00020 The 23rd Of June the Clancy Brothers & Tommy Makem Hearty And Hellish Vinyl LP C-VB00020 3 Morris Tunes - Wheatley Processional / Twenty-ninth of May George Deacon & Marion Ross Sweet William's Ghost Vinyl LP G-VB00033 3/4 and 6/8 Time Pete Seeger How to play the Old Time Banjo Vinyl LP P-VA00009 30 Years Ago Various Artists & Lindsey Baker Hamilton Acoustic Music Club CD H-CD00067 35 Below Lorina Harding Lucky Damn Woman CD L-CD00004 4th July James RAy James RAy - Live At TFMC - October 2003 CD - TFMC J-CN00197 500 Miles Peter Paul & Mary In Concert Vinyl LP X P-VA00145 500 Miles Peter Paul & Mary Best of Peter, Paul & Mary: Ten Years Together Vinyl LP P-VA00101 500 Miles The Kingston Trio Greatest Hits Vinyl LP K-VA00124 70 Miles Pete Seeger God Bless the Grass Vinyl LP S-VA00042 900 Miles Cisco Houston The Greatest Songs of Woodie Guthrie Vinyl LP
[Show full text]
'Across the Evening Sky': the Late Voices of Sandy Denny, Judy Collins
© Copyrighted Material Chapter 9 ‘Across the Evening Sky’: The Late Voices of Sandy Denny, Judy Collins and Nina Simone Richard Elliott In 2006, shortly before her 67th birthday, the American singer-songwriter Judy Collins undertook a tour of Australia and New Zealand, her first visit to the region in forty years. A number of press features and interviews accompanied Collins’s visit, several of which were still featured at the top of the ‘Press’ section of the artist’s website at the time of writing this chapter. One of the features, entitled ‘Who Knows Where the Time Goes?’ after one of Collins’s 1960s hits, presented a reflection on the artist’s career alongside observations on age and assertions of continued vitality.1 Another, entitled ‘Gem of a Voice Shines On’, described some of Collins’s most successful performances, including her recording of Joni Mitchell’s ‘Both Sides Now’. ‘Its harpsichord tinkling has dated’, wrote the journalist, ‘but Collins’ voice, warm and wise beyond its years, renders the song timeless.’2 I use these examples because they provide a foretaste of the themes of age, time and experience with which I wish to engage in this chapter, as well as a reference to the song upon which I will base my observations. The first aspect to note is the way in which an artist of Collins’s longevity can afford to leave her website out of date in terms of publicity; the fact that the featured stories are seven years old at the time of access matters little when considering an artist whose performing career spans more than five decades.
[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, our multimedia, folk-related archive). 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 issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
[Show full text]
Andy Roberts Urban Cowboy 01
ANDY ROBERTS 01 URBAN COWBOY www.thebeesknees.com ANDY ROBERTS 02 URBAN COWBOY The first seeds for this album were sown in October 1970. Everyone, my Morgan Studios had been started by well-known drummer Barry Morgan post Liverpool Scene band, was put out of business in a devastating four years before, and was Samwell’s studio of choice. His principal client instant when our long wheelbase Transit was side swiped in Basingstoke in those days was Cat Stevens, who was well on his way to being a global by a jack-knifing flatbed, killing Paul Scard, our 19-year-old roadie, and superstar. One day after a Matthews session I was taking my time packing injuring Andy Rochford, his colleague. up my guitars, when in strolled Alan Davies, who was Steve’s right hand man on acoustic (still is, as far as I know). Alan and I knew each other from The musicians in the band were all safely back in London when it way back, when we had both at various times played with Jeremy Taylor happened. Earlier we had played at Southampton University, and I was and Sydney Carter. I showed him the Kriwaczek String Organ I had with Plainsong rehearsal photographs by Harry Isles sitting in drummer John Pearson’s kitchen in Bruton Place, having a cup me (a unique stringed instrument, designed by a great friend of mine, of of tea with John, Dave Richards and Paul, when Andy Rochford phoned up which I was at that time the sole exponent!), and then we began playing to ask if Paul could possibly return to Southampton to fetch him.
[Show full text]
A Folkrocker's Guide
A FOLKROCKER’S GUIDE – FOLKROCKENS FRAMVEKST 1965–1975 «The eletricifcation of all this stuf was A FOLKROCKER’S GUIDE some thing that was waiting to happen» TO THE UNIVERSE •1965–1975 – Martin Carthy «Folkrock» ble først brukt i 1965 som betegnelse på på Framveksten av folkrock i USA I Storbritania, i motsetning til i USA, kom «folkrock» til amerikanske musikere som The Byrds, den elektrifserte Bob og UK i tiåret 65–75 skapte Dylan, Simon & Garfunkel og – pussig nok – Sonny & Cher. mye av inspirasjonen for den å betegne elektrisk musikk basert på tradisjonell folke- Likevel er det i større grad møtet mellom rock og folkemusikk moderne visebølgen i Norden. musikk. i Storbritannia ca 1969–70 som ble bestemmende for hva vi Vi har bedt Morten Bing om å skrive om dette. Han er kon- på 1970-tallet kom til å legge i begrepet her hjemme. servator ved Norsk Folkemu- som hadde bakgrunn i folkrevivalen, en sanger og en felespiller – Sandy seum og var initiativtaker til men som allerede hadde forlatt Denny og Dave Swarbrick – som MORTEN BING Norges første folkrock gruppe tradisjonell folkemusikk til fordel for begge hadde bakgrunn i den Folque i 1973. egenskrevne låter. britiske folkrevivalen. Det var denne rdet «folke-rock» kombinasjonen, og resultatet, LP’n ble brukt første gang Dylan og Byrds Gruppa har sin kanskje siste På mange måter kan en si at den konsert på Rockefeller i Oslo Liege & Lief (1969), som var begyn- i Billboard 12.06.1965, engelske utviklingen gikk mot- nelsen på den britiske folkrocken. i en artikkel om Bob En viktig katalysator for framveksten 18.
[Show full text]
Cassandra Music Credits
Music Trevor Lucas Ian Mason Post Sync and Music Recording Engineer Tony Buettel 'Stimulation' 'Sugar Free' Performed by Wa Wa Nee Courtesy of CBS and Epic Records Written by Paul Gray Published by MCA Gilbey 'Land of the Free' Written and Published and Performed by Bluey and Curly 'She's a Mystery' Written and Performed by John Brewster and Allan Lancaster Published by Rondor Music Co-composer Trevor Lucas: Richie Unterberger at Allmusic provides this brief proﬁle of Trevor Lucas, here: Trevor Lucas was a secondary but notable ﬁgure in the British folk- rock scene of the late 1960s and 1970s, principally as a member of Fotheringay and the mid-'70s version of Fairport Convention. Originally from Australia, he came to the UK in the mid-1960s to work on the traditional folk circuit, and made an obscure and run- of-the-mill traditional folk solo album in 1966, Overlander. From late 1967 to late 1969, the singer-guitarist was in Eclection, a little- known British folk-rock group that made recordings with Elektra. Lucas became romantically involved with Fairport Convention singer Sandy Denny in the late 1960s, and together the pair formed Fotheringay, who made a good folk-rock album in 1970. Despite the group's considerable promise, it folded after that sole LP, when Denny, the biggest talent in the band by far, left for a solo career. Lucas joined Fairport Convention, who at that point had been shorn of all their original members, in mid-1972, with Denny (whom Lucas married in 1973) rejoining the band in early 1974.
[Show full text]
M7, 7 Records and Powderworks 1970-1987
AUSTRALIAN RECORD LABELS M7, 7 Records and Powderworks 1970-1987 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, JUNE 2019 M7 / 7 RECORDS BIRTHED DURING THE 1970 RECORD BAN, M7 WAS A SYDNEY-BASED LABEL SET UP AS A JOINT VENTURE BETWEEN THE MACQUARIE BROADCASTING SERVICE, THE HERALD AND WEEKLY TIMES LTD. AND FAIRFAX SUBSIDIARY AMALGAMATED TELEVISION SERVICES, OWNERS OF ATN-7. IN JULY 1970, WORLD BROADCASTING SYSTEM CHANGED ITS NAME TO M7 RECORDS PTY. LTD. M7 WAS DISTRIBUTED BY THE PAUL HAMLYN RECORD DIVISION (FROM JUNE 1971), THEN BY TEMPO (1974-1976), AND THEN ORGANISED ITS OWN DISTRIBUTION (1976-1978). ALLAN CRAWFORD WAS THE FIRST GENERAL MANAGER (1970-1972), FOLLOWED BY RON HURST (1972-1975). KEN HARDING JOINED M7 RECORDS IN 1973, BECOMING C.E.O. OF 7 RECORDS IN 1978, THE SAME YEAR HE SIGNED MIDNIGHT OIL TO THE LABEL. M7 RECORDS BECAME 7 RECORDS PTY. LTD. IN MAY 1978. AT THIS TIME, SALES AND DISTRIBUTION PASSED TO RCA. CATALOGUE PREFIXES MS M7 / SEVEN BGMS BLUE GOOSE MSA ARTIST OF AMERICA CHS CHAMPAGNE MSB BRITISH ARTISTS EUS EUREKA MSD SEVEN - 12” DISCO FSP FROG MSH HICKORY LRS LARRIKIN MSP PENNY FARTHING LW, LN M7 MSPD PENNY FARTHING – 12” DISCO RNO CREOLE MSS SPIRAL SAC AUSTRALIAN COUNTRY MST TRANSATLANTIC SS SATRIL MSY YOUNGBLOOD SUS STOCKADE M7 / 7 RECORDS 7” & 12” SINGLES LW 4512 C.C. RIDER / TRAVELLER S.C.R.A. 1971 LW 4522 HOUSE IN THE COUNTRY / LUCCA GREG BONHAM 6.71 LW 4532 IN VAIN THE CHRISTIAN / WHAT YOU’LL DO NOLAN 7.71 LW 4542 FRASER ISLAND / AUSTRALIA REVISITED REISSUED 1975 BY ‘TONI & ROYCE’ THE MEEPLES 6.71 LW
[Show full text]
July August September
July/August 2004 vol 39, No.7 July 6TueSea Music Concert: Stout + NY Packet; South Street Seaport Gallery; 6-8 pm 7WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 10 Sat Eat--Walk--Sing; Chinatown to Polytechnic University, noon 12 Mon NYPFMC Exec. Board Meeting 7:15pm at the club office, 450 7th Ave, #972 (34-35 St), info 1-718-575-1906 13 Tue Sea Music Concert: Brian Conway & Dan Milner + NY Packet; South Street Seaport Gallery; 6-8 pm 17 Sat Chantey Sing at Seamen’s Church Institute, 8pm 18 Sun Singing Party at the Ritchie/Pickow’s, Long Island 20 Tue Sea Music Concert: David Jones + NY Packet; South Street Seaport Gallery; 6-8 pm 27 Tue Sea Music Concert: A Joyful Noise + NY Packet; South Street Seaport Gallery; 6-8 pm August 3TueSea Music Concert: Anne Price + Jan Christensen + NY Packet; South Street Seaport Gallery; 6-8 pm 4WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 8 Sun Sing and Swim party, 2pm, Neil and Kathy Cohen's, Queens 10 Tue Sea Music Concert: Mark Maniak +NY Packet; South Street Seaport Gallery; 6-8 pm 13-15: A Festival of Traditional Music, Eisteddfod-NY: Polytech, Bklyn-- see flyer in centerfold 17 Tue Sea Music Concert: Family Concert with Deirdre & Sean Murtha + NY Packet; South Street Seaport Gallery; 6-8 pm. 24 Tue Sea Music Concert: The NexTradition + NY Packet; South Street Seaport Gallery; 6-8 pm 28 Sat (tentative) Chantey Sing at Seamen’s Church Institute, 8pm 31 Tue Sea Music Concert: Chris Koldewey + NY Packet; South Street Seaport Gallery; 6-8 pm September 7TueNewsletter Mailing; at Club office, 450 7th Ave, #972, 7 pm 10 Fri Judy Cook House Concert, 8pm in Manhattan 13 Mon NYPFMC Exec.
[Show full text]
Sandy Denny & the Strawbs: All Our Own Work
Sandy Denny & The Strawbs: All Our Own Work Catalog Number: 44005 Artist: Sandy Denny & The Strawbs Title: All Our Own Work Release Date: 5/27/14 UPC: 2LP 825764400510 Available formats: 2LP Genre: Rock Box Lot: 2LP-15 Territory Restrictions: None Vinyl is not returnable Track Listing A 01. On My Way 02. Who Knows Where The Time Goes 03. Tell Me What You See In Me 04. Always On My Mind Between Twickenham and Teddington, in the southwest corner of London 05. Stay Awhile With Me just a stone’s skip down the Thames from Eel Pie Island and a dingy cradle of British rock called the Chisnall Club, grammar school mates David 06. Wild Strawberries Cousins and Tony Hooper came of age in the mostly horizontal urban area known as Strawberry Hill. And in the shadow of Hill House—famed B correspondent Horace Walpole’s stately Gothic Revival villa—Cousins and Hooper saw light in both American bluegrass and the sound of skiffle sultan 01. All I Need Is You and British folkie Lonnie Donegan. Just across the river, in Kingston on 02. How Everyone But Sam Was A Hypocrite Thames, London native Sandy Denny was feeling her way onto that same 03. Sail Away To The Sea burgeoning folk circuit. “I met Sandy Denny at the Troubadour in Earl’s Court in late 1966,” Strawbs vocalist, guitarist, and banjoist David Cousins 04. Sweetling said. “I dropped in late one night to hear an angel singing. Sandy was 05. Nothing Else Will Do Babe [Cousins vocal] sitting on a stool, wearing a white dress, a straw hat, and playing a Gibson 06.
[Show full text]