Download PDF Booklet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
Liner Notes, Lomax Collection
Alan Lomax spent his life in transit, documenting folk music from across the United States, Great Britain, Spain, Italy, North Africa, the Soviet Union, and the Eastern Caribbean. Featured here are sixteen selections from Lomax’s U.S and international field- recording collections — including four previously unreleased songs and one previously unreleased version — from his collections at the Library of Congress’ American Folklife Center, recorded between 1947 and 1982. Introduced by a paean to America’s greatest folk hero, John Henry, and concluding with one of the country’s most enduring lullabies, the compilation combines ballads, blues, dance tunes, and sacred songs from around the U.S. with a Gaelic ode, Galician alborada (dawn song), Genoan chorale, Grenadan Shango ritual, Trinidadian calypso, and the ashug bardic music of Azerbaijan. Here is a view of the Lomax collection in all of its breadth, joy, and dignity. In 2004 the American Folklife Center at the Library of Congress acquired the original recordings and photographs, library, manuscripts, and research materials that had been assembled by Alan Lomax over the course of six decades, uniting them with the recordings made by Alan and his father, John A. Lomax, for the Library from 1933 to 1942. Fred McDowell Como, Mississippi September 1959 1. John Henry “Bama” (W.D. Stewart), “22” (Benny Will Richardson), and prisoners Recorded at Parchman Farm (Mississippi State Penitentiary). Late November/early December, 1947. “Bama” was one of the most prolific prison singers, with the exception of Lead Belly, that Alan Lomax ever encountered. He recorded not only work songs and field hollers, but also unaccompanied blues ballads, tall-tales, and toasts. -
Whaurbooklet.Pdf
Introduction Alasdair Roberts In early December 2010 I was delighted to receive an email from Nathan Regardless of any kind of artistic use to which these historical re- Salsburg asking whether I would be interested in compiling a release of cordings might nowadays be put, it is simply a pleasure to listen to Alan Lomax’s 1950’s Scottish field recordings. As a part-Scottish musi- the material for its own sake: the many wonderful singers and musi- cian with a strong interest in the traditional music and culture of the cians — too many to mention — and beautiful songs, ballads and tunes nation in which I live, I relished the prospect of listening through these of Scotland, recorded for posterity. I have tried to provide a compre- many hours of important archival material and selecting some of my hensive overview of the various musical traditions within the nation, favourite tracks for the final release. and the various characters (some famous, some less well-known and My recent work has been very much concerned with Scottish tradi- some anonymous) who were active in that period. However, due to the tion — the CD/LP Too Long In This Condition (Drag City, 2010), credited limitations of time and the fact that my own interests tend towards to Alasdair Roberts & Friends, featured interpretations of folk songs traditional balladry and narrative song, there is a preponderance of and ballads. However, there is another, continually developing aspect such material on this compilation. The passion, rawness, command, which involves drawing on traditional melodic and textual material depth of understanding of their material and uniqueness of style of and the folkloric stock of Scotland and the wider world, among other the tradition-bearers contained herein — of Jeannie Robertson, Jimmy sources, to create new song work. -
Alan Lomax Discography
American Folklife Center, Library of Congress Alan Lomax Discography Lisa Campbell, Todd Harvey, Brittany Warman, Crystal Willer, and Hicks Wogan (2016) 1 Contents Introduction ........................................................................................................................ 3 Individual Issues .................................................................................................................. 4 Series ................................................................................................................................... 7 Americana Series ............................................................................................................ 7 American Folk Music Series ........................................................................................... 7 Caribbean Voyage .......................................................................................................... 7 Columbia World Library of Folk and Primitive Music .................................................... 8 Deep River of Song ....................................................................................................... 10 Folk Music of the United States ................................................................................... 11 Folk Songs of England, Ireland, Scotland & Wales ....................................................... 14 Folk Songs of Great Britain ........................................................................................... 14 Folk Songs of Spain ...................................................................................................... -
Lomax Family Audio Recordings, 1908-1991
American Folklife Center, Library of Congress Lomax Family Audio Recordings, 1908–1991 A Chronological Guide to Field Trips and Recordings Nicholas Fournier, Todd Harvey, Bertram Lyons, and Nathan Salsburg (2016) 1 Contents 1908–1910 .......................................................................................................................... 9 1908–1910, Texas and Oklahoma ................................................................................... 9 1933 .................................................................................................................................... 9 1933 June-Sept, Southern States (TX, LA, TN, KY, VA) .................................................... 9 1933 Dec–1934 June, Texas ............................................................................................ 9 1933 Dec, Texas .............................................................................................................. 9 1934 .................................................................................................................................. 10 1934 Feb, Texas............................................................................................................. 10 1934 March, Huntsville, TX ........................................................................................... 10 1934 April, Texas ........................................................................................................... 10 1934 May, Texas .......................................................................................................... -
1 University of Massachusetts Dartmouth Archives and Special
1 University of Massachusetts Dartmouth Archives and Special Collections The Howard T. Glasser Archives of Folk Music and Letter Arts Howard T. Glasser Scottish recordings 1960, 1963 MC 81 Extent: 60 audiocassette recordings and 63 digital audio cassette copies Biographical note: Howard T. Glasser, former professor of Design at UMass Dartmouth (where he taught for 30 years), enjoys an international reputation as a graphic artist and calligrapher. Glasser’s avocation, traditional music, led him to six months of collecting and research in Scotland in summers of 1960 and 1963. His large collection of recordings has been a resource for scholars and performers for many years. In 1961, while teaching at Carnegie Mellon University, he established the University Ceilidh programs at a time when folk music enjoyed a revival in this country. They flourished for seven years, giving several artists important boosts at the start of their careers. In 1968 he introduced the Ceilidh gatherings, concert and radio broadcasts to the University of Rhode Island and in 1971 to SMU (now UMD). He is founding director of the Eisteddfod-Ceilidh programs at SMU, and publisher and designer of the Ceilidh Columns. The Eisteddfod was an annual institution at SMU/UMD for 20 years. Howard T. Glasser is now retired from teaching, but maintains his involvement in folk music circles. Since 2005 the Eisteddfod has taken place in Brooklyn, NY Scope and contents note: digital and analog audiocassette copies of Howard Glasser’s 1960 and 1963 recordings in Scotland. Includes renditions of songs, stories, instrumental pieces, oral interviews and introductory dialogue. The recordings were originally made on reel-to-reel tapes, recorded on location during 2 separate 3 -month journeys through Scotland using HTG’s portable tape recorder.