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Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975

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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. Ethnographic, historical and semiotic approaches are combined with techniques from critical discourse analysis and conceptual metaphor theory to explore sound recording as a means of defining, expressing, and elaborating the revival as a socio-cultural movement. Recording, I will argue, offered a semiotic resource for interpreting traditional texts and repertoires, and for reimagining social space and the relationship of performance. As such, it constituted a highly significant dimension of the revival’s cultural-political practice. iii iv v In memory of my grandfather Raymond Allen Clarke vi vii Acknowledgements I am indebted to both my supervisors for their unwavering support over the last four years, to David Clarke, for his sympathetic and insightful comments and most of all his patience, and to Simon McKerrell for his belief in the project and his advice as I tried to understand my place within the wider academic community. I have benefitted greatly from my conversations with fellow research students during my time at the International Centre for Music Studies at Newcastle, including (among many others) Ivan Diaz-Burlinson, Matt Price, Phil Begg and Kieran Rafferty. Thanks most of all to those who shared their memories of the revival with me: Bill Leader, Tony Engle, Sandra Kerr, Vic Gammon, Rod Stradling, Ashley Hutchings, John Renbourn, Jacqui McShee and Shel Talmy. I am grateful, too, to the Arts and Humanities Research Council, who funded my research, to my parents for all their support and encouragement and to Vappu Jokipaltio, who has endured my many moments of research related angst with unfailing patience and grace. viii ix Contents Abstract ............................................................................................................... iii Acknowledgements ............................................................................................viii Table of Figures .................................................................................................xiii Introduction: Recording technology, tradition and revival in Britain......................1 Research context ..................................................................................................1 Research aims and methodology ..........................................................................2 Fieldwork interviews and supplementary materials.............................................5 Defining the revival..............................................................................................9 The question of authenticity in folk and popular music.....................................10 Ideology..............................................................................................................12 Discourse ............................................................................................................15 Connecting music and the social: theories of homology and metaphor.............17 Sound recording in socio-historical context:......................................................21 Technology and society......................................................................................23 Chapter summaries .............................................................................................26 Chapter 1. ‘The pure drop’: Sound recording and the multimodal construction of traditional culture ...................................................................................................29 Introduction ........................................................................................................29 Discourse and multimodality .............................................................................31 Revivalist discourse............................................................................................32 Iconography........................................................................................................34 Text.....................................................................................................................39 Sound recording as a semiotic resource .............................................................43 Views of recording as transparent ......................................................................47 Managing agency: producers’ descriptions of practice ......................................48 Folk’s ideology of creativity ..............................................................................50 Recording and the semantic loop .......................................................................51 Conclusion..........................................................................................................52 Chapter 2. The BBC Radio Ballads: The tape recorder, modernism and working class identity...........................................................................................................55 Introduction ........................................................................................................55 Origins and modernist influences.......................................................................57 Advances in documentary film and radio ..........................................................60 MacColl and worker’s theatre ............................................................................64 x Montage, the ballad tradition and everyday speech ........................................... 67 Recording actuality ............................................................................................ 74 Writing, recording and editing ........................................................................... 77 Sound recording, montage and ideology ........................................................... 80 Tape and heteroglossia....................................................................................... 85 Ethical questions ................................................................................................ 91 The Maker and the Tool..................................................................................... 98 Conclusion ....................................................................................................... 101 Chapter 3. ‘The real sound of folk music’: Topic Records and the dialectic of folk and pop culture, 1955–1970 ................................................................................ 103 Introduction ...................................................................................................... 103 Part 1 .................................................................................................................... 106 Revivalist views on youth culture in Britain.................................................... 106 Popular culture as folk’s inauthentic other ...................................................... 109 The boundaries of folk and popular ................................................................. 111 Folk clubs and the aesthetics of anti-commercialism ...................................... 113 Sonic space as social space: critiquing pop’s sonic aesthetic .......................... 117 Innovation versus conservatism in pop production ......................................... 119 The uses of echo in pop.................................................................................... 121 Part 2 .................................................................................................................... 127 Topic Records and the revivalist recording aesthetic ...................................... 127 Early history of the Topic label.......................................................................
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