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Lps Page 1 -.:: GEOCITIES.Ws
LPs ARTIST TITLE LABEL COVER RECORD PRICE 10 CC SHEET MUSIC UK M M 5 2 LUTES MUSIC IN THE WORLD OF ISLAM TANGENT M M 10 25 YEARS OF ROYAL AT LONDON PALLADIUM GF C RICHARD +E PYE 2LPS 1973 M EX 20 VARIETY JOHN+SHADOWS 4 INSTANTS DISCOTHEQUE SOCITY EX- EX 20 4TH IRISH FOLK FESTIVAL ON THE ROAD 2LP GERMANY GF INTRERCORD EX M 10 5 FOLKFESTIVAL AUF DER LENZBURG SWISS CLEVES M M 15 5 PENNY PIECE BOTH SIDES OF 5 PENNY EMI M M 7 5 ROYALES LAUNDROMAT BLUES USA REISSUE APOLLO M M 7 5 TH DIMENSION REFLECTION NEW ZEALAND SBLL 6065 EX EX 6 5TH DIMENSION EARTHBOUND ABC M M 10 5TH DIMENSION AGE OF AQUARIUS LIBERTY M M 12 5TH DIMENSION PORTRAIT BELL EX EX- 5 75 YEARS OF EMI -A VOICE WITH PINK FLOYD 2LPS BOX SET EMI EMS SP 75 M M 40 TO remember A AUSTR MUSICS FROM HOLY GROUND LIM ED NO 25 HG 113 M M 35 A BAND CALLED O OASIS EPIC M M 6 A C D C BACK IN BLACK INNER K 50735 M NM 10 A C D C HIGHWAY TO HELL K 50628 M NM 10 A D 33 SAME RELIGIOUS FOLK GOOD FEMALE ERASE NM NM 25 VOCALS A DEMODISC FOR STEREO A GREAT TRACK BY MIKE VICKERS ORGAN EXP70 M M 25 SOUND DANCER A FEAST OF IRISH FOLK SAME IRISH PRESS POLYDOR EX M 5 A J WEBBER SAME ANCHOR M M 7 A PEACOCK P BLEY DUEL UNITY FREEDOM EX M 20 A PINCH OF SALT WITH SHIRLEY COLLINS 1960 HMV NM NM 35 A PINCH OF SALT SAME S COLLINS HMV EX EX 30 A PROSPECT OF SCOTLAND SAME TOPIC M M 5 A SONG WRITING TEAM NOT FOR SALE LP FOR YOUR EYES ONLY PRIVATE M M 15 A T WELLS SINGING SO ALONE PRIVATE YPRX 2246 M M 20 A TASTE OF TYKE UGH MAGNUM EX EX 12 A TASTE OF TYKE SAME MAGNUM VG+ VG+ 8 ABBA GREATEST HITS FRANCE VG 405 EX EX -
Reengaging Blues Narratives: Alan Lomax, Jelly Roll Morton and W.C. Handy ©
REENGAGING BLUES NARRATIVES: ALAN LOMAX, JELLY ROLL MORTON AND W.C. HANDY By Vic Hobson A dissertation submitted to the School of Music, In partial fulfilment of the requirements for the degree of Doctor of Philosophy, University of East Anglia (March 2008) Copyright 2008 All rights reserved © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. i Acknowledgments This for me has been a voyage of discovery and I count myself fortunate to have enjoyed the process. This has been due, in no small part, to the support, help and encouragement that I have received along the way. People who, in the early days of my research, had been only names on the covers of books are now real; all have been helpful, most have been enthusiastic and some I now count as friends. The School of Music at the University of East Anglia is a small school in a rapidly expanding university which was led for many years by David Chadd who sadly died before the completion of this work. Fortunately the foundations he laid are secure and I have benefited from the knowledge and experience of all of the staff of the school, in particular my supervisor Jonathan Impett. Among Jonathan’s contributions, above and beyond the normal duties of a PhD supervisor is to have shown faith in a thesis that initially must have seemed rather unlikely. -
The BBC Folk Music and Dialect Recording Scheme (1952-57) As Its Case Study, Tuning Into a Particular Form of Radio Fieldwork
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. National Phonography Field Recording and Sound Archiving in Postwar Britain Tom Western Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music University of Edinburgh 2015 i Declaration I hereby declare that this thesis, submitted in candidature for the degree of Doctor of Philosophy at the University of Edinburgh, and the research within it is my own work, except where explicitly stated in the text, and has not been submitted for any other degree or professional qualification. _______________________ Tom Western 10 August 2015 ii iii Contents List of Figures v Abstract vi Acknowledgements vii Introduction 1 1. Locating National Phonography in the Literature 1.1 Recorded Music 21 1.2 Ethnomusicology, Technology, History 25 1.3 Defining Phonography 30 1.4 Applying this to Folk Musics in Britain 35 2. -
The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell
Subterranean Bourgeois Blues: The Second English Folk Revival, c. 1945-1970 Julia Yvonne Mitchell UCL This thesis is submitted for the degree of PhD. 2 I, Julia Yvonne Mitchell, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract This thesis explores the folk revival phenomenon in England, through an original examination of its place in the social and political history of the country after the Second World War. Although its roots stretched back to the early twentieth century, the post- war English folk revival significantly occurred in the context of the nation’s de- industrialisation, and exposed tensions between, on the one hand, a nostalgic lament for a fast-disappearing working class life, and a ‘forward-looking’ socialist vision of working-class culture. The original contribution to knowledge of this project lies in its analytic approach to the English folk revival as an important part of the post-war political culture. It looks at the revival from the outside in, and contextualizes the movement in the social and political story of post-war England, while also placing it within a dynamic transnational framework, a complex cross-Atlantic cultural exchange with its more well-known American contemporary. In so doing, this thesis contributes to the existing historiographies of folk revivalism in England, as well as the social and political historiographical discourses of the postwar period: the continued salience of class in English society; the transformation of the nation’s economic infrastructures; the social and political influence of the Welfare State – the folk revival tapped into all of these overlapping strands, and helped to magnify them. -
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E] Book Contents
The Eskimo Republic For John Powles, former Project Manager of the Centre for Political Song at Glasgow Caledonian University, and for Thurso Berwick. Other books written or co-written by Ewan McVicar include One Singer One Song Cod Liver Oil & The Orange Juice [with Hamish Imlach] Streets Schemes & Stages [with Mary McCabe] Traditional Scottish Songs & Music [with Katherine Campbell] Doh Ray Me When Ah Wis Wee Lang Legged Beasties One Black Isle Night The Eskimo Republic Scots political folk song in action 1951 to 1999 Ewan McVicar Gallus Publishing Linlithgow All rights reserved. The moral right of the author has been asserted. First published in Great Britain in 2010 by Gallus Publishing 84 High Street Linlithgow EH49 7AQ 01506 847935 [email protected] No part of this book may be produced or transmitted in any form or by any other means without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages. This book was researched, created and published through a Writers Bursary grant in 2008 from the Scottish Arts Council, to whom full thanks are given. All interview texts are the copyright of those interviewed, who are thanked for their generous giving of time, knowledge and thoughts. Particular thanks are due to John Powles, Ian Davison, Stuart McHardy and Geordie McIntyre. Song texts are the copyright of the named creators or their heirs. Particular thanks to Marion Blythman, Kaetzel Henderson, Janette McGinn, Meic Stephens, the families of Norman MacCaig and John MacEvoy, Ian Davison and Seylan Baxter to quote from the relevant works. -
Transatlantic Troubadours: Pete Seeger, John Hasted and The
Transatlantic Troubadours: Pete Seeger,John Hastedand the English Folk SongRevival E. David Gregory When Pete Seegerset foot on British soil in October 1961 mind his goal of making music like the Almanac Singers'. for a month-longtour of English and Scottishfolk clubs, he was Through the WMA he eventually encountereda kindred spirit, alreadya legend. Knowing the affection and admiration felt for fellow Party memberand folklorist A. L. (Bert) Lloyd. Hasted Petethroughout the London folk music community, Bruce Dun- later recalledthat on meeting Lloyd he casuallyasked him if he net, managerof Ewan MacCol1 and Peggy Seeger'sSingers' wanted to start an Almanac-stylegroup in England. To his as- Club, took the gamble of booking the 5,00> seat Royal Albert tonishment, Bert's normally high-pitched and squeaky voice Hall for a farewell concert. It was the first time a folk singer droppedabout an octaveand he replied very quietly, "Passion- had appearedat that most prestigious of venues. If anything, ately".2 Pete was even more popular in Britain than in his native USA, This was the encouragementHasted needed. But there was where he was still fighting a prolonged legal battle with the a problem. Where on earth could you get a folk guitar in Lon- House Un-American Activities Committee. He chose a good don in the late forties, let alone a long-neckedbanjo? And even time to visit Britain. The (second)folk song revival had just if you did find the right instruments, how could you learn to enteredits boom phase,and "the movement" (as it was some- play them? This is how Hasted describedthe situation in his times called) had a mass following at long last. -
Rosemary Lane the Pentangle Magazine Rosemary Lane Editorial
Summer 1996 Issue No 10 Jacqui McShee: a tale About Thyme news, reviews and tour dates classic guitar tabs from Bert & John Rosemary Lane the pentangle magazine Rosemary Lane Editorial... mostly a huge thank you to you readers! W Rosemary Lane Ed 2 Rosemary Lane Contents Rosemary Lane Summer 1996 Issue No 10 Page Page Editorial 2 Album Review: 25 Contents/Next Month 3 Guitar Tablature: 26-27 Readers' Letters 4-6 Guitar Tablature - Tuning Up - News 7-8 Album Review: Tour Dates - John & Jacqui 9 (compilation) 30 Tour Dates - Bert 10 Concert Review: Interview with Jacqui McShee 11-14, John & Jacqui tour: Blackheath 31-2 & 17, Discography: Pentangle 1984-1991 33 & 21-22 Subscription Information 34 by Peter Noad 15-16 bootleg album 35 Centrefold: Jacqui's Band In Concert 18-20 On Bert's Music by Beatrice King 35 Reviewing the Reviews: About Thyme 23-24 About Thyme BC IN THE AUTUMN ISSUE.... Congratulations to Peter Noad for being the edition! All is revealed in Jacqui's interview so read on. Now let's have some more Pen- tangular fun: who can tell me, I wonder, which are the two most recorded songs in the whole Pentangle/Jansch/Renbourn/McShee repertoire (excluding compilations) and under how many round as well as exploring the story of the lost titles does each go? On more strictly musical sessions recordings that are about to be released in matters, John has been busy putting together August. Bert and Jacqui too are working on new the best part of a new "Irish"album and we'll material plus there'll be all the regular features of be discussing that project with him next time Rosemary Lane and of course your letters... -
Changes in the Teaching of Folk and Traditional Music: Folkworks and Predecessors
Changes in the Teaching of Folk and Traditional Music: Folkworks and Predecessors Thesis M. Price Submitted in fulfilment of the degree of PhD Newcastle University November 2017 i Abstract Formalised folk music education in Britain has received little academic attention, despite having been an integral part of folk music practice since the early 1900s. This thesis explores the major turns, trends and ideological standpoints that have arisen over more than a century of institutionalised folk music pedagogy. Using historical sources, interviews and observation, the thesis examines the impact of the two main periods of folk revival in the UK, examining the underlying beliefs and ideological agendas of influential figures and organisations, and the legacies and challenges they left for later educators in the field. Beginning with the first revival of the early 1900s, the thesis examines how the initial collaboration and later conflict between music teacher and folk song collector Cecil Sharp, and social worker and missionary Mary Neal, laid down the foundations of folk music education that would stand for half a century. A discussion of the inter-war period follows, tracing the impact of wireless broadcasting technology and competitive music festivals, and the possibilities they presented for both music education and folk music practice. The second, post-war revival’s dominance by a radical leftwing political agenda led to profound changes in pedagogical stance; the rejections of prior practice models are examined with particular regard to new approaches to folk music in schools. Finally, the thesis assesses the ways in which Folkworks and their contemporaries in the late 1980s and onward were able to both adapt and improve upon previous approaches. -
International Label Discography
International Label Discography: 13000 Series: PR-INT 13001 - Golden Songs of Greece - Spero Spyros [1960] Tsutsurada/Samiotissa/Pounafta Matia/Tria PediaYasu Costa/Egiotissa (Kalamatianos)/Itia (Tsamiko)/Kanarini/Poli Kala/Vlaha/Glendi (Syrtos) PR-INT 13002 - Best of Ed McCurdy - Ed McCurdy [1961] The Miller/Jolly Roger/Chilly Winds/Fireman’s Not For Me/Maidenhead/The Fox/Blues Ain’t Nothing/Doleful Tale/Cindy/Once I Loved a Maiden Fair/Mrs. McGrath/Wee Cooper of Fife/Every Night When the Sun Goes In/John Henry/Ploughman/Old Joe Clark/Lonesome Valley/Good Morrow/Gossip Joan/Branch of May PR-INT 13003 - Best of Jean Ritchie - Jean Ritchie [1961] Shady Grove/Nottamun Town/Old Virginny/I Wonder When I Shall Be Married/Gentle Fair Jenny/Sweet Jane/Pretty Polly/Come All Ye fair and Tender Ladies/Pretty Fair Miss/Goin’ to Boston/Christ Was Born in Bethlehem/Little Devils/Hangman/Children, Go Where I Send thee/Moonshiners/Dying Cowboy/Lord Thomas and Fair Ellender/Lullabies: Go to Sleep Little Baby, Dance to Your Daddy, Go Tell Aunt Rhodie PR-INT 13004 - Best of Ewan MacColl - Ewan MacColl [1961] Cardsong/Shepherd Lad/Gallant Colliers/General Wolfe/Girls Around Cape Horn/Henry Martin/Come All Ye Tramps and Hawkers/Foggy, Foggy Dew/Bonny Ship the Diamond/Cruel Mother/Black Velvet Band/Deserter/Farewell to Tarwathie/Tatties an’ Herrin’ PR-INT 13005 - Best of Peggy Seeger - Peggy Seeger [1961] Pretty Little Baby/Raccoon and Possum/I’ll Not Marry at All/Chickens They are Crowing/Lowlands of Holland/Wagoner’s Lad/Brave Wolfe/Old Woman and Her Little -
Riverside Label Discography
Discography of the Riverside Label The Riverside label was established in 1953 by traditional jazz enthusiasts Bill Grauer and Orrin Keepnews in New York City. Originally Grauer and Keepnews intended to reissue classic jazz that they purchased from long defunct labels. Later the label recorded jazz, folk, comedy, spoken word, sound effects, children’s and gospel. Shortly after starting the Riverside label, Grauer went to Richmond Indiana, to see Harry Gennett Jr. to try to purchase the recordings of the Gennett label. The Gennett Record label was formed in 1918 as a division of the Starr Piano Company in Richmond Indiana. In the early 20’s, the label started recording the early jazz bands that were performing in Chicago. Gennett made the first recordings of Ferd “Jellyroll” Morton, King Oliver’s Creole Jazz Band with Louis Armstrong and the Wolverines with Bix Beiderecke. The first recording of “Stardust” was made by its author Hoagy Carmichael in the Gennett Richmond studio The Gennett label had ceased operation in 1932, but many of the historic metal recording plates were still stored in Richmond. Grauer was able to purchase all of the remaining plates for $2000. Grauer began a massive reissue campaign, releasing much of the Gennett material on long playing albums for the first time. Later, Grauer obtained masters from other early jazz and blues labels, including Paramount, Circle, and QRS, and reissued that material. Although the early catalog of Riverside releases contained mostly purchased material, Riverside started recording jazz sessions on its own, including Thelonious Monk, Randy Weston, Wes Montgomery and Cannonball Adderley. -
Song of a Road
SONG OF A ROAD Broadcast 5 November 1959, repeated 29 December 1959 Singers Musicians Named Speakers Ewan MacColl Peggy Seeger banj+ah Sir Owen Williams Joe Searby Bert Lloyd Bruce Turner clar Bob Dito A Hunter Isla Cameron Fitzroy Coleman guit Mr Rogers Mr King Francis McPeake Francis McPeake uill A Graham Ted Jones Jimmie McGregor Jimmie McGregor guit Mr Shaw Mr Keely Seamus Ennis Jim Bray dbass David Buchan Neville Reece Louis Killen Alf Edwards conc GR Aspinall Dick Bull Cyril Tawney John Chilton trum Mr James Mr Griffin John Clarence John Armitage drums Mr McCorquodale James Cryer William V Thomas Bobby Mickleburgh trom Jack Hamilton Isabel Sutherland Mr Spencer Mr O’Donnell Mr Beecham Mr Watson Frank Green Mr Price Mr Wildman Mr Stewart Mr Harrison Frank Sennett Wilfred Bailey Ted McCarth Text 1 This is the BBC Home Service from the Midlands. We present Song of a Road, the London-Yorkshire Motorway, described by the men who planned and built it, and set into song by Ewan MacColl. Come all you gallant labouring men, Leave your family and your friends You're needed on the job again, On the London-Yorkshire Highway. On March 24th 1958 the Minister of Transport and Civil Aviation formally inaugurates work on the London-Yorkshire motorway. A job to do, a job for you, And nineteen months to see it through A chance to earn a quid or two On the London-Yorkshire Highway. The task of constructing the 67 miles of motorway is as follows: Take a heap of gold, (estimated cost 20 million pounds) And a pinch of time, (time for completion 19 months) Take 15 million tons of muck and shift it. -
The Big Hewer Script
THE BIG HEWER Broadcast 18 August 1961, repeated 24 January 1962 Singers Musicians Named Speakers Ewan MacColl Peggy Seeger guit+banjo Ben Davies Evan Williams Bert Lloyd Alf Edwards conc+oc+trom Dick Beamish Ernest Black Isla Cameron Jim Bray dbass Jack Elliott Rees Elliott Louis Killen Alfie Kahn harm+clar+tinwhis Johnny (Handle) Pandrich Mr Earl Ian Campbell Bryan Daly guit Mr P Weekes Mr J Williams Joe Higgins Dave Swarbrick fid Mrs Thomas Mrs Crowther Mrs Cummings Dr D (Doc) Thomas Mr Pickering Mr Baker Text 1 When you hew a lump of coal, you know that you are the only one that's have seen it. You are the first one to see it. And there's a difference every day underground. You go today, you've got a prop in. You go tomorrow, that prop has broken. A legend, told by the men of the coalfields of South Wales, the Midlands, Northumberland and Durham, and set into song by Ewan MacColl. The Big Hewer. As a boy, four five six year old, I remember my father talking about this legendary figure Temple - Temple, the big hewer. Whether he was real or purely legendary I never knew even to this day. Earl. 2 Out of the dirt and darkness I was born, Go down. Out of the hard black coalface I was torn, Go down. Kicked on the world and the earth split open, Crawled through a crack where the rock was broken, Burrowed a hole, away in the coal, Go down. Oh, that was Jackie Torr, from Derbyshire.