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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. -
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 -
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. -
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. -
Swarb's Corrections: Fairport by Fairport by Nigel Schofield
SWARB’S CORRECTIONS FAIRPORT BY FAIRPORT BY NIGEL SCHOFIELD Nigel also wrote the booklets for the Swarb! box set of 2003 (the last time I was interviewed by the author) and all Fairport and ex-members’ box sets unless otherwise stated. I have limited all the inaccurate quotes, statements or factual errors noted in these pages to those that relate only to myself. Page 89 Nigel states Shirley Collins and her album No Roses “is one of the few records that pose a serious challenge to Liege and Lief for the title of greatest Folk-Rock album of all time”. A strange conclusion. I like Shirley a lot and I like this album a lot and I wouldn’t mind if it were the greatest folk rock album of all time. However, Liege and Lief was voted best album in a Radio 2 listeners’ poll, so No Roses could only have been a serious threat if it had been entered for the title in the first place. Page 93 This is a peculiar one; a quote from me that is not possible: “I had also played on Luke Kelly’s version of The Deserter” Not true. I neither played this song on stage with Luke, or on an album with him. By checking on line you will find the truth, which is that I heard him sing it in ¾ time. Page 93 “The end of Matty Groves came from Martin”. Not true, it didn’t, nor would I have said it did. It came from Hedy West. Page 94 A fictitious sentence, which I quote in full: “In Birmingham, after they had sat admiringly through the acoustic set, as soon as Dylan came on with an electric guitar, the rest of the Ian Campbell Group had walked out in obvious protest, only Dave Swarbrick remained in his seat.” Not true. -
The Reluctant Famulus 103 January/February 2015 Thomas D
The Reluctant Famulus 103 January/February 2015 Thomas D. Sadler, Editor/Publisher, etc. 305 Gill Branch Road, Owenton, KY 40359 Phone: 502-484-3766 E-mail: [email protected] Contents Introduction, Editor 1 Rat Stew, Gene Stewart 4 Apropos of Nothing, Adam Medenwald 6 Kentuckiania, Alfred D. Byrd 7 Singing in Their Glory, Eric Barraclough 12 The Crotchety Critic, Michaele Jordan 18 New Ancient Aliens, Gayle Perry 20 Letters of Comment 24 Filloverse Ray Nelson 11, 19, 36 Conclusion 37 Artwork/Photos Brad Foster Front cover, 3, 24 Anna Patricio Byrd 7, 8,9,10, 11l, 12, 15, 17 Internet 6, 18, back cover A. B. Kynock 28, 32, 36 Tracy Mintzer 12, 15, 17 Spore & Toetoe Hodges 26, 30, 34 The Reluctant Famulus is a product of Strange Dwarf Publications. Many of the comments expressed herein are solely those of the Editor/Publisher and do not necessarily reflect the thoughts of any sane, rational persons who know what they are doing and have carefully thought out beforehand what they wanted to say. Material not written or produced by the Editor/Publisher is printed by permission of the various writers and artists and is copyright by them and remains their sole property and reverts to them after publication. TRF maybe obtained for The Usual but especially in return for written material and artwork, postage costs, The Meaning of Life, and Editorial Whim. The Reluctant Famulus Introduction: Placid Times & Twain Now that my computer problem has been Moondust. I had read a lot by Clarke but didn’t solved satisfactorily and, so far, things are running recall ever seeing or hearing about A Fall of smoothly I feel relatively calm and almost serene Moondust but then my memory can be somewhat and, best of all, panic free. -
VFMC Trad 2012 11.Pub.Pub
Established 1959 November 2012 Australian Print Post Approved PP335169/00012 Reg No A2511Y NEWSLETTER OF THE VICTORIAN FOLK MUSIC CLUB INCORPORATED In This Issue ... OUR LAST BUSH DANCE Item Page WEAR A HAT!!! Club Events 2 Next Guest Night 3 Guest Artist Review 4 Dance Page 6 Giant Book Sale 8 Overseas folk report 10 What is folk music? 12 Session (at Harry’s) 14 Club Information 15 KEEP YOUR COPY OF ‘TRADITION’ COMING V.F.M.C. Membership fees are due every year on JULY 1ST - see back page Please send your contributions for DECEMBER Newsletter by: Friday, 21ST DECEMBER 2012. to: [email protected] The views expressed in this Newsletter are not necessarily those of the Editor or of the VFMC November 2012 2 Australian Tradition Club Event Calendar Club Sessions By-Ear Sessions Tuesdays, 8.00 pm, East Ringwood Join us to learn how to play by following Community Hall (enter from Knaith someone on: Road, off Dublin Road) (Melway 50B8). • First Thursday, 8:00 pm (at All welcome any or every night as Harry’s place) players, singers, dancers, or to tell a yarn. Contact Don (0407-737-202) • Second Tuesday, 10:15 pm (after the Ringwood Folk Guest Night Ringwood Folk Guest Night • Every Monday, 8:00 pm, (fiddles Second Tuesday of the month. and mandolins at Harry’s place.) Admission $12 adults, children with adult free. $10 members and • Most Saturdays, 11:00am, all concessions. instruments and singing, busking opposite the railway station in Evening commences 8:00pm and Ringwood East finishes with a short session after the Guest Performer around 10:15 pm. -
Album Booklet Notes
i m b b laM g a lEElEÖEe n I IC “Music is the electric soil in which the spirit lives, content of our folk music were able to be relationship with a community of their peers that is thinks and invents.”-Ludwig van Beethoven appreciated by city-billies for whom their own the classic stance of the folk bard. Some were national culture had become as esoteric as the better than others, but stars they weren't. There When I interviewed the Young Tradition, the music of the Near and Far East they were all were too many of them. unaccompanied traditional-style trio back in the appreciating via electonics. Whether it was on your So these albums document the channelling of the Sixties, Peter Bellamy insisted that they were really a doorstep or on the other side of the world it was all power of musical electricity. During the war, the pop group, not a folk group. It was, he said, the one to the electronic media. BBC recorded an old shantyman with a male voice power of their performance which disqualified them Meanwhile, improved standards of reproduction in choir and tried to imagine they had recreated the from being folk in the old traditional sense, unlike the home were giving popular music a new days of the clippers. After it, a Texan folklorist and a the Coppers of Rottingdeanfrom whom they drew complexity and profundity. For the first time in its Salford-educated son of Scots ballad singers tried to their inspiration and much of their repertoire. -
New Electric Muse - the Story of Folk Into Rock Mp3, Flac, Wma
Various New Electric Muse - The Story Of Folk Into Rock mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: New Electric Muse - The Story Of Folk Into Rock Country: UK Released: 1996 MP3 version RAR size: 1577 mb FLAC version RAR size: 1413 mb WMA version RAR size: 1274 mb Rating: 4.7 Votes: 640 Other Formats: XM ASF AIFF FLAC MP4 VQF VOX Tracklist 1-1a –Steeleye Span Robbery With Violins 1-1b –The Ian Campbell Folk Group Tail Toddle 1-1c –Dave Swarbrick Ril Gan Ainm 1-2 –The Cooper Family Spencer The Rover 1-3 –Ray & Archie Fisher The Twa Corbies 1-4 –Ewan MacColl The Shoals Of Herring 1-5 –Shirley Collins & Davy Graham Pretty Saro 1-6 –The Ian Campbell Folk Group Rocky Road To Dublin / Drops Of Brandy 1-7 –The Dubliners The Mason's Apron 1-8 –The Johnstons Carolan's Concerto 1-9 –Sweeney`s Men Rattlin Roarin Willy 1-10 –Finbar & Eddie Furey Colonel Fraser 1-11 –Gryphon Kemp's Jig 1-12 –Fairport Convention Medley 1-13 –Morris On Greensleeves 1-14 –John Martyn Eibhlí Ghail Chiúin Ni Chearbhaill 1-15 –Davy Graham Angi 1-16 –Davy Graham She Moves Through The Fair 1-17 –Bert Jansch Veronica 1-18 –Davy Graham Better Git It In Your Soul 1-19 –John Renbourn Waltz 1-20 –Pentangle Waltz 1-21 –Martin Carthy Scarborough Fair 1-22 –The Johnstons Sweet Thames How Softly 1-23 –John & Beverley Martyn John The Baptist 2-1 –Bert Jansch Blackwaterside 2-2 –The Young Tradition The Fox Hunt 2-3 –John Renbourn Bransle Gay 2-4 –Martin Carthy, Dave Swarbrick Our Captain Cried All Hands 2-5 –Pentangle Let No Man Steal Your Thyme 2-6 –Shirley Collins The Wedding Song 2-7 –Fairport Convention Nottamun Town 2-8 –Fairport Convention Tam Lin 2-9 –Sandy Denny, Fotheringay Gypsy Davey 2-10 –Traffic John Barleycorn 2-11 –Fairport Convention Lord Marlborough 2-12 –Steeleye Span The Weaver And The Factory Maid 2-13 –Bob And Carole Pegg Rise Up Jock 2-14 –Mr.