Showing posts with label fairport convention. Show all posts
Showing posts with label fairport convention. Show all posts

Sunday 23 June 2019

Log #143 - Fried Wax To Burn

Eddy Bamyasi

Julian Cope, him from Teardrop Explodes, and Antiquarian and Krautrock expert, is a genius. His Modern Antiquarian reference guide, 7 years in the compiling, is a fantastic gift to mankind, one of my favourite books, and one that has enlightened many a holiday to the South West. His musical taste is impeccable - an early adopter of Krautrock, his Krautrock Sampler is a long out of print classic of the genre. I've also been enjoying his double autobiography Head On/Repossessed which has led me to the current selection Fried his second studio album following the break up of The Teardrop Explodes.

With the Teardrops over, Cope retreated to his new home in Tamworth with his American girlfriend Dorian, to play on his keyboard, collect Dinky toys and take drugs. 
Tom Pinnock, Uncut 

So what of his music? I have to say I don't know anything about his music, or The Teardrop Explodes, save for the pop single World Shut Your Mouth (incidentally worth noting that Cope's first solo album also uses the title World Shut Your Mouth but confusingly does not include the track of the same name which was not released until 1986, 2 years later).

Fried is a nice surprise. It's pretty raw and heavy and doesn't sound dated in that typical '80s way. It reminds me of The Smiths. I particularly loved the brilliantly sung Mik Mak Mok which appears as a bonus on my copy (generally though I don't think Cope's vocals are that strong but he gets away with the enthusiasm of the band's playing). Other standouts are the catchy Sunspots and Reynard The Fox

The bizarre cover features Cope in a turtle shell with one of his toy trucks (Cope was an avid model car collector).

Is his image of eccentricity and edginess at all contrived? Having read his warts and all books I'd say definitely not.

Nightmares On Wax - Feelin' Good
Calexico with Iron and Wine - Years To Burn
Julian Cope - Fried
Michael Hedges - Aerial Boundaries
John Martyn - Bless the Weather
Fairport Convention - Liege and Lief

Feelin' Good is the 7th album from Leeds DJ and producer George Evelyn otherwise known as Nightmares On Wax. And it does just what it says on the can: It's a feel good record of down tempo beats taking in afro beats, Kruder and Dorfmeister like dub, reggae, funk, deep bass and even ambience.

Luna 2 for instance recalls Can's Hallelujah style circular drumming with throbbing Holger Czukay bass and Nile Rodgers disco strumming whereas Master Plan sounds like Portishead.

The Calexico/Iron/Wine collaboration sort of sounds like the whole is not as great as the sum of the parts, or not as great as it should be. Two different artists in combination. Both great in varying degrees over variable careers but together? Is there a point? Sometimes these sorts of collaborations can feel less a real fusion but a "your turn, no after you" situation. You can hear the trademark laid back Sam Beam drawl, and the occasional Calexico mariachi trumpet but I wouldn't say Years To Burn offers much of an advance on either band's individual catalogue albeit “The Bitter Suite is certainly the most compositionally ambitious song either entity has released in years"(Stephen M. Deusner, Pitchfork).

It's a nice cover, like the Father John Misty covers, and that's a good reference point although this ain't so good as his recent records.

It's also very short, leaving me with a "was that it?" sentiment.

Aerial Boundaries is the classic Michael Hedges album, and a staple of the Windham Hill "new age" catalogue. The late Hedges was a much revered acoustic guitarist at the forefront of the rebirth of the instrument in the 80s through guitarists like Will Ackerman, Alex de Grassi and Pierre Bensusan. A dynamic live performer, incorporating percussive effects and even vocals, some of his albums verge a little too close to easy listening for my tastes, especially with the heavy use of fretless electric bass. Also fond of his own arrangements of covers this album includes Neil Young's After The Goldrush.

Hedges was a tragically killed in a motor accident in December 1997, age 43.

I've not heard anything else in the genre that has changed my mind, and general consensus, that Liege and Lief is the greatest folk rock album of all time. Combining traditional songs with a rock beat what I love most about the sound of Fairport Convention at the time is the circular grind of Richard Thompson's guitar and Dave Swarbrick's fiddle. I'm sure you've all heard the double murder ballad Matty Groves many a time but it remains one of their greatest songs:

Lord Donald, he jumped up
And loudly he did bawl
He struck his wife right through the heart
And pinned her against the wall






Sunday 9 June 2019

Log #141 - The First Folk Revival 1966 - 1970

Eddy Bamyasi

Before the emergence of "nu-folk" around the latter part of the new millennium's first decade there came an earlier folk music revival in the UK in the mid 60s. This week Eddy, inspired by his reading of the excellent history of British folk music Electric Eden, examines 6 key albums from that time.


Davy Graham - Large As Life And Twice As Natural
Pentangle - Basket Of Light
Bert Jansch - Jack Orion
Fairport Convention - Fairport Convention
Shirley and Dolly Collins - Anthems In Eden
Heron - Heron


Anthems in Eden was released in 1969 by sisters Shirley, and the lesser known Dolly, Collins. A pioneering record Anthems was characterised by Dolly's odd Alice Coltrane like organ arrangements and the use of ancient period instruments courtesy of David Munrow's Early Music Consort which gives the music a medieval or renaissance court feel. It's quite spooky in a Wicker Man sort of way and fittingly Munrow went on to provide film music for Ken Russell's shocking The Devils.

Come you young men, with your music, dance and song (and animal masks), Dolly left, Shirley right.

Together with the album's successor, Death and the Lady, Electric Eden's author Rob Young writes:

These two records are among the crowning glories of English folk's Indian summer, fusing all the elements of Copper family harmonies, Early Music instruments and modern arrangements of traditional songs.

Next up we have offerings from two folk guitarists who pioneered a new finger picking style of acoustic guitar playing:

Large As Life And Twice As Natural (1968) consists of some bluegrass and lots of blues. Some of it is instrumental. Most of it is song based. It's alright by today's standards but nothing to get too excited about albeit I am led to understand that this stuff was brilliant and revolutionary in its time - Davy Graham frequently being referenced as one of the most influential guitarists of all time (I take it by guitarists only on the whole).

Indeed he is credited with inventing the now famous DADGAD guitar tuning which he picked up during travels in North Africa in the early 60s. Furthermore by far the best stuff on this album is the North African influenced pieces like the excellent Jenra and the evocative closer Blue Raga where Graham's modal and bendy circular drones and rounds sound like sitar and remind me of the best of French-Algerian guitarist Pierre Bensusan.

These tracks have aged the least. I also think their nature (existing right on the edge of being off key or out of time) depends on a player right at the peak of his game. It only takes a slight deterioration in performance for it to sound disproportionately bad. I guess what I'm trying to say is, like classical guitar playing, the music is unforgiving.

My views are also slightly soiled by the latter years of Graham's career where he made an ill advised comeback. Obviously unable to play to anything like the standard of his younger years he also started to include classical pieces played on a nylon string guitar in his sets. Heaven knows why he was attempting to play more difficult music as his physical and mental powers waned. Unfortunately the series of concerts he performed in his years shortly before his death in 2008 served to achieve little more than a spoiling of his legacy notwithstanding a hitherto sacred cow status.

Bert Jansch is another much revered guitarist. Neil Young famously said he was his favourite acoustic player and even nicked (knowingly or not) Jansch's Needle Of Death riff for his Ambulance Blues (he also covered Needle Of Death on his 2014 A Letter Home album).

What about Jansch's album - his third - Jack Orion (1966) - will that escape the Bamyasi Sword of Indifference?

Well readers, the answer is yes, it's pretty dece and personally I prefer it to the disparate Graham offering. The record consists of reworkings of trad. folk tunes. There is a nice continuity to the album with Jansch sticking to acoustic guitar and occasional banjo. Many of the songs are based on rounds of repeated riffs of only three chords or so played with unusual rhythmic accents which give the music groove. Where he sings he possesses an earthy folk voice with authentic finger in the ear sustain and flutter.

There is lots of talk about Jansch influencing Young and Jimmy Page; indeed Black Water Side heavily influenced Jimmy Page's Black Mountain Side from Led Zeppelin's debut album (reportedly Jansch was none too pleased with this unauthorised homage which seems a bit rich as his reading was itself a version of a traditional song Down By Black Water Side), but I hear John Martyn the most in his guitar picking and slapping. I say "his" playing but Jansch is complemented by fellow acoustic guitar luminary John Renbourn throughout the record. The two would go on to form Pentangle together...

As there is footage of Jansch with Neil Young performing Ambulance Blues together I can conclude Jansch's attitude to other guitarists lifting his riffs has softened over the years.

Pentangle's 1969 album Basket Of Light was the folk "supergroup"'s third and most commercially successful record. It begins with the upbeat Light Flight which became a minor hit. However what is most evident on this record are the jazz influences particularly brought to the group's sound through two established folk/blues/jazz session players on the 60s London scene, Terry Cox on drums and Danny Thompson (later John Martyn's constant sparring partner) on double bass.

Small rhythmic cells bubble up in repetitive cycles around interlocked bass and drums that flex with the elasticity of jazz.
Rob Young

Their extended instrumental interludes and improvisations took them away from traditional folk and closer to the underground acid folk rock and psychedelic scene represented by emerging bands like Pink Floyd, Soft Machine and even The Grateful Dead. Even their stark black and white silhouetted debut album cover suggested something new. Indeed the album is credited with the first time a rock drum kit was employed backing English traditional songs - an approach Fairport Convention would shortly take up a notch in their classic Unhalfbricking and Liege and Lief albums...

The debut and eponymous album from Fairport Convention however isn't great. It sounds extremely dated and serves to accentuate the gap between where they started and where they got to in an incredibly short time of prolific music making; the debut album arrived in the summer of '68 - by the end of 1971 they'd already moved through three significantly different line ups and had recorded 7 studio albums:

June 1968 - Fairport Convention
Jan 1969 - What We Did on Our Holidays 
July 1969 - Unhalfbricking
Dec 1969 - Liege & Lief
July 1970 - Full House
June 1971 - Angel Delight
Nov 1971 - Babbacombe Lee




The line up for the debut was:

Judy Dyble – lead vocals, electric and acoustic autoharps, recorder, piano
Ian MacDonald (Iain Matthews) – lead vocals, Jew's harp
Richard Thompson – vocals, lead electric and acoustic guitars, mandolin
Simon Nicol – vocals, electric 12 and 6 string and acoustic guitars
Ashley Hutchings – bass guitar, jug, double bass
Martin Lamble – percussion, violin

The line up at the time of the classic Liege and Lief (often held up as the greatest folk-rock album of all time) was:

Sandy Denny – vocals
Dave Swarbrick – fiddle, viola
Richard Thompson – electric & acoustic guitars, backing vocals
Simon Nicol – electric, 6-string & 12-string acoustic guitars, backing vocals
Ashley Hutchings – bass guitar, backing vocals
Dave Mattacks – drums, percussion

By the end of 1971 the Dave heavy line up was:

Dave Swarbrick – lead vocals, mandolin, fiddle, viola, cuckoo
Dave Pegg – bass guitar, vocals, lead guitar, viola, violin
Dave Mattacks – drums, percussion, vocals, harmonium, tambourine, bass guitar, piano
Simon Nicol – lead vocals, guitar, bass guitar, electric dulcimer, violin

Note that the only common member throughout this period was Simon Nicol who is also incidentally still there (along with Dave Pegg). The latest line up of Fairport Convention is:

Simon Nicol
Dave Pegg
Ric Sanders
Chris Leslie
Gerry Conway

Note also that one line up change was enforced by a tragic road accident in May '69 that claimed the life of drummer Martin Lamble.

Unfortunately their rapid rise from the foothills of the debut to the peaks of Liege and Lief was matched by an equally rapid decline down the other side of the mountain after they abandoned their revolutionary rock folk readings and moved towards traditional folk and then finally, sadly, irrelevant easy listening.

Heron/Heron (1970) with its lovely harmonies set to gentle guitar strumming and mandolin plucking is a little gem which deserves to be better known. In fact, why have I not heard this before, or not even heard of the band?

Heron, recording outside, and on the cover of Electric Eden: Unearthing Britain's Visionary Music

At first I had assumed this album was a solo album from Mike Heron from The Incredible String Band (in fact one of the Heron band members does resemble Mike Heron). But not at all, Heron were originally a 3 piece formed in Berkshire in 1967. By the time of their self titled first album which arrived in 1970 the band had expanded to consist of Tony Pook (vocals), Roy Apps (guitar, vocals), Gerald ‘G.T.’ Moore (guitar, mandolin, vocals) and Steve Jones (keyboards).

Unused to the studio the band decamped to a rural Berkshire farmhouse to record the album. Playing outside and deliberately including the surround sounds of the wind and the birds the album is perhaps the first ambient record.

The method was repeated for the follow up record, the double Twice As Nice And Half The Price, recorded in the grounds of a Devon Cottage which graces the cover. It all looks rather idyllic but despite rubbing shoulders with the likes of David Bowie and Elton John and gaining support from John Peel commercial success eluded them.

And that was it... or was it? Remarkably the band (remarkably with the same members) made a come back in the 80s and are still going today. Their most recent album Jokerman was released in 2016.


Sunday 27 January 2019

Log #122 - Neil, Nils and Gram

Eddy Bamyasi

A fairly quiet week at the Towers this week and a return to some basics with old stalwarts Neil Young (still top of the leaders' charts) and Gram Parsons (his first appearance at the blog!). 

Euphony In Electronics - One Point One
Laura Marling - Alas I Cannot Swim
Fairport Convention - Who Knows Where The Time Goes?
Efterklang - Magic Chairs
Neil Young - After The Gold Rush
Gram Parsons - GP and Grievous Angel

I think After The Gold Rush was the first or second album of Neil Young's I heard. It's probably still one of his most famous along with Harvest and Harvest Moon I guess these days (the latter 1992 album pretty good in the context of much of his output in the previous decade but also very overrated in my opinion and not a patch on its namesake). I remember being fascinated by the minimalist black and white cover of After The Gold Rush, the chunky gold font of the title and the fish eye centre fold view of Young laid across a dressing room sofa in those jeans surrounded by guitars. 


There are some fascinating pictures of famous album cover shoots out there on the www. Here's one of this one with Graham Nash in the foreground, superimposed on the New York street as it is seen today.

Courtesy: http://www.popspotsnyc.com/

The music is an excellent introduction to the full range of Young for those who prefer the original albums over Greatest Hits compilations, with some heavy rock, acoustic guitar and piano (oddly a young Nils Lofgren, a great guitarist in his own right, guested on piano).

We need some simple parts and we’re confident that you’ll find them on the piano.

The Nils Lofgren one is an interesting story and just shows what can happen if you have a bit of front sometimes. Aged 18 he went to a Neil Young gig, blagged himself backstage, met Young, played him a couple of his own songs, got invited back to Young's Topanga Canyon ranch, ended up playing on After The Gold Rush, and having his own debut album produced by Young's producer David Briggs.

Lofgren went on to spend much of his career in Bruce Springsteen's E Street Band but has recently returned to playing live with Young again as part of the latest Crazy Horse incarnation.

Gram Parsons of course had a much shorter career than either Young or Lofgren. Having started in The Byrds and then The Flying Burrito Brothers he had become a bit of a poster boy for the new Country Rock by the time of his first solo album GP in 1973. However he was also on a downward drugs and booze spiral (including hanging out with the Rolling Stones in the Mojave Desert and Nellcote) and his second album Grievous Angel was released posthumously the year after after his death in 1973. The two albums have long been available together on one CD.

Gram Parsons hanging out with Keith Richards at Nellcote, France, 1971

[Now is the first time ever I've noticed Gold Rush is two words - not only in this context but anywhere - it has never been one word!]






Sunday 5 August 2018

Log #97 - A Gang Of Dead Bees

Eddy Bamyasi


The Guardian's readers recommend series, which I only discovered two weeks ago, is now being withdrawn after 13 years! This was a disappointment for both new contributors like me who was hoping to curate a playlist myself in the future, and stalwarts who have kept the concept going all this time. They will now be congregating over at the similarly formatted song-bar.com .

The final topic was on the subject of The Influence of India and I was chuffed to have one of my nominations (out of over 600) selected for the final play list of 13. It was Krishna Blue by David Sylvian which appears on his Dead Bees On A Cake album.

Here's the Guardian write up:



I certainly couldn't have described it better.

David Sylvian got so good after he went solo with a string of excellent albums. The first one I discovered was (ironically also on a bee theme) Secrets Of The Beehive which I remember most for the stunning acoustic guitar as on this track below.



It's a truly beautiful album and for a few years probably my favourite album of all, and not something I would have expected from the ashes of a pop band like Japan. I am shocked now to remember that that album came out in 1987 as it is one of those I remember clearly where I was at the time on first hearing.

Dead Bees was the follow up coming 12 years later!

1. Bonnie Prince Billy - Master and Everyone
2. David Sylvian - Dead Bees On A Cake
3. Efterklang - Springer
4. Mojo Presents - Return to the Dark Side of the Moon with Wish You Were Here Again
5. Fairport Convention - The History Of
6. Gang of Four - Entertainment!

The Gang of Four album isn't my usual sort of listening. Why have it then? Well, several reasons - I like to try all sorts of new music all the time. And the second reason is it literally fell into my lap. I found it in a bush on my walk home from work the other evening - along with three other Cds - REM's Automatic For The People, Cast's All Change, and Echo and the Bunnymen's Killing Moon The Best Of.

On first listen, as expected, I didn't like the simple Jam / Ramones post punk ranting and scattered guitar strumming over pumping bass. It was made in 1979 and so sounds like it. A few more listens and I am beginning to appreciate the Wilko Johnson like staccato guitar. Late in the album there are even a few variations on the theme.

Gang of Four - mostly like Dr. Feelgood but a hint of new romantic dress sense too

How about this for plaudits though - the album was ranked as fifth Greatest Punk Album of All Time and at number 483 in Rolling Stone's 500 Greatest Albums of All Time. The album was listed by Pitchfork Media as the 8th best album of the 1970s. Kurt Cobain listed it as his 13th favourite album!

Here's his Top 20 for passing interest:

  1. Iggy & The Stooges - Raw Power 
  2. Pixies - Surfer Rosa 
  3. The Breeders - Pod 
  4. The Vaselines - Dying for It 
  5. The Shaggs - Philosophy of the World 
  6. Fang - Landshark 
  7. MDC - Millions of Dead Cops 
  8. Scratch Acid - Scratch Acid
  9. Saccharine Trust - Paganicons 
  10. Butthole Surfers - Pee Pee the Sailor 
  11. Black Flag - My War 
  12. Bad Brains - Rock for Light
  13. Gang of Four - Entertainment! 
  14. Sex Pistols - Never Mind the Bollocks, Here's the Sex Pistols 
  15. The Frogs - It's Only Right and Natural 
  16. PJ Harvey - Dry 
  17. Sonic Youth - Daydream Nation 
  18. The Knack - Get the Knack 
  19. The Saints - Know Your Product 
  20. Kleenex - "anything by" 
...interesting, not many I'm aware of there.


Sunday 2 April 2017

Log #27 - Four Tet Doing The Rounds

Eddy Bamyasi


1. Rodriguez - Coming From Reality
2. Money Mark - Mark's Keyboard Repair
3. Fairport Convention - The History Of
4. Four Tet - Rounds
5. Wagon Christ - Sorry I Make You Lush
6. Van Morrison - The 1967 New York Sessions

Cover album is from Four Tet. I really like this DJ Artist, real name Keiran Hebden, who composes his own material. Seeing him live too was a good experience (not normally the case I find with DJ sets as a spectacle). This is the only album I have of his and by many accounts is the best one to start with. There are some great hooks and loops and lugubrious jazzy down beats similar to DJ Shadow's best stuff. Centrepiece is the piano piece Unbroken. And They All Look Broken Hearted is fascinating with it's phased Japanese koto.



Wednesday 12 October 2016

Full House by Fairport Convention

Eddy Bamyasi



This album was particularly remarkable following the celebrated Liege and Lief and coming shortly after the untimely departure of Sandy Denny. The folky authenticity of the incomparable Dave Swarbrick's gravelly vocals offer something completely different to Denny's angelic singing.

Standout tracks include Walk Awhile and the 10 minute Richard Thompson epic Sloth.

For a great version of Sir Patrick Spens and nostalgic summer festival footage please see https://www.youtube.com/watch?v=rlococGqzg8 . Stay for the amusing helicopter banter.


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