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Various - Never The Same - Leave-Taking From The British Folk Revival 1970-1977 download album

Various - Never The Same - Leave-Taking From The British Folk Revival 1970-1977 download album
Performer:
Album:
Never The Same - Leave-Taking From The British Folk Revival 1970-1977
Style:
Folk
Released:
2006
Country:
UK
FLAC vers. size:
1729 mb
MP3 vers. size:
1467 mb
WMA vers. size:
1978 mb
Other formats
VOC VQF AA WMA MP4 AAC RA
Rating:
4.4 ★
Votes:
263

Autumn Heartache Introspection Long Walk Rainy Day Reflection. Never the Same: Leave-Taking From the British Folk Revival 1970-1977.

Never The Same (Leave-Taking From The British Folk Revival 1970-1977) ‎(CD, Comp). Honest Jon's Records.

The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century.

British folk is part and parcel of the national conversation in a multicultural age, not a pastoral retreat or a muttering on the fringes. In recent years there have been major albums and stage productions that address the present while exploring the past. Let’s leave the last word to a young Bob Dylan, who learnt much from the British folk tradition, and who once told a journalist: There’s nobody that’s going to kill traditional music.

Lal Waterson sang Never the Same, accompanied by Richard Thompson and Martin Carthy, acoustic guitars, and Clare Deniz, cello, in 1972 on Lal & Mike Waterson's album Bright Phoebus. A 1971 demo sung by Lal with just guitar accompaniment was included in 2017 on the of the album's reissue's bonus CD. The album version was included in 2005 as title track of the anthology Never the Same: Leave-Taking from the British Folk Revival 1970-1977.

The British Folk Revival, 1944-2002. Ashgate Popular and Folk Music Series. The folk music revival following World War II has come under considerable scrutiny in the last few years. Monographs by Robert Cantwell ( When We Were Good: The Folk Revival ) and Ronald D. Cohen (Rainbow Quest: The Folk Music Revival and American Society, 1940-1970 ) chronicle the American experience, but not until Michael Brocken's The British Folk Revival, 1944-2002, has there been a similar broad view of. the second British folk music revival

The folk revival in the United States showed a growing interest in American folk music styles and was accompanied by various folk festivals. The first newspaper article advertises a folk festival that happened in 1970. Bill Monroe and the Bluegrass Boys are listed first, and there are other performers listed, such as blues guitarist Bukka White, a Mexican-American band, and two American Indians. Perhaps they are the same reasons that led me to believe that bluegrass music was the most folk out of any other music I knew. This bold claim may just be a strategic advertisement that simply reflects a desire to attract audiences, but there is no doubt that it connects to the role of bluegrass music in the folk revival. Pure in this context most likely means historically authentic. We have to question how authentic bluegrass music is.

The folk scene of the Sixties evolved into the singer-songwriter movement of the Seventies, but it didn’t go away. After this album, her second, Geffen dropped her from the label. Sill fell into a downward spiral and died of an overdose (possibly deliberate) in 1979. What We Said Then: "The goal of Sill's spiritual quest is absolute oneness with God, a fusion that is conceived both as psychedelic pantheism and in primitive, Judeo-Christian terms. Various Artists, ‘Traveling Through the Jungle’. Folk in the Alan Lomax tradition: field recordings of rural people making music in their everyday lives.

I do need to write more about my enduring passion for British folk-rock and electric folk. The songs and arrangements are incredible and so very atmospheric, from the mournful, echoey tale of exile The Bold Poachers to the epic harmonizing, insistent bass pulse and catchy licks of The Weaver and the Factory Maid, to the shocking heavy metal chords and shrieking violin solo of Alison Gross (one scary witch!) to the dirge-like multi-part harmonizing of Rogues in. a Nation (there’s a Scottish theme to side two). Basically the massive inventive genius at work on this album never fails to blow me away

Tracklist Hide Credits

A1 Lal Waterson Never The Same
Written-By – Lal Waterson
A2 Nic Jones Annan Water
Arranged By – Nic JonesWritten-By – Traditional
A3 Dorothy Elliott Adieu To Judges And Juries
Arranged By – Dorothy ElliottWritten-By – Traditional
A4 Alistair Anderson The Kid On The Mountain
Arranged By – Alistair AndersonWritten-By – Traditional
B1 Dick Gaughan Jock O'Hazeldean
Arranged By – Dick GaughanWritten-By – Traditional
B2 Dave Burland The Bleacher Lassie O'Kelvinhaugh
Arranged By – Dave BurlandWritten-By – Traditional
B3 Aly Bain Niel Gow's Lament For His Second Wife
Arranged By – Aly BainWritten-By – Traditional
C1 Lal Waterson To Make You Stay
Written-By – Lal Waterson
C2 Nic Jones Annachie Gordon
Arranged By – Nic JonesWritten-By – Traditional
C3 The Boys Of The Lough Caoineadh Eoghain Rua
Arranged By – The Boys Of The LoughWritten-By – Traditional
D1 Dave Burland A Daleman's Litany
Arranged By – Dave BurlandWritten-By – Traditional
D2 Tony Rose Blackwaterside
Arranged By – Tony Rose Written-By – Traditional
D3 Dick Gaughan MacCrimmon's Lament / Mistress Jamieson's Favourite
Arranged By – Dick GaughanWritten-By – Traditional

Companies, etc.

  • Phonographic Copyright (p) – Celtic Music
  • Licensed From – Celtic Music
  • Lacquer Cut At – Dubplates & Mastering

Credits

  • Compiled By – John Williams , Mark Ainley
  • Design [Cover] – Will Bankhead
  • Design [Insert] – Sandhya Ellis
  • Lacquer Cut By – Moritz von Oswald

Notes

Single wide spine sleeve with insert.

Barcode and Other Identifiers

  • Matrix / Runout (Side A runout etched, M has a hook on the end): HJRLP 19 A D&M
  • Matrix / Runout (Side B runout etched, M has a hook on the end): HJRLP 19 B D&M
  • Matrix / Runout (Side C runout etched, M has a hook on the end): HJRLP 19 C. D&M
  • Matrix / Runout (Side D runout etched, M has a hook on the end): HJRLP 19 D D&M

Other versions

Category Artist Title (Format) Label Category Country Year
HJRCDDJ19 Various Never The Same (Leave-Taking From The British Folk Revival 1970-1977) ‎(CD, Comp, Copy Prot., Promo) Honest Jon's Records HJRCDDJ19 UK 2005
HJRCD19 Various Never The Same (Leave-Taking From The British Folk Revival 1970-1977) ‎(CD, Comp) Honest Jon's Records HJRCD19 UK 2005