http://www.folkblues.co.uk/forum/index.htmlMusic News!eninfo@folkblues.co.ukCopyright © 2001 - 2007. All rights reserved.2008-04-03T21:35:24+02:00 hourly 1 2000-01-01T12:00+00:00 Thu, 03 Apr 2008 23:55:59 +0200info@folkblues.co.ukForum Home2008-04-03T21:35:24+02:00http://www.folkblues.co.uk/forum/files/5b13a3ee8e18bacb55e1c2add5840c09-23.html#unique-entry-id-23http://www.folkblues.co.uk/forum/files/5b13a3ee8e18bacb55e1c2add5840c09-23.html#unique-entry-id-23

Shot in the lilting, evocative style of filmmakers Sheldon and Diane Rochlin, the film-celebrated for its subversive content-was shown at the Whitney Museum of American Art in 1975. Praised as a film "ahead of its time” by Ricky Leacock, the Rochlins signed a distribution contract with Leacock-Pennebaker. But just as the final editing was completed, the distribution arm of Leacock-Pennebaker went bankrupt. The film has remained an underground indie classic ever since.

This is a feature documentary about a young girl’s descent into drugs. Shot in late-sixties London, we see ravishing Caroline--black makeup around her eyes and tattooed head to toe--become a junkie. We come to understand not only the drug lure of the era, but also the soul of a free spirit who is caught in the grip of forces she cannot penetrate or comprehend. Like a butterfly caught in a web, Caroline struggles against her fate, but its seductive attractions threaten to vanquish her.

London 67-68, features music by GENO FOREMAN (Cocaine, When You Hear Those Cuckoos Calling, Some Call Me a Junkie..) and a voice also tells the "story" of Geno's death in London.

INTRO
In 1965, Sheldon Rochlin and I set out for Positano, Italy to make a film about Vali Myers, the red-haired woman whom you will see briefly in DOPE.  We met Caroline, her friend and acolyte, who was living in a cave nearby.  Almost two years later, upon hearing that Vali was going to London to dance onstage at a Donovan concert, we set off to make a film using that, to us extraordinary, event as the jumping off point, allowing the material to lead us as it chose.  Since Donovan (or his agent) was uncooperative, the film immediately took a different direction, leaving Vali as only a peripheral character in the life of Caroline who was now living in London.

With only an awareness of the beautiful confluence of events that had brought us all together-- all meaning ourselves and our five main characters--and a great trust in both the time with its heightened expectations and in our own ability to flow with sureness and skill through what was called the changes, we began our open ended filming adventure.

Although film as  a medium was a bit more affordable in those days, it was still touch and go with uncertain financial backing coming from unexpected places.  Sheldon and I each had a small 16mm Beaulieu camera so that sometimes he, sometimes I, would shoot different scenes depending upon various intangibles.  Our only other crew was an artist friend from New York, recruited to record sound on the Nagra.

We felt simply that with unwavering openness and attention, and insofar as we were capable, purity of intent, we would  allow to be created a film of that time and of that place, since both that time and that place seemed to bristle with synchronicity. Upon returning to New York, we fortunately obtained backing and a promise of distribution from Leacock-Pennebaker, who were distributing “Don't Look Back” and “Monterey Pops”, and thereupon hangs another too long to go into tale.

Many long months  of editing were completed in the summer of ‘68 and the final version--after much discussion of  infinitely small details--wound up using  roughly equal proportions of each of our footage. Since a true narrative didn't exist, we created a loose structure based on a few general directions in each of our character's lives.  As one character, whom we see very briefly showing us his drawings says, "I don't think I'll put very much story into it, just getting high and coming down and that's about it."

Nevertheless, "stories" if you will, did emerge, and if you listen very carefully to the soundtrack which is complex, you will be able to follow them.

After we finished DOPE, we moved into video in ‘69.

the above written for my spoken presentation at the screening at First Provincetown Festival '99

“The images are so lyrical and transfixing that sometimes it's hard to
remember the story is one of drugs and dissolution.”-from legendary figure of the times Ira Cohen, Feb ‘08

Diane  and Sheldon Rochlin are Americans who have travelled widely in Europe, filming the people and events they become involved with’; DOPE, shot in London in 1967 records a group of young people whose lives centre largely on the use of the well-known ‘hard’ and ‘soft’ drugs. From the title sequence (the violent light and sound of an aircraft landing) it is evident that the Rochlins’ method is something other than conventional cinema-verite; and the fast varied collage of situations and observations which follows resolves itself into an organic and coherent whole, quite untypical  of the genre. The film freely juxtaposes fragments of domestic observations (artificial only in their brevity) with scenes around London, and long conversations and telephone calls with sequences  simulating a drug-users perception.
 
In effect, this means that the film both avoids the dubious , ambiguous ‘intimacy’ of much cinema-verite, and that it has a well-developed visual style. The Rochlins’method is basically expressionist; but surprisingly, this in no way contradicts their decision to be recorders rather than commentators, but rather proves that neo-realism and its offspring movements are limited and limiting ways of handling documentary in the cinema. Their refusal to interpret their subjects has made the film an unusually valuable testament to the spirit of its time and place  (pirate radio, the early days of the London Film-makers Coop in the Better Books basement, interstellar rock at the UFO club), and their subjects in turn have provided a number of complex situations  (most notably, a conversation between a girl from the group and an old man at a hunt meeting). A death in the group is assimilated into the film without any deviation from the overall tone. Ultimately, the best analogy for the Rochlins’ achievement is the old blues song which runs through it like a refrain: ‘Hey, baby, won’t you come here quick/ This old cocaine’s making me sick/Cocaine all around my brain.’ 

Dope shares the same tone of subdued pain and troubled acquiescence;  and it is perhaps this,  above all, which makes the film so distinctive.

--Tony Rayns, London,  Monthly Film Bulletin- June,1971

When it  premiered at the Locarno Festival in 1968, DOPE  was praised by Variety’s Gene Moskowitz as “....not just another look at the so-called drug, or hippie scene. A rugged documentary with revealing insights into the sad, touching, downbeat, sometimes tender drug scene.”

“Ones perception of DOPE  is even more complex today, when the immediacy and poignancy of its style mingle with other perspectives provided by the distance of seven years”  according to John Hanhardt, Head of the Film Department. “Seeing DOPE remains a harrowing experience while at the same time one feels a curous nostalgia, both for times past and for lives lost.”  

The edges between immediate experience and remote history begin to blur; we see at once “how it is” and “how it was.” Years from now DOPE will probably survive as an historical document of a time long ago. If so, it will surely inform and shape  how anyone who has seen it thinks about the time and place it describes...

-- Whitney Museum of American Art, press release for New American Filmmakers Series, 1975

For more information visit: http://www.dopethemovie.net/]]>info@folkblues.co.ukAlbum Reviews2008-03-31T16:02:03+02:00http://www.folkblues.co.uk/forum/files/33f4be7951d43b33559fa368170fb5f0-22.html#unique-entry-id-22http://www.folkblues.co.uk/forum/files/33f4be7951d43b33559fa368170fb5f0-22.html#unique-entry-id-22

A mega rare album rediscovered in the autumn of 2007 by Acrobat Music after acquiring the catalogue of recorded works owned by The Kruger Organisation. Previously available only on vinyl and very hard to find this album consists of 18 tracks including bonus material not on the original release.

Its unsure how many copies of the original album were sold due to "an offensive hand signal" inside the cover many shops refused to stock it. As a result it was completely withdrawn from sale almost immediately after release, with only a tiny handful of First pressings ever sold.



To quote Acrobat Music "The music of Knocker Jungle is a fascinating snapshot of a strand of the pop and rock scene that was at the core of what was called “progressive” or “underground” music at the back end of the 60s and early 70s. "

Acrobat Music have done a great job re-releasing this classic album.

For more information visit: http://www.acrobatmusic.net/

]]>info@folkblues.co.ukAlbum Reviews2008-03-04T19:22:36+01:00http://www.folkblues.co.uk/forum/files/cbe87118ff9528be72051f5dfb908a05-21.html#unique-entry-id-21http://www.folkblues.co.uk/forum/files/cbe87118ff9528be72051f5dfb908a05-21.html#unique-entry-id-21

"...Wow, we have here 16 great songs with diverse styles like country, Chicago blues, gospel, jazz, Dixieland honky-tonk and swing. On Heaven you can listen to very catchy numbers with quick changing music styles in which the witty worked out texts are sung through considerable vocal chords of this talented singer.

I believe that Zach Lupetin knows the blues deep down in his soul and that is why he is able to incorporate it in his songs in many diverse ways. When he still studied at the University of Michigan he played with the band “the Midnight Special” a school blues band from which he recruited some musicians from for his CD. His musical examples (idols) are clearly John Prine, Wayne Hancock, Ramblin’ Jack Elliot, Django Reinhardt, Muddy Waters, Leadbelly, Jimmie Rodgers and the Carter Family among others.

The first song on this CD is called “Maybe Baby” and is a blues number tinted with guitar, upright bass, and soft drum accompaniment as well as lively gospel singing and clapping. Some songs are reminiscent of the pre war 20’s to 40’s, which may seem funny for young twenty something guy. Songs like “Mama Said”, “End of the Road” and “”Get Out” illustrates what we mean by this. Textually there is also a portion (big portion) of humor in the songs, showing that they must have a had a great time recording the album, especially in songs like “I Wish That I never Had Met You” and in the seven minute long “Get Out”. “Say You Will” on the other hand is a more traditional ballad and the basic of blues words are held up in “Boo Hoo Blues”.

The title track “Heaven (I’ll Meet you There)” appeals on the beginnings of storytelling blues. Livelier (or happier) is “Another I Don’t Love You Song” and “Superkiller # 405””. If I can chose my favorite song I would go for “La Sangre Lake” that really is completely different from the other songs on this CD. This is a real different record that I would strongly recommend it to lovers of nostalgic blues and country who dig that timeless, happy sound. Zach Lupetin is currently touring throughout California with his new group “The Dustbowl Revival”, a "good old-time string group" as he calls them. Check them out here: www.myspace.com/znlupetin. Fantastic CD! Keep on doing what you do, Zach!

-Freddy Celis, ROOTSTIME MAGAZINE, BELGIUM

For more information visit http://www.myspace.com/znlupetin]]>info@folkblues.co.ukAlbum Reviews2008-03-02T21:21:11+01:00http://www.folkblues.co.uk/forum/files/37417f1f7a68ae46515680df2fb39d1d-20.html#unique-entry-id-20http://www.folkblues.co.uk/forum/files/37417f1f7a68ae46515680df2fb39d1d-20.html#unique-entry-id-20

Peter Berryman arrived on the acoustic music scene in the 60's with the Famous Jug Band which also featured Clive Palmer of the Incredible String Band. At this time he also recorded with Ralph McTell, Wizz Jones and Al Stewart and in 1971 his influential LP with John James , Sky In My Pie,was released. Since then he has collaborated with many notable musicians, worked in theatre and film, and played as far afield as Hokitika and Abidjan.

About The Return;

"Pete explores various moods and influences with equal respect for folk jazz and celtic roots with his delicate fingerstyle technique. His love for the acoustic guitar and it's ability for nuance and subtlety is showcased in this album of fresh and highly original compositions. Enjoy" Ralph McTell

"Pete Berryman, and his contemporary Bert Jansch, still have plenty to offer us in the 21st century. Perhaps it’s the simple acoustic style that he employs, free from the distractions of other instrumentation or vocals, but it’s hard to believe that a period of thirty years lies between some of these compositions when they all sound so vibrant and new. ." Acoustic Magazine

"Pete is one of the unsung heroes of the British acoustic guitar movement."
John Renbourn

For more information visit www.peteberryman.com
]]>info@folkblues.co.ukAlbum Reviews2008-01-21T21:29:03+01:00http://www.folkblues.co.uk/forum/files/ec80425638ed52b0be19d9f098ae8468-19.html#unique-entry-id-19http://www.folkblues.co.uk/forum/files/ec80425638ed52b0be19d9f098ae8468-19.html#unique-entry-id-19

" A brilliant Band...I think this [EP] is absolutely amazing "
Mike Harding, BBC Radio 2

Celtic, Balkan, Gypsy, Latino, Cornish. All these influences and more are in evidence within 3 Daft Monkeys’ music. Far too diverse to be pigeonholed into 1 genre, and possessing a sound completely impossible to typecast into being a particular “style”, 3DM traverse Dance, Dub, Punk, Reggae and Traditional Folk with ease, creating a stunning blend of upbeat, danceable music which despite all its world influences remains undeniably British.

Go Tell The Bees EP showcases 3 tracks from band’s forthcoming album “Social Vertigo”, scheduled for released in early 2008. Also included is a remastered version of Astral Eyes from their previous album “Hubbadillia”. To date Hubbadillia has sold over 5,000 copies purely through word of mouth, and without any distribution or label deal.

3 Daft Monkeys have already played to tens of thousands of people across numerous venues and festivals around the world, both as headliners and support for a variety of major acts.
Recent festival highlights include Folkwoods, Holland; Glastonbury Festival 2007 (3 sets); Folk Segovia, Spain; Lorient Interceltic Festival, France; Kevelaer World Music Festival, Germany and Labadoux Festival, Belgium. Over 5000 people watched their main stage performance at Beautiful Days 2007 and the band will end their summer festival season with a performance at Bestival.

Whatever your taste in music, 3 Daft Monkeys offer something special and their unique blend of high octane, funked-up folk is guaranteed to even the greatest cynics dancing!]]>info@folkblues.co.ukAlbum Reviews2007-10-18T17:15:46+02:00http://www.folkblues.co.uk/forum/files/444a6ae9e561781754880b92e3a55c80-18.html#unique-entry-id-18http://www.folkblues.co.uk/forum/files/444a6ae9e561781754880b92e3a55c80-18.html#unique-entry-id-18

Folk, Blues, Funk and Jazz. Phil Kings got style. A very impressive album which leaves no style unturned. Music to lift you up, move you around, but not straying from the roots. From the laid back lazy blues of "Smiling Eyes" to the mournful cry of "Laughter" Phil King seems to know the recipe for success.

Born in 1978, Phil has been singing his whole life. At 12yrs old, his parents took him to see Eric Clapton at the Albert Hall. The next day, he picked up a guitar, and formed his first band with some school friends. He also began collecting records, buying old Robert Johnson, John Lee Hooker, B.B. King and Muddy Waters Albums.

For more information visit Phil Kings Official website here: http://www.phil-king.net/index.php]]>info@folkblues.co.ukDavy Graham2007-10-16T20:05:38+02:00http://www.folkblues.co.uk/forum/files/b82cc382cd6fbeebbed29c9fd4de4938-17.html#unique-entry-id-17http://www.folkblues.co.uk/forum/files/b82cc382cd6fbeebbed29c9fd4de4938-17.html#unique-entry-id-17

A long-awaited album from Rollercoaster, and a classic performance from the 60s by Davey Graham. This previously unreleased live performance was recorded by Geoff Harden while he was a student at St Andrews University in 1966.

Geoff regularly carried his tape-recorder to the St Andrews Folk Club and on this occasion, after recording the evening's events, he was asked to erase the tape by someone purporting to be Davey's manager. Luckily, the reel survived and we negotiated with Davey and Geoff to release it in its entirety.

The surprisingly hi-fidelity recording features Davey in great form vocally and instrumentally. This CD will bring back happy memories for those who remember Davey's folk club appearances in the 60s, and it will delight Davey's many new fans eager to hear Davey at his very best..

TRACKS:
Jubilation
Travelling Man
Sally Free and Easy
I'm Ready; Work Song
Rock Me; No Preacher Blues
The Preacher
Sweet Home Chicago
The Cat Came Back
Better Git It In Your Soul
Neighbour, Neighbour
Panic Room Blues
Sklillet Good and Greasy
Buhaina Chant
Money, Honey
Maajun
Miserlou
She Moved Through The Fair
Bulgarian Dance

**Note that this CD has been prepared in jewel case format for sale during Davey's current UK tour (see www.daveygraham.com for details). A Rolapak design will be available from Rollercoaster later this year.]]>info@folkblues.co.ukRoy Harper2007-09-25T13:27:16+02:00http://www.folkblues.co.uk/forum/files/a56269c45cac75e98b997ee2583d6acb-16.html#unique-entry-id-16http://www.folkblues.co.uk/forum/files/a56269c45cac75e98b997ee2583d6acb-16.html#unique-entry-id-16

Stormcock has been re-mastered and is to be reissued in October with new artwork. It will be packaged in a 20 page case bound booklet with new pictures, prose and poetry.

Roy's comments: "Certain lines and certain words will not chop your ears off at high volume any more.. Bottom end is taken care of properly.. and there are one or two secrets. You may eventually spot them. It won't matter much to the general public that much, but it sure does matter to me."

]]>info@folkblues.co.ukDavy Graham2007-09-14T11:51:40+02:00http://www.folkblues.co.uk/forum/files/311aed584020f7137f457e08ac269a78-15.html#unique-entry-id-15http://www.folkblues.co.uk/forum/files/311aed584020f7137f457e08ac269a78-15.html#unique-entry-id-15

Seminal guitarist and musician Davy Graham releases a new long player entitled "Broken Biscuits".
 
Recorded over the past two years the record offers 16 tracks, and features 9 new Graham compostions alongside arrangements of traditional music from all over the world.

It represents Graham's first substantial recorded work since 1979's "Dance For Two People."

The record was partly financed by 336 of Graham's long-term fans, many of whom paid for the record before work had begun on it and whose names feature in the cd booklet.

Martin Guitars, Fylde Guitars, Charter Oak Acoustic equipment and Buzz Audio pre-amps assisted the project greatly in providing endorsee support which has now helped allow Graham to record to the highest standard whenever and wherever the mood takes him.

Graham's back catalogue has also been restored from the original master tapes and is released once more with fabulous new artwork, original sleeve notes and improved sound fideiity.

We believe that Davy's records are what ipods and cd players need and that a cd containing the music is the most secure and pleasing format to own it on.

Track Listing of Broken Biscuits

1. Panic Room
2. Flower Mountain
3. Rooty
4. Afrika
5. Samokovsakas
6. The Gold Ring
7. Sa Ma
8. Sita Ram
9. Blood Red Roses
10. Bonny At Morn
11. Kiba Jaya Jaya Gorachandra
12. Precious Memories
13. Ignunt Oil
14. Delerium Tremens
15. Kadinesca
16. Brisk Young Widow]]>info@folkblues.co.ukAlbum Reviews2007-09-14T11:34:14+02:00http://www.folkblues.co.uk/forum/files/b28804e6c61e13368f14d35b8fd2e0c1-14.html#unique-entry-id-14http://www.folkblues.co.uk/forum/files/b28804e6c61e13368f14d35b8fd2e0c1-14.html#unique-entry-id-14

England-based singer/songwriter/guitarist James Hollingsworth has a unique, complex guitar style, reminiscent of Andalusian guitar as well as modern rock.

As well as being known as an inspired solo singer/songwriter/guitarist, James is also lead singer and frontman with the rock band JEBO.

There are hooks, harmonicas, harmonies, hush and heaviness aplenty, delivered with James' characteristic passion and aplomb. More unusual tracks include the palindromic 'Bounty of Id', (also a 'Mini-Saga', meaning it has exactly 50 words) of just under 2 minutes to the epic 12-minute 'Long Way Out'.

Track dates are included in all of James' releases as part of the biographical record of his catalogue. “This has always been a plan,” James says, “songs often shed light on the meaning of other songs written at that time.

Recently quoted from a gig:

“.... and then there was James Hollingsworth... well by the time he'd finished I had 2 pages of notes and adrenalin coming out of my pores. I was itching to get his album once he'd finished - and i'm listening to it as I write this. It's bloody brilliant.

“live he started quite subdued....did a couple of mellow songs , in a mellow stance, and a mellow tone to his voice... then he sang possible the sweetest version of "Happy Birthday" i've ever heard - for Rach.

“Then he hit the stratosphere. I'll throw some names out that I thought of while I listened - Cat Stevens, Ian Anderson, Roy Harper, Geddy Lee...there was loads going on....and he was just passing through. "You're not the only one" was the first song he did when he really went for it - and it was beautiful - fantastic song.

“Then he did a song which he introduced by saying "this is a song about living on the same planet..we've got a long way to go" - perfect introduction. The song starts with the line "if you look around the world its hard to imagine how things are gonna get better" - the song is "Sooner or Later" and the CD version is just as good as it was live. Powerful stuff.

“Then he completely blew me away. Not sure what the song is called....(if you're reading this James, i'd love to know) It was incredible - he got himself into it by playing this strident riff, staring at the audience and swaying to the song's rhythm - the song was being built up to this huge rock beast right from the start....then he started singing - in a way he hadn't up to this point - and it was amazing - huge delivery - fast, staccato,
biting lines punctuated with this fast, big, riffing guitar. It had a kind of "Ritchie Havens 'Freedom'" rhythm, if you know Woodstock - but it had a powerful sense of urgency. It was breathtaking. The last line (sang really quick) "thank you please just to leave me aloooooooone" - it was HUGE! lol - brilliant. “then he had to follow it!

“A beautiful song called "Walk the Earth" which had me singing along in my chair (I was disappointed it wasn't on the album... but it's a good excuse to buy his others) - a great song that reminded me of Steve Knightley. Nice percussive slapping on the
guitar on this one.

“He was a really nice bloke too - afterward me and Andy Brown were chatting to him - and Andy asked him to write something ridiculous on his inlay booklet (I won't say what it was but it's not something you'd expect someone to write) - and he did - great stuff.

“Still listening to the album - i'm on track 11 now - it's brilliant. Powerful performances, distinctive songwriting, a prog rock sensibility paired down to the acoustic as Roy Harper would have it, and the perfect production. Brilliant. So pleased I have the CD.

- Gareth Howells - re. Gig in Portsmouth 15/03/07.

]]>info@folkblues.co.ukJohn Martyn2007-09-13T11:59:43+02:00http://www.folkblues.co.uk/forum/files/f8b4df61804b01535932011c8ae737e9-13.html#unique-entry-id-13http://www.folkblues.co.uk/forum/files/f8b4df61804b01535932011c8ae737e9-13.html#unique-entry-id-13

John Neil Munro is going to have a biography published October 2007. The title is: Some People Are Crazy, and the publisher is Birlinn Ltd from Edinburgh (208 pages, £ 14,99).

John writes: "My book on John is coming out in October - see attached cover. I've been working on it for three years and interviewed John a few times. I've also spoken to people like his pre-Bev sweetheart Linda Dunning, Danny Thompson, Dr Kirk McGeachy, Spencer Cozens, Ralph McTell, Bridget St. John, Andy Sheppard, Claire Hamill, Dave Pegg, Michael Chapman, Steve Tilston, Wizz Jones, Dave Mattacks, Eddi Reader, Simon Climie, John Glover, Sandy Roberton, Martin Levan, Paul Wheeler, Robin Frederick, Tim Denley, Phill Brown, Brian Young, and James MacPherson...

It's also got a quite lengthy gig listing for the Cousins era which came about after spending days in the British Library sifting through old Melody Maker's. John has read it and said he liked it."
So this looks like something definitely worth looking forward to.]]>info@folkblues.co.ukRoy Harper2007-09-06T15:28:55+02:00http://www.folkblues.co.uk/forum/files/a5ac8bf787093d75912bd56526b06ca6-11.html#unique-entry-id-11http://www.folkblues.co.uk/forum/files/a5ac8bf787093d75912bd56526b06ca6-11.html#unique-entry-id-11

Harper's label Science Friction Records has re-packaged the BBC tapes volumes 1 to 6. Without a doubt, the pain stacking re-mastering was personally over seen by Roy himself. Previously out of stock and unavailable this 6 volume archive is a must for anyone looking for classic live Roy Harper.

The volumes include concerts from:

1973 Bob Harris sessions, The Hippodrome Golders green 1974 concert, John Peel sessions and much more.

]]>info@folkblues.co.ukAlbum Reviews2007-08-23T09:14:41+02:00http://www.folkblues.co.uk/forum/files/9994ce500af804919337f5546cd654fd-10.html#unique-entry-id-10http://www.folkblues.co.uk/forum/files/9994ce500af804919337f5546cd654fd-10.html#unique-entry-id-10
Release Date: 25th September 2007
José González - In Our Nature
(Peacefrog/Mute)

Track list:
   1. How Low
   2. Down The Line
   3. Killing For Love
   4. In Our Nature
   5. Teardrop
   6. Abram
   7. Time To Send Someone Away
   8. The Nest
   9. Fold
  10. Cycling Trivialities

'In Our Nature' gets busy with universal themes of the human condition, our place in the world and bypassing songs about love, opening by addressing the body-politik on 'How Low' - "...feeding a monster...invasion after invasion..." to a lilting guitar, gathering pace for the hypnotic 'Down the Line' with a riffing number about owning your problems, making mistakes and moving on - "...I see problems down the line/ I know that they're mine..." while the guitar shimmers. Our warring natures are addressed somewhat simplistically but with melody on 'Killing For Love' - "..you've got a heart filled with passion/ will you let it burn for hate or compassion..." to dexterous finger pickin' guitar work, whilst title track 'In Our Nature' has a world-weary tone with a Nick Drake-lean and minimalism, a touch of 60's idealism in the lyrics - "...put down your sword/ send home your dogs/ open up your doors...".
]]>info@folkblues.co.ukNick Drake2007-08-20T11:09:39+02:00http://www.folkblues.co.uk/forum/files/1cb06e16e9e6a595230ad950aaa36970-9.html#unique-entry-id-9http://www.folkblues.co.uk/forum/files/1cb06e16e9e6a595230ad950aaa36970-9.html#unique-entry-id-9'A Place To Be' debuts at 'Bumbershoot' festival in Seattle
Over the years Nick's music has had a singular impact on other artists from many different disciplines. The Nick Drake estate (Bryter Music) has decided to celebrate these by exhibiting a selection - both as static displays (photography, writing, painting, collage) and as film pieces. A few were specially commissioned for the event, but most were submitted as self-generated homages.

Bryter Music have called the event 'A Place To Be' and plan to tour it for as long as people want to see it and to add to it as they go.

Contributions have come in from such artists as Heath Ledger, Tim Pope, Jonas Mekas, Paul Rider, The Books, Keith Morris, Julian Lloyd, Russell Mills, and the poet Nick Drake. There will be 30 pieces in all, plus screenings of the film 'A Skin Too Few'.
'A Place To Be' debuts as part of the 'Bumbershoot' festival in Seattle USA on September 1st - 3rd 2007.

Click here for more details of the Bumbershot Festival.]]>info@folkblues.co.ukRoy Harper2007-08-10T09:44:19+02:00http://www.folkblues.co.uk/forum/files/49c808577ede25ab67cf80ca4169eb79-8.html#unique-entry-id-8http://www.folkblues.co.uk/forum/files/49c808577ede25ab67cf80ca4169eb79-8.html#unique-entry-id-8

Japanese export.Collectors Item.

Licensed tracks released by Vinyl Japan at the time of Roy's visit to Tokyo. This is a compilation and not recorded live in Tokyo.

1. Blackpool (Harper)
2. Francesca (Harper)
3. Another Day (Live) (Harper)
4. Miles Remains (Live) (Harper)
5. Wishing Well (Harper)
6. Frozen Moment (Harper)
7. How Does It Feel (Harper)
8. Pinches of Salt (Harper)
9. Elizabeth (Harper)
10. Rushing Camelot (Harper)
11. The Green Man (Harper)
12. One of Those Days In England (Harper)]]>info@folkblues.co.ukJohn Renbourn2007-08-10T09:11:02+02:00http://www.folkblues.co.uk/forum/files/f5c7468a2af82de6fce9834f48a5212c-7.html#unique-entry-id-7http://www.folkblues.co.uk/forum/files/f5c7468a2af82de6fce9834f48a5212c-7.html#unique-entry-id-7

Although this is a new release, the material on this album was recorded some years ago at The Folk Studio, a now-defunct basement club in Rome. Renbourn didn't know he was being recorded and can't remember the date, though the evidence suggests it was during the late 80's. So if you want a taste of his long and restless career up to that point - both as a solo artist and as a headline member of various groups - there's plenty here to whet the appetite.

The eight tracks lean towards instrumentals rather than songs, but perfectly balance self-penned originals and cover versions with arrangements of traditional pieces, together demonstrating his folk-baroque, country blues, classical and jazz influences. There's even a nod towards church music. Each piece is an easily-digestible live favourite in its own right, and the sum of the parts is a sweet cohesive whole. Renbourn uses five different tunings, but his banter with the audience has been edited out, leaving an intense 47-minute lesson in sheer guitar artistry. It's a testament to his awesome skill as a composer, arranger and performer that he can nurse such a consistently rich and smooth sound from one apparently simple instrument.

-Offical John Renbourn Site
]]>info@folkblues.co.ukBert Jansch2007-08-10T08:57:26+02:00http://www.folkblues.co.uk/forum/files/2d45a98c67a8a75a914fbd05b9e45ef6-4.html#unique-entry-id-4http://www.folkblues.co.uk/forum/files/2d45a98c67a8a75a914fbd05b9e45ef6-4.html#unique-entry-id-4STOP PRESS
Following his East Coast dates in June, Bert is playing on the West Coast of America this month. The wonderful Meg Baird from Espers will open on some of the shows. She will appear in Los Angeles, Santa Cruz, Portland and Vancouver.

The full tour list is:

LOS ANGELES – The Troubadour – Friday 24 August – tickets available from 310 276 1158 or www.troubadour.com

SANTA CRUZ – Brookdale Lodge – Saturday 25 August – tickets available from www.ticketweb.com

SAN FRANCISCO – Swedish American Hall – Sunday 26 August – tickets available from 415 861 5016 or www.cafedunord.com

PORTLAND – Lola's – Tuesday 28 August – tickets available from 503 225 0047 or www.mcmenamins.com

VANCOUVER – Richard's on Richards – Thursday 30 August – tickets available from 604 687 6794 or www.richardsonrichards.com

SEATTLE – Bumbershoot Festival – Saturday 1 September – tickets available from www.bumbershoot.com]]>info@folkblues.co.ukAlbum Reviews2007-08-09T11:16:41+02:00http://www.folkblues.co.uk/forum/files/036f8b1b09a9986992b1d9a2583d42d4-1.html#unique-entry-id-1http://www.folkblues.co.uk/forum/files/036f8b1b09a9986992b1d9a2583d42d4-1.html#unique-entry-id-1

Ex-lead singer of alterna-girl pop group Luscious Jackson, Jill Cunniff releases her debut solo album ‘City Beach’ on the 3rd of September through Rykodisc.

The album is a breezy, earnest yet celebrators piece-aglow with motherly wisdom and metrical nods to the unassailable grit and colour of urban life.
With its laid back summer vibe and Jill's beautiful haunting voice, city Beach' brings a ray of sunshine to inner city surroundings and provides an apt soundtrack for, and an escape route from, the British 'Summer of Grey' that we seem to be experiencing this year.

The album is dedicated Coney Island, New York, a city beach known for its faded glory, revived through a ambient mix of melodic guitars and beats.

Jill was born and raised in NYC, and spent her days in Greenwich Village in an intense, bursting time of artists and individuals searching for like-minds to connect with. Her first musical milestone dates back to the 1980's when at the tender age of thirteen she had her birthday party at CBGB, parents in tow. With a liberating exposure to the raw, prismatic music found in the less-visible sectors of the city, junior high drool was only a day job. Traces of late night, teenage club hopping can be heard throughout Cunniff's musical choices and acute, inviting lyricism.

Jill grew up right in the heart of an ardent artistic community-where, as Jill described: 'you'd and the freshest kids breakfasting right down the street from St. Marks Sounds record shop and Rat Cage recorders, which is where Jill's friends the Beastie Boys first sold their records. Jill recalled ''we used to help our friends sell records on the street back then, and it was such a great place to learn about music- just hanging out and being a teenager. ln times to come, Jill would not only perform with, and warm up for the Beasties (and their various pre-incarnations), but would, as part of Lusclous Jackson, be the first act signed to their Grand Royale label.

In the wake of the amicable split of Luscious Jackson, Jill continued recording and collaborating with a varied, talented and brilliant group of artists. City Beach, with its strong melodies, lullaby-like tones and soothing qualities, are the fruit of this ongoing process of musical journey, Indeed, having been recently been involved a few more commercial, pop-oriented collaborations, Jill was anxious to get back into the music she loves: away from the strict formats that come with pop music and all the shoulders.
City Beach comes along with hints of what Jill listens to at home-Brazilian mirages, Bebel, alarum and Jao Gilberto and Prince Paul among many others. And it is fantastic. Enjoy

More information at www.jillcunniff.com
]]>info@folkblues.co.ukAlbum Reviews2006-09-10T08:34:00+02:00http://www.folkblues.co.uk/forum/files/b8c74dde9ec5d4c8171c6dfab0e9bd3f-2.html#unique-entry-id-2http://www.folkblues.co.uk/forum/files/b8c74dde9ec5d4c8171c6dfab0e9bd3f-2.html#unique-entry-id-2

It’s been 4 years since we’ve seen a new Jansch album, during this time the passing of many re-issues and re-compilations have cluttered the shelves. The Black Swan is an album that shows that time truly ferments the adroitness that Jansch wields with his guitar and voice, both mature and elegiac.

The Black Swan with its soft rhythm and tightly arranged strings seems to hold a mystique, possibly mournful? When The Sun Comes Up featuring the voice of Beth Orton, soft but aromatic, holds a nice bluesy feel to it while Katie Cruel  is a true gem, with Devendra Banhart taking it one step further. From a possible political point Texas Cowboy Blues to uniquely arranged traditional songs like The Old Triangle the Black Swan radiates colour.

Other featured artists also include Kevin Barker and Paul Wassif.
The basic tracking was recorded at Jansch’s home studio in London while over dubbing and production was overseen by Noah Georgeson in LA.
Jansch seems to know what he wants, a clear picture and armed with the array of featured artists this album will stand the test of time.]]>