Jacob Harvie, in response to and regarding your own post asking Anyone know some good psychedelic stuff to check out. The type of stuff you burn incense and light up a few candles to listen to., I have to agree with most responses. Ive got a post which is particularly long, but Im going to have to spam it in its own thread, since spamming your post is not allowed. (too many characters?)ha Everyone has listed good recommendations, and it got the wheels turning, so I took some time to compile information on the UK Folk Revivalists, their influences, and those that were of influence on them. Here it is, light a candle and take some notes if you find anything that wets your appetite. I tried to wrap up all the info I could with exception to the many modern, neo-folk musicians of which I only mentioned a few. Heres my summary of folk-rock that has had a major effect on me and intertwines with all the suggestions in this thread. Its all connected someway or the other, and the history is important. There is a lot of overlapping, as their seems to have quintessential and reciprocal influences. One last thing I forgot to include is Neil Youngs On The Beach, which I consider his best album. I compiled a little info on the UK folk-revivalist movement beginning in the late sixties and continuing onwards to this day by another wave of musicians who looked up to these bands for inspiration and even made some successful collaborations, respectfully backing the older generation, as is the case of Bert Janschs The Black Swan album. An early psychedelic folk band, was that of Dando Shaft, my introduction being the album Reaping The Harvest, which was amongst the four full-length LPs released by this unique and adventurous band. You can start by listening to any of them, alongside another group, The Incredible String Band. The first three ISB albums all are excellent and psychedelic, and should be listened to in sequence to appreciate their developing sound. Both The Rolling Stones & The Beatles saw ISB play before Sgt. Pepper and Their Satanic Majesties Request were recorded, resulting in ISB being a strong influence on those albums. Additionally, Robert Plant claimed that Led Zeppelin found their way by playing The Hangmans Beautiful Daughter, which was ISBs 3rd studio album. Following in the footsteps of ISB, Led Zeppelin later incorporated North African instruments (e.g. on Dancing Days), as sited from WIkipedia. You can find a rich discography of albums produced by Joe Boyd, who co-owned the legendary UFO Club where ISB performed, which got them a lot of attention in the underground and forthcoming good press from music critics. They gained even more momentum when played by John Peel on the Perfumed Garden segment of Radio London, and again more exposure by being featured on TV on BBCs popular show Top Gear. Their second album, The 5000 Spirits or the Layers of the Onion, reached number 1 on the UK folk chart, and was named by Paul McCartney as one of his favourite records of that year [1967]. Both Dando Shaft and ISB were heavily influenced by The Pentangle whose works from 68 - 72 were masterful in their folk-jazz stylings and were psychedelic to some extent, being rich in folklore, as was Dando Shaft & ISB, but with the addition of traditional forms of early musics, some of which were Italian dances dating back to the 16th century. Classical folk was obsessively studied and championed by John Renbourn, inspiring him to preserve and incorporate it into their sound, playing the dances as musical interludes, which can be heard on the double album Sweet Child. The first disc contained live performances, and the second was recorded in-studio. The combined musicianship had an overall psychedelic feel, resulting from the blending of folk traditions, with intricate interplay of stringed instruments including the double bass, jazz drumming, and soaring vocals by Jacqui McShee overtop. The extraordinary talents of all the band members created a stunning synergy particularly in the double-lead guitar work of two, already established solo artists, Bert Jansch and John Renbourn. Also contributing to their tightly-knit sound was the bass playing by Danny Thompson and drumming by Terry Cox, whose names became very high in demand ~ you will find they played on many progressive folk/rock/jazz groups that were emerging from the same era as well as in the decades to come. The overall effect was ever-so coherent and technically unparalleled, although trailing behind in close second, in different ways but connected by similar traditions, were a few other powerhouse acts, such as Fairport Convention, Steeleye Span, The Strawbs, and John & Beverley Martyn, who made two bitter-sweet albums together, Stormbringer & Road To Ruin, after which Martyn would develop into a singular juggernaut of folk & blues, his guitar work sometimes shadowing that of Nick Drakes, and developed a unique way of manipulating the dynamics subtle nuances of his voice to sound more and more like any other acoustic instrument would be played. Richard Thompson of Fairport Convention, would have a very long, prolific career ahead of him as an accomplished guitarist and song-writer, beginning with his work as a duo with his wife, Linda Thompson, mirroring the similar success and crumbling fate of John and Beverley Martyns partnership. Both pairings produced tremendous output. All these bands reached fame and noteriety and had members that would reform into new bands, usually backing a talented front-person like Sandy Denny, Maddy Prior, June Tabor, or Jacqui McShee. Fotheringay was one of such incarnations which centred around Sandy Denny and was produced and accompanied by her husband Trevor Lucas. Her rise to fame was becoming the lead vocalist who replaced Judy Dyble (an incredible vocalist herself) after the first Fairport Convention album. During her work with Fairport Convention from 68 - 76, Denny composed a solid run of 4 solo albums and a stunning amount of material, fromm 71 - 77 before her premature death in 1978 at the age of 31, which occurred after falling down the stairs and causing blunt trauma to her head, while vacationing at her parents cottage. She is best known for her composition Who Knows Where The Time Goes, which was famously covered and used as the title for a Judy Collins album, popular in the US mainstream folk circuit. Denny even sung the female vocal on Led Zeppelins The Battle of Evermore, which was the only duet or guest appearance made on any of their albums. Other works she was involved in consisted ofThe Strawbs All Our Own Work, and a mishmash of her closest colleagues backed her for a album by the group known as The Bunch. Sourced from Wikipedia: Since her death, many tributes have been made to Denny, both in music and elsewhere. Dave Pegg of Fairport Convention recorded the tribute Song for Sandy on his 1983 solo album The Cocktail Cowboy Goes It Alone. Dave Cousins of Strawbs wrote Ringing Down the Years in memory of Sandy Denny shortly after her death. Songs more specific to the death were Bert Janschs Where Did My Life Go and Richard Thompsons Did She Jump or Was She Pushed?. Fellow Brit folk pioneers Spriguns changed the title of their 1978 album to Magic Lady after hearing of Dennys death while recording. In 1998, a variety of Daylily was named after her. Dennys songs have been covered by numerous artists in the years since her death. Some of the notable acts to have covered her music include Yo La Tengo,[37] former Marillion frontman Fish, who covered Solo on his album Songs from the Mirror, Cat Power, Judy Collins and Nina Simone. Kate Bush named Denny in the lyric of Blow Away (For Bill), a track on her 1980 album Never for Ever. An American artist who was an influence on the British Folk-Revival movement was Jackson C. Frank whose eponymous debut in 65 contained his most famous track, Blues Run the Game, which was covered by Simon and Garfunkel, and later by Wizz Jones, Counting Crows, Mark Lanegan, Headless Heroes, Colin Meloy, Bert Jansch, Laura Marling and Robin Pecknold (White Antelope), while Nick Drake also recorded it privately. Another song, Milk and Honey, appeared in Vincent Gallos film The Brown Bunny, and was also covered by Fairport Convention, Nick Drake, and Sandy Denny, whom he dated for a while. Other American and Canadian influences, namely those of Fairport Convention were unknown Bob Dylan songs and the first two albums by The Band. Also most likely Tim Buckley, Quicksilver Messenger Service, Alexander Skip Spence (of Moby Grape and solo), and The Holy Modal Rounders, and Marc Bolan/Tyrannosaurus Rex, John Fahey, Pearls Before Swine, The Byrds, and Love, particularly Forever Changes Another UK folk musician, that is much more rare but recently popular and available in repress is, as sited from Wikipedia, Jan Dukes de Grey [who was] a short-lived English Acid/Progressive folk and progressive rock band that was primarily active in the early 1970s. Despite a relatively meagre total output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain. Jan Dukes de Grey is considered to have been among the least conventional musicians associated with the progressive folk scene and in particular their 1971 album, Mice And Rats In The Loft, has come to be viewed as a seminal British acid folk album and as one of the wildest relics of the florid post-hippie era. Also included in the UK progressive folk movement would be the groundbreaking and influential album by Comus, First Utterance, and the bands Trees, and Third Ear Band, and Lindisfarne, and the initially poor received and now held in high regard what the album Just Another Diamond Day by Vashti Bunyan. More successful and a primal influence on the early revival was Shirley Collins and her later work the backed by the Albion Country Band which included Ashley Hutchings who had left Steeleye Span and whom she came to marry. Mellow Candle made a strong album called Swaddling Songs. A new wave of psychedelic folk bands in the US were inspired by all those in the revivalist movement mentioned above, as well as the smaller group from UK such as David Tibet of Current 93 and Douglas P. of Death in June who share idols with the Nurse WIth Wound who has a very large following and who cites in his NWW List the most psychedelic and influential groups not constrained from any particular region, but comprised by many acts of the German Underground which peaked from 69 to 74. Emtidis Saat comes to mind as a primordial influence, and Witthüser & Westrupps Trips and Traume, Carol of Harvest (with Canadian vocalist), Bröselmaschine (which sounded like a German Pentangle), Hölderlin/Höelderlin which started out playing Fairport Convention and Pentangle songs, Langsyne (Neil Young meets Pentangle/Fairport Convention), Ougenweide, and last but not least is the Swedish Brainticket (pure Acid Rock with folk elements), oh, and not to forget, Swiss rockers Krokodil An Invisible World Revealed, which contains some nice acoustic work.
Posted on: Mon, 12 Jan 2015 03:36:58 +0000
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