Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
Nanci Caroline Griffith is an American singer and songwriter, raised in Austin, who lives in Nashville, Tennessee. Griffith appeared many times on the PBS music program Austin City Limits starting in 1985. Griffith was born in Seguin and her career has spanned a variety of musical genres, predominantly country and what she terms "folkabilly." Griffith won a Grammy Award for Best Contemporary Folk Album in 1994 for her recording, Other Voices, Other Rooms. This album features Griffith covering the songs of artists. One of her better-known songs is "From a Distance,", written and composed by Julie Gold, although Bette Midler's version achieved greater commercial success. Other artists have achieved greater success than Griffith herself with songs that she wrote or co-wrote. For example, Kathy Mattea had a country music top five hit with a 1986 cover of Griffith's "Love at the Five and Dime" and Suzy Bogguss had one of her largest hits with Griffith's and Tom Russell's "Outbound Plane". In 1994, Griffith teamed up with Jimmy Webb to contribute the song "If These Old Walls Could Speak" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.
Griffith is a survivor of breast cancer, diagnosed in 1996, thyroid cancer in 1998. Singer-songwriter Christine Lavin remembers the first time she saw Griffith perform: I was struck by how perfect everything was about her singing, her playing, her talking. I realized from the get-go that this was someone, a complete professional, she had worked a long time to get to be that good. In recent years, Griffith has toured with various other artists, including Buddy Holly's band, The Crickets. Griffith has recorded duets with many artists, among them Emmylou Harris, Mary Black, John Prine, Don McLean, Jimmy Buffett, Dolores Keane, Willie Nelson, Adam Duritz, The Chieftains, John Stewart, she has contributed background vocals on many other recordings. Griffith suffered from severe writer's block for a number of years after 2004, lasting until the 2009 release of her The Loving Kind album, which contained nine selections that she had written and composed either by herself or as collaborations. After several months of limited touring in 2011, Griffith's bandmates The Kennedys packed up their professional Manhattan recording studio and relocated it to Nashville, where they installed it in Nanci's home.
There and her backing team, including Pete & Maura Kennedy and Pat McInerney, co-produced her album Intersections over the course of the summer. The album included several new original songs and was released in April 2012. Griffith won the 1994 Grammy Award for Best Contemporary Folk Album for Other Rooms. In 2008, the Americana Music Association awarded her its Americana Trailblazer Award. Lyle Lovett, who contributed backing vocals to some of "The Blue Moon Orchestra's" recordings, had won it before her. Griffith refers to her backing band as "The Blue Moon Orchestra." This reference is believed to have been drawn from both the title of one of her earliest albums, Once in a Very Blue Moon, its title selection, which reached No. 85 on the Billboard Hot Country Songs chart in 1986. Current membersNanci Griffith — lead vocals, guitar Pat McInerney — percussion Maura Kennedy — vocals, guitar Pete Kennedy — guitar, vocalsPrevious band membersJ. T. Thomas — bass, she was married to singer-songwriter Eric Taylor from 1976 to 1982.
In the early 1990s, she was engaged to singer-songwriter Tom Kimmel. Bob Dylan: The 30th Anniversary Concert Celebration Sony VHS Other Voices, Other Rooms Elektra Video VHS Winter Marquee Rounder/Universal DVD, One Fair Summer Evening... Plus! Universal Music & VI DVD, Music of Austin Official website Comprehensive Nanci Griffith discography 2012 Interview with Nanci Griffith
Greater Manchester is a metropolitan county in North West England, with a population of 2.8 million. It encompasses one of the largest metropolitan areas in the United Kingdom and comprises ten metropolitan boroughs: Bolton, Oldham, Stockport, Trafford and the cities of Manchester and Salford. Greater Manchester was created on 1 April 1974 as a result of the Local Government Act 1972. Greater Manchester spans 493 square miles, which covers the territory of the Greater Manchester Built-up Area, the second most populous urban area in the UK, it is landlocked and borders Cheshire, West Yorkshire and Merseyside. There is a mix of high-density urban areas, semi-rural and rural locations in Greater Manchester, but land use is urban—the product of concentric urbanisation and industrialisation which occurred during the 19th century when the region flourished as the global centre of the cotton industry, it has a focused central business district, formed by Manchester city centre and the adjoining parts of Salford and Trafford, but Greater Manchester is a polycentric county with ten metropolitan districts, each of which has at least one major town centre and outlying suburbs.
Greater Manchester is governed by the Greater Manchester Combined Authority, which consists of political leaders from each of the ten metropolitan borough councils, plus a directly elected mayor, with responsibility for economic development and transport. Andy Burnham is the inaugural Mayor of Greater Manchester, elected in 2017. For the 12 years following 1974 the county had a two-tier system of local government; the county council was abolished in 1986, so its districts became unitary authority areas. However, the metropolitan county continued to exist in law and as a geographic frame of reference, as a ceremonial county, with a Lord Lieutenant and a High Sheriff. Several county-wide services were co-ordinated through the Association of Greater Manchester Authorities between 1985 and 2011. Before the creation of the metropolitan county, the name SELNEC was used for the area, from the initials of "South East Lancashire North East Cheshire". Greater Manchester is an amalgamation of 70 former local government districts from the former administrative counties of Lancashire, the West Riding of Yorkshire and eight independent county boroughs.
Since deindustrialisation in the mid-20th century, Greater Manchester has emerged as an exporter of media and digital content and dance music, association football. Although the modern county of Greater Manchester was not created until 1974, the history of its constituent settlements goes back centuries. There is evidence of Iron Age habitation at Mellor, Celtic activity in a settlement named Chochion, believed to have been an area of Wigan settled by the Brigantes. Stretford was part of the land believed to have been occupied by the Celtic Brigantes tribe, lay on their border with the Cornovii on the southern side of the River Mersey; the remains of 1st-century forts at Castlefield in Manchester, Castleshaw Roman fort in Saddleworth, are evidence of Roman occupation. Much of the region was omitted from the Domesday Book of 1086. During the Middle Ages, much of what became Greater Manchester lay within the hundred of Salfordshire – an ancient division of the county of Lancashire. Salfordshire encompassed several parishes and townships, some of which, like Rochdale, were important market towns and centres of England's woollen trade.
The development of what became Greater Manchester is attributed to a shared tradition of domestic flannel and fustian cloth production, which encouraged a system of cross-regional trade. In the late-18th century, the Industrial Revolution transformed the local domestic system. Infrastructure such as rows of terraced housing and roads were constructed to house labour, transport goods, produce cotton goods on an industrial scale for a global market; the townships in and around Manchester began expanding "at an astonishing rate" around the turn of the 19th century as part of a process of unplanned urbanisation brought on by a boom in industrial textile production and processing. This population increase resulted in the "vigorous concentric growth" of a conurbation between Manchester and an arc of surrounding mill towns, formed from a steady accretion of houses and transport infrastructure. Places such as Bury and Bolton played a central economic role nationally, by the end of the 19th century had become some of the most important and productive cotton-producing towns in the world.
However, it was Manchester, the most populous settlement, a major city, the world's largest marketplace for cotton goods, the natural centre of its region. By 1835 "Manchester was without challenge the first and greatest industrial city in the world". In the 1910s, local government reforms to administer this conurbation as a single entity were proposed. In the 18th century, German traders had coined the name Manchesterthum to cover the region in and around Manchester. However, the English term "Greater Mancheste
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Kim Carnes is an American singer-songwriter. Born and raised in Los Angeles, she began her career as a songwriter in the 1960s, writing for other artists while performing in local clubs and working as a session background singer with the famed Waters sisters. After she signed her first publishing deal with Jimmy Bowen, she released her debut album Rest on Me in 1972. Carnes' self-titled second album contained self-penned songs, including her first charting single "You're a Part of Me", which reached No. 35 on the Billboard Adult Contemporary chart in 1975. In the following year, Carnes released Sailin', which featured "Love Comes from Unexpected Places"; the song won the American Song Festival and the award for Best Composition at the Tokyo Song Festival in 1976. In her breakthrough year, 1980, Carnes was commissioned by Kenny Rogers to co-write the songs for his concept album Gideon, their duet from that album, "Don't Fall in Love with a Dreamer," hit No. 4 on Billboard Hot 100, earned the duo a Grammy Award nomination.
That year, her cover of Smokey Robinson's "More Love," from the album Romance Dance, hit No. 10. The following year, Carnes released Mistaken Identity, which featured the worldwide hit, "Bette Davis Eyes." This became the best-selling single of the year in the United States, spending nine weeks at No. 1 on the Billboard Hot 100, going Gold, won the Grammy Awards for Record of the Year and Song of the Year. Mistaken Identity went to No. 1 on the Billboard 200, was certified Platinum, was nominated for the Grammy Award for Album of the Year. Carnes saw success with the singles "Draw of the Cards," "Does It Make You Remember," "Crazy in the Night," "Make No Mistake, He's Mine," with Barbra Streisand, "What About Me?," with Kenny Rogers and James Ingram, "I'll Be Here Where the Heart Is," from the Flashdance soundtrack, the Grammy Award nominated singles "Voyeur" and "Invisible Hands." Her other successes as a songwriter include co-writing the No. 1 duet "The Heart Won't Lie" with Donna Weiss, recorded by Vince Gill and Reba McEntire.
Her distinctive raspy vocal style has drawn comparisons to Rod Stewart. Her most recent studio album is Chasin' Wild Trains; as of 2017, Carnes was residing in Nashville, where she continues to write music. Kim Carnes was born on July 1945 in Los Angeles, California, her father, James Raymond Carnes, was an attorney, her mother was a hospital administrator. Carnes knew she would be a singer and songwriter from the age of three, despite the fact that she was not born into a musical family. "My mother didn't get my career, my father, an attorney, didn't think singing and writing was a job." As a four-year-old, Carnes "married" her next-door neighbor. Their "honeymoon" car appears on the cover of Chasin' Wild Trains, she was raised in California, graduated from San Marino High School in 1963. A songwriter and performer from an early age, after writing songs for many years, Carnes signed her first publishing deal in 1969 with producer Jimmy Bowen. During this period, she shared demo-recording time with Bowen's other writers, including Don Henley, Glenn Frey, J.
D. Souther. Carnes sang "Nobody Knows," written by Mike Settle, featured in the end credits of the 1971 film Vanishing Point; the film featured Carnes' first cut as a songwriter, "Sing Out for Jesus,", recorded by Willie Mae "Big Mama" Thornton. In 1971 she and Mike Settle again worked with Bowen to create the bubblegum pop studio group The Sugar Bears. An album, Presenting the Sugar Bears, three singles were released with one song, "You Are The One," reaching #83 on the Billboard charts. In the early 1970s, Carnes and husband Dave Ellingson co-wrote several songs with David Cassidy at the peak of his career as an international idol, toured the world with him as an opening act with her husband. Cassidy's albums, Rock Me Baby, Dreams are Nuthin' More than Wishes and Cassidy Live! include several songs penned by Carnes, along with Ellingson and Cassidy. Carnes provided backing vocals for these albums. After signing with Amos Records, her first solo album, Rest on Me, produced by Jimmy Bowen, was released in 1972.
In 1975, Carnes released her self-titled second album, which contained her first charted hit, "You're A Part Of Me", reached No. 32 on the US Adult Contemporary charts. Carnes re-recorded this track with Gene Cotton three years later; the majority of tracks on this second album were written by Ellingson. Her third album, Sailin', was produced by Jerry Wexler and released in 1976. One track, "Love Comes from Unexpected Places" won Grand Prize at the 1976 American Song Festival; the song earned the award for Best Composition at the Tokyo Song Festival. It gained additional notice. Streisand recorded Carnes's "Stay Away" on her 1978 album Songbird. In spite of Streisand's endorsement of her material, Carnes's own Top 40 breakthrough did not occur till 1978, when Gene Cotton recruited her to record a duet version of "You're a Part of Me," which reached No. 36 on the Billboard Hot 100. In 1979, she recorded a single, using the pseudonym “Connie con Carne,” titled "She Dances With Meat," written by herself and Dave Ellingson.
In 1980, her duet with Kenny Rogers, "Don't Fall in Love with a Dreamer," became a major hit on the Pop and Adult Contemporary charts. The song was culled from Rogers' concept album, written entirel
The Jazz Café
The Jazz Café is a music venue in Camden Town, London. It opened in 1990 on the former premises of a branch of Barclays Bank and has had several owners throughout its history as a music venue, it was most acquired by The Columbo Group, in January 2016. The original Jazz Café was founded by Jon Dabner and Jean Marshall in the 1980s in Newington Green, Stoke Newington, moved to Camden Town in 1990. Mean Fiddler took over bookings in 1992. In 2008 MAMA & Company acquired the Mean Fiddler Music Group and continued to operate the venue until it was purchased by The Columbo Group in January 2016. Throughout its various owners the club has continued to showcase performers from the genres of neo-soul, hip hop, blues, reggae and soul, as well as providing a venue for new and established jazz artists, it has a first-floor restaurant. The Jazz Café has played host to such jazz musicians as Pharoah Sanders, Don Cherry, Jimmy Smith, Abbey Lincoln, Ahmad Jamal, Archie Shepp, Eddie Harris, Cassandra Wilson, Abdullah Ibrahim, many more too numerous to mention, plus top-drawer soul and reggae artists including music legend Amy Winehouse, Kym Mazelle, Bettye Lavette, The JBs, Jean Carne, Ben E King, Edwin Starr, Baba Maal, Lee Scratch Perry, The Skatalites, Max Romeo and Marcia Griffiths.
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Sadenia "Eddi" Reader MBE is a Scottish singer-songwriter, known both for her work with Fairground Attraction and for an enduring solo career. She has topped both the album and singles charts. In 2003, she showcased the works of Robert Burns. Reader was born in Glasgow, the daughter of a welder, the eldest of seven children, she was nicknamed Edna by her parents. Living at first in the district of Anderston, in a tenement slum demolished in 1965, the young Reader family moved to a two-bedroomed flat in the estate of Arden. In 1976, due to overcrowding the family was re-housed 25 miles from Glasgow, in a council development in Irvine, North Ayrshire, however Eddi returned to Glasgow to finish her compulsory schooling, she began playing the guitar at the age of ten, started her musical career busking, first in Glasgow's Sauchiehall Street in the early 1980s in London and around Europe. Back in Scotland, while finding factory work in Irvine and working part-time in Sirocco Recording Studio in Kilmarnock, she answered an advert in the music press and travelled to London to audition and join the punk band Gang of Four, who needed a backing singer for their appearance on British television music show The Old Grey Whistle Test and for their UK tour.
This led to her first US tour with the band. After returning to the UK and leaving the band, she started working as a session vocalist in London, picking up work singing jingles for radio advertisements and singing with such acts as Eurythmics, The Waterboys, Billy MacKenzie, John Foxx and Alison Moyet. In 1984, Reader returned to the UK from Paris, where she had been working as a singer for the composer Vladimir Cosma. Through her contact with the brass section session players The Kick Horns in London, she signed a contract with EMI, recorded two singles with the disco group Outbar Squeek. Around the same time, she met and asked Mark E. Nevin, a guitarist and songwriter from the band Jane Aire and the Belvederes to write for her and they recorded two songs as The Academy of Fine Popular Music, they subsequently formed Fairground Attraction, together with Roy Dodds. In 1988 the band signed to RCA/BMG records and released their first single, "Perfect", which became a UK number one, winning best single at the 1989 BRIT Awards.
Their first album, The First of a Million Kisses, was a success, reaching number two in the UK Albums Chart, winning best album at the 1989 Brits. This success was short-lived, however. In November 1989, after a break, during which Reader had her first child, with her French-Algerian partner Milou, arguments arose within the group, Nevin abandoned a recording session for the second album, which led to the splitting of the band. A makeshift second album, a collection of B-sides and live tracks, Ay Fond Kiss, was rushed out the following year. Reader returned to Scotland, but before she embarked on her solo career she took a temporary detour into acting, she played Jolene Jowett, a singer and accordionist, in John Byrne's Your Cheatin' Heart, a comedy-drama series for BBC Television, set in the country music scene in Scotland. In 1993 Reader was the presenter of BBC Scotland's No Stilettos, a music performance programme recorded in Glasgow, her other acting credits include playing the part of Joy 3 from the Michael Boyd production of Janice Galloway's The Trick Is to Keep Breathing.
This was a BBC Radio 4 production in 1996 and a Tron Theatre production the same year. Returning to London, Reader worked on new material with a backing band calling itself The Patron Saints of Imperfection; this became her first solo album, recorded for RCA Records: 1992's Mirmama. She met Geoff Travis who signed her to Warner Brothers subsidiary label, Blanco Y Negro, The managing director Rob Dickens executively produced her second solo album Eddi Reader, which won her the "Best female singer" BRIT Award that year, followed by Candyfloss and Medicine, Angels & Electricity, she parted from Warner Brothers and continued her work on Geoff Travis' Rough Trade label when she recorded Simple Soul and Driftwood – a "homegrown" release of songs recorded during the Simple Soul sessions. During this time, Reader recorded the song "Ocean Love" for the soundtrack of the animated Danish film Help! I'm a Fish. Reader contributed vocals to one of Big Country's final singles before Stuart Adamson's death, "Fragile Thing."
Reader continued to tour. In 2003, she recorded her album of material by Robert Burns, with the Royal Scottish National Orchestra, leading to good reviews and an international resurgence in interest in Scotland's "bard". In 2004, Reader sang at the re-opening of the new Scottish Parliament building, where she was presented to Queen Elizabeth II, she has described the experience: "I was honoured to sing at the opening of the parliament although I didn’t get to. I wanted to sing ‘Auld Lang Syne' as I thought that would have been perfect for the politicians with everyone shaking hands but they wanted me to sing it in'F’ key and that wasn't the key for me so I told them I wasn't doing it, it was only at the last minute that I agreed."She spent April 2006 touring Australia with Boo Hewerdine and Alan Kelly, following the release of St Clare's Night Out: Live at The Basement, with Austr