John Kirkpatrick (musician)
John Kirkpatrick is an English player of free reed instruments. John Kirkpatrick was born in 1947 in Chiswick, west London; as a child he played piano. In 1959 he joined the Hammersmith Morris Men, in the second week of their existence, beginning a career-long love of folk music. In 1970 he became a regular at a folk club in the Roebuck pub in Tottenham Court Road and led the resident group, Dingle's Chillybom Band; the club hosted a film show of Morris dancing and Ashley Hutchings turned up. It was the beginning of a long musical relationship. In 1972 John recorded his first solo album Jump at the Sun which included Richard Thompson on acoustic guitar. In 1973 Kirkpatrick married Sue Harris. After seeing a dance team called Gloucestershire Old Spot Morris Dancers, he formed Shropshire Bedlams to perform local dances in the Border Morris style. In the early weeks some girls turned up and rather than have a mixed morris team, Harris took the girls aside to form Martha Rhoden's Tuppenny Dish. By this time Kirkpatrick was an expert player of melodeon, Anglo concertina, button accordion.
Ashley Hutchings' project Battle of the Field floundered. They had recorded not quite enough material for an album. Kirkpatrick had appeared on several of the tracks with Martin Carthy and offered to record two extra tracks with his wife in 1973, it was not released until 1976 but is regarded. Harris played oboe and hammered dulcimer, an unusual combination. In 1974 Kirkpatrick and Hutchings produced a themed album The Compleat Dancing Master, a history of English country dancing. In 1976 he teamed up with Carthy for a collection of morris dance tunes. In 1977 Steeleye Span recruited both Kirkpatrick and Carthy to replace fiddler Peter Knight, Kirkpatrick appearing on the albums Storm Force Ten and Live at Last. In the same period, John released two albums as a duo with Sue Harris. John became part of Richard Thompson's backing band in 1978; this brought him such publicity. He recorded with Viv Stanshall, Jack the Lad, Gerry Rafferty, Maddy Prior and others. In 1980 he released his only Jogging Along with My Reindeer.
Two more albums with Sue Harris appeared in 1981, but the constant touring, as a duo and as part of other groups, was putting a strain on the marriage. They parted in the mid eighties. In 1988 he and Sue published Opus Pocus, a collection of many of their own compositions from the previous 20 years, a selection of some of the more obscure traditional English tunes which had influenced them. In 1979 Kirkpatrick had appeared in the National Theatre Company's stage show Lark Rise to Candleford together with Carthy and trumpeter Howard Evans. Prior to this the use of brass instruments in English folk music was a rare event, but all three had found it thrilling and a couple of years formed Brass Monkey with Martin Brinsford from the Old Swan Band; the group is an occasional gathering rather than a fixed company. Roy Bailey, like Leon Rosselson has recorded songs of social commentary on an anti-war theme. John has made several records as well as in a group called Band of Hope, he recorded with Frankie Armstrong in 1996 and 1997.
They share a love of early English ballads. In 1997 John decided to front his own "rock-folk" band, put together a line-up consisting of Graeme Taylor, Mike Gregory, Dave Berry and Paul Burgess, they made two albums: a live album "Force of Habit" containing many of John's arrangements of Morris tunes, plus other material from his back catalogue, plus a studio album "Welcome To Hell" featuring new material. Since 1993 John has recorded seven solo albums, he unearths obscure English tunes and songs from folk ceremonies. He has started to explore Balkan and Hungarian dance tunes, he has produced one of the only teaching videos for English melodeon on DVD. A further teaching resource is his 2003 book of traditional tunes, English Choice, two accompanying CDs, he has started to perform with accordion wizard Chris Parkinson as the Sultans of Squeeze, the pair have released one album. He is remarried. One of his sons, Benji Kirkpatrick, is a member of Faustus, a former member of Bellowhead and Magpie Lane, has recorded as a solo guitarist.
All four of John's sons do morris dancing. As a composer and musical director John has contributed to over 60 plays in the theatre and on radio. Solo albumsJump at the Sun Going Spare Three in a Row Blue Balloon Sheepskins Earthling One Man and His Box Mazurka Berzerker The Duck Race A Short History of John Kirkpatrick Make No Bones Dance of the Demon Daffodils God Speed the Plough John Kirkpatrick and Sue HarrisThe Rose of Britain's Isle Among The Many Attractions at the Show will be a Really High Class Band Shreds and Patches Facing the Music Ballad of the Black Country Stolen Ground Ashley Hutchings with John KirkpatrickMorris On The Compleat Dancing Master John Kirkpatrick and Martin CarthyPlain Capers With the Albion BandBattle of the Field Lark Rise To Candleford
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Henry the Human Fly
Henry the Human Fly was the first solo album by British singer/songwriter/guitarist Richard Thompson. It was released in Britain in April 1972 on the Island label and in the US on the Reprise label. All songs written by Richard Thompson. "Roll Over Vaughn Williams" – 4:09 "Nobody’s Wedding" – 3:13 "The Poor Ditching Boy" – 3:01 "Shaky Nancy" – 3:26 "The Angels Took My Racehorse Away" – 4:01 "Wheely Down" – 3:00 "The New St. George" – 2:08 "Painted Ladies" – 3:31 "Cold Feet" – 2:26 "Mary and Joseph" – 1:38 "The Old Changing Way" – 3:55 "Twisted" – 1:58 Richard Thompson – guitar, accordion, tin whistle, mandolin Timi Donald – drums, vocals Pat Donaldson – bass guitar, vocals David Snell – harp Jeff Cole – trombone John Defereri – tenor saxophone Clay Toyani – trumpet Sue Draheim – fiddle Barry Dransfield – fiddle John Kirkpatrick – accordion Andy Roberts – Appalachian dulcimer Sandy Denny – piano, vocals Linda Peters – vocals Ashley Hutchings – vocals uncredited - harmonium, piano
Joe Boyd is an American record producer and writer. He owned Witchseason production company and Hannibal Records. Boyd has worked on recordings of Pink Floyd, Fairport Convention, Sandy Denny, Richard Thompson, Nick Drake, The Incredible String Band, R. E. M. Vashti Bunyan and Beverley Martyn, Maria Muldaur, Kate & Anna McGarrigle, Billy Bragg, 10,000 Maniacs and Muzsikás. Boyd was born in Boston and raised in Princeton, New Jersey, he attended Pomfret School in Connecticut. He first became involved in music promoting blues artists while a student at Harvard University. After graduating, Boyd worked as a production and tour manager for music impresario George Wein, which took Boyd to Europe to organise concerts with Muddy Waters, Coleman Hawkins, Stan Getz and Sister Rosetta Tharpe. Boyd was responsible for the sound at the 1965 Newport Folk Festival, when Bob Dylan played a controversial set backed by electric musicians. In 1964, Boyd paid his first visit to Britain, returning the following year to establish an overseas office of Elektra Records.
In 1966, Boyd and John "Hoppy" Hopkins opened the UFO Club, a famous but short-lived UK Underground club in London's Tottenham Court Road. He worked with UFO regulars Pink Floyd, produced their first single, "Arnold Layne" and recordings by Soft Machine. Boyd worked extensively with audio engineer John Wood at Sound Techniques studio in Chelsea. In this studio and Wood made a succession of celebrated albums with British folk and folk rock artists, including the Incredible String Band, Martin Carthy, Nick Drake, John Martyn, Fairport Convention and Richard Thompson; some of these were produced by Witchseason. Boyd returned to the United States at the end of 1970 to work as a music producer for Warner Bros. with special input into films, where he collaborated with Stanley Kubrick on the sound track release of A Clockwork Orange. Boyd contributed to the soundtrack of Deliverance, directed by John Boorman, where he supervised the recording of "Dueling Banjos", which became a hit single for Eric Weissberg.
Boyd produced and co-directed the film documentary Jimi Hendrix. In the States, Boyd produced albums by Kate & Anna McGarrigle. Boyd subsequently founded the Hannibal Records label in 1980, which released albums by Richard Thompson and many recordings of world music, including Hungarian band Muzsikás. Boyd produced R. E. M.'s third album Fables of records by Billy Bragg and 10,000 Maniacs. Boyd was executive producer for the 1988 feature film Scandal, starring John Hurt and Bridget Fonda about the Profumo Affair in UK politics in 1963. Boyd left Hannibal/Ryko in 2001 and his autobiography, White Bicycles - Making Music in the 1960s, was published in 2006 by Serpent's Tail in the UK. In 2008, Boyd was a judge for the 7th annual Independent Music Awards to support independent artists. 1966The Incredible String Band Lord of the Dance Alasdair Clayre What's Shakin' – 3 tracks by Eric Clapton and the Powerhouse A Cold Wind Blows Various artists: Cyril Tawney, Matt McGinn, Johnny Handle and Alasdair Clayre1967The Power of the True Love Knot The 5000 Spirits or the Layers of the Onion Rags Reels and Airs "Arnold Layne" / "Candy and a Currant Bun" "Granny Takes a Trip" "She's Gone", "I Should've Known" recordings for projected single by Soft Machine, Sound Techniques, London released on Triple Echo, 1977, Turns On Volume 1 1968Tonite Let's All Make Love in London Very Urgent "If I Had a Ribbon Bow" / "If" "If" / "Chelsea Morning" Fairport Convention The Hangman's Beautiful Daughter Wee Tam and the Big Huge Kalpana – instrumental and dance music of India 1969What We Did On Our Holidays "Si Tu Dois Partir" / "Genesis Hall" Unhalfbricking Five Leaves Left Liege & Lief Kip of the Serenes "Big Ted" / "All Writ Down" Changing Horses 1970Desertshore Just Another Diamond Day Stormbringer!
U Full House Fotheringay I Looked Up Be Glad for the Song Has No Ending Pottery Pie Brotherhood of Breath 1971Bryter Layter Smiling Men with Bad Reputations Call Me Diamond / Lady Wonder The Road to Ruin Heavy Petting 1973Maria Muldaur Midnight at the Oasis b/w Any Old Time Dueling Banjos b/w Reuben's Train Jimi Hendrix – soundtrack 1974Waitress in a Donut Shop Muleskinner 1975Kate & Anna McGarrigle Geoff Muldaur Is Having a Wonderful Time 1976Junco Partner Live at the L. A. Troubadour Sweet Harmony Reggae Got Soul 1977Dancer with Bruised Knees 1978Rise Up Like the Sun Julie Covington (
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Sweet Warrior is the twelfth studio album by Richard Thompson, released in 2007. Thompson financed the recording of this album himself and licensed the finished album to various labels for distribution. On its release, Sweet Warrior entered Amazon.com's top 20 for music sales. The track "Dad's Gon na Kill Me" was given an advance release via iTunes; the song was singled out for praise by critics and featured prominently in Thompson's live performances in early 2007. This song's lyrics make extensive use of U. S. military slang, convey the thoughts and feelings of an uneasy U. S. soldier fighting in Iraq. It was subsequently used on the closing montage of the first episode of the third season of Sons of Anarchy; this advance release enjoyed airplay on several radio stations and attracted favourable comments from the press and advance publicity for the album. The album received favourable reviews. All songs written by Richard Thompson: "Needle and Thread" - 4:43 "I'll Never Give It Up " - 3:22 "Take Care the Road You Choose" - 6:44 "Mr. Stupid" - 3:53 "Dad's Gonna Kill Me" - 5:16 "Poppy-Red" - 4:37 "Bad Monkey" - 5:13 "Francesca" - 5:17 "Too Late to Come Fishing" - 4:36 "Sneaky Boy" - 2:59 "She Sang Angels to Rest" - 3:25 "Johnny's Far Away" - 4:53 "Guns Are the Tongues" - 7:27 "Sunset Song" - 5:38Bonus tracks on the P-Vine Records release for the Japanese market: "Any Old Body" "Dust and Wine" MusicalRichard Thompson - vocals, electric guitar, steel-string acoustic guitar, accordion, tin whistle, harmonium, hurdy-gurdy, electronic organ, handclaps Michael Hays - rhythm guitar, electric guitar, acoustic guitar, backing vocals Danny Thompson - double bass Taras Prodaniuk - electric bass guitar Michael Jerome - drums, percussion Judith Owen - backing vocals, handclaps Sara Watkins - fiddle Joe Sublett - tenor saxophone Joe Buck - first violin Al Michaels - second violin Novi Ola - viola Simon Tassano - handclaps Chris Kasych - handclaps TechnicalDoug Tyo - engineer Chris Kasych - assistant engineer Simon Tassano - mixing Jim Wilson - mastering Sources consultedOfficial credits pageEndnotes Official lyrics page