Scarlet and Other Stories
Scarlet and Other Stories is the second studio album by All About Eve. It was held to be darker both in tone and lyrics than their first album, All About Eve; the relationship between lead singer Julianne Regan and guitarist Tim Bricheno broke down during the album's recording and production, Regan said that she hadn't wept as much in her life as she had during the making of this album. Scarlet and Other Stories reached No. 9 in the UK charts with three Top 40 singles resulting from it. Bold indicates a single release. All songs written and composed by Tim Bricheno, Andy Cousin, Mark Price and Julianne Regan except where noted. "Road to Your Soul" "Dream Now" "Gold and Silver" "Scarlet" "December" "Blind Lemon Sam" "More Than the Blues" "Tuesday's Child" "Pieces of Our Heart" "Hard Spaniard" "The Empty Dancehall" "Only One Reason" "The Pearl Fishermen" This would be the last album by All About Eve to feature Tim Bricheno on guitars until Keepsakes seventeen years later. He was replaced in time for their third album Touched by Jesus by Church guitarist Marty Willson-Piper.
Scarlet and Other Stories was re-released in 2015 as a two disc format and audio download, as part of Universal UMC "Re-Presents" series. Road to Your Soul Dream Now Gold and Silver Scarlet December Blind Lemon Sam More Than the Blues Tuesday's Child Pieces of Our Heart Hard Spaniard The Empty Dancehall Only One Reason The Pearl Fishermen Road to Your Soul December Drowning The Witch's Promise Paradise Re-issues notes for disc one: tracks 1, 3, 5, 7, 8, 10, 11, 12, 14, 15 & 16 by Bricheno, Regan, Price. Theft Different Sky The Dreamer Our Summer Candy Tree Tuesday's Child In the Clouds Never Promise Scarlet More Than the Blues Road to Your Soul The Pearl Fishermen Blind Lemon Sam The Empty Dancehall December The Pearl Fishermen Only One Reason Re-issue notes for disc two: tracks 1 & 2 by All About Eve. Tracks 4, 5, 6, 7, 8, 9, 12, 13, & 16 by Bricheno, Regan. Julianne Regan – vocals, keyboards Tim Bricheno – guitars, banjo Andy Cousin – bass, keyboards Mark Price – drums, percussionAdditional personnel: Caroline Lavelle – cello Paul Samwell-Smith – keyboards, backing vocals Ric Sanders – violin Scarlet and Other Stories at AllMusic Scarlet and Other Stories at Discogs
The Albion Band
The Albion Band known as The Albion Country Band, The Albion Dance Band, The Albion Christmas Band, were a British folk rock band brought together and led by musician Ashley Hutchings. Considered one of the most important groupings in the genre, it has contained or been associated with a large proportion of major English folk performers in its long and fluid history; the one constant in the band’s history has been the band leader Ashley Hutchings, founding member of arguably the two other pre-eminent English folk rock groupings Fairport Convention and Steeleye Span, it has been the home for most of the projects of his long and productive career, though in the 2011 incarnation of the band he has handed over the reins to his son Blair Dunlop. Hutchings formed the band in April 1971 to accompany his wife the singer Shirley Collins on her No Roses album. Dave Mattacks, Richard Thompson and Simon Nicol, from Fairport Convention, beside such luminaries as Lal and Mike Waterson of The Watersons and Maddy Prior, were among twenty five credited backing musicians.
On a short tour, core members were joined by Richard Thompson and his wife Linda Thompson. Several members contributed with Hutchings to the project Morris On, including John Kirkpatrick, Richard Thompson and Dave Mattacks, cumbersomely all their names appeared on the album cover. Hutchings was keen to make a permanent band from these musicians and the first attempt included Royston Wood, Steve Ashley and Sue Draheim in the line-up, but the group failed to gel and he recruited a second band, turning to Martin Carthy, John Kirkpatrick, Sue Harris, Roger Swallow and Simon Nicol; the band remained fragile and split in August 1973, but an album was released retrospectively under the title Battle of the Field, on Island Records in 1976. Other material recorded by this line-up appeared on the BBC Sessions CD. From 1974 to 1975, Hutchings abandoned the Albion name and focused on forming the Etchingham Steam Band with his wife Shirley Collins. However, in 1976 he pulled together a new Albion Band, this time with the aim of playing traditional dance music.
It had a huge and unstable membership that included Simon Nicol, Graeme Taylor from Gryphon, the early musicians Phil Pickett and John Sothcott, fiddle player Ric Sanders, plus John Tams, one of folk music’s most distinctive and regarded vocalists. The immediate result was a lively traditional based album The Prospect Before Us under the name The Albion Dance Band. In 1978 they shortened the name to The Albion Band and released, under Tams' direction, what is considered the finest album in the long history of the band Rise Up Like the Sun; the band took part in a 1977 TV show Here We Come A-Wasseling and in 1978-9 collaborated with playwright Keith Dewhurst for a stage adaptation of British author Flora Thompson’s Lark Rise to Candleford, tracks from which were released as an album in 1980. The band was at the height of its mainstream profile at this point, getting its own BBC Arena documentary that explored their work. While Hutchings was more interested in pursuing theatrical possibilities, many members of the band wanted to be a touring and recording band and, despite critical acclaim, this line-up split.
Tams and Gregory went on to form the nucleus of Home Service. Live material from this period has been released in Songs from the Shows and The Guvnor, Vols 1-4. Hutchings reformed the band around the nucleus of the remaining ex-Fairporters Mattacks, he added three members of Cock and Bull and for the first time on record, opted for a lead female vocalist in Cathy Lesurf of the Oyster Band, whose tones characterize most recordings from this era. The best album of this stable period was Light Shining, on which most of the tracks were original material. However, the reputation of the album has since been marred by accusations that Hutchings plagiarized one of its best songs, "Wolfe," from "Northwest Passage" by Canadian folksinger Stan Rogers. Shuffle Off followed, after which Mattacks left to reform Fairport Convention. Phil Beer on guitar/fiddle/vocals and Trevor Foster on drums joined the band, Under the Rose, A Christmas Present From The Albion Band and The Wild Side of Town followed, the last of, based on a five-part BBC television series presented by Chris Baines.
The line-up shifted with Martin Bell joining on violin before the release of Stella Maris in. Martin Bell and Cathy Lesurf left and the group were joined by Simon Care and John Shepherd; this was the most stable lineup in the band's history in terms of albums, producing three: I Got New Shoes, Give Me a Saddle and I'll Trade you a Car and 1990 in the year of that name. In 1990 they were joined by singer-songwriter and instrumentalist Julie Matthews, but although they toured they produced no albums before her departure in 1993; some sessions from this line-up surfaced as Captured in 1995. Trevor Foster and Phil Beer left and were temporarily replaced by virtuoso acoustic guitarist Keith Hinchliffe shifting the emphasis away from electric instruments. In 1993 Hutchings decided to follow this trend turning the band into a small four piece unit comprising himself, Julie Matthews’ replacement Chris While, original member Simon Nicol, Ashley Reed on violin; this allowed them to play small folk club and college venues and gave the Band a whole new direction, now drawing on contemporary songwriters like Beth Nielsen Chapman and Steve Knightley as well as the internal songwriting talent of While and Hutchings.
The first studio album of
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
June Tabor is an English folk singer known for her solo work as well as for her earlier collaborations with Maddy Prior and with the Oyster Band. Tabor was inspired to sing by hearing Anne Briggs' EP Hazards of Love in 1965."I went and locked myself in the bathroom for a fortnight and drove my mother mad. I learned the songs on that EP note for twiddle for twiddle. That's. If I hadn't heard her I'd have done something different." Remarking on how she developed her now-characteristic style in an interview in 2008, she added,"I have no musical education whatsoever... I just learned the songs and copied the phrasing by playing those records ad nauseam, trying out both singers' styles. I tried putting the two together, missing a few bits out - and that's what I've been doing since. It's why I don't do singing workshops, because that's about as much as I can tell anyone." Her earliest public performances were at the Heart of England Folk Club, in the Fox and Vivian pub in Leamington Spa in the mid 1960s.
She attended St Hugh's College, Oxford University and appeared on University Challenge in 1968, as captain of the college team. She sang with a group called Mistral. An appearance at Sidmouth Folk Festival led to folk club bookings and she contributed to various records. One of her earliest recordings was in 1972 on an anthology called Stagfolk Live, she featured on Rosie Hardman's Firebird and The First Folk Review Record. At the time she was singing purely traditional unaccompanied material but in 1976 she collaborated with Maddy Prior on the Silly Sisters album and tour, with a full band that included Nic Jones, it provided the launching pad that same year for her first album in her own right and Graces. She joined again with Prior, this time using the name Silly Sisters for their duo. Starting in 1977 Martin Simpson joined her in the recording studio for three albums before he moved to America in 1987. After his departure, she started working with pianist Huw Warren. Tabor stopped performing professionally for a time after working for decades as a singer, although she made some guest appearances with Fairport Convention during this period.
During this time, she worked as a librarian and, with her then-husband David Taylor, ran a restaurant called "Passepartout" in Penrith, England before returning to music professionally in the 1990s. In 1990, Tabor recorded an album with the folk-rock band Rain, she went on tour with the Oyster Band, the Rykodisc label published a limited-run promotional live album the following year. Many of her current fans first discovered her through this album with the Oyster Band. In 1992, Elvis Costello wrote "All This Useless Beauty" for Tabor, she recorded it on Angel Tiger. Costello did not record it himself on his album of the same title. In 1983, the BBC TV series Spyship was broadcast, with Tabor singing the title song. In 1997 she appeared on Ken Russell's In Search of English Folk Song broadcast of Channel 4. Tim Winton, author of the 2001 novel "Dirt Music", shortlisted for the Booker Prize, made a selection of music to echo the themes of the novel; the CD "Dirt Music" includes "He Fades Away" by a painful tale of the slow death of a miner.
In 2002 the "Passchendale Peace Concert" in Flanders had Tabor sharing the stage with Coope Boyes and Simpson. On 30 June 2006 BBC Radio 3 broadcast "Night Waves" to commemorate the anniversary of the Battle of the Somme, it was broadcast live, with World War I songs sung by Tabor, a discussion with Michael Morpurgo and Kate Adie. Over the years she has worked in various genres including jazz and art song, but with a sparse and sombre tone to it, her 2003 album An Echo of Hooves marked a return to the traditional ballad form after concentrating on other styles for several years, was acclaimed. Allmusic said of this album "A stunning jewel in a remarkable career, one of the best things Tabor’s released." Always is a boxed set of four CDs, containing rare recordings. On 24 October 2003 Tabor appeared on Later With Jools Holland, singing "Hughie Graeme"; this was issued as part of a compilation DVD from the series. Folk Britannia was the name of a concert at the Barbican centre, a TV mini-series, she sang "Fair Margaret and Sweet William" at the Barbican, under the heading "Daughters of Albion".
Tabor contributed one song to Ashley Hutchings' project Street Cries and one to a collection of folk musicians singing songs by the Beatles - Rubber Folk. She chose to sing Lennon's "In My Life" a cappella. Tabor is experimental but avoids modernism. For example, she sings traditional songs with a piano accompaniment. On the album Singing The Storm she sings to the accompaniment of Savourna Stevenson's harp, Danny Thompson's bass. In May 2004 she performed as part of "The Big Session" and sang an adaptation of Love Will Tear Us Apart as a duet with John Jones of Oysterband. In 1992, The Wire voted "Queen Among the Heather" one of the "Top 50 Rhythms of all Time"; the lighter side of her character can be seen in her work with Les Barker's The Mrs Ackroyd Band which performs his comic work. So far Tabor has performed on three of their albums, the 1990 Oranges and Lemmings (singing "The Trains of Waterloo", a parody of the folk song "The Plains o
By Popular Request
By Popular Request is the 26th studio album by British folk rock band Fairport Convention, released in January 2012. It is a compilation of studio re-recordings of previous material; the album was released to coincide with the band's 45th anniversary, consists of thirteen brand new versions of songs from the band's back catalogue, selected by fans through the band's website. "Walk Awhile" "Crazy Man Michael" "The Hiring Fair" "The Hexhamshire Lass" "Red and Gold" "Sir Patrick Spens" "Genesis Hall" "Farewell Farewell" "Rosie" "Matty Groves" "Fotheringay" "Jewel in the Crown" "Meet on the Ledge" Simon Nicol - vocals, acoustic guitar, electric guitar Dave Pegg - vocals, bass guitar Chris Leslie - vocals, bouzuki, banjo, whistle Ric Sanders - violin, keyboards Gerry Conway - drums, percussionGuest musicians: Edmund Whitcombe - Cornet on "Red and Gold" and "Meet on the Ledge"
Pentangle are a British folk-jazz band with an eclectic mix of folk, jazz and folk rock influences. The original band was active in the late 1960s and early 1970s, a version has been active since the early 1980s; the original line-up, unchanged throughout the band's first incarnation, was: Jacqui McShee. The name Pentangle was chosen to represent the five members of the band, is the device on Sir Gawain's shield in the Middle English poem Sir Gawain and the Green Knight which held a fascination for Renbourn. In 2007, the original members of the band were reunited to receive a Lifetime Achievement award at the BBC Radio 2 Folk Awards and to record a short concert, broadcast on BBC radio; the following June, all five original members embarked on a twelve-date UK tour. The original group formed in 1967. Renbourn and Jansch were popular musicians on the British folk scene, with several solo albums each and a duet LP, Bert and John, their use of complex inter-dependent guitar parts, referred to as "folk baroque", had become a distinctive characteristic of their music.
They shared a house in St John's Wood, London. Jacqui McShee had begun as an "floor singer" in several of the London folk clubs, by 1965, ran a folk club at the Red Lion in Sutton, establishing a friendship with Jansch and Renbourn when they played there, she sang on Renbourn's Another Monday album and performed with him as a duo, debuting at Les Cousins club in August 1966. Thompson and Cox had played together in Alexis Korner's band. By 1966, they were both part of Duffy Power's Nucleus. Thompson was well-known to Renbourn through appearances at Les Cousins and working with him on a project for television. In 1967, the Scottish entrepreneur Bruce Dunnet, who had organised a tour for Jansch, set up a Sunday night club for him and Renbourn at the Horseshoe Hotel in Tottenham Court Road. McShee began to join them as a vocalist and, by March of that year and Cox were being billed as part of the band. Renbourn claims to be the "catalyst" that brought the band together but credits Jansch with the idea "to get the band to play in a regular place, to knock it into shape".
Although nominally a ` folk' group, the members influences. McShee had a grounding in traditional music and Thompson a love of jazz, Renbourn a growing interest in early music, Jansch a taste for blues and contemporaries such as Bob Dylan; the first public concert by Pentangle was a sell-out performance at the Royal Festival Hall, on 27 May 1967. That year, they undertook a short tour of Denmark — in which they were disastrously billed as a rock'n'roll band — and a short UK tour, organised by Nathan Joseph of Transatlantic Records. By this stage, their association with Bruce Dunnett had ended and, early in 1968, they acquired Jo Lustig as a manager. With his influence, they graduated from clubs to concert halls and from on, as Colin Harper puts it, "the ramshackle, happy-go-lucky progress of the Pentangle was going to be a streamlined machine of purpose and efficiency". Pentangle signed up with Transatlantic Records and their eponymous debut LP was released in May 1968; this all-acoustic album was produced by Shel Talmy, who has claimed to have employed an innovative approach to recording acoustic guitars to deliver a bright "bell-like" sound.
On 29 June of that year they performed at London's Royal Festival Hall. Recordings from that concert formed part of their second album, Sweet Child, a double LP comprising live and studio recordings. Basket of Light, which followed in mid-1969, was their greatest commercial success, thanks to a surprise hit single, "Light Flight" which became popular through its use as theme music for the television series Take Three Girls for which the band provided incidental music; the album went all the way to number five in the charts. By 1970, they were at the peak of their popularity, recording a soundtrack for the film Tam Lin, making at least 12 television appearances, undertaking tours of the UK and America. However, their fourth album, Cruel Sister, released in October 1970, was a commercial disaster; this was an album of traditional songs that included a 20-minute-long version of "Jack Orion", a song that Jansch and Renbourn had recorded as a duo. It failed to go higher than number 51 in the charts.
The band returned to a mix of traditional and original material on Reflection, recorded in March 1971. This was received without enthusiasm by the music press. By this time, the strains of touring and of working together as a band were apparent. Bill Leader, who produced the album, said "It seems to me, in retrospect, that each day a different member of the group had decided that this was it:'Sod this for a game of soldiers, I'm leaving the group!'" Pentangle withdrew in a bitter dispute with Joseph regarding royalties. Transatlantic had concluded that they were within their contractual rights to withhold royalty payments from the Pentangle albums. Joseph pointed out that his company had covered all the costs, such as recording costs, entailed in making the albums. Jo Lustig, their manager, who had agreed to the Transatlantic contract, made it clear that their contract with him included a clause that they could not sue him "for anything under any circumstances." In order to make some money out of
Roy Harper (singer)
Roy Harper is an English folk rock singer and guitarist, a professional musician since 1964. Harper has released 32 albums across his 50-year career; as a musician, Harper is known for his distinctive fingerstyle playing and lengthy, complex compositions, reflecting his love of jazz and the poet John Keats. His influence has been acknowledged by Jimmy Page, Robert Plant, Pete Townshend, Kate Bush, Pink Floyd, Ian Anderson of Jethro Tull, who said Harper was his "...primary influence as an acoustic guitarist and songwriter." Neil McCormick of The Daily Telegraph described him as "one of Britain's most complex and eloquent lyricists and genuinely original songwriters... much admired by his peers" Across the Atlantic his influence has been acknowledged by Seattle-based acoustic band Fleet Foxes, American musician and producer Jonathan Wilson and Californian harpist Joanna Newsom with whom he has toured. In 2005, Harper was awarded the MOJO Hero Award, in 2013 a Lifetime Achievement Award at the BBC Radio 2 Folk Awards.
His most recent album and Myth, was released in 2013. In 2016, Harper celebrated his 75th birthday by performing concerts in Clonakilty, Manchester and Edinburgh. Harper was born in 1941 in a suburb of Manchester, his mother, died three weeks after he was born. From the age of 6, he lived in St Annes on Sea, a place he described as being "like a cemetery with bus stops", he was brought up by his father and stepmother, with whom he became disillusioned because of her religious beliefs, although they reconciled in 1980, just before her death. His anti-religious views would become a familiar theme within his music. Harper began writing poems when he was 12. At the age of 13 he began playing skiffle music with his younger brother David, as well as becoming influenced by blues music. At 14 he formed his first group with his brothers Harry. Harper was educated at King Edward VII School, Lytham St Annes a Grammar school and left at the age of 15 to join the Royal Air Force in order to follow an ambition to be a pilot.
After two years Harper rejected the rigid discipline, feigned madness in order to obtain a military discharge and received an electroconvulsive therapy treatment at Princess Mary's RAF Hospital, Wendover. After being discharged from there, he spent one day inside the former'Lancaster Moor Mental Institute' before escaping; these experiences would be recalled in "Committed", a song on Harper's debut album, Sophisticated Beggar. Upon his eventual exit from a troubled youth he busked around North Africa and London for a few years. Musically, Harper's earliest influences were American blues musician Lead Belly and folk singer Woody Guthrie and, in his teens, jazz musician Miles Davis. Of the blues musicians Lead Belly, Big Bill Broonzy and Josh White Harper said they made music which "...seemed to be from a different planet... We'd never heard anything like it, it changed our world overnight, a sledge hammer of a cultural change...an equivalent would be to hear music from outer space". Harper was exposed to classical music in his childhood and has pointed to the influence of Jean Sibelius's Karelia Suite.
Lyrical influences include the 19th century Romantics Shelley, Keats's poem "Endymion". Harper has cited the Beat poets as being influential Jack Kerouac. Harper played his first paid performance at a poetry reading in Newcastle in 1960. Returning to the UK in 1963/64, Harper had started to write more songs than poetry, he obtained a residency at London's famous Soho folk music club, Les Cousins in 1965, having been introduced to it by Peter Bellamy of the Young Tradition. Harper's first advertised performance was 5 October 1965. Within his first week Harper saw John Renbourn, Alexis Korner, Paul Simon, Alex Campbell and Bert Jansch play and he would play, and'rub shoulders' with other artists arriving including John Martyn, Joni Mitchell and Nick Drake. Harper's first album, Sophisticated Beggar, was recorded in 1966 after he was spotted at Les Cousins and signed to Strike Records; the album consisted of Harper's songs and poetry backed by acoustic guitar, recorded with a Revox tape machine by Pierre Tubbs and with contributions from English guitarist Paul Brett.
Columbia Records recognised Harper's potential and hired American producer Shel Talmy to produce Harper's second album, Come Out Fighting Ghengis Smith, released in 1968. The 11 minute track "Circle", "a soundscape of Harper's difficult youth", was notable for marking a widening of his musical style away from the more traditional side of contemporary folk music heard at the time. Harper had an interest in traditional folk but did not consider himself a bona fide member of the folk scene, he explained: I was too much of a modernist, really. Just too modern for what was going on in the folk clubs. I wanted to modernise music, but more than that to modernise people's attitudes towards life in general. I was involved in trying to bring meat to the folk music.... Harper's record company had different expectations. "They wanted me to write commercial pop songs and when they heard the album I made for them, they didn’t have a clue. They wanted hits, and I gave them "Circle"". Bert Jansch contributed sleeve notes for the album and Harper paid tribute to Jansch with the song "Pretty Baby".
During this period, Harper was managed by American music entrepreneur Jo Lustig, manager of The Pentangle and former agent to Julie Felix. In June 1968, Harper performed at the