I Want to See the Bright Lights Tonight
I Want to See the Bright Lights Tonight is the second album released by Richard Thompson and the first including and credited with his wife, Linda Thompson as Richard and Linda Thompson. It was released by Island Records in the UK in 1974. Although never commercially successful and critically ignored upon its release, it is now considered by a number of critics to be a masterpiece and one of the finest works of both Richard and Linda singularly or together; the album has been included on Rolling Stone magazine's list of the 500 greatest albums of all time. After the marked lack of success achieved by his first album, Henry the Human Fly, British singer/songwriter/guitarist Richard Thompson started a personal and professional relationship with Linda Peters, a session singer. I Want to See the Bright Lights Tonight was the first album by the duo of Richard and Linda Thompson. Sessions for the album took place in Spring 1973 at the Sound Techniques studio, in Chelsea, London with house engineer John Wood co-producing with Thompson.
The album, provisionally titled Hokey Pokey, was recorded on a shoestring budget in a matter of days, but because of vinyl shortages, the album was not released until 1974. Where his first album was treated harshly by the critics, the second was hailed as a masterpiece, it is now regarded as one of the Thompsons' finest achievements. In the sleeve notes for the 2004 CD re-release, David Suff writes: "Throughout the album Richard's sombre, dark songs are driven by his masterful understated guitar and Linda's haunting spiritual vocals; the songs detail a beautiful yet desolate world of life before the fall, the lives of the homeless, the thief and the inebriate. The songs are English in their mood and responsibility, wry observations of the hopelessness of the human condition." Considering the song "End of the Rainbow", Suff writes: Richard denies that the song is pessimistic, "there's always hope in the third verse of my songs" yet the overall effect is a magnificent evocation of disillusionment.
Thompson's songs are despairing but not self-pitying, leaving the listener with an abiding sense of peace and, paradoxically hope. Ignored by reviewers, I Want to See the Bright Lights Tonight came to be regarded. Robert Christgau rated it when it was re-released as one-half of Live! Noting that " don't sentimentalize about time gone—they encompass it in an endless present." When it was re-released in 1984, along with other albums in the Thompsons' catalogue, Kurt Loder writing in Rolling Stone described it as a "timeless masterpiece" with "not a single track that's less than luminous". More recent reviews are complimentary. AllMusic notes that the album is "nothing short of a masterpiece" and calls it "music of striking and unmistakable beauty". Q: "After his 1971 departure from Fairport Convention, Richard Thompson found his ideal foil in recent bride Linda. A hugely inventive guitarist, he gives full vent to his talent on this dark. Indeed, he never quite recaptured the murky demons inside the likes of'Withered and Died' again."
In 2003 the album was placed at number 479 on Rolling Stone magazine's list of the 500 greatest albums of all time. The album appeared in the Mojo "100 Greatest Albums Ever Made"; the title track has been covered by, among others, Lucy Kaplansky, Dori Freeman, Weddings Parties Anything, Arlo Guthrie, Matt Pond PA, Ocean Colour Scene, Julie Covington and Sleater-Kinney. Caitlin Cary, Kate Rusby and Elvis Costello have all covered "Withered and Died". Kelly Willis has sung an acapella version in concert. Costello has covered "The End of the Rainbow," as has Barbara Manning. Maria McKee covered "Has He Got a Friend for Me" on her first solo album Maria McKee; the Fatima Mansions covered "The Great Valerio" on their 1991 mini-album Bertie's Brochures. All tracks written by Richard Thompson. Bonus tracks were recorded at the Roundhouse, London, on 7 September 1975. Richard Thompson – guitar, Hammered dulcimer, tin whistle, electric piano, harmonium Linda Thompson – vocals Timmy Donald – drums Pat Donaldson – bass guitar John Kirkpatrick – accordion, concertina Simon Nicol – dulcimer Brian Gulland – krummhorn Richard Harvey – krummhorn Royston Wood – harmony bass vocals Trevor Lucas - harmony vocals The CWS Silver Band Bonus tracks: Richard and Linda Thompson with John Kirkpatrick, Dave Pegg and Dave Mattacks.
John Wood - producer and engineer Richard Thompson - producer Cover design - unknown2004 CD re-release: Tim Chacksfield - research and project co-ordination Joe Black - project co-ordination for Universal David Suff - sleeve note and archive assistance Phil Smee - CD package design Richard Thompson – The Biography by Patrick Humphries. Schirmer Books. 0-02-864752-1 The Great Valerio – A Study of the Songs of Richard Thompson by Dave Smith. 1001 Albums by Robert Dimery and Michael Lydon
Morris dance is a form of English folk dance accompanied by music. It is based on rhythmic stepping and the execution of choreographed figures by a group of dancers wearing bell pads on their shins. Implements such as sticks and handkerchiefs may be wielded by the dancers. In a small number of dances for one or two people, steps are near and across a pair of clay tobacco pipes laid one across the other on the floor, they clap their swords, or handkerchiefs together to match with the dance. The earliest known and surviving English written mention of Morris dance is dated to 1448, records the payment of seven shillings to Morris dancers by the Goldsmiths' Company in London. Further mentions of Morris dancing occur in the late 15th century, there are early records such as bishops' "Visitation Articles" mention sword dancing and other dancing activities, as well as mumming plays. While the earliest records invariably mention "Morys" in a court setting, a little in the Lord Mayors' Processions in London, it had assumed the nature of a folk dance performed in the parishes by the mid 17th century.
There are around 150 Morris sides in the United States. English expatriates form a larger part of the Morris tradition in Australia, New Zealand and Hong Kong. There are isolated groups for example those in Utrecht and Helmond, Netherlands; the world of Morris is organised and supported by three organisations: Morris Ring, Morris Federation and Open Morris. The name is first recorded in the mid-15th century as Morisk dance, moreys daunce, morisse daunce, i.e. "Moorish dance". The term entered English via Flemish mooriske danse. Comparable terms in other languages are German Moriskentanz, French morisques, Croatian moreška, moresco, moresca or morisca in Italy and Spain; the modern spelling Morris-dance first appears in the 17th century. It is unclear why the dance was named, "unless in reference to fantastic dancing or costumes", i.e. the deliberately "exotic" flavour of the performance. The English dance thus arose as part of a wider 15th-century European fashion for "Moorish" spectacle, which left traces in Spanish and Italian folk dance.
The means and chronology of the transmission of this fashion is now difficult to trace. An alternative derivation from the Latin'mos, moris' has been suggested, it has been suggested that the tradition of rural English dancers blackening their faces may be a form of disguise, or a reference either to the Moors or to miners. While the earliest references place the Morris dance in a courtly setting, it appears that the dance became part of performances for the lower classes by the 16th century. Nothing is known about the folk dances of England prior to the mid-17th century. While it is possible to speculate on the transition of "Morris dancing" from the courtly to a rural setting, it may have acquired elements of pre-Elizabethan folk dance, such proposals will always be based on an argument from silence as there is no direct record of what such elements would have looked like. In the Elizabethan period, there was significant cultural contact between Italy and England, it has been suggested that much of what is now considered traditional English folk dance, English country dance, is descended from Italian dances imported in the 16th century.
By the mid 17th century, the working peasantry took part in Morris dances at Whitsun. The Puritan government of Oliver Cromwell, suppressed Whitsun ales and other such festivities; when the crown was restored by Charles II, the springtime festivals were restored. In particular, Whitsun Ales came to be celebrated on Whitsunday, as the date was close to the birthday of Charles II. Morris dancing continued in popularity until the industrial revolution and its accompanying social changes. Four teams claim a continuous lineage of tradition within their village or town: Abingdon, Headington Quarry, Chipping Campden. Other villages have revived their own traditions, hundreds of other teams across the globe have adopted these traditions, or have created their own styles from the basic building blocks of Morris stepping and figures; however by the late 19th century, in the West Country at least, Morris dancing was fast becoming more a local memory than an activity. D'Arcy Ferris, a Cheltenham based singer, music teacher and organiser of pageants, became intrigued by the tradition and sought to revive it.
He first organised its revival. Over the following years he took the side to several places in the West Country, from Malvern to Bicester and from Redditch to Moreton in Marsh. By 1910, he and Cecil Sharp were in correspondence on the subject. Several English folklorists were responsible for recording and reviving the tradition in the early 20th century from a bare handful of surviving members of mid-19th-century village sides. Among these, the most not
The Appalachian dulcimer is a fretted string instrument of the zither family with three or four strings played in the Appalachian region of the United States. The body extends the length of the fingerboard, its fretting is diatonic; the Appalachian dulcimer has many variant names. Most it is called a dulcimer; when it needs to be distinguished from the unrelated hammered dulcimer, various adjectives are added, for example: mountain dulcimer. The instrument has acquired a number of nicknames: "harmonium," "hog fiddle," "music box," "harmony box," and "mountain zither". Although the Appalachian dulcimer first appeared in the early 19th century among Scots-Irish immigrant communities in the Appalachian Mountains, the instrument has no known precedent in Ireland or Scotland; because of this, a dearth of written records, the history of the Appalachian dulcimer has been, until recently speculative. Since 1980, more extensive research has traced the instrument's development through several distinct periods, origins in several similar European instruments: the Swedish hummel, the Norwegian langeleik, the German scheitholt, the French épinette des Vosges.
Folk historian Lucy M. Long said of the instrument's history: Because few historical records of the dulcimer exist, the origins of the instrument were open to speculation until when Ralph Lee Smith and L. Alan Smith reconstructed the instrument's history by analyzing older dulcimers; the organological development of the dulcimer divides into three periods: transitional, pre-revival or traditional, revival or contemporary. Charles Maxson, an Appalachian luthier from Volga, West Virginia, speculated that early settlers were unable to make the more complex violin in the early days because of lack of tools and time; this was one of the factors which led to the building of the dulcimer, which has less dramatic curves. He too cited scheitholt and épinette des Vosges as ancestor instruments. Few true specimens of the mountain dulcimer exist from earlier than about 1880, when J. Edward Thomas of Knott County, began building and selling them; the instrument became used as something of a parlor instrument, as its modest sound volume is best-suited to small home gatherings.
But for the first half of the 20th century the mountain dulcimer was rare, with a handful of makers supplying players in scattered pockets of Appalachia. No audio recordings of the instrument exist from earlier than the late 1930s; the soprano Loraine Wyman, who sang Appalachian folk songs in concert venues around the time of the First World War, created a brief splash for the Appalachian dulcimer by demonstrating it in concerts, was portrayed in Vogue magazine holding her instrument, a Thomas. But Wyman preferred singing with the more robust support of the piano; the instrument achieved its true renaissance in the 1950s urban folk music revival in the United States through the work of Jean Ritchie, a Kentucky musician who performed with the instrument before New York City audiences. In the early 1960s, Ritchie and her partner George Pickow began distributing dulcimers made by her Kentucky relative Jethro Amburgey the woodworking instructor at the Hindman Settlement School, they began producing their own instruments in New York City.
Meanwhile, the American folk musician Richard Fariña was bringing the Appalachian dulcimer to a much wider audience, by 1965 the instrument was a familiar presence in folk music circles. In addition to Amburgey, by winding down his production, influential builders of mid-1960s included Homer Ledford, Lynn McSpadden, A. W. Jeffreys and Joellen Lapidus. In 1969 Michael and Howard Rugg formed; as well as being the first to mass-produce the instrument, they made design changes to make the instrument easier to produce and to play. The body was made larger, they installed metal friction or geared tuners, rather than traditional wooden pegs, to making tuning easier and more reliable. Organologically, the Appalachian dulcimer is a plucked box-zither. Appalachian dulcimers are traditionally constructed of wood, early instruments were made all of one wood, using wood found in the particular area of the mountains where the builder lived. More guitar aesthetics and construction ideals have been applied, with a tone wood such as spruce or cedar preferred for the top of the soundbox.
A harder wood, such as mahogany or rosewood, will be used for the back and neck, a hardwood such as rosewood, maple, or ebony is used for the fingerboard. As the modern dulcimer arose in America, the bulk of them are still made there, American hardwoods such as walnut, oak and apple are still employed by makers; as with many folk instruments the Appalachian dulcimer has been made—and continues to be made—in many shapes and variations in construction details. The general format has a long narrow soundbox, with the "neck" centered in the soundbox and running the length of the instrument. Typical instruments are 70–100 cm long; the top of the fingerboard sits about 1.25 cm (1/2
Fotheringay was a short-lived British folk rock group, formed in 1970 by singer-songwriter and musician Sandy Denny on her departure from Fairport Convention. The band drew its name from her 1968 composition "Fotheringay" about Fotheringhay Castle, in which Mary, Queen of Scots had been imprisoned; the song appeared on the 1969 Fairport Convention album, What We Did on Our Holidays, Denny's first album with that group. The original Fotheringay released one, self-titled album but disbanded at the start of 1971 as Denny embarked on a solo career. 45 years a new version of the band re-formed featuring the three original surviving members together with other musicians, toured in 2015 and 2016. Two former members of Eclection, guitarist Trevor Lucas and drummer Gerry Conway, two former members of Poet and the One Man Band, Jerry Donahue and Pat Donaldson, completed the line-up responsible for what was intended to be the quintet's first album; this folk-based set included several Denny original compositions, notably "Nothing More", "The Sea" and "The Pond and The Stream", as well as versions of Gordon Lightfoot's "The Way I Feel" and Bob Dylan's "Too Much of Nothing".
Though during the year of its original release the album featured in two of the UK's music papers' Top 20s, it did not meet commercial expectations, pressures on Denny to undertake a solo career increased. She had been voted Britain's number 1 singer for two consecutive years in Melody Maker's readers poll; the album peaked at No. 18 in the UK Albums Chart. A special live performance by Fotheringay was recorded at Gruga-Halle in Essen, Germany, on 23 October 1970; the concert tapes were re-mastered by Fotheringay guitarist Jerry Donahue and the album released in 2011. Fotheringay disbanded in January 1971 during sessions for a projected second album; some of the songs surfaced on Denny's 1971 debut solo The North Star Grassman and the Ravens. Lucas and Donahue joined Fairport Convention in 1972 to record that band's Rosie album, on which some Fotheringay material was used. However, Conway began session work afterwards. Both Conway and Donaldson have worked amongst many others. Lucas and Donahue stayed with Fairport for another couple of years, the album Nine being released in 1973, while Denny rejoined in 1974.
This line-up recorded two additional albums: Rising for the Moon. Denny, along with Donahue and Lucas, left the band in December 1975. Conway joined a reformed Fairport in 1997. In 2007, the BBC announced that Donahue would be attempting to complete the abandoned projected second Fotheringay album, which he accomplished using unheard takes from the original archived tapes. Completed by the summer of the following year, Fotheringay 2 was released by Fledg'ling Records on 29 September 2008. A four-disc collection, Nothing More: The Collected Fotheringay, was released on 30 March 2015; this is the most comprehensive compilation of the group’s recordings, contains, in addition to all the tracks on Fotheringay and Fotheringay 2 as both final studio versions and demos/alternate takes, the complete live concert set from Rotterdam in 1970, seven Fotheringay tracks recorded in session for BBC radio, plus a DVD disc containing 4 performances by Fotheringay recorded for the German "Beat-Club" TV series in 1970, which augment the otherwise sparse known TV footage of Sandy Denny in particular.
In June 2015, the three surviving members of the original band - Jerry Donahue, Gerry Conway and Pat Donaldson - reunited for six tour dates in the UK. They were joined by Kathryn Roberts, Sally Barker and PJ Wright to provide the harmonious vocals in the absence of Denny and Lucas, they played at Wolverhampton on 28 June 2016. A further date at the Under The Bridge venue at Chelsea FC's Stamford Bridge ground in London was announced for 24 June 2016. Fotheringay Fotheringay 2 Fotheringay Essen 1970 Nothing More: The Collected Fotheringay No More Sad Refrains: The Life And Times Of Sandy Denny, Clinton Heylin. Fotheringay 2 Fotheringay at Fledg'ling Records
The autoharp is a musical instrument in the chorded zither family. It features a series of chord bars attached to dampers, when pressed, mute all of the strings other than those that form the desired chord. Although the word autoharp was a trademark of the Oscar Schmidt company, the term has colloquially come to be used for any hand-held, chorded zither, regardless of manufacturer. Debate exists over the origin of the autoharp. A German immigrant in Philadelphia, US, Charles F. Zimmermann, was awarded US 257808 in 1882 for a design for a musical instrument that included mechanisms for muting certain strings during play, he named his invention the "autoharp". Unlike autoharps, the shape of the instrument was symmetrical, the felt-bearing bars moved horizontally against the strings instead of vertically, it is not known if Zimmermann commercially produced any instruments of this early design. Karl August Gütter of Markneukirchen, built a model that he called a "Volkszither", which most resembles the autoharp played today.
Gütter obtained a British patent for his instrument circa 1883–1884. Zimmermann, after returning from a visit to Germany, began production of the Gütter design in 1885, but with his own design patent number and name. Gütter's instrument design became popular, Zimmermann has been misnamed as the inventor. A stylized form of the term autoharp was registered as a trademark in 1926; the word is claimed as a trademark by the U. S. Music Corporation, whose Oscar Schmidt division manufactures autoharps; the USPTO registration, covers only a "Mark Drawing Code Words, and/or Numbers in Stylized Form" and has expired. In litigation with George Orthey, it was held that Oscar Schmidt could only claim ownership of the stylized lettering of the word autoharp, the term itself having moved into general usage; the autoharp body is made of wood, has a rectangular shape, with one corner cut off. The soundboard features a guitar-like sound-hole, the top may be either solid wood or of laminated construction. A pin-block of multiple laminated layers of wood occupies the top and slanted edges, serves as a bed for the tuning pins, which resemble those used in pianos and concert zithers.
On the edge opposite the top pin-block is either a series of metal pins, or a grooved metal plate, which accepts the lower ends of the strings. Directly above the strings, on the lower half of the top, are the chord bars, which are made of plastic, wood, or metal, support felt or foam pads on the side facing the strings; these bars are mounted on springs, pressed down with one hand, via buttons mounted to their topside. The buttons are labeled with the name of the chord produced when that bar is pressed against the strings, the strings strummed; the back of the instrument has three wooden, plastic, or rubber "feet", which support the instrument when it is placed backside down on a table top, for playing in the traditional position. Strings run parallel to the top, between the mounting plate and the tuning pins, pass under the chord bar assembly. Modern autoharps most have 36 strings, with some examples having as many as 47 strings, rare 48-string models, they are strung in a semi-chromatic manner which, however, is sometimes modified into either diatonic or chromatic scales.
Standard models have 12, 15 or 21 chord bars available, providing a selection of major and dominant seventh chords. These are arranged for systemic reasons. Various special models have been produced, such as diatonic one-, two-, or three-key models, models with fewer or additional chords, a reverse-strung model; the range is determined by the number of their tuning. A typical 36-string chromatic autoharp in standard tuning has a 3½ octave range, from F2 to C6; the instrument is not chromatic throughout this range, however, as this would require 44 strings. The exact 36-string tuning is: There are a number of gaps in the lowest octave, which functions to provide bass notes in diatonic contexts; the chromatic part of the instrument's range begins with A3. Diatonically-strung single-key instruments from modern luthiers are known for their lush sound; this is achieved by doubling the strings for individual notes. Since the strings for notes not in the diatonic scale need not appear in the string bed, the resulting extra space is used for the doubled strings, resulting in fewer damped strings.
Two- and three-key diatonics compromise the number of doubled strings to gain the ability to play in two or three keys, to permit tunes containing accidentals, which could not otherwise be rendered on a single key harp. A three-key harp in the circle of fifths, such as a GDA, is called a festival or campfire harp, as the instrument can accompany fiddles around a campfire or at a festival; the standard, factory chord bar layout for a 12-chord autoharp, in two rows, is: The standard, factory chord bar layout for a 15-chord instrument, in two rows, is: The standard, factory chord bar layout for a 21-chord instrument is in three rows: A variety of chord bar layouts may be had, both in as-delivered instruments, after customization. Until the 1960s, no pickups were available to amplify the autoharp other than rudimentary contact microphones, which had a poor-quality, tinny sound. In the early 1960s, a bar magnetic pickup was designed for the instrument by Harry DeArmond, manufactured by Rowe Industries.
Pinkerton's Assorted Colours used the instrument on their 1966 single "Mirror, mirror". In the 1970s, Oscar Schmidt came
Muswell Hill is a suburban district of north London. It is in the London Borough of Haringey with a small part in the London Borough of Barnet, it is between Hampstead Garden Village, East Finchley and Crouch End. It has many streets with Edwardian architecture. Muswell Hill is in the N10 postcode district and in the Hornsey and Wood Green constituency. Muswell Hill, as defined by its postcode district, had a population of 27,992 in 2011; the earliest records of Muswell Hill date from the 12th century. The Bishop of London, the Lord of the Manor of Haringey, owned the area and granted 65 acres, located to the east of Colney Hatch Lane, to a newly formed order of nuns; the nuns called it Our Lady of Muswell. The name Muswell is believed to come from a natural spring or well, said to have miraculous properties. A traditional story tells that Scottish king Malcolm IV was cured of disease after drinking the water; the area became a place of pilgrimage for healing during medieval times. The River Moselle, which has its source in Muswell Hill and Highgate, derives its name from this district.
In the 18th century Muswell Hill was a scattered village consisting of detached villas with large gardens. In 1787 one commentator wrote that nowhere within 100 miles of London was there a village so pleasant or with such varied views. Little had changed by the middle of the 19th century. One of the houses of the time was The Limes; this house occupied the angle of Muswell Hill Road with Colney Hatch Lane and was a three-storeyed house with portico and two-storeyed wing approached by a double carriage drive through impressive gateways. The large grounds of the house included a lake. Opposite The Limes was Muswell Hill beyond that the Green Man inn, built of stone. Further down the hill past the Green Man was The Elms, a squat three-storeyed house improved by Thomas Cubitt standing in 11 acres, part of the grounds of which were laid out by Joseph Paxton. A short distance down the north side of Muswell Hill was The Grove, three storeys high and had nine bays with pedimented projections at each end.
It stood in 8 acres of grounds. In 1774 the house was occupied by Topham Beauclerk. A little farther down the hill stood Grove Lodge in wooded grounds. Altogether there were eight properties in Muswell Hill worthy of note in 1817. Parallel with Muswell Hill was a track known as St James's Lane which ran across a triangle of wasteland. By the middle of the 19th century houses were dispersed along the lane at the foot of, Lalla Rookh, a two-storeyed villa with a wide verandah. Other buildings there were cottages or huts, both single and in terraces, it was not until the end of the 19th century that Muswell Hill began to be developed more densely from a collection of country houses to the London village that it is today. The development was spurred by the opening in 1873 of Alexandra Palace, a massive pleasure pavilion built on the most easterly of north London's gravel hills and intended as the counterpart to the Crystal Palace on Sydenham Hill in south London. Alexandra Palace was served by a branchline railway from Highgate, with an intermediary station at Muswell Hill.
The foot of Alexandra Palace was served by another rail network with connecting services to Finsbury Park and Kings Cross stations. Most development was initiated in the early 20th century when the current street pattern was set out and elegant Edwardian retail parades were constructed; the shopping centre is based on roads that form three sides of a square: Fortis Green Road, Muswell Hill Broadway and the extension of the Broadway into Colney Hatch Lane. At each node point is a church: United Reformed, Church of England and Roman Catholic. One of the nodes, opposite St James's CoE, was the site of the Athenaeum music hall, opposite which a surviving art deco Odeon cinema was built in the 1930s; the site of the Ritz, a cinema at the top of Muswell Hill on the next node to the east, has been redeveloped as offices. Until the mid-20th century there was a rail branch line, the Muswell Hill Railway, from Highgate which passed through Muswell Hill, terminating at a station at Alexandra Palace, it was intended under the Northern Heights plan to integrate this into the London Underground Northern line.
However, this plan was cancelled after the Second World War, the railway line was abandoned in 1954. The line was converted to become the Parkland Walk; until the reorganisation of London's local government in 1965, Muswell Hill formed part of the Borough of Hornsey within the administrative county of Middlesex. The area subsequently became part of the London Borough of Haringey; the northern portion of Muswell Hill was part of the Friern Barnet Urban District in Middlesex, which subsequently became part of the London Borough of Barnet. In 1964, three young Muswell Hill residents, the brothers Ray and Dave Davies and Pete Quaiffe, formed The Kinks. Categorised in the United States as a British Invasion band, the Kinks are recognised as one of the most important and influential rock groups of the era; the Davies' parents' home at 6 Denmark Terrace, Fortis Green, remains a magnet for rock music tourists. In 1979 Wetherspoons opened their first pub, on Colney Hatch Lane. In March 2013 Muswell Hill was named one of the five most desirable places to live in London in the Sunday Times "Best Places To Live" guide.
Close to Alexandra Park and Highgate Wo
Dave Pegg is an English multi-instrumentalist and record producer a bass guitarist. He is the longest-serving member of the pre-eminent British folk rock band Fairport Convention and has been bassist with a number of important folk and rock groups including the Ian Campbell Folk Group and Jethro Tull, he has appeared on some of the most significant albums of his era, as well as undertaking solo projects. His style of playing bass has been influential in folk rock music. David Pegg was born on 2 November 1947, at Acocks Green, England, he began to learn guitar when 14 or 15, inspired by The Shadows, played in a school band at Yardley Grammar School. After leaving school he worked as an insurance clerk for about a year while playing in a part-time bands the Crawdaddys and The Roy Everett Blues Band, who supported several performers from the flourishing Birmingham beat scene of the time, including the Spencer Davis Group and The Moody Blues. In 1966 he auditioned for The Uglys, featuring Steve Gibbons and was beaten to the position by friend and guitarist Roger Hill, but was offered the job of bass guitarist and switched instruments.
The Uglys cut one single before Pegg and Hill left to form a blues trio, The Exception, with singer Alan Eastwood. At this period he played with Robert Plant and in his next band, The Way of Life, the drummer was John Bonham both went to form Led Zeppelin. In 1967 he joined the Ian Campbell Folk Group, where he switched to stand-up bass, learnt to play the mandolin and acquired his affection for folk music, it was where he came to the attention of local folk guitarist Ralph McTell and former Campbell Group and future Fairport Convention member Dave Swarbrick. By early 1969 he had moved back to electric bass with The Beast, with Cozy Powell and Dave Clempson, before the latter left for Colosseum. Soon after this he joined the Birmingham band Dave Peace Quartet, played bass on their electric blues album "Good Morning Mr Blues" released on SAGA FID 2155. One week after seeing Fairport for the first time on his twenty-first birthday he was called by Swarbrick to audition for the band after the departure of Ashley Hutchings, soon to found Steeleye Span.
Pegg joined Fairport Convention towards the end of 1969 and formed a strong playing partnership with drummer Dave Mattacks and good relationships with the other members. Although Hutchings had been a solid and melodic bass player, it is acknowledged that Pegg played with greater virtuosity and energy. Ashley Hutchings credits Pegg with being the musician who began the technique of playing jigs and reels on the bass, rather than just a supportive bass line, subsequently adopted by most British folk rock and folk punk bassists. All this was obvious on the 1970 tour of Britain and America, recordings from which surfaced on the Live at the L. A. Troubadour album, his first album with the group, Full House, showed more technically accomplished playing from the band, showing Pegg's musical influence on the group. On joining the band Pegg had moved his family from Birmingham and into the former pub, the Angel in Hadham, Hertfordshire along with other group members and their families; this became the theme for the title track of the next album Angel Delight, for which Pegg received his first writing credit.
On the next album Babbacombe Lee, a folk-rock opera masterminded by Swarbrick, he played a much greater role, contributing to seven of the fifteen tracks. The next album Rosie contained three of his contributions, including the song Peggy's Pub a statement of a lifelong ambition. In 1971 when Simon Nicol and Dave Mattacks left the band and Swarbrick were the only remaining members and, as a bewildering succession of personnel came and left again over the next five years, their partnership was critical in keeping the band running; some of these performers, like Sandy Denny and her husband Trevor Lucas, were acknowledged songwriters and as a result, although he still made contributions and took part in collaborations, Pegg's song-writing took a back seat to his instrumental and organisational skills. After the financial disaster that followed the Rising for the Moon tour, which prompted Denny and Jerry Donahue to quit the band, Pegg became determined for the group to take control of their finances and direction and took over a larger and larger responsibility.
Pegg and Swarbrick renewed contact with Nicol in 1975 forming a low key trio, Three Desperate Mortgages, which toured student venues across Britain. With only Pegg and replacement drummer Bruce Rowland left, they persuaded Nicol to rejoin the band during the Gottle O'Geer album sessions; the remaining quartet signed up with Vertigo, produced two albums, The Bonny Bunch of Roses and Tipplers Tales. Although well crafted these albums did not sell well and Vertigo bought them out of their contract. With Swarbrick suffering acute hearing problems and with no recording contract the group decided to disband and played a final concert at Cropredy in Oxfordshire on 4 August 1979, close to where Pegg lived. While with Fairport, Pegg had played on a wide variety and huge number of albums for other performers. Among the most significant were: Nick Drake's Bryter Layter, he appeared on three Ralph McTell albums, including Streets, Slide Aside the Screen, which Pegg produced. He could confidently look forward to mor