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 Crickets were an American rock and roll band from Lubbock, formed by singer-songwriter Buddy Holly in the 1950s. Their first hit record, "That'll Be the Day", released in 1957, peaked at number three on the Billboard Top 100 chart on September 16; the sleeve of their first album, The "Chirping" Crickets, shows the band lineup at the time: Holly on lead vocals and lead guitar, Niki Sullivan on rhythm guitar, Jerry Allison on drums, Joe B. Mauldin on bass; the Crickets helped set the template for subsequent rock bands, such as the Beatles, with their guitar-bass-drums lineup and the talent to write most of their own material. After Holly's death in 1959 the band continued to tour and record with other band members into the 21st century. Holly had been making demo recordings with local musician friends since 1954. Sonny Curtis, Jerry Allison, Larry Welborn participated in these sessions. In 1956 Holly's band known informally as Buddy and the Two Tones, recorded an album's worth of rockabilly numbers in Nashville, for Decca.
Holly had recorded for another label under his own name, so to avoid legal problems he needed a new name for his group. As the Crickets recalled in John Goldrosen's book Buddy Holly - His Life and Music, they were inspired by other groups named after birds, they were considering insect-centered names unaware of the Bronx R&B vocal group the Crickets, who recorded for Jay-Dee. They chose the name Beetles; the Crickets were lead guitarist and vocalist Buddy Holly, drummer Jerry Allison, bassist Joe B. Mauldin, rhythm guitarist Niki Sullivan. Sullivan dropped out after a little more than one year to resume his education; the Crickets, now a trio, continued to make stage and TV appearances and recorded more songs, many composed by the band members. In 1957 Norman Petty arranged for the Crickets' recordings to be marketed under two separate names; the solo vocals were released as being by Buddy Holly, the songs with dubbed backing vocals were issued as being by the Crickets. Petty reasoned that disc jockeys might be reluctant to program a single artist too but would play records by two different groups.
Some disc jockeys referred to the band as "Buddy Holly and the Crickets", but record labels never used this wording until after Holly's death. In 1958, Holly broke with producer Petty and moved to New York to be more involved with the publishing and recording businesses. Allison and Mauldin returned to Lubbock. Holly now recorded under his own name with the studio musicians Tommy Carl Bunch. Waylon Jennings toured with him shortly. Allison and Mauldin looked forward to rejoining Holly after he returned from a winter tour through the northern Midwest. In the meantime, Mauldin and Sonny Curtis began recording new songs as the Crickets, with vocals by Earl Sinks. While they were recording, it was announced; the Crickets, now with vocalist Earl Sinks, went on performing after Holly's death. David Box, a native of Lubbock, who sang in a manner similar to Holly, joined the group as lead vocalist for their 1960 single "Dont Cha Know"/"Peggy Sue Got Married", released as Coral 62238 after the departure of Sinks.
Curtis was not in the band at the time. Box, who had left the group in 1960, died in a charter plane crash on October 23, 1964, while touring as a solo singer. In April 1960 the Crickets backed the Everly Brothers on their first UK concert tour but were not billed as their backing group. By 1962, the Crickets consisted of Curtis, Glen D. Hardin and Jerry Naylor; that year, the Crickets' version of the Gerry Goffin–Carole King song "Don't Ever Change", featuring Naylor on lead vocals, reached the top five in the British single charts. In 1962 they released Bobby Vee Meets the Crickets, an album with Bobby Vee on lead vocals. For their 1962 UK tour, Allison was temporarily out of the group because of commitments with the U. S. Air Force. In 1963, the Crickets hit the UK top 40 twice more, with the singles "My Little Girl" and "Don't Try to Change Me", the last of their recordings to reach the charts; the band continued to record. In 1964, the Crickets issued their version of the surf rock song "California Sun" for their album of the same title.
In 1970 Jerry Allison and Sonny Curtis performed backing vocals for Eric Clapton for his first solo album titled Eric Clapton. Personnel changes were made with Curtis and Allison remaining relative constants. For the 1971 album Rockin' 50's Rock n' Roll, the group consisted of Curtis and Doug Gilmore. For the 1973 album Bubblegum, Bop and Boogies, the lineup featured Curtis, Alison and bassist Ric Grech. Steven Krikorian to record as the new wave artist Tonio K. joined the group as a vocalist shortly thereafter, as did guitarists Albert Lee and Nick van Maarth, replacing Hardin. The 1973 album Remnants and the 1974 album A Long Way from Lubbock featured the sextet of Allison, Krikorian, Grech and van Maarth. In 1978, the award-winning film The Buddy Holly Story, starring Gary Busey as Holly, presented an engaging but inaccurate depiction of the band's early years. Allison and Mauldin's names were altered to Jesse Charles and Ray
Ashley Stephen Hutchings, MBE is an English bassist, songwriter, band leader and record producer. He was a founding member of three of the most noteworthy English folk-rock bands in the history of the genre: Fairport Convention, Steeleye Span and The Albion Band. Hutchings has overseen numerous other projects, including records and live theatre, has collaborated on film and television projects. Hutchings was born in Southgate, but moved to Muswell Hill while still a child; as a teenager he became involved in the skiffle and blues movements and formed several groups, including'Dr K's Blues Band' in 1964. He met guitarist Simon Nicol in 1966 when they both played in the'Ethnic Shuffle Orchestra', they rehearsed on the floor above Nicol's father's medical practice in a house called "Fairport" and lent its name to the group they formed together as Fairport Convention in 1967 with Richard Thompson, which soon included Martin Lamble, Judy Dyble and Iain Matthews. Hutchings played on the band's first four albums.
The first three, Fairport Convention, What We Did on Our Holidays and Unhalfbricking consisted of American singer/songwriter material and original songs in a similar style. Hutchings' restrained but powerful bass style is one of the characteristics of the band in this period; the focus of the band changed with the introduction of Dave Swarbrick into the line up, who brought a virtuosity on the fiddle and a wealth of traditional tunes. This prompted Hutchings to carry out research in the English Folk Dance & Song Society Library at Cecil Sharp House which resulted in the pioneering classic Liege and Lief, seen by many as the foundation of British folk rock. Hutchings was, however unhappy with the direction of the band, as most members wanted to return to their older format; as a result, in 1969 he left to focus on more traditional projects. Hutchings' new band Steeleye Span was formed by putting together two established folk duos Tim Hart and Maddy Prior with Terry and Gay Woods; the Woodses departed the band shortly after the release of their debut album, Hark!
The Village were replaced by singer/guitarist Martin Carthy and fiddler Peter Knight. The resulting line-up toured small concert venues, recorded two regarded albums Please to See the King and Ten Man Mop, or Mr. Reservoir Butler Rides Again, both providing electric versions of traditional songs; the bringing in of manager Jo Lustig who pushed for a more commercial sound was what prompted the more traditionally minded Carthy and Hutchings to leave the band, which continued with changes of line-up and achieved considerable mainstream success. By this point the active Hutchings had other projects underway, he had gathered together the first incarnation of what has been the major outlet for his work, the Albion Country Band, to provide backing for his wife Shirley Collins on her solo collection, No Roses. Some of these personnel co-operated with him for the album Morris On, an affectionate electric tribute to Morris Dancing and others joined him in his next project the Etchingham Steam Band from 1974–6.
When this dissolved without releasing a record he returned to the Albion Band in 1976, with many bewildering line-up changes, continued to record and tour until 2002. Outside of the Albion Band, Hutchings has been a frequent guest on the albums of a wide variety of folk artists, he has continued to pursue a diversity of projects, some alone and some with groupings of more or less stability and continuity. The Morris on project has spawned several sequels across his career: Son of Morris On, Grandson of Morris On and Great Grandson of Morris On. There have been several other dance projects including, with John Kirkpatrick and other artists, The Compleat Dancing Master, Rattlebone & Ploughjack and Kickin' Up the Sawdust. In 1984, Hutchings wrote and toured with a one-man show about folk song collector Cecil Sharp, which resulted in the album An Hour with Cecil Sharp and Ashley Hutchings. From this point he combined writing and narration with his music, as in By Gloucester Docks I Sat Down and Wept: A Love Story, produced as a live show and album in 1990.
He produced an album of spoken-word material as A Word in Your Ear another themed album combining music and narration with Judy Dunlop, as Sway with Me. In the late 1980s he toured with the Ashley Hutchings All Stars, leading to a live album, As You Like It. With Phil Beer and Chris While he provided the sound track for the TV series The Ridge Riders which resulted in an album "Ridgeriders: Songs of the Southern English Landscape", a short tour and another live album Ridgeriders in Concert. In the 1990s he returned to his own musical roots of skiffle and rock and roll and recording with the Ashley Hutchings Big Beat Combo, which resulted in the album Twangin' and a Traddin', he returned to his interest in dance, in addition to continuing the Morris on project, he formed the Ashley Hutchings Dance Band to produce A Batter Pudding for John Keats. Other projects include with Malcolm Rowe, the eclectic Folk Your Way to Fitness, Street Cries, Human Nature. After the suspension of the Albion Band as a full time group in 2002 Hutchings put together another small group of up and coming folk musicians under the title Rainbow Chasers resulting in three albums, Some Colours Fly, A Brilliant Light and Fortune Never Sleeps.
In 2008 he formed The Lark Rise Band to perform and record music from his most successful show, resulting in the album, Lark Rise Revisited
The baritone saxophone or "bari sax" is one of the larger members of the saxophone family, only being smaller than the bass and subcontrabass saxophones. It is the lowest-pitched saxophone in common use; the baritone saxophone uses a mouthpiece and ligature in order to produce sound. It is larger than the tenor and soprano saxophones, which are the other found members of the family; the baritone saxophone is used in classical music such as concert band, chamber music, military bands, jazz. It is employed in marching bands, though less than other saxophones due to its size and weight; the baritone saxophone was created in 1846 by the Belgian instrument maker Adolphe Sax as one of a family of 14 instruments created to be a tonal link between the woodwinds and brasses, which Sax believed to be lacking. The family was divided into two groups of seven saxophones each from the soprano to the contrabass; the family consisting of saxophones ranged in the keys of B♭ and E♭ were more successful because of their popularity in military bands.
The bari sax, pitched in E♭, is the fifth member of this family. The baritone saxophone, like other saxophones, is a conical tube of thin brass, it has a wider end, flared to form a bell, a smaller end connected to a mouthpiece. The baritone saxophone uses a single reed mouthpiece like that of a clarinet. There is a loop in the neck to reduce it to a practical height. Baritone saxophones come in two sizes with one ranging to low A and the other to low B♭. All baritone saxophones were low B♭ instruments, but over time players began modifying their horns to reach the low A below the staff. In the 1980s, it became common for saxophone manufacturers to produce low A instruments. In modern times, the low A is considered standard and is written in sheet music for the instrument. Despite the ubiquity of the low A horn, some players still prefer to use B♭ horns because of the added weight and less crisp sound of low A horns; as with other saxophones, some are manufactured with a high F ♯ key. The baritone saxophone's large mass has led to the development of harness-style neckstrap that distributes the instrument's weight across the user's shoulders.
Several different kinds exist, produced by brands as well known as Neotech and Vandoren, which each distributes weight differently across the saxophonist's neck and shoulder blades. Many marching saxophonists prefer this style for its ability to decrease fatigue; those who perform seated, on the other hand, may dislike the decreased ability to move one's upper body. It is a transposing instrument in the key of E♭, pitched an octave plus a major sixth lower than written, it is one octave lower than the alto saxophone. Modern baritones with a low A key and high F♯ key have a range from C2 to A4. Adolphe Sax produced a baritone saxophone in F intended for orchestral use, but these fell into disuse as the saxophone never became a standard orchestral instrument; as with all saxophones, its music is written in treble clef. To transpose a baritone sax part to concert pitch, it is only necessary to change the treble to a bass clef and modify the accidentals accordingly; the baritone saxophone is used as a standard member of concert bands and saxophone quartets.
It has been called for in music for orchestra. Examples include Richard Strauss' Sinfonia Domestica, which calls for a baritone saxophone in F. 4, composed in 1910–1916. In his opera The Devils of Loudun, Krzysztof Penderecki calls for two baritone saxes. Karlheinz Stockhausen includes a baritone saxophone in Gruppen, it has a comparatively small solo repertoire although an increasing number of concertos have appeared, one of these being "Concerto for Saxophone Quartet and Orchestra" by American composer Philip Glass. This is a piece that can be played with or without an orchestra that features the baritone sax in the second movement. A number of jazz performers have used the baritone saxophone as their primary instrument, it is part of standard big band instrumentation. As phrased by Alain Cupper from JazzBariSax.com, "Used a few times in contemporary classical music...it is in jazz that this wonderful instrument feels most comfortable." One of the instrument's pioneers was Harry Carney, longtime baritone saxophone player in the Duke Ellington band.
Since the mid-1950s, baritone saxophone soloists such as Gerry Mulligan, Cecil Payne, Pepper Adams achieved fame, while Serge Chaloff was the first baritone saxophone player to achieve fame as a bebop soloist. In free jazz, Peter Brötzmann is notable. More recent notable performers include Hamiet Bluiett, John Surman, Scott Robinson, James Carter, Stephen "Doc" Kupka of the band Tower of Power, Nick Brignola, Gary Smulyan, Brian Landrus, Ronnie Cuber. In the avant-garde scene, Tim Berne has doubled on bari. Another modern bari sax player is Leo Pellegrino of "Lucky Chops" and "Too Many Zooz" A noted Scottish performer is Joe Temperley, who has appeared with Humphrey Lyttelton as well as with the Lincoln Center Jazz Orchestra; the baritone sax is common in musical theater. The baritone sax plays a notable role in many Motown hits of the 60s, is in the horn sections of funk, Latin, soul bands, is used in rock music although it is not as common. Prominent baritone saxophoni
Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
The North Star Grassman and the Ravens
The North Star Grassman and the Ravens is a 1971 album by English folk rock singer-songwriter Sandy Denny. Built around her own compositions, The North Star Grassman and the Ravens is distinguished by its elusive lyrics and unexpected harmonies. Denny became a solo artist because her previous group Fotheringay dissolved when producer Joe Boyd left to take up a job with Warner Brothers in California when the band were halfway through a second album, left unfinished until 2008 when it came out as Fotheringay 2. Denny launched the sequence of solo albums that underlie the claim that she is one of Britain's finest recent singer-songwriters. Two original compositions from the Fotheringay 2 sessions, "Late November", inspired by a dream and the death of Fairport band member Martin Lamble, "John the Gun" were re-worked for the album and supplemented by a further six self penned songs and two cover versions, Bob Dylan's "Down in the Flood" and "Let's Jump the Broomstick", recorded by Brenda Lee. Sessions began with Andy Johns producing but in the end the album was produced by Denny herself, current bandmate Richard Thompson and John Wood, who recommended to Denny the film-score arranger Harry Robinson, who added strings to "Next Time Around", a cryptogram about former boyfriend Jackson C.
Frank and "Wretched Wilbur". Robinson would arrange strings for Denny's further albums as well as for Nick Drake and other artists signed to the same company; the first songs recorded were the traditional "Blackwaterside" and "Let's Jump the Broomstick" in March 1971 at Sound Techniques. Sessions continued the following month until the end of May at Island studios, where the album was completed with the cutting of the title track, a sea voyage as a metaphor for death inspired by the loss of her friend'Tigger', in the Merchant Navy. A number of other songs were attempted and discarded during the course of the sessions including "Honky Tonk Women", "Walking the Floor Over You" and the traditional "Lord Bateman"; the album was issued in a gatefold sleeve with a distinctive cover photograph of Denny weighing seeds in an old fashioned apothecary shop. The image covered both the front and rear sleeve, was taken by Keef who went on to do a lot of work with another British female singer-songwriter: Kate Bush.
A two-disc Deluxe Edition was released by Island Records in 2011. It features the original album plus outtakes and demos, including a unreleased instrumental version of Lord Bateman; the band for the supporting tour consisted of Denny, Gerry Conway, Dave Richards. All tracks written except where noted. Sandy Denny - lead vocals, acoustic guitar, piano Jerry Donahue - electric guitar Richard Thompson - electric guitar, vocals, acoustic guitar, bass Trevor Lucas - acoustic guitar Buddy Emmons - pedal steel guitar Pat Donaldson - bass Tony Reeves - bass Gerry Conway - drums Roger Powell - drums Ian Whiteman - piano, flute organ Barry Dransfield - violin Royston Wood, Robin Dransfield - backing vocals Harry Robinson - string arrangements Sandy Denny: The North Star Grassman and the Ravens