A pair of early albums from the great Gordon Giltrap – both released by Transatlantic Records when Gordon was a very young fellow! The self-titled Gordon Giltrap is a gem from 1968 – a record that has Gordon stepping out as a hell of a guitarist, and a very dark-tinged songwriter – certainly of the generation that was budding with John Renbourn and Bert Jansch – but with a distinct quality that really set Giltrap apart from the rest, maybe making him as much of an individualist as Davy Graham! Although just 18, Giltrap's acoustic guitar work is fantastic– and his vocals are much more biting than some of his contemporaries – almost mean at times. Titles include "Window Pattern", "Blythe Hill", "Won't You Stay Awhile Suzanne", "Don't You Feel Good", "Birth Of Spring", "Don't You Hear Your Mother's Voice", and "Ives Horizon". Portrait is an amazing record – at one level filled with mastery of the 12 string guitar has has Gordon Giltrap matching the best of the Takoma generation in the US – but also graced with vocals that are very distinct, very pointed, and which make the tunes with lyrics such a contrast to the instrumentals! The whole thing is fantastic – a true testament to the legend that has grown up around Giltrap over the years – with titles that include "Thoughts In The Rain", "Never Ending Solitude", "Young Love", "Lucifer's Cage", "Portrait", "Tuxedo", and "Hands Of Fate". (Rock, Folk/Country)CD
The first four albums from Hamish Imlach – a fantastic figure from the British folk scene of the 60s, even though his focus here is mostly on Scottish material! Imlach was a mentor to John Martyn and Christy Moore, played with Planxty, and had ties to so many others on the scene – but never fully got his due on this side of the Atlantic – which is a shame, as the material on these records is completely wonderful! Hamish certainly has a sense of wit, but he really balances that with some wonderfully dark material too – mostly traditional tunes re-arranged by Imlach himself, in a mode that paves the way for the directions that a group like Fairport Convention would take in the next few years. The package features four full albums that originally appeared on the Transatlantic label, plus bonus tracks – 46 tracks in all! CD
Bert Jansch —
Jack Orion ... LP Transatlantic/Superior Viaduct, 1966. New Copy (reissue)...
Just Sold Out!
A huge leap forward for the mighty Bert Jansch – and a record that's somehow even more amazing than the ones that came before! Bert's maybe even more introspective here, but also on a personal journey that takes him down musical paths that seem broader than before – almost echoing a wider range of influences on his guitar performance, yet in a way that still comes across with a uniquely pointed vibe. There's some occasional shift in the instrumentation, too – as Jansch plays banjo on the leadoff track, but with the same chilling currents as his sublime acoustic guitar – and John Renbourn joins on second guitar for a number of tracks, prefacing the pair's collaboration to come. And as with all of Jansch's genius material at this point, there's a quality that's both ancient and modern, timeless and uniquely tied to its moment – flowering beautifully on tunes that include "Jack Orion", "The Waggoner's Lad", "Nottamun Town", "Black Water Side", "Pretty Polly", and "The Gardner". LP, Vinyl record album
A rare early American release of some of Bert Jansch's sublime recordings for the UK Transatlantic label – with tracks that include "Angie", "I Have No Time", "Needle Of Death", "Casbah", "Ring A Ding Bird", and "The Wheel". LP, Vinyl record album
(Gold label stereo pressing. Cover has light wear and bumped corners.)
A hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". LP, Vinyl record album
(Back cover has some light wear, but this is a great copy overall!)
An album of understated brilliance from the great John Renbourn – a set that mostly just features John on vocals and guitar, working through tunes of a traditional nature – yet delivering a record that's full of tremendously powerful moments! There's none of the hoke here that you might have gotten from a folk revival record from a decade before – and instead, Renbourn's bringing all the amazing new discoveries he and his contemporaries have unlocked in the acoustic guitar, as a way of opening up some of the darker corners and spookier elements of the tunes – none of which should be that strong on their own, but which work together here beautifully. Renbourn gets a bit of help from time to time – vocals from Dorris Henderson, harmonica from Pete Dyer, and drums from Terry Cox – but most of the set is just vocals and guitar, even more timeless in 1971 than it might have been before John plays a bit of sitar and harmonica, too – and titles include "Kokomo Blues", "Little Sadie", "Shake Shake Mama", 'The Cuckoo","Willy O Winsbury", "Faro Annie", and "Come On In My Kitchen". LP, Vinyl record album
(UK Transatlantic pressing. Cover has some gloss separation along the spine and an unglued bottom seam.)