Sara K. – Tell Me I´m Not Dreaming (1995)

FrontCover1Sara K. (full name Sara Katherine Wooldridge) is an American singer-songwriter based in Santa Fe, New Mexico. Her music includes genres like blues, folk as well as jazz. She has released audiophile albums[1] and played a custom 4-(bass)-string acoustic guitar. She withdrew from the music business in 2009.

Born and raised in Dallas, Texas, she grew up in a family surrounded by music: her mother sang in a church choir, her father in a barbershop quartet, her brother played in a band, and her sister also played the guitar. However, her family considered music a hobby, not a job option.

In the early 1970s, at the age of 15, she started playing the guitar, using one her sister had left behind. She took this flamenco guitar, took off the remaining regular strings, and put four bass strings on instead (tuned to an open A). This gave it a fuller tone than a conventional acoustic guitar while not sounding as deep as a bass. She used this tuning from then on, making it one of her trademarks.

Although the era of acoustic solo performers was on the decline in the late 1970s, she stayed on that course. After graduating and moving out, she spent a few years playing whenever and wherever possible, be it “happy hours”, back-up vocals for country music and jingles, or her own demo tapes. When realizing that she didn’t entirely fit the contemporary scene in Dallas, she moved to New Mexico.

After having moved to the small mountain town Ruidoso, New Mexico, she became leader of the band Sara K. and the Boys Without Sleep. From 1978 to 1983, they toured mainly New Mexico and Los Angeles. She also toured with country musician Gary Nunn for two years.

After moving to Santa Fe, she teamed up with several musicians and put out her debut album, Gypsy Alley (1989) with Mesa/Bluemoon. Many of its songs’ topics come from the almost fifteen years she had lived a somewhat nomadic lifestyle, moving around a lot. These years had ended when she rented a place on that very same Gypsy Alley (off Canyon Road, Santa Fe), won a goldfish on a country fair, and got her dog Bebe (who himself is mentioned numerous times in her songs).

“Furthermore, Sara K. comes across as authentic, she “has lived these stories, is right in the middle of them and relates them from the heart—warm, personal and moving.” The album won her immediately the New Mexico Music Industry Coalition’s “Best Album Award”,

One of the musicians she worked with on Gypsy Alley was guitarist Bruce Dunlap, who was also signed to New York-based Chesky Records, a record label aimed mainly at audiophiles. He helped to bring her to the label and she remained signed to Chesky for more than ten years, up to 2001. For Sara K. herself, this opened up a whole new era marked by contrasts—between her southwestern homebase Santa Fe and Chesky’s hectic New York, between the familiar analogue recording equipment and the new digital/audiophile one, and between the dream of fame and wealth and the realities of the record industry.

With Chesky, Sara K. recorded six albums, Closer Than They Appear, Play On Words, Tell Me I’m Not Dreamin’, Hobo, the live album No Cover, and What Matters. In the end, Chesky also compiled a “Best of” album of Sara K. called The Chesky Collection. Sarah also makes an appearance on Chesky Records sound system benchmarking record, The Ultimate Demonstration Disk.

In the meantime, she toured Europe and had planned to but never did move to San Francisco. At the end of her contract obligations with Chesky, Sara got the feeling that she had “been ripped off in many directions by labels and touring companies”.

On her last tour through Germany under the Chesky contract, the owner of the German label Stockfisch Records, Günter Pauler, was called to be her sound specialist. He took the opportunity to give her a tour of his studio and offer her a record contract along with the prospect of having guitarist Chris Jones as guest musician, which she signed.

The cooperation with Chris Jones proved to be congenial. Her first Stockfisch release, Water Falls (2001), was followed by a tour that year, which in turn provided material for both a live DVD and the live album Live in Concert (2003). The latter won her the German music magazine AUDIO/stereoplay’s “Hifi Music Award 2003” for audiophile CDs.

In 2006, the third album with Stockfisch was released, Hell or High Water. It features ten new tracks, again with Chris Jones on guitar and dobro. Jones died of Hodgkin’s lymphoma just shortly after recording and before the release of the album.

She released her fourth Stockfisch album Made in the Shade in 2009, containing several new versions of her Gypsy Alley album songs.


With the release of her 2009 album, she announced her withdrawal from music business. In a note to her fans on her label’s website, she stated:

After many years on the road and writing music, I’ve decided to stop touring and recording. It’s hard to explain why but I hope you will understand. I had a good run but I think it’s over. It’s just too much for too little these days. Made in the Shade explains it as best as I know how.(Sara K., 2009)

And this is one of her great albums for Chesky Records:

“Listening to this just completes a nice day. Sara not only gives us a little glimpse on the talented world, but also takes you away to a high level of music where only the best of the best exists. A total acoustic experience with dazzling showdowns of talent, not only vocal but also instrumental!!! For an audiophile taste only!!!” Truly a masterpice!!! (by Sotilla)

And listen to a real great version of “Whipping Post” from The Allman Brothers Band !


Hul Cox (guitar)
Bruce Dunlap (guitar)
Randy Landau (bass)
Sara K.(vocals)
Steve Shehan (percussion)

01. What You Don’t Know (Sara K.) 4.33
02. Easy Street (Sara K.)  4.00
03. Out Of My Hands (Sara K.) 4.16
04. Whipping Post (Allman) 3.28
05. Big Yard, No Pets (Sara K.)     3:17
06. Fortune Ladie’s Eyes (Sara K.)     4:09
07. J. J  (Sara K.)    3:25
08. You’ve Walked That Way Before (Sara K.)    2:05
09. Love Is Strong (Sara K.)    4:09
10. Free Will (Sara K.)    3:17
11. Leave The Leavin’ Up To Me (Sara K.)     4:06
12. Tell Me I’m Not Dreamin’ (Sara K.)    5:14
13. Vincent (McLean) 4.07




Mikis Theodorakis – The Art Of Mikis Theodorakis (2008)

FrontCover1Mikis Theodorakis is a renowned Greek troubadour and one of his country’s greatest composers. He wrote many symphonies, cantatas, several ballets and operas, plus popular songs including “Zorba the Greek,” famous from Herb Alpert’s instrumental hit. Born in 1925 on the Greek island of Chios, Theodorakis began writing songs quite early. He formed his own choir and gave his first performance at the age of 17. An active resistance fighter during World War II, he studied at the conservatories in both Athens and Paris (the latter with Olivier Messiaen). Theodorakis wrote several symphonies during the late ’50s, but later returned to Greece to apply his musical knowledge to the traditional Greek music he’d grown up with. After several years of film scoring, in 1964 he composed the music for the film adaptation of the Nikos Kazantzakis novel Zorba the Greek. When 1967 brought a fascist government into control of the country, Theodorakis went underground and formed a revolutionary group to combat abuses — including a ban on playing or even listening to his music. He was later arrested, exiled, and sent to an internment camp, though the work of a global solidarity movement — led by Leonard Bernstein, Dmitri Shostakovich, Arthur Miller, and Harry Belafonte — helped secure his release in 1970. Still exiled from his country, Theodorakis served as the greatest ambassador of Greek music during the 1970s, playing thousands of concerts across the world. After the government toppled, he served as a member of the new parliament, also working as general musical director of the symphony orchestra and chorus of the Hellenic Radio and Television.(by John Bush)

This is just a cheap compilation (no booklet ..shat a shame), but it´´s a great opportunity to discover the magic of all the popular tunes of Mikis Theodorakis, including his legendary “Zorba The Greek” (not the Original Soundtrack version, but his own version !).


01. Zorba The Greek (Theodorakis) 3.43
02. I Margarita Margaro (Theodorakis) 3.04
03. Eiha fytepsi mia kardia (Theodorakis/Gatsos) 3.34
04. Vracho vracho ton kaimo mou (Theodorakis/Christodoulou) 3.01
05. Kaimos (Theodorakis/Christodoulou) 3.07
06. Aprili mou (Theodorakis) 2.42
07. Sto perigiali to krifo (Theodorakis/Seferis) 2.41
08. Stin Anatoli (Theodorakis) 2.51
09. Drapetsona (Theodorakis/Livaditis) 4.06
10. An thimithis t’ oniro mou (Theodorakis/Gatsos) 2.22
11. Parapono (Theodorakis/Christodoulou) 4.28
12. Phaedra (M.Theodorakis/Y.Theodorakis) 3.02
13. Imaste dio (Theodorakis) 2.08
14. Ligo akoma (Theodorakis) 1.57




Malicorne – Same (1977)

FrontCover1Malicorne are a French folk and electric folk band formed in September 197 by Gabriel Yacoub, Marie Yacoub (now Marie Sauvet), Hughes de Courson and Laurent Vercambre. They flourished in the 1970s, broke up three times in the 1980s but re-formed twice in the early 2010s and are currently touring and working on a new studio album.

Gabriel Yacoub and Marie Yacoub formed Malicorne on 5 September 1973 (naming it after the town of Malicorne in north-western France, famous for its porcelain and faience). For two years, Gabriel had been a member of Alan Stivell’s band, playing folk-rock based on Breton music. He sang and played acoustic guitar, banjo and dulcimer with Stivell, appearing on his 1972 À l’Olympia breakthrough (live) album and his 1973 Chemins de Terre (studio) album, before leaving at the end of Summer 1973 to form his own band, intending to popularise French music the way Stivell had popularised Breton music. Since several of their albums are called simply Malicorne it had become the custom to refer to them by number, even though no number appears on the cover at all.

Released in October 1974, Malicorne 1 consisted of the four founder members, that is the Yacoubs, Hughes de Courson and Laurent Vercambre. The combination of electric guitar, violin, dulcimer, bouzouki and female vocalist immediately brings to mind Steeleye Span, their English equivalent, thus placing them squarely in the electric folk genre. These four musicians were, between them, masters of twelve instruments. Their first four albums (one album released each Fall from 1974 to 1977) consisted of mostly traditional French folk songs, with, per album, one or two songs written by Gabriel Yacoub, one or two instrumentals and a few music and lyrics borrowed from some Canadian versions of the songs and instrumentals. Again like Steeleye Span, they occasionally sang group harmonies a cappella. On Malicorne 4, they were lastingly joined by a fifth member, Olivier Zdrzalik, on bass, percussion and vocals. The exuberant art-work on the album sleeves, featuring elves and dragons, makes them collectors pieces.

Malicorne1976Gabriel Yacoub + Hughes de Courson, live 1976

L’Extraordinaire Tour de France d’Adélard Rousseau, dit Nivernais la Clef des Cœurs, Compagnon Charpentier du Devoir (1978) was very much a concept album, concerning a guild craftsman’s travels around France, with an implied spiritual exploration. It is perhaps the most exciting of their albums, with some gothic and prog-rock elements in the music. Like their next album Le Bestiaire, it consists mostly of songs by Gabriel, with a few by Zdrzalik and de Courson. The range of sounds of these albums is huge. Their appeal goes beyond the French-speaking world, and still gives them a dedicated following, but most of the albums are only sporadically in print. Some sections are clearly classical music, but electronic wizardry and bagpipes also appear.

The size of the band grew to seven members, including at one point, Brian Gulland from the English group Gryphon. Their commercial success enticed them into pure pop. Balançoire En Feu (1981) was a disappointment to many. They disbanded in early 1982 at the end of the album supporting tour. In February 1986, his record company convinced Gabriel Yacoub to record a new album under the name Malicorne, thus reactivating the band including new members. Les Cathédrales de L’Industrie (1986) began with an epic folk-rock track. One of the other tracks, “Big Science 1-2-3” is in the style of Peter Gabriel, Laurie Anderson or Gary Numan. About a year after the album release, the band embarked on a 2-year extensive tour to support the new album, starting on 10 July 1987 at Les Francofolies de La Rochelle Festival, France and ending on 22 July 1989 in Saint-Gouéno, Brittany, France at the Festival des Tertres, France – a final show that would become the last Malicorne show for the twenty-one following years. Indeed, Malicorne disbanded at the end of the tour. (by wikipedia)

Malicorne 4 is an album by Malicorne. It is sometimes called “Nous sommes chanteurs de sornettes” because the album is called “Malicorne” and that is the first track. For the first time electronic effects and synthesisers are heard on a few tracks. The final track in particular is a slightly crazy assemblage of medieval and modern instruments. “Daniel mon fils” is either a translation of the English folk song “Lord Randal”, or the French equivalent of it (by wikipedia)

Another superb album by one of the best folk groups from France  …


Hughes de Courson (vocals, flute, keyboards, elka, synthesiser, crumhorn, percussion, glockenspiel)
Laurent Vercambre (vocals, violin, cello, viola, guitar, mandolin, mandolin-cello, keyboards, vocals)
Gabriel Yacoub (vocals, guitar, mandolin-cello, banjo)
Marie Yacoub (vocals, hurdy-gurdy, epinette des Vosges)
Olivier Zdrzalik (vocals, bass, elka, percussion).


01. Nous sommes chanteurs de sornettes/gavotte (G.Yacoub/Traditional) 2.41
02, Couché tard, levé matin (G.Yacoub/Traditional) 3.53
03. Daniel, mon fils (G.Yacoub) 2.42
04. Le déserteur/Le congé (G.Yacoub/Zdrzalik/Traditional) 5.18
05. La blanche biche (Traditional) 6.30
06. Bacchu-ber (Traditional) 1.57
07. Le jardinier de couvent (Traditional) 9.02
08. Misère (Traditional) 2.26
09. La fiancée du timbalier (Hugo/Traditional) 5.52
10. Ma chanson est dite (Traditional) 0.28






John Renbourn – The Lady And The Unicorn (1970)

FrontCover1The Lady and the Unicorn is the 1970 solo album by British folk musician John Renbourn. On this release, Renbourn ventures into folk rock and medieval music territory. The first four tracks are arranged from the Add MS 29987 manuscript. The cover was taken from The Lady and the Unicorn tapestry. (by wikipedia)

Renbourn’s last solo album for the next six years overlaps with his Pentangle work, featuring Terry Cox playing hand drums and glockenspiel, with future John Renbourn band member Tony Roberts and violinist Dave Swarbrick. The repertory consists of medieval and early classical pieces, interspersed with the expected folk material — keyboard works from the Fitzwilliam virginal book (transcribed for guitar) stand alongside traditional tunes such as “Scarborough Fair,” which turns up as part of an 11-minute track that also incorporates “My Johnny Was a Shoemaker,” with Swarbrick at the top of his form on violin. The album is entirely instrumental, but as with other Renbourn releases, one hardly misses the vocals. (by Bruce Eder)

John Renbourn

Taken from the original liner-notes:

This record contains a variety of instrumental pieces including medieval music, folk tunes and early classical music. The oldest are probably the English dance tune ‘Trotto’ and the Italian ‘Saltarello’, to which I have added a drone accompaniment, tuning the guitar to DGDGCD. ‘Lamento di Tristan’ and ‘La Rotta’ are fourteenth century Italian pieces played originally on vielle. They too are without harmony but have the tune doubled either on sitar or glockenspiel.
The three part conductus ‘Veri Floris’, composed during the Notre Dame period, is a setting for the words ‘Under the figure of the true flower which the pure root produced, the loving devotion of our clergy has made a mystical flower constructing an allegorical meaning beyond ordinary useage from the nature of a flower”.
This is followed by the triple ballade ‘Sancuer-Armordolens-Dameparvous’ of Guillaume de Machaut.
‘Bransle Gay’ and ‘Bransle de Bourgogne’ are from the danceries of Claude Gervaise, composed in about 1550. The first is played on solo guitar but the second uses flute, fiddle and has a second guitar line added. The anonymous ‘Alman’ is taken from the Fitzwilliam Virginal Book and is followed by ‘Melancholy Galliard’ by the English lutanist John Dowland. The sequence concludes with the ‘Sarabande’ in B Minor by J. S. Bach.
The album ends with two short guitar pieces, ‘The Lady And The Unicorn’ and an arrangement of the sixteenth century song ‘Westron Wynde’, and arrangements for flute, viola and guitar of two folk songs: ‘My Johnny Was A Shoemaker’ and ‘Scarborough Fair’.
I have not presumed to reproduce early music as it would originally have been played, but hope nevertheless that the qualities of the music can be enjoyed, though interpreted on more recent instruments. (John Rebourn)

Such a beautiful album … a timeless classic recording !

John Renbourn2

Don Harper (violin)
Lea Nicholson (concertina)
John Renbourn (guitar)
Tony Roberts (flute)
Dave Swarbrick (violin)
Ray Warleigh (flute)

01.1. Trotto (Anonymous) 0.40
01.2. Saltarrello (Anonymous) 1.53
02.1.Lamento di Tristan (Anonymous) 1.58
02.2.La Rotta (Anonymous) 0.55
03.1.Veri Floris (Anonymous) 0.44
03.2. Triple Ballade (Sanscuer-Amordolens-Dameparvous) (de Machaut) 2.00
04.1.Bransle Gay (Gervaise) 1.13
04.2.Bransle de Bourgogne (Johnson) 1.34
05.1.Alman (Anonymous)1.25
05.2.Melancholy Galliard (Dowland) 2.47
06.Sarabande (Bach) 2.41
07.The Lady And The Unicorn (Renbourn) 3.21
08.1.My Johnny Was A Shoemaker (Traditional) 4.16
08.2.Westron Wynde (Traditional) 1.25
08.3.Scarborough Fair (Traditional) 7.22




Joan Baez & Friends – Beacon Theatre, New York (2016)

FrontCover1Joan Baez is still the mother of us all. At the Beacon Theater, where she celebrated her 75th birthday on Wednesday evening with an all-star concert of duets, she was a quietly magnetic woman in charge. Radiating her characteristic maternal strength and easygoing humor, she projected the welcoming empathy of someone you can turn to in times of trouble. She looked terrific: trim and fit, with short silver hair and a wonderfully goofy smile.

That strength is embedded in a voice that has shrunk in range and power but conveys an embracing reassurance and solidity. Her upper register is all but gone, but her middle range, where she remained comfortably settled for most of the evening, was as warmly expressive as ever.

It wasn’t actually the birthday of this great folk-pop singer, who was born on Jan. 9, 1941. But why quibble? The concert, in which she sang with guests including Paul Simon, Judy Collins, Mavis Staples and Jackson Browne, was taped for the PBS series “Great Performances” to be broadcast in June.

with David Crosby

For the live audience, the concert presented technical difficulties. Except for Ms. Baez, the singers were under-rehearsed and had trouble reading lyrics on a teleprompter at the back of the orchestra. The sound in this unusually quiet concert was passable at best. Too many of the duets were so glaringly out of tune that they will have to be redone or adjusted before the broadcast. A particularly embarrassing casualty was David Crosby, who was so confused he seemed barely present during his chaotic duet with Ms. Baez on the Beatles’ “Blackbird.”

The technical lapses suggested a depressing possibility: that as much as they’d like to continue, many folk singers (not Ms. Baez) can’t go on forever without losing vocal power, stamina or spirit. The younger guests — the Irish folk singer Damien Rice, the Chilean singer Nano Stern — gave the show a shot of adrenaline and passion it desperately needed.

with Damien Rice

The all-acoustic concert began with strong, steady performances by Ms. Baez, accompanying herself on guitar, of Steve Earle’s “God Is God” and the great Phil Ochs song “There but for Fortune.” The parade of guests began with David Bromberg and continued with Mr. Crosby, Mr. Rice, Mary Chapin Carpenter and Emmylou Harris, who recalled that while growing up she wanted to be Ms. Baez.

Mr. Browne, playing the piano, sang his prophetic ’70s anthem “Before the Deluge” with Ms. Baez, who glumly observed that “as we head into the abyss” this expression of apocalyptic foreboding is even more relevant today than when it was written. A weary sense of impending doom was a persistent undercurrent throughout a concert that tried and mostly failed to conjure a ’60s-style inspirational fervor. Ms. Staples, 76, came close in her duets with Ms. Baez of “Oh, Freedom” and “Turn Me Around.”

with Paul Simon

Ms. Baez’s duets with Richard Thompson on “House of the Rising Sun,” arranged as a waltz, and his original song “She Never Could Resist a Winding Road,” were stronger. Late in the evening, Mr. Simon sang a low-keyed rendition of “The Boxer” with Ms. Baez. The concert’s final number was her solo rendition of Bob Dylan’s “Forever Young,” a trite song that mocks baby-boomer narcissism.

The appearance of Mr. Stern lent the concert its only moment of genuine excitement. That 30-year-old Chilean singer and guitarist infused the theme song of the Argentine diva Mercedes Sosa, “Gracias a la Vida,” written by Violeta Parra, with an incandescent verve and spirit. It is the title song of Ms. Baez’s mostly Spanish 1974 album. As he and Ms. Baez sang it, their performance generated the kind of lightning you might have experienced at a joyful ’60s hootenanny when everything seemed possible and hope was in the air.

For a moment, the hush of depression lifted, the generational sense of defeat abated, and the concert came thrillingly alive.

wNanoSternwith Nano Stern

To celebrate her 75th birthday, Joan Baez held a concert at the Beacon Theatre in New York; the guests included Jackson Browne, Mary Chapin Carpenter, Judy Collins, Emmylou Harris, Indigo Girls, Damien Rice, Paul Simon, Mavis Staples, Nano Stern and Richard Thompson.

Joan Baez remains an icon of the Sixties folk revival, one of the movement’s foremost architects and a lifelong champion of vernacular musical tradition. So despite the grand setting and fancy roster of artists, Wednesday’s show was, true to spirit, a folk concert through and through, full of spontaneous sing-alongs and impromptu lyrical ad-libs, and with nary a single electric guitar to be found onstage. (by Rolling Stone)

Recorded live at the Beacon Theatre, New York, NY; January 27, 2016
Very good audio (ripped from HDTV – Arte HD – broadcast).


with Judy Collins

01. God Is God (Earle) 3.35
02. There But For Fortune (Ochs) 4.34
03. Blackbird (with David Crosby) (Lennon/McCartney)) 3.20
04. Catch the Wind (with Mary Chapin Carpenter) (Leitch) 4.01
05. Hard Times Come Again No More (with Emmylou Harris) (Foster) 5.30
06. Swing Low, Sweet Chariot (Traditional) 3.50
07. Oh, Freedom (with Mavis Staples) (Traditional) 2.46
08. Ain’t Gonna Let Nobody Turn Me Around (with Mavis Staples) (Traditional) 3.39
09. The Water Is Wide (with The Indigo Girls and Mary Chapin Carpenter) (Traditional) 4.54
10. She Moved Through The Fair (with Damien Rice) (Traditional) 5.41
11. She Never Could Resist A Winding Road (with Richard Thompson) (Thompson) 3.39
12. Before The Deluge (with Jackson Browne) (Browne) 6.38
13. Diamonds And Rust (with Judy Collins) (Baez) 5.44
14. Gracias a la vida (with Nano Stern) (Parra) 6.21
15. The Boxer (with Paul Simon and Richard Thompson) 7:26 (Simon) 7.26
16. Forever Young (Dylan) 4.31


with Jackson Brown + Emmylou Harris



Anne Briggs – The Time Has Come (1971)

FrontCover1The Time Has Come is a folk album released in 1971 by Anne Briggs. It is her second album, released by CBS, and, unlike her previous recordings, which featured a capella renditions of traditional songs, the album saw Briggs playing guitar on some of her own songs. The album also includes some instrumental songs on which Briggs plays Bouzouki, allowing for a more playful contrast to some of the heavier compositions, such as “The Time Has Come” and “Wishing Well” that “drip with pensive sadness”. (by wikipedia)

Anne Briggs’ second album appeared in 1971, but in sharp contrast to her debut, where she’d sung traditional music with scarcely any accompaniment, this was virtually all contemporary material, most of it self-penned, with Briggs playing guitar and bouzouki. Included was the title track, which had already been covered by former boyfriend Bert Jansch, and showed Briggs to be a writer of some power (although, to be fair, Jansch’s slower, more reflective version remains the better), and it’s also the standout among Briggs’ material, followed by “Wishing Well,” where Jansch gets the co-writing credit. “Ride Ride” is a pastiche railroad song (obviously British railways don’t have quite the same appeal), and the opening “Sandman’s Song” harks back to innocent childhood, albeit a rather strange one. The choice of covers is far from obvious, but very tasteful. Steve Ashley’s “Fire and Wine” could almost be a traditional piece, while the perkiness of Henry McCulloch’s “Step Right Up” works well with Briggs’ artless voice. Very much influenced by the folk revival which brought her into the public eye, her voice is untutored and unself-conscious, appealing in an offhand way. But it definitely quavers a little, even on her own work, and she seems most comfortable with the record’s only traditional piece, “Standing on the Shore.” To give credit, Briggs throws in a couple of bouzouki instrumentals, “Highlodge Hare” and “Clea Caught a Rabbit,” that show some command of the instrument. The whole here might be less than the sum of its parts — but the parts, in some intangible way, remain very appealing. (by Chris Nickson)


Anne Briggs (vocals, guitar, bouzouki)


01. Sandman’s Song (Briggs) 5.05
02. Highlodge Hare (Briggs) 2.15
03. Fire And Wine (Ashley) 3.30
04. Step Right Up (McCullough) 3.10
05. Ride, Ride (Briggs) 3.20
06. The Time Has Come (Briggs) 2.35
07. Clea Caught A Rabbit (Ellison) 1.50
08. Tangled Man (Briggs) 3.22
09. Wishing Well (Briggs/Jansch) 1.45
10. Standing On The Shore (Traditional) 4.33
11. Tidewave (Briggs) 3.23
12. Everytime (Briggs) 3.04
13. Fine Horseman (Knight) 3.02



Fairport Convention – Live At The Theatre Royal, London (1976)

FrontCover1 Fairport Convention’s Dave Swarbrick dies at 75

Virtuoso fiddler who found fame as a member of Fairport Convention has died after struggle with emphysema

Folk musician Dave Swarbrick has died at 75, his family have announced. Best known for his work with the hugely influential folk group Fairport Convention, Swarbrick was a virtuosic violin player and one of the most highly regarded musicians of the 1960s folk revival. He also wrote, arranged and sang, and performed on the viola, mandolin and mandola, and guitar.

Swarbrick – known as “Swarb” – began his musical career as a guitarist in a ceilidh band in the late 1950s, before joining the Birmingham-based Ian Campbell Folk Group as a fiddle player. He first worked with Fairport Convention in 1969 as a session musician, subsequently becoming a member of the group, and was the first fiddler on the UK folk scene to electrify the violin. His writing and playing was a key ingredient in the group’s Liege & Lief album, a record that rewrote the folk landscape with its electrified versions of traditional English folksongs.

During the 1970s, alongside his leading role in Fairport Convention, Swarbrick became a sought-after session musician, working with acts including Richard Thompson, Sandy Denny, Bert Jansch and Martin Carthy. Between 1976 and 2010 he released 12 solo albums, and in 2007 joined the 1969 Fairport Convention lineup (with Chris While standing in for the late Sandy Denny), to perform the Liege & Lief album in full.

Fairport Convention in 1970

Swarbrick suffered from emphysema, underwent three tracheotomies and was on occasion forced to perform with an oxygen canister on stage to help with his breathing. During one of his spells in hospital in 1999, the Daily Telegraph prematurely announced his death and published his obituary. At his next public appearance, he apparently took delight in signing copies of the obit for fans, saying: “It’s not the first time I’ve died in Coventry.”

In 2004 he received a double lung transplant, and in recent years continued to record and perform live; a 2006 collaboration with Martin Carthy produced the critically acclaimed album Straws in the Wind and won the duo a BBC folk award. “I’ve always loved working hard and playing live,” said Swarbrick in a 2004 interview in the Guardian. (by

Musician Dave Swarbrick, best known for his work with influential folk group Fairport Convention, has died on June 3, 2016. He was 75. Known as “Swarb”, the musician performed mainly on the violin; and wrote and arranged songs for their albums – including on the influential electric folk album Liege & Lief – and performing with them up until they disbanded in 1979. The band posted a tribute on their website which said Swarbrick “had been seriously ill for some time”. He had struggled with health problems after being diagnosed with emphysema in the 1990s. Blur guitarist Graham Coxon was one of a number of musicians to pay tribute to Swarbrick, tweeting early footage of him playing mandolin with Martin Carthy with the message: “Very sad… Bye, Dave and thanks!” (by BBC)


Dave Swarbrick in 1977

Fairport Convention drummer Bruce Rowland died of cancer on June 29, 2015. He was 74. While the group had many members over the years, one of the most prominent was Sandy Denny, who passed away in 1978 at the age of 31.

Thanks to jswetch for sharing the show at The Traders’ Den.

jswetch noted:

Great sounding set from the FC line-up that recorded The Bonny Bunch of Roses and Tippler’s Tales. This features tunes from Bonny Bunch. Some disputes over actual date of this performance according to info on etree site.


Fairport Convention 1976
(from left to right, Dave Pegg, Bruce Rowland, Dave Swarbrick and Simon Nicol)

Simon Nicol (guitar, vocals)
Dave Pegg (bass, vocals)
Bruce Rowland (drums)
Dave Swarbrick (fiddle, vocals)

DaveSwarbrick1972Dave Swarbrick in 1972

01. Royal Selection No. 13 (Traditional) 4.40
02. Adieu, Adieu (Traditional) 2.39
03. The Hexamshire Lass (Swarbrick) 2.44
04. The Flowers Of The Forest (Traditional) 5.31
05. Hen’s MarchFour Poster Bed (Tradional) 4.17
06. When I Get To The Border (Thompson) 3.59
07. Jam’s O’Donnell Jig (Pegg) 3.14
08. The Eynsham Poacher (Traditional) 3.13
09. Sir B McKenzie (Swarbrick/Thompson/Nicol/Mattacks)  6.01
10. General Taylor (Traditional) 4.03
11. Dirty Linen (Traditional) 4.14




David Cyril Eric Swarbrick (5 April 1941 – 3 June 2016)