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uk folk clubs high standard

Howard Jones 10 May 19 - 06:46 AM
GUEST 10 May 19 - 09:19 AM
Jim Carroll 10 May 19 - 09:21 AM
Jack Campin 10 May 19 - 09:38 AM
Steve Gardham 10 May 19 - 02:54 PM
Steve Gardham 10 May 19 - 03:13 PM
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Subject: RE: uk folk clubs high standard
From: Howard Jones
Date: 10 May 19 - 06:46 AM

I am sure that the best traditional singers and musicians practised their art, and thought carefully about their songs and how best to deliver them. I thought the notion of the unspoiled, unselfconscious yokel had been dismissed long ago. It's reported that Walter Pardon stopped singing when he judged his voice was no longer good enough. Fred Jordan was constantly adding songs to his repertoire, and was not averse to learning them from revival singers, and rather cultivated his "man of the soil" image. Some were semi-professional, providing music at local events around their area for cash or other payment, rather like many folk musicians today.


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Subject: RE: uk folk clubs high standard
From: GUEST
Date: 10 May 19 - 09:19 AM

Jim Carroll- Ewan MacColl & Peggy Seeger, the Critics Group, Ewan MacColl & Peggy Seeger & back to the Critics Group (what a pretentious name anyway) then back to Ewan MacColl & Peggy Seeger & round again

Sandman- me me me me me me
                   what a bore


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Subject: RE: uk folk clubs high standard
From: Jim Carroll
Date: 10 May 19 - 09:21 AM

"How a folk Song Should be sung" tas a deliberately distorted picture of how the Critics Group worked - it was a travesty
MacColl refused to 'teach' anybody anything, he set up a 'self help' group so people could become their own Critics - and 'criticism' that went on in the meetings were oint contributions my all present - MacColl acted as a chairman
If I thought anybody was interested I'd be happy to pass on recordings of the meetings to show how they group worked, but I'm sure that would take an open-mindedness that has yet to show its head in discussions about macColl
Far easier to snide and kick
Jim Carroll


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Subject: RE: uk folk clubs high standard
From: Jack Campin
Date: 10 May 19 - 09:38 AM

There aren't many people like Walter Pardon around now and the few there are haven't fallen into the professionalism-envy trap. Whereas every folk club now has its Five Song Frankies who have learned a few relatively complex songs well enough that they can turn out a performance that's an exact clone of how John Prine or Christy Moore did it, and will repeat the achievement any chance they get. If you're hearing them for the first time this can sound really good. By the tenth time you wish they'd make Sonny go away and join ISIS or something.


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Subject: RE: uk folk clubs high standard
From: Steve Gardham
Date: 10 May 19 - 02:54 PM

Ah but, Jack, those 5-song Frankies might eventually look at what 100-song Harry is doing and become 8-song Eddies and 9-song Normans...…
It doesn't happen overnight but the possibilities are there.


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Subject: RE: uk folk clubs high standard
From: Steve Gardham
Date: 10 May 19 - 03:13 PM

The bed-rock of the UK folkscene consists of like-minded individuals who are indulging in a remarkable national (international?) love and respect for their hobby. Similar events going on all around the country, all with a common people groundswell with little input and interference from the rich and powerful. The music is pretty much the same in any of these areas, so much that someone from Thurso can walk into an event in Penzance and feel immediately at home.

The few arseholes aside it nurtures social interaction, respect for the music, and is more often than not about inclusion. That is what is important about it. The fact that long ballads often sit alongside the latest compositions seamlessly says a lot for it. All interests have their nutjob purists (I should know, I once was one) and even these are largely tolerated.

I remember back in the 60s we made a great effort to take the music out of the folk club to the people and we were largely successful with that. Today we are doing the same, at least we are in my neck of the woods. Many sessions and singarounds, all the ones I know and attend, are held in a public bar where Joe Public can sit and listen or perhaps eventually join in; not in a private room with an entry fee. Nothing wrong with that at all but Joe Public rarely gets to see that.


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