Posts Tagged ‘Pentangle’

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Pentangle are to have three of their first four albums, along with a 1970s compilation, reissued on deluxe heavyweight vinyl.

As a result of new deal with US specialist label Renaissance Records, the band’s 1968 debut album “The Pentangle”, 1969’s ‘breakthrough’ third album “Basket Of Light” and 1970’s fourth album “Cruel Sister”, are all to be reissued, along with the 1973 compilation album “Pentangling“.

The third full length studio album, “Basket Of Light” was released in 1969 and was their most commercially successful. The song Light Flight became a popular hit single after it was placed as the theme song for the television series “Take Three Girls“. The album reached No. 5 on the UK album charts. the peak of The Pentangle’s long career.

The Pentangle” was the 1968 debut album of the band featuring John Renbourn, Bert Jansch, Jacqui McShee, Danny Thompson and Terry Cox. It brought together their separate influences of folk, jazz, blues, early music and contemporary song writing. Renbourn and Jansch were already popular musicians on the British Folk scene, with several solo albums each and a duet release “Bert And John”. Their use of complex inter-dependent guitar parts, referred to as Folk Baroque, had become a distinctive characteristic of their music. The two also shared a house in St John’s Wood London.

Jacqui McShee had begun as an (unpaid) “floor singer” in several of the London Folk Clubs, and then, by 1965, ran a folk club at the Red Lion in Surrey, establishing a friendship with Jansch and Renbourn when they played there. Thompson and Cox were well known as jazz musicians and had played together in Alexis Korner’s band Although nominally a ‘folk’ group, the members shared catholic tastes and influences. McShee had a grounding in traditional music, Cox and Thompson a love of jazz, Renbourn a growing interest in early music, and Jansch a taste for the blues and contemporaries such as Bob Dylan.

The Pentangle by British folk-jazz band The Pentangle available on 180 gram vinyl

Pentangle started out in 1967 with the original line-up of Jacqui McShee (vocals), John Renbourn (vocals and guitar), Bert Jansch (vocals and guitar), Danny Thompson (double bass), and Terry Cox (drums). The band’s unique sound was an eclectic mix of folk, jazz, blues, and rock influences. “They did bring together these elements, rather like a rock supergroup, like Cream, except they came from folk and jazz backgrounds rather than blues and rock”

Pentangle signed up with Transatlantic Records and their eponymous debut album was released in May 1968. This all-acoustic album was produced by Shel Talmy, who has claimed to have employed an innovative approach to recording acoustic guitars to deliver a very bright “bell-like” sound.

June of that year they performed at Royal Festival Hall in London. Recordings from that concert formed part of their second album, “Sweet Child” (released in November 1968), a double LP comprising live and studio recordings.

“They didn’t have a long time together, but particularly with their first album, They weren’t big on the loud and more rhythmic sense of it, but they did bring together these elements, rather like a rock supergroup, like Cream, except they came from folk and jazz backgrounds rather than blues and rock.

“I think they were important and they were much respected, particularly in America.”

Renaissance Records will start with the release of their debut album, “The Pentangle”, “Basket Of Light” and “Cruel Sister” onto deluxe 180g gram vinyl in late August of 2021. The remaining greatest hits album, “Pentangling” will be released in September of 2021. These albums will include extra incentives such as trading cards of the original band members, lyric sheets, lost photos, and more when you purchase them exclusively with Renaissance Records.

Basket Of Light by British folk-jazz band The Pentangle available on 180 gram vinyl

“Basket of Light” is a 1969 album by the folk rock group Pentangle. It reached no. 5 on the UK Albums chart. A single from the album, “Light Flight”, the theme from BBC1’s first colour drama series Take Three Girls, reached no. 43 on the UK Singles chart. Another single from the album, “Once I Had a Sweetheart”, reached no. 46 in the charts. 180 gram deluxe package features gatefold, trading cards, photos, lyric sheets and more. “Basket of Light”, which followed in mid-1969, was their greatest commercial success. By 1970, they were at the peak of their popularity, recording a soundtrack for the film “Tam Lin” making at least 12 television appearances, and undertaking tours of the UK (including the Isle of Wight Festival) and America (including a concert at the Carnegie Hall).

“They had the tag of being folk jazz at the time but in fact their influences were very broad. In a way they were the first super group of unlikely musicians that came from backgrounds not conventionally allied.

Cruel Sister by British folk-jazz band The Pentangle available on 180 gram vinyl

Cruel Sister” was an album recorded in 1970 by folk-rock band The Pentangle. It was the most folk-based of the albums recorded by the band, with all the tracks being versions of traditional songs. Whereas their previous album had been produced by Shel Talmy and featured quite a heavily produced, commercial sound, “Cruel Sister” was produced by Bill Leader, noted for his recordings of folk musicians. 180 gram deluxe gatefold vinyl.

Package features trading cards, lost photos and lyric sheets. Each of the five LPs released during Pentangle’s first and best period is a different shade of brilliant, deceptively showcasing the talents of its instrumentalists (guitarists Bert Jansch and John Renbourn, bassist Danny Thompson and drummer Terry Cox), who gave the perfect framework for vocalist Jacqui McShee to gently break hearts and warm souls. As all good boxed sets do, this new Cherry Red Records collection graciously expands the original albums within. Tacked on to the end of each disc is a smattering of studio outtakes, alternate versions and live material, much of it unreleased until now. The CD of Pentangle’s 1971 LP “Reflection” also includes a few tracks from Renbourn’s solo album “Faro Annie”, which featured Cox and Thompson. All of it provides an essential glimpse for anyone interested in the history of the U.K. folk scene.

Expanded 40th anniversary edition, featuring newly discovered live tracks and notes from Pentangle bandmate (and Avocet collaborator) Danny Thompson. Bert Jansch was often quoted as saying “I’m not playing for anyone, just myself” and this feels no more apparent than on 1979’s ‘Avocet’, his beautifully meditative paean to British birds. This isn’t to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7” single with Shirley Collins – with proceeds in aid of the RSPB.)
For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in ‘Lapwing’ (a dirge-like waltz that wouldn’t be out of place on a Nils Frahm album) and ‘Bittern’ (which speaks of Arthur Russell’s more experimental pieces).
Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins (Dando Shaft, amongst others) with sleeve notes by Jansch aficionado Colin Harper (author of ‘Dazzling Stranger: Bert Jansch and the British Folk and Blues revival’). This new edition also comprises three never-before heard tracks, recorded live in Italy in 1977 with Martin Jenkins (‘Bittern’; ‘Kingfisher’; ‘Avocet’), as well as Danny Thompson’s recollections of the making of ‘Avocet’, recorded by Dave Thompson (Mojo Magazine) in typical style. Remastered by Brian Pyle from original tapes.
released November 15th, 2019

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Woburnwas one of the first rock festivals including the inexpressibly wonderful Jimi Hendrix.. At the time the British blues bands such as John Mayall and Fleetwood Mac were riding high. Organised by the UK music magazine the Woburn bash advertised in the Melody Maker with Mayall, Fleetwood Mac , Hendrix , over two days.The Woburn Music Festival was one of Britain’s first large scale, open-air rock music events. Staged by brothers Richard “Rik” and John Gunnell, who were well respected individuals in the burgeoning London music scene where they were heavily involved in many aspects including band managed, show promoters and club owners. Rik in particular, who owned three fashionable 1960’s London nightspots—the Ram Jam Club, Flamingo, and Bag O’ Nails presented authentic, first generation American icons like John Lee Hooker and Otis Redding and some of the brightest examples of a swelling wave of emerging British talent such as The Rolling Stones, Jack Bruce and Georgie Fame.

People standing in their gardens two miles away from Woburn Abbey could hear strains of pop music floating on the air… As dusk fell along with the temperature, the Festival attendance reached a peak of over 14,000. Emperor Rosko compered the evening session and swung things along with records and tapes in between sets from Little Women, New Formula, Geno Washington, Tyrannosaurus Rex, the Family, and Jimi Hendrix Experience blasting his way into the midnight hour. Already fires were being built and lit all over the field. With [the] end of Jimi’s set everybody headed for homes, temporary or permanent. On the Sunday morning many of the fans had spread out into the sur*rounding district in search of food and drink. At the Swan Hold. Woburn Sands, landlord Chris Collier dished out pints like there was no tomorrow and the regular customers stood looking amused and bemused by the inrush of long-haired customers….

The line-up for the Saturday afternoon session was as follows. Alexis Korner, Shirley and Dolly Collins, Al Stewart, Roy Harper and Pentangle. It was a very pleasant sunny day, the area was not particularly full. Roy Harper – who in those days was relatively smooth looking , minus most of his hair and facial adornments, He ambled through most of the tunes from his album. Folkjokeopus – Sgt Sunshine, She’s the One ,Exercising Some Control , all great songs. Unfortunately he then decided to finish the set with the very lengthy McGoohans Blues, which although a good song, is 18 minutes long and was just not up-tempo enough for a festival setting. 

Pentangle were the last band of the afternoon session the crowd were knocked out by their on-stage act. They really were not the ideal sort of band for a large festival. For a start, folk bands were often not really amplified loudly enough in those days. All it needed was a reasonable breeze and the wind blew the sound away  and Pentangle’s rather soft sound suffered badly at an outdoor venue. The individual members, each in their own ways masters of their craft Bert Jansch and John Renbourn were just too quiet to capture the attention in this least intimate of settings.I’d love to hear their set again just to pick up on Danny Thompson bass. I wasn’t aware of how good this guy can be until I heard him on John Martyn’s Solid Air a few years later, pure  genius .

New Formula were a bleeding awful sweet soul group and NOBODY liked them. You have to feel sorry for this band , they were given an awful reception . Slow hand clap, whistles, shouts of piss off  I have a vivid memory of some tousle haired Marc Bolan clones down the front throwing toilet rolls at the lead singer, and after a while the band retired hurt. So much for the generation of love. 

The next band on were Family and they were phenomenal they were something out of this world.  Frontman Roger Chapman was so frigging MANIC on-stage, grabbing the mic stand so tightly that he might have been strangling it, cords on the neck strained so tight that it was a wonder he didn’t burst a blood vessel, the sounds issuing forth floored the crowd Chappo was unique.

And the rest of the band! Jim King blowing his brains out on sax, John Whitney on searing lead and steel guitar, Ric Grech on bass and occasional violin and the excellent Rob Townsend on drums , simultaneously elegant and threatening. This was the best line up of Family, and they had a great range of songs, most from their first highly under rated albumMusic from a Dolls House, songs like – Hey Mr Policeman, Me My Friend,  Old Songs New Songs – they were BRILLIANT and many in the audience thought so too.

Tyrannosaurus Rex were fun, if slight. Bolan strummed and churned out his fey little songs with predictable charm and Steve Took provided nice little edges with his bongos. Tyrannosaurus Rex were the staple of many festivals at the time , archetypal hippies, they enjoyed a certain sort of vogue . Bolan and Took went down very well with the audience, so I am probably  in the minority here – but after the concentrated madness of Family it seemed anticlimactic. 

The bill was a pretty eclectic one, veering wildly into the realms of pseudo soul , far out psychedelic rock, psychedelic folksy rock and back to genuine, get down and dance-to-the -music SOUL – in the form of Geno Washington and the Ram Jam Band.

  • Geno Washington – vocals
  • Pete Gage – guitar
  • Lionel Kingham – saxophone
  • Buddy Beadle – saxophone
  • Jeff Wright – organ
  • John Roberts- bass guitar
  • Herb Prestidge – drums

These guys laid it down in the alley and, in contrast to the ill fated Little Women, the crowd loved every note of their act  . This was the real thing , but above all , it was dance music and it meant that the crowd could get loose and enjoy themselves.  The use of a good gutsy horn section to punctuate vocal chorus’s  also really pushed the music out there and the fact that Geno was a damn good front man also helped more than somewhat. The band were all gussied up in over the top stage clothes – this was an ACT in every sense of the word and it set the stage more than nicely for the top of the bill,Mr James Marshall Hendrix. Now almost everything that can be said about Jimi’s performance has been said on the excellent Univibes pages on the Woburn festival, Whether the inclusion of Geno Washington on the bill was a deliberate act by the promoters to give the crowd an idea of the sort of bands that Jimi used to play with , I don’t know, but whether it was or not, it certainly put  the audience into a great mood and they were more than enthusiastic about the Hendrix set , which was the only Hendrix concert in the UK in 1968. 

Although the Univibes site rates the show as average ,they are not able to see what went down on-stage , which was pretty outrageous, with Jimi playing the guitar with his teeth , grinding his axe between his legs and generally doing all the things that got the girls horny for him . Given all of that it was a fantastic visual experience and the music certainly seemed great too ,there was rapturous applause as he left the stage and as the crowd streamed off into the night. 

At Woburn, Jimi skipped songs from Axis: Bold As Love altogether, electing instead to ‘jam’ as he called it—kicking off his set with a spirited “Sgt. Pepper’s Lonely Hearts Club Band.” The trio followed with “Fire,” and despite beset with buzzing, crackles and otherwise unwanted noises throughout their set, The Experience continued to persevere doing their best to surmount the technical problems that hampered an otherwise animated set.

Although opting to bypass music from Axis: Bold As Love, Hendrix did foreshadow his next album at Woburn, stretching out a marvelous 10+ minute version of “Tax Free;” an early contender for Electric Ladyland and a favorite Experience vehicle for improvisation. Hendrix followed up with another extended improvisational rendition of “Red House” before closing the show with a trio of live concert stalwarts “Foxy Lady,” “Voodoo Child (Slight Return)” and “Purple Haze.”

In launching into “Purple Haze,” Jimi kicked off a boisterous feedback opening, buttressed by Mitchell and Redding and complete with tremolo bar swoops, wah-wah pedal shadings and soaring dive bomb styled bursts that transitioned seamlessly into the song’s unmistakable opening notes. At its conclusion, the audience roared with approval. While no microphones were positioned to fully capture the intensity of their reaction, their enthusiasm and calls for more can be easily heard through Jimi and Noel’s stage microphones.

The Experience’s performance at Woburn Music Festival would mark the trio’s last performance in England until the two celebrated concerts in February 1969 at the Royal Albert Hall.

Jimi Hendrix July 6th & 7th 1968, Woburn Music Festival, Woburn Abbey, Bedfordshire.

Apparently Fleetwood Mac did not turn up, due to other commitments, and the whole Sunday show was wet and badly attended,Apparently there is a sound board recording of the HendrixFamily and Geno Washingtonsets from the Saturday which may be released as a CD sometime.It is even rumoured that theHendrix show was filmed using three cameras. Who knows ,perhaps both of these precious artefacts will be released one day. 

The soundboard recordings have been SOLD ! A rare 1⁄4 inch reel-to-reel master soundboard tape recording of the Jimi Hendrix Experience and others performing at the Woburn Music Festival, Woburn Abbey, Bedfordshire, England, 6-7 July, 1968, was offered for sale at Christies. The price realise was £48,050, which probably means that either the music will disappear into a collection or be eventually offered for sale commercially . However since apparently the Hendrix estate were not previously keen to release the Hendrix set (and this may be why the owners have decided to sell the recordings) there would have to be a policy change before this happened.

Recordings and Setlists Woburn Music Festival, 6th July, 1968

Family (29:13 minutes)

  • Me My Friend
  • Old Songs New Songs > How Many More Years (You Gonna Wreck My Life)
  • Good Morning Little Schoolgirl
  • Hey Mr. Policeman
  • Observations (incomplete)

Geno Washington (18:05 minutes)

  • Mony Mony
  • Funk Broadway
  • Rock Me, Baby
  • I Get So Excited
  • Holding On Baby (With Both Hands)
  • Baby Come Back
  • Jumping Jack Flash


The Jimi Hendrix Experience (48:22 minutes)

  • Sgt. Pepper’s Lonely Hearts Club Band (0:42)
  • Fire (3:18)
  • Tax Free (10:10)
  • Red House (10:17)
  • .Foxy Lady (4:12)
  • Voodoo Child (6:05)
  • .Purple Haze (8:00)

 Woburn Music Festival, 7th July, 1968 

Taste (23:21 minutes)

  • Summertime
  • Blister On The Moon
  • I Got My Brand On You
  • Rock Me,>Baby Bye Bye Bird >Baby Please Don’t Go >You Shook Me Baby

This is the earliest professional live recording of this Taste line-up known to exist. After finishing the first song of his set, Rory Gallagher says Thank You 16 times!


Tim Rose (8:57 minutes)

  • I Got A Loneliness
  • Long Time Man (incomplete)

The Jimi Hendrix Experience show at Woburn was professionally recorded on a 7.5 ips, 2-track, mono, reel-to-reel tape. It is not known who actually recorded this tape but the master tape was stored in a small studio in London, where it sat on the shelves among a wall of tapes. In the early 1970s, the studio went bust and an employee rescued some of the tapes before they were destroyed. Additionally, a film crew was present to record the event. Nothing is known of the whereabouts of this footage, but if such footage were to surface it would be an incredible find and a wonderful companion to the recording.

So. the festival come [sic] to an end. unfortunately rather a damp one. How ever a bright note was struck by a message from the Abbey saying that the Duke thought the Festival had been very well organised and he would be happy to see it happen again. A sigh of relief was given all round…. [ attendance of] nearly 8,000 people [on the Sunday for Donovan’s set and more rolled in for the final blues session played in pouring rain.”

Bert Jansch

A Man I’d Rather Be (Part I) is the latest Bert Jansch boxset release from Earth Recordings (26th January). Having purchased two myself (On the Edge of a Dream and Living in the Shadows) I can testify that they’re really something special, even if you own an old vinyl copy somewhere. For the latest they focus on Bert’s seminal 1960s output (alongside his only album as a duet with Pentangle bandmate John Renbourn) this four-disc set covers an era that forged creative paths for everyone from Neil Young to Johnny Marr. New listening notes from Bill Leader, as well as unseen photographs from Brian Shuel complete this special collection. It’s available in CD and LP format and covers the albums Bert Jansch, It Don’t Bother Me, Jack Orion and Bert and John.

“I particularly like his second record. The album before it [1965’s Bert Jansch] is more revered and held up by most journalists as being the seminal one, but I think the songs are better on It Don’t Bother Me, particularly the title track. The fact that they were both recorded in a kitchen at his mate’s house is another reason why it has never dated.” – Johnny Marr

Where to start with a career as prolific as that of Bert Jansch? Why, the beginning of course. Bert’s first studio (though as Bill Leader rightly points out, that’s a bit of a stretch) albums capture a man whose star is truly on the rise. It also marks his most prolific period – these four LPs were written, recorded and issued in just two years; a testament to not only Bert’s abundant musicality but to a time for music that was changing – excitedly – from minute to minute. From Bert’s masterclass in elegant, melodic, one-man-and-his-guitar fingerpicking on his self-titled LP, to the beginnings of something altogether more exotic on ‘Bert and John’, these records are nothing if not a remarkable insight into the changing face of folk music at the time.

For those unfamiliar with Jansch’s oeuvre, this is a real treat; you won’t find a more comprehensively produced collection. ‘A Man I’d Rather Be’ includes all the original liner notes (from both Keith De Groot and Bert himself) as well as new ruminations from Bill Leader (who recorded much of Jansch’s nascent work) as well as never-before seen photographs by the illustrious Brian Shuel. For those in the know, this is a chance to revisit these extraordinary albums, revel in new insights and add some – perhaps more listenable LPs – to sit alongside their love-worn originals.

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“Simply, I think Bert was a truly unique musician. Somehow he could elegantly bridge differing musical and singing traditions to sing and play in a way that sounded only like Bert Jansch.” –Anne Briggs

PENTANGLE-Box

For the first time ever, these Pentangle  albums are available as a deluxe 7CD box set to coincide with the 50th anniversary of the band’s formation. Each record has been remastered from the best available sources, referencing original tapes and vinyl where relevant. Each album has been expanded with a wealth of bonus material, including choice selections from contemporaneous solo LPs by Bert Jansch and John Renbourn, out-takes and live tracks. Across the package, there are an impressive 22 recordings which are previously unreleased.

Released September 29th, 2017.

PENTANGLE Inner 1     PENTANGLE-Inner-3 PENTANGLE-Inner-4 PENTANGLE-Inner-5PENTANGLE-Inner-6PENTANGLE-Inner-7

When they formed in 1968, Pentangle were hailed as Folk’s first supergroup, fusing elements of jazz and underground music and comprising the twin guitar/songwriting talents of Bert Jansch and John Renbourn with bassist Danny Thompson, drummer Terry Cox and singer Jacqui McShee.

Between 1968 and 1972, Pentangle issued six albums – five on legendary Folk label Transatlantic and a swansong release on Reprise. Their debut, The Pentangle (1968), was hailed as a Folk Rock classic and charted in the UK at No. 21. Sequel Sweet Child (also 1968) was an ambitious double album coupling live and studio discs. Third LP Basket Of Light (1969) was their most commercially successful, peaking at No. 5, fuelled by the success of lead track ‘Light Flight’ (the theme to TV series Take Three Girls). Cruel Sister (1970) allowed Pentangle to reinterpret traditional folk songs. Reflection (1971), their last Transatlantic LP, was also among their most adventurous. Solomon’s Seal (1972) proved to be their last album with the original line-up.

Each album is presented in a miniature card sleeve replica of the original vinyl artwork. These are housed in an attractive box set alongside an 88-page book awash with rare images and over 20,000 words of sleeve-notes, which include: a Q&A culled from past interviews by author Mick Houghton with Bert, John and Jacqui; essays about each album by a variety of music journalists (Stuart Penney, Trevor Leeden, Nigel Cross, Colin Irwin, Lois Wilson and Jim Wirth); a lengthy chronology; and track-by-track details.

Pentangle’s first three albums and three singles were produced by the legendary Shel Talmy (The Who, The Kinks, etc.) while Peter Blake designed the sleeve for Sweet Child (one of only three such commissions in the 60s). The band also enjoyed popularity in America and toured there. Alongside Fairport Convention and the Incredible String Band, Pentangle define Folk’s flowering in the late 60s, melding jazz, rock, traditional folk and other styles.