Traditional and contemporary folk from the British Isles

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RIG-A-JIG-JIG: DANCE MUSIC OF THE SOUTH OF ENGLAND TSCD659

Volume 9 of The Voice of The People.
Dance music of the South of England.
An anthology edited by REG HALL.

1 SCAN TESTER & RABBITY BAXTER concertina & tambourine: Jenny Lind
2 JINKY WELLS fiddle & voice The Flowers Of Edinburgh / Bobbing Around
3 PERCY BROWN melodeon: The Yarmouth Breakdown
4 OSCAR WOODS melodeon: The Italian Waltz
5 THE BOSCASTLE & TINTAGEL PLAYERS concertinas, cello & stepping: The Boscastle Breakdown
6 JACK HYDE mouth-organ: Shepherd’s Hey
7 SCAN TESTER concertina: In And Out The Windows / The Monkey Hornpipe
8 THE DORSET TRIO fiddle, concertina & cello: Hands Across / The Four-Handed Reel
9 BOB CANN melodeon: Woodland Flowers / Uncle Jim’s Barndance
10 STEPHEN BALDWIN fiddle: Greensleeves. Napoleon’s March
11 JIMMY DIXON & RON WHATMORE mouth-organs: Over The Waves / The Cuckoo Waltz
12 WALTER BULWER mandolin-banjo: Old Mrs Cuddledee WALTER BULWER fiddle: The Egg Hornpipe / The Shipdham Hornpipe / The Sailor’s Hornpipe
13 SCAN TESTER & RABBITY BAXTER concertina & tambourine: Untitled Polka
14 ARNOLD WOODLEY fiddle: Johnny’s So Long At The Fair
15 BILL KIMBER concertina: Over The Hills To Glory
16 FONT WHATLING melodeon: Untitled Polka / Golden Slippers / Mick’s Tune.
17 BILLY COOPER dulcimer: The Irish Washerwoman / Garyowen / Rory O’More / St Patrick’s Day
18 THE DORSET TRIO fiddle, melodeon & cello: The Italian Schottische
19 STEPHEN BALDWIN fiddle: The Gypsy Hornpipe. Untitled Schottische
20 SCAN TESTER & DAISY SHERLOCK concertina & piano: Untitled Schottische
21 PERCY BROWN melodeon: The Veleta / The Heel And Toe Polka
22 FRED WHITING fiddle: The Earl Soham Slog. Harkie Nestling’s
23 RUTH ASKEW & GEORGE PRIVETT melodeon & spoons: The Manchester Hornpipe / Click Go The Shears
24 THE DORSET TRIO fiddle, concertina & cello: Sheep-Shearing. Untitled Polka
25 OSCAR WOODS melodeon: Untitled Polka. Untitled Polka
26 BERTIE CLARK fiddle: The Maid Of The Mill. Bacca Pipes / Jockey To The Fair.
27 JIMMY DIXON & RON WHATMORE mouth-organs: Nobody’s Darling But Mine / Untitled. Quick- Step Medley
28 THE SAILORS’ HOBBY HORSE melodeon & two drums: Live Performance

Available now from:
TOPIC SHOP, AMAZON, ITUNES and on SPOTIFY

OAK Welcome To Our Fair TSDL212

The four piece ensemble Oak were the leading lights of a movement to rediscover English country music in the early 1970s. The group comprised Rod and Danny Stradling, Peta Webb and Tony Engle. Their songs, music and style were derived from traditional country performers. Their sole album – ‘Welcome To Our Fair’ – has been an tremendously influential recording for a whole generation of British folk musicians.

1  Thousands or More
2  New Rigged Ship / Rig-a-jig-jig
3  The Lakes of Cool Flynn
4  The Nutley Waltz / The Faithful Sailor Boy
5  Roving Round the County Tyrone
6  The Scarlet and the Blue
7  Shepherds Arise
8  Scan’s Polka
9  Australia
10  Cupid’s Garden
11  False, False
12  Our Good Ship Lies in Harbour
13  The Bunch of Thyme / The Perfect Cure / The Sweets of May

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The Voice Of The People

THE VOICE OF THE PEOPLE
THE TRADITIONAL MUSIC OF ENGLAND, IRELAND, SCOTLAND & WALES

The first TWENTY volumes : TSCD651-670

harry cox web margaret barry web scan tester web


“My favourite sit-down-and-listen records”
Norma Waterson

This series makes available nearly 500 recordings of English, Irish, Scottish and Welsh traditional music drawn from the archives of Topic Records and from private collections.

Compiled as thematic anthologies, each volume stands on its own, but the series as a whole presents an extensive and varied picture of traditional singing, instrumental music-making and dancing throughout the course of the 20th century. Many of the singers and musicians and their recorded performances presented here are classic, but the inclusion of some less well-known performers and genres broadens the horizon by offering glimpses at some little-known nooks and crannies of traditional music-making. This is the home-spun art and entertainment that enriched the lives of working people in pubs and cottages, in social clubs and village halls and on the street, and was made, in the words of one of the musicians in the series, “by people with dirt under their finger nails.”

Society has moved on, but the artistry of these singers and musicians and the emotional impact of their performances are timeless. The timbres and textures of the language and musical expression, the performance skills and techniques, the social values contained in both the material and the performers’ life stories, and the subtleties of meaning in the song texts could easily be lost sight of forever. The cultural voices of these farm workers and men on the buildings, the housewives, the shepherds and cowmen, the gardeners and estate workers, the miners and trawlermen, the dealers in scrap, the country policeman and the village postman, the chambermaid and the hospital nurse are therefore worthy of serious and prolonged attention. Their singing and music-making have made a striking and significant contribution to the cultural roots of these islands.

Best known as a dance musician, Reg Hall is a visiting research fellow at the University of Sussex and, in compiling and annotating this series, he has called on the experience of a long, personal involvement with traditional music-making and an academic historian’s view of its history and social context. His commentary pays tribute to the pioneer pen-and-paper folk-song-collectors of the Edwardian era and to those professionals in the early post-war years equipped with tape recorders. The 1960s and 1970s saw the rise of a small number of enthusiasts, both professional and amateur, who recorded traditional music and broke new ground in discovery and evaluation, and this series owes a great deal to their creative efforts and co-operation.

Ever a critic of the concepts of ‘folk-song’ and ‘folk-dance’, Reg Hall challenges the ground rules of both movements and directs the emphasis in this presentation towards the lives of the performers and the communities and circumstances in which they performed. The songs and dance music had meaning and purpose for the singers and musicians, and the exploration of those realities, as far as we are able to understand them, is far more exciting than perpetuating the myths.

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