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ONE LP PORTRAITS: MUSICIANS: C - F: THE DYLAN PROJECT

  • “Well, it's Nick Drake and it's a record called 'Bryter Layter'  which is spelt Layter.  and Nick was - when I joined Fairport in 1969, Fairport Convention, Dave Mattacks the drummer and myself we started doing a lot of sessions for other people in the kind of folky kind of cannon,  if you like.  Because our manager Joe Boyd was also a record producer and so he would ask us to play on records by people like John Martyn, Sandy Denny obviously and, you know, other people like Ralph McTell and we played on so many different albums but Nick - this became a very special recording.  It's my favorite album that I've ever played on I think.  Not just because Nick sadly isn't with us anymore, you know he died a couple of years after that album was made.  But it's a lovely album and I have great memories of being in the studio at Sound Techniques with John Wood, who was a wonderful recording engineer, and playing.  The album was made by Nick - he was playing and singing more or less live in the studio and it was just like myself and Dave Mattacks or sometimes it was Mike Kowalski who was an American drummer who played with the Beach Boys - I think he still does.  And then there were some overdubs by Richard Thompson. It's an album that's got a real kind of quality of it's own in terms of sound and in terms of atmosphere, which is why it's still a really relevant album.  It's sold consistently over the years and it's not just people of my generation who love it - it's young people as well.  I meet a lot of young kids who go 'oh it's an honour to meet you because you played on Bryter Layter'  It's one of my favorite albums - it has a quality about it.A great longevity which I hope it will go on and on.  It's an iconic album you know.”Dave 'Peggy' Pegg: The Citadel, St Helens 26th November 2015Nick Drake: Bryter Later released 1971Peggy Pegg - The Dylan ProjectFairport Convention
  • “I just find that it reaches kind of deep inside.  The name of the album - it's Les Mystere des Voix Bulgares. These are Bulgarian - well I think it's like a national choir now but they sing Bulgarian folk songs - they're also work songs.  They're what people sung in the fields during their labors and they are the most extraordinary voices.  It's kind of a sort of open throat singing.  Great power in the vocals and it's so that you couldn't give anymore - if you were singing they just give everything they've got.  and it just sends tingles up my spine when I hear them sing.  Some years ago I happened to be somewhere and I met one of the singers and her name is Kalinka and she was one of the main singers in the choir.  She was married to Martin Jenkins the guitar player.  So I was actually lost for words when I met her because I couldn't believe my luck having someone that had that special voice.(W - from the point of view of voices would you say it's somethings that's influenced you in your approach to music - or would you say that it's kind of a separate appreciation that you just happen to feel for it?)What I listen to can be coming from anywhere, any genre.  It's just if it touches me it does and that's one of the things that does.  It could equally be a piece of jazz, a bit of reggae, some classical, anything at all as long as it does that thing then I will instantly fall in love with it.”Gerry Conway: The Citadel, St Helens 26th November 2015Les Mystere des Voix Bulgares   released 1975 Gerry Conway -The Dylan ProjectFairport Convention
  • “The album is 'Bitches Brew' by Miles Davis and it's one of my greatest albums because it blends rock and jazz together.  But it's very very rocky - very very funky.  I was well into Hendrix at the time and it was the first album I heard that took Hendrix's concepts and just upset all the nice polite jazz people - and it rocks, it's funky - and it's a great album!” Phil Bond: The Citadel, St Helens, 26th November 2015Miles Davis: Bitches Brew released 1970Phil Bond - The Dylan Project
  • “First of all it’s a really hard choice because when there’s albums like Revolver – which I was tempted – or Pet’s Sounds and also Kind of Blue Miles Davis - I have so many significant records in my past.  And my brother was 10 years older than me so, as I was 9 years old, I was hit with Muddy Waters and all sorts of fabulous sounds but it was The Bands second album ‘The Brown Album’ which casts a very long shadow.  I still play it at least once a month.It was a real game changer for me because up till then – you know we’d had the Shadows, The Beatles, The Stones.  They led into the blues and then the blues led into soul music and, you know, everything opened up and then it became a little psychedelic and we had like guitar music.  Suddenly this came out – it wasn’t teenage music - it had that perspective of - these were songs about men aged 73 – instrumentation – there were bizarre tubas and accordions.  I mean talk about unfashionable instruments!The accordion, which I hated it’s you know Workers Playtime and The Big Ben Banjo Band and hideous accordion - and suddenly this wonderful plaintive noise - and I’d adored Hammond organ - Jimmy Smith and all that.  The quality of the song writing and subject material and the sound of it – which was dead dry hardly any reverb – and the look of the guys cos we didn’t know anything about them.  They kept very schtum.  They didn’t do any interviews there was no publicity.  The first record came out almost mystic ‘Big Pink’ but I  just heard that – been played by a couple of friends and then this one came out and yeah it made me think about a whole load of stuff both musically and lyrically that I’d never even considered could be done in popular music until then.(Smiles) Sounds awfully Po faced didn’t it?   This kind of invented Americana didn’t it and it opened the doors.. country music until that point and, lets face it, for a while afterwards was just a fucking joke.  It was just Rhinestone and sobbing and drunks and such.  But suddenly you take it – this got me listening to Hank Williams and started so much.”PJ Wright: The Citadel, St Helens 26th November 2015The Band: The Band  released 1969PJ Wright - The Dylan Project
  • “The album is simply called Elvis - by this time he'd moved to RCA, so he'd left Sun Records - Bill sold him to RCA for $35,000.  Then immediately he was in RCA studios in New York. I think most of that album was recorded in the RCA studios - but it's got all the classic ones on there - the one .that really lifted him into another sphere I guess. He was a massive influence on me.Before Elvis my other major influence in contemporary .. though it was far from contemporary - was Lonnie Donegan because it was so different then to me as a kid.  When I was 14 or 15 and heard Rock Island Line I just thought it was unbelievable.  And it was only years later when I realised that it was an old Leadbelly number but makes no difference - what Donegan did with it was great.  I guess that was my first musical influence but the one that really hit me hardest and stayed with me that was Elvis.  And as I say the album was called simply Elvis and a pink headshot of him on the front.  But he's still got Bill Black and Scotty Moore and his drummer - his name escapes me (D.J.Fontana) - they were the nucleus of the band then.  He did things like Lawdy Miss Clawdy, which is an old Lloyd Price maybe - or someone like that.  So he did plenty of covers - probably all covers - but wonderful album - just the recording the wonderful chemistry of the recording which happens from time to time - and it frequently happened with The Beatles of course in those early days.  Well That's all right Mama - I never get tired of listening to that. All that early Sun stuff - Sam Philips- incredible.{quote}WE.  Would you say it was to do with age at that time... did I it strike you as just a key moment in your musical development?{quote}Oh definitely cause I've got two older brothers, one of them is quite musical... played piano pretty good but he was into, was of, the Frankie Laine /Johnny Ray era, but I was a bit young for that. I still enjoyed it, I really liked Johnny Ray and Franke Laine.  A lot of those - you really can't call them crooners, they were just after people like Frank Sinatra stuff like that, but that was pre rock and roll - I always enjoyed it.  Mainly through my brother because he would - soon as Saturday came, he would go down to the music shop and buy the sheet music bring it back and play on the piano at home.  So that stuff rubbed off on me in a big way.  But the other major influence musically for me was - ‘cos we didn't have a record player or a radiogram then, all my influences from the radio initially.  So family favourites was the big one, which was the forces radio request program and that was two hours on a Sunday afternoon about 12 till two.And that's where I picked up so many wonderful influences like Billie Holiday and Ella Fitzgerald and all the great singers you know.  The beauty of that kind of a program that you had all kinds of requests... Stanley Holloway and there was bizarre stuff - George Formby.I mean so rich in choice musically speaking.  I know that Lennon is famous for saying that before Elvis there was nothing  - I mean he was just being a bit - but obviously there was a hell of a lot before Elvis.  In fact I don't think Elvis was the first rock and roll record but he was the first one to take it way up.  I mean there's been several recordings.   I mean Fats Domino recorded a great New Orleans - well you could hardly really call it rock and roll - R&B maybe - but that was The Fat Man which I've heard many years later and that - recorded in 1948 you know.  There's a guy.... I've got a good friend - he's really into rockabilly which is still a thriving subculture in this country and across Scandanavia it's massive - but rockabilly around that time that Elvis went into Sun studios there were dozens of rockabilly outfits doing the rounds without recognition but now a lot of that stuff has been re released and, you know, it's been hunted down by various labels and they're putting out all of this amazing rockabilly which has not been heard since the very early 50's.  So although I agree that Elvis was the main one that kicked rock and roll off in a big way it had been going on before.  It's just the terminology I suppose, it was obviously a black thing.” Steve Gibbons: The Citadel, St Helens, 26th November 2015Elvis Presley: Elvis released 1959.Steve Gibbons - The Dylan Project
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