Bert Jansch Jack Orion Rar
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After presenting almost all-original sets on his first two albums (albeit originals that sometimes borrowed heavily from traditional folk themes), opted to devote all of his third LP to traditional folk numbers. His future partner joins him on four of the eight songs. Highlights include the ten-minute title track (whose length was a real oddity on contemporary folk albums of the time) and a cover of 'Nottamun Town' (whose melody lifted for 'Masters of War'). Not as original as the artist's first two LPs, the guitar and vocal work on these adaptations were still as influential to the '60s folk world as anything else in 's catalog.
- Find album reviews, stream songs, credits and award information for Jack Orion - Bert Jansch on AllMusic - 1966 - After presenting almost all-original sets on his.
- Jack Orion Bert Jansch. 2015 • 8 songs • Blues / Folk • Contemporary Folk • Sanctuary Records. After presenting almost all-original sets on his first two.
Jansch performing in August 2006 Background information Birth name Herbert Jansch Born ( 1943-11-03)3 November 1943, Scotland Origin, Scotland Died 5 October 2011 ( 2011-10-05) (aged 67), London, England Genres, Occupation(s) Musician, singer-songwriter Instruments, guitar, Years active 1965–2011 Labels Associated acts Website Herbert ' Bert' Jansch (3 November 1943 – 5 October 2011 ) was a Scottish and founding member of the band. He was born in and came to prominence in London in the 1960s, as an acoustic guitarist, as well as a singer-songwriter.
He recorded at least 25 albums and toured extensively from the 1960s to the 21st century. Jansch was a leading figure in the British folk music revival of the 1960s, touring folk clubs and recording several solo albums, as well as collaborating with other musicians such as and.
In 1968, he co-founded the band Pentangle, touring and recording with them until their break-up in 1972. He then took a few years' break from music, returning in the late 1970s to work on a series of projects with other musicians. He joined a reformed Pentangle in the early 1980s and remained with them as they evolved through various changes of personnel until 1995. Until his death, Jansch continued to work as a solo artist. Jansch's work influenced such artists as, and.
Jansch received two at the: one, in 2001, for his solo achievements and the other, in 2007, as a member of Pentangle. Contents. Early years Herbert Jansch was born at in the district of Glasgow, in 1943, the descendant of a family originally from, Germany, who settled in Scotland during the. The family name is most often pronounced as, although Jansch himself, like several other members of his family, pronounced it.
Jansch was brought up in the residential area of known as, where he attended Pennywell Primary School and. As a teenager, he acquired a guitar and started visiting a local folk club ('The Howff') run. There, he met and ('s half-sister), who introduced him to the music of, and.
He also met and shared a flat with, who remained a friend when Jansch later moved to London. After leaving school, Jansch took a job as a nurseryman then, in August 1960, he gave this up, intending to become a full-time musician. He appointed himself as an unofficial caretaker at The Howff and, as well as sleeping there, he may have received some pay to supplement his income as a novice performer who did not own his own guitar.
He spent the next two years playing one-night stands in British. This was a musical apprenticeship that exposed him to a range of influences, including and, but especially, from whom he learned some of the songs (such as ' and 'Reynardine') that would later feature strongly in his recording career. Between 1963 and 1965, Jansch travelled around Europe and beyond, hitch-hiking from place to place and living on earnings from and casual musical performances in bars and cafes.
Before leaving Glasgow, he married a 16-year-old girl, Lynda Campbell. It was a marriage of convenience which allowed her to travel with him as she was too young to have her own passport. They split up after a few months and Jansch was eventually repatriated to Britain after catching in. London (mid-1960s) Jansch moved to London where in 1963, at the invitation of Bob Wilson, a Staffordshire folksinger who was also an art student at St Martin's College of Art, he was asked to take over as resident singer at Bunjies on Great Litchfield Street with Charles Pearce, another art student. They remained in that situation for a year before Pearce moved to South London to run several clubs south of the Thames. There was a burgeoning interest in folk music throughout London by then. There, he met the engineer and producer, at whose home they made a recording of Jansch's music on a reel-to-reel tape recorder.
Leader sold the tape for £100 to, who produced an album directly from it. The album was released in 1965 and went on to sell 150,000 copies. It included Jansch's protest song 'Do You Hear Me Now,' which was brought to the attention of the pop music mainstream later that year by the singer, who covered it on his EP, which reached No. 1 in the UK EP chart and No. 27 in the singles chart.
Pearce disappeared from Jansch's life after arranging for him to be one of the artists in the Liberal International concert, 'Master of the Guitar' at the Royal Festival Hall in 1968. Also included in Jansch's first album was his song 'Needle of Death,' a stark anti-drugs lament written after a friend died of a. In his early career, Jansch was sometimes characterized as a British. During this period, Jansch described his musical influences as 'the only three people that I've ever copied were, and.'
Jansch followed his first album with two more, produced in quick succession: It Don't Bother Me and —which contained his first recording of 'Blackwaterside,' later to be taken up by and recorded by as '.' Jansch said, 'The accompaniment was nicked by a well-known member of one of the most famous rock bands, who used it, unchanged, on one of their records.' Transatlantic took legal advice about the alleged copyright infringement and were advised that there was 'a distinct possibility that Bert might win an action against Page.' Ultimately, Transatlantic were dubious about the costs involved in taking on in the courts, and half the costs would have had to be paid by Jansch personally, which he simply could not afford, so the case was never pursued.
The arrangement and recording of Jack Orion was greatly influenced by Jansch's friend, singer Anne Briggs. In London, Jansch met other innovative acoustic guitar players, including, with whom he shared a flat in ), and. They would all meet and play in various London music clubs, including in, and club in,.
Renbourn and Jansch frequently played together, developing their own intricate interplay between the two guitars, often referred to as '.' In 1966, they recorded the Bert and John album together, featuring much of this material. Late in 1967 they tired of the all-nighters at Les Cousins and became the resident musicians at a music venue set up by Bruce Dunnet, a Scottish entrepreneur, at the Horseshoe pub (now defunct), at 264–267. This became the haunt of a number of musicians, including the singer.
Another singer, began performing with the two guitarists and, with the addition of (string bass) and (drums), they formed the group,. The venue evolved into a jazz club, but by then the group had moved on. On 19 October 1968, Jansch married Heather Sewell.
At the time, she was an art student and had been the girlfriend of. She inspired several of Jansch's songs and instrumentals, the most obvious being 'Miss Heather Rosemary Sewell' from his 1968 album Birthday Blues, but Jansch says that, despite the name, 'M'Lady Nancy' from the 1971 Rosemary Lane album was also written for her. As she has become a well-known sculptor. Pentangle years: 1968–73 Pentangle's first major concert was at the in 1967, and their first album was released in the following year. Pentangle embarked on a demanding schedule of touring the world and recording and, during this period, Jansch largely gave up solo performances.
He did, however, continue to record, releasing Rosemary Lane in 1971. The tracks for this album were recorded on a portable tape recorder by Bill Leader at Jansch's cottage in, Sussex—a process which took several months, with Jansch only working when he was in the right mood. Pentangle reached their highest point of commercial success with the release of their album in 1969. The single, Light Flight, taken from the album became popular through its use as theme music for a TV drama series for which the band also provided incidental music.
In 1970, at the peak of their popularity, they recorded a soundtrack for the film, made at least 12 television appearances, and undertook tours of the UK, including the, and America, including a concert at ). However, their fourth album, released in October 1970, was a commercial disaster. This was an album of traditional songs that included a 20-minute-long version of Jack Orion, a song that Jansch and Renbourn had recorded previously as a duo on Jansch's Jack Orion album. Pentangle recorded two further albums, but the strains of touring and of working together as a band were taking their toll. Then Pentangle withdrew from their record company, Transatlantic, in a bitter dispute regarding royalties.
The final album of the original incarnation of Pentangle was Solomon's Seal released by Warner Brothers/Reprise in 1972. Colin Harper describes it as 'a record of people's weariness, but also the product of a unit whose members were still among the best players, writers and musical interpreters of their day.' Pentangle split up in January 1973, and Jansch and his wife bought a farm near, in, and withdrew temporarily from the concert circuit. Late 1970s After two years as a farmer, Jansch left his wife and family and returned to music, although Jansch and his wife would not be formally divorced until 1988. In 1977, he recorded the album A Rare Conundrum with a new set of musicians:, and.
He then formed the band Conundrum with the addition of Martin Jenkins (violin) and Nigel Smith (bass). They spent six months touring Australia, Japan and the United States. With the end of the tour, Conundrum parted company and Jansch spent six months in the United States, where he recorded the Heartbreak album with. Jansch toured, working as a duo with and, based on ideas they developed, recorded the Avocet album (initially released in Denmark). Jansch rates this as among his own favourites from his own recordings. On returning to England, he set up Bert Jansch's Guitar Shop at 220, New King's Road,.
The shop specialised in hand-built acoustic guitars but was not a commercial success and closed after two years. 1980s In 1980, an Italian promoter encouraged the original Pentangle to reform for a tour and a new album. The reunion started badly, with Terry Cox being injured in a car accident, resulting in the band's debuting at the as a four-piece Pentangle. They managed to complete a tour of Italy (with Cox in a wheelchair) and Australia, before Renbourn left the band in 1983. There then followed a series of personnel changes, including Mike Piggott replacing John Renbourn from 1983 to 1987 and recording Open the Door and In the Round, but ultimately leaving Jansch and McShee as the only original members. The final incarnation consisting of Jansch, McShee, (keyboards), Peter Kirtley (guitar and vocals) and (drums) survived from 1987 to 1995 and recorded three albums: Think of Tomorrow, One More Road and Live 1994.
As a solo artist in the mid-1980s, he often appeared on and 's showboat, the, in Bristol's Floating Harbour. In 1985 two intriguingly enigmatic limited edition albums appeared, issued under the name of Loren Auerbach, who was to become his wife. After the Long Night was released in February 1985 with the second, Playing the Game appearing in October. Bert Jansch was guest player initially but also became a writer on some of the songs, as well as an arranger and co-vocalist. Richard Newman was the primary guitarist and songwriter.
Loren Auerbach had worked alongside Richard Newman for many years before meeting Bert Jansch. Newman and Jansch were the key players on After the Long Night.
On Playing the Game, Jansch and Newman joined Cliff Aungier, Geoff Bradford (lead guitarist from Cyril Davis' All Stars, from Long John Baldry's Hoochie Coochie Men, and in the first line-up of The Rolling Stones) and Brian Knight (British blues veteran of the Blues By Six). The two albums became one— After The Long Night / Playing The Game. Bert Jansch played guitar with Richard Newman on the following Newman songs: 'I Can't Go Back,' 'Smiling Faces,' 'Playing the Game,' 'Sorrow,' 'Days and Nights,' 'The Rainbow Man,' 'Frozen Beauty,' 'Christabel,' 'So Lonely,' and 'The Miller.' All songs were sung by Auerbach with the exception of 'The Miller,' which was sung by Newman. Bert married Loren Auerbach in 1999. He had always been a heavy drinker, but in 1987 he fell ill while working with and Marty Craggs, and was rushed to hospital, where he was told that he was 'as seriously ill as you can be without dying' and that he had a choice of 'giving up alcohol or simply giving up.' He chose the former option: states that 'There can be no doubt that Bert's creativity, reliability, energy, commitment and quality of performance were all rescued dramatically by the decision to quit boozing.'
Bert Jansch
Jansch and Clements continued the work they had started before Jansch's illness, resulting in the 1988 Leather Launderette album. Final years and death: 1992–2011 Bert was the prime mover in the Acoustic Routes film, first broadcast by the BBC in 1992. It shows him revisiting his old haunts and reminiscing with guests such as, and. From 1995, Jansch appeared frequently at the in, London. One of his live sets there was recorded direct to (DAT) by Jansch's then manager, Alan King, and was released as the Live at the 12 Bar: an official bootleg album in 1996. In 2002 Jansch, and performed live together at the Jazz Cafe, London. Bernard Butler had also appeared on Bert's 2002 album featuring, among others, and guitarist.
The instrumental 'Black Cat Blues,' featuring Paul Wassif, appeared on the 2003 film, and Wassif became a frequent sideman at Bert's live shows. In 2003, Jansch celebrated his 60th birthday with a concert at the in London.
The BBC organised a concert for Jansch and various guests at the church of, which was televised on. In 2005, Jansch teamed up again with one of his early influences, for a small number of concerts in England and Scotland. His concert tour had to be postponed, owing to illness, and Jansch underwent major heart surgery in late 2005. By 2006 he had recovered and was playing concerts again. Jansch's album, his first for four years, was released on Sanctuary on 18 September 2006, featuring and on tracks 'Katie Cruel,' 'When the Sun Comes Up,' and 'Watch the Stars,' among other guests. In 2007, he was featured on album, playing acoustic guitar in the song 'The Lost Art of Murder.' After recording, he accompanied Babyshambles' lead singer on several acoustic gigs, and performed on the Pete and Carl Reunion Gig, where ex-Libertines and Dirty Pretty Things singer Carl Barat joined Doherty on stage.
In 2009 he played a concert at the London Jazz Cafe to celebrate the release of three of his older albums ( LA Turnaround, Santa Barbara Honeymoon and A Rare Conundrum) on CD format. However, later that year, due to an unexpected illness, he had to cancel a 22-date North American tour that was due to start on 26 June. Jansch's website reported: 'Bert is very sorry to be missing the tour, and apologises to all the fans who were hoping to see him. He is looking forward to rescheduling as soon as possible.' Jansch opened for on his Twisted Road solo tour in the US and Canada, starting on 18 May 2010.
He also performed at 's in June 2010. These were Jansch's first shows since his illness. One of Bert's last recording sessions was with for Paul Wassif's 2011 album Looking Up Feeling Down.
In 2011, a few reunion gigs took place with Pentangle, including performances at the and one final concert at the, London, which was also Jansch's last ever public performance. Jansch died on 5 October 2011, aged 67, at a hospice in after a long battle with lung cancer.
He is buried in. Recognition and awards In 2001 Jansch received a at the, and on 5 June 2006, he received the at the Honours List ceremony, based on 'an expanded career that still continues to be inspirational.' The award was presented by and. Ranked Jansch as No.
94 on its list of the 100 Greatest Guitarists of all Time in 2003. In January 2007, the five original members of Pentangle (including Jansch) were given a Lifetime Achievement award at the. The award was presented by Sir.
Producer John Leonard said 'Pentangle were one of the most influential groups of the late 20th century and it would be wrong for the awards not to recognise what an impact they had on the music scene.' Pentangle played together for the event, for the first time in more than two decades, and their performance was broadcast on on Wednesday, 7 February 2007. In 2007, Jansch was also awarded an Honorary Doctorate of Music by, 'in recognition of his outstanding contribution to the UK music industry.' Music Bert Jansch's musical influences included and, whom Jansch first saw playing at The Howff in 1960 and, much later, claimed that he'd 'still be a gardener' if he hadn't encountered McGhee and his music. Jansch was also strongly influenced by the British folk music tradition, particularly by and, to a lesser extent,.
Other influences included (notably ), ( and ) and other contemporary singer-songwriters – especially. The other major influence was who, himself, brought together an eclectic mixture of musical styles. Also, in his formative years, Jansch had busked his way through Europe to Morocco, picking up musical ideas and rhythms from many sources. From these influences, he distilled his own individual guitar style.
Bert Jansch La Turnaround
Some of his songs feature a basic style of right-hand playing but these are often distinguished by unusual or by chords with added notes. An example of this is his song 'Needle of Death,' which features a simple picking style, though several of the chords are decorated with added. Characteristically, the ninths are not the highest note of the chord, but appear in the middle of the finger-picking, creating a 'lumpiness' to the sound.
Another characteristic feature was his ability to hold a chord in the lower strings while an upper string—often bending up from a below a chord note. These can be heard clearly on songs such as 'Reynardine' where the bends are from the to the. Jansch often fitted the accompaniment to the natural rhythm of the words of his songs, rather than playing a consistent rhythm throughout. This can lead to occasional bars appearing in unusual. For example, his version of the song ', unlike most other covers of that song, switches from 4/4 time to 3/4 and 5/4. A similar disregard for conventional time signatures is found in several of his collaborative compositions with Pentangle: for instance, 'Light Flight' from the album includes sections in 5/8, 7/8 and 6/4 time.
Instruments Through the development of Pentangle, Jansch played a number of instruments:, and —on rare occasions he has even been known to play electric guitar. However, it is his acoustic guitar playing that was most notable. Jansch's first guitar was home-made from a kit but when he left school and started work, he bought a cello-style guitar. Soon he traded this in for a Zenith which was marketed as the ' guitar' and which Jansch played in the folk clubs in the early 1960s. His first album was reputedly recorded using a 00028 borrowed from. Pictures of Jansch in the middle 1960s show him playing a variety of models, including Martin and guitars.
He had a guitar hand-built by, which was used for most of the Pentangle recordings but was eventually stolen. Jansch later played two six-string guitars built by the Coventry-based luthier Rob Armstrong, one of which appears on the front and back covers of the 1980 Shanachie release, Best of Bert Jansch. He then had a contract with, who provided him with an FG1500 which he played, along with a Yamaha LL11 1970s jumbo guitar.
Jansch's relationship with Yamaha continued and they presented him with an acoustic guitar with gold trim and inlay for his 60th birthday although, valued at about £3000, Jansch was quoted as saying that it is too good for stage use. Influence Jansch's music, and particularly his acoustic guitar playing, have influenced a range of well-known musicians. His first album ( Bert Jansch, 1965) was much admired, with saying, 'At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP, I couldn't believe it. It was so far ahead of what everyone else was doing. No one in America could touch that.'
The same debut album included Jansch's version of the Davy Graham instrumental 'Angie.' This was a favourite of, who practised acoustic guitar alone as a child, and was then heavily influenced by Jansch's style. The title of the instrumental inspired Oldfield to call his first band (with sister Sally). Jansch's version of 'Angie' inspired 's recording of the piece, which was retitled 'Anji' and appeared on the album. From the same era, is quoted as saying, 'As much of a great guitar player as Jimi Hendrix was, Bert Jansch is the same thing for acoustic guitar.and my favourite.' And were both admirers of Jansch: both recorded covers of his songs and Donovan went on to dedicate two of his own songs to Jansch; 'Bert's Blues' appeared on his LP, and 'House of Jansch' on his fourth album.
Other tributes included 's album Janschology (2000) which has two tunes by Jansch, plus two others that show his influence. Discography. Retrieved 2016-03-12. Harper, Colin (2006).
Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2006 edition). Harper, C., p. 7.
^ Kennedy, Doug (1983). The Songs and Guitar Solos of Bert Jansch. New Punchbowl Music.
Harper, C., p. 57.
Hodgkinson, Will (5 May 2006). The Independent. Harper, C., p. 84. ^ Harper, C., p. 13. Harper, C., p.
61; which notes that he worked for about a month in a supermarket. Harper, C., p. 61. ^ Kennedy p.
10. ^ Harper, C., p. 125. Harper, C., pp. 16–43 (Chapter: London: the first days). See sleeve notes of the CD re-release of the album. Grunenberg, Christoph; Harris, Jonathan (2005).
Summer of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s. Liverpool University Press. John Crosby's sleeve notes from the Donovan CD, Donovan: The Very Best of the Early Years.
Grunenberg & Harris, pp. 139–40: 'Needle of Death. Did far more to make skag a drug of choice among hip British teenagers than a decade's worth of later releases on the same subject by the likes of Lou Reed and others.' . Harper, C., p.
111 (although Harper points out that this comparison was not in line with Jansch's desires) cf. Donovan was also called 'Britain's answer to Bob Dylan'. Harper, Colin (2006). Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2006 edition). Harper, C., p. 357 It Don't Bother Me was released in December 1965 and Jack Orion in September 1966. Harper, C., pp.
3, 4. Kennedy, p.
21. of Transatlantic Records, quoted in Harper, page 5. Harper, C., p.
5. Harper, Colin (2006). Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2006 edition). Harper, C., p. 160.
Harper, C., p. 175.
Grove's Dictionary of Music (online edition) uses the term folk baroque in articles on both Jansch and Renbourn, but particularly cites the Bert and John album as exemplifying the term. Harper, C., p. Dead Pubs Society. Retrieved 2016-03-12. Harper, C., p. 212.
Harper, C., pp. 212–13. McKay, Alastair (3 November 2003). Archived from on 12 March 2007.
Retrieved 10 January 2007. Interview with Bert Jansch on his 60th birthday. Harper, C., p. 222. Harper, C., pp. 221–22. ^ Kennedy, p.
Retrieved 2016-03-12. Harper, C., pp. 211, 220.
Harper. P214. Wilcock, Steve. Retrieved 2007-01-10. Triste examines just what makes Bert Jansch's 1971 solo album, Rosemary Lane, recorded on sabbatical from Pentangle, so special., 7th Edition (1988).
Harper, C., p. 224. Harper, C., p.
228. Harper, C., p. 375.
Harper, C., p. Harper, C., p. 235. Harper. P237. Harper, C., p.
252. ^ Kennedy, p. 32. ^ Harper, C., p. 263. ^ Harper, C., p. 313.
Harper, C., p. 296. ^ Harper, C., p. 270. Harper, C., p. 271.
Harper, C., pp. 269–282. Harper, C., p.
295. Ken Hunt (Jan 2015). (online ed.).
Oxford University Press. (Subscription or required.). Harper, C., p. 278. ^ Harper, C., p. 279.
Harper, Colin (2006). Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2006 edition). Harper, C., pp. 295–96. Harper, C., p. Archived from on 22 August 2006.
Retrieved 12 March 2016. for example on.
on. on. Retrieved 2016-03-12. Retrieved 2016-03-12. Retrieved 19 February 2010.
8 June 2009 at the. May 4, 2011 (2011-05-04). Eric Clapton Music News. Retrieved 2016-03-12. Retrieved 2016-03-12. Walters, John L (4 August 2011).
The Guardian. Retrieved 2016-03-12.
Retrieved 2016-03-12. Retrieved 2016-03-12. Retrieved 2016-03-12. Retrieved 2016-03-12. Archived from on 20 July 2011. Retrieved 21 February 2010. Missing or empty title=.
Harper, C., p. 58. Harper, C., pp. 57–8. Harper p.113. Harper, C., p.
199, particularly regarding Jack Orion. Harper, C., p. 92 particularly mentions the record Mingus Ah-Um as an influence.
Harper, C., p. 92. Harper, C., p. 86.
See Wikipedia article. Kennedy, p. 14.
Kennedy, p. 8.
Kennedy, p. 16. See sleeve notes of Basket of Light. For example, the song 'House Carpenter' from the Basket of Light album (see album sleeve notes). For example, the song 'A maid that's deep in love' from the Cruel Sister album (see album sleeve notes). For example, in the song 'The Snows', from the Solomon's Seal album (see album sleeve notes). For example, the song 'Lord Franklin', from the Cruel Sister album (see sleeve notes).
Unterberger, Richie (2003). Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock. San Francisco, California: Backbeat Books. Harper, C., p. 84, describes his playing, in his early days, as 'increasingly accomplished, if singular'.
Page 106 quotes as saying that Jansch's style 'was a total diversity from normal, conventional playing – in tonality, in dissonance, in his idea on chord progressions. His accentuation and the actual timing. is so unique.'
. Harper, C., p. 12. Harper, C., p. 22. ^ Spencer, Neil (17 September 2006).
London: The Observer. Retrieved 2009-02-06. Harper, C., p. 209. Mulvey, John (29 December 2003). Retrieved 2007-01-10. Quoted in a list of tributes to Jansch inside the front cover of Roy Harper's biography.
DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Harper, C., p. Quote that Jansch was incredulous that Simon's version of 'Anji' (and other subsequent recordings) are based on his own, 'mistakes and all'.
Bert Jansch Jack Orion
Jerey Simmonds, The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches, Chicago Review Press, 2008,; p. 75: 'Drake was inspired by musicians like Bert Jansch and John Renbourn'.
Retrieved 2016-03-12. Bibliography.
Doug Kennedy: The Songs and Guitar Solos of Bert Jansch, New Punchbowl Music, 1983. Although this is a book of music, it contains a great deal of biographical information and photographs of Bert Jansch. Colin Harper: Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2000, Bloomsbury) (pbk) External links Wikimedia Commons has media related to. at the website. The UK's only dedicated Acoustic magazine – cover feature with Bert Jansch.
page, from Ultimate Guitar. at. discography.