Folk, M

"I first heard Lady In Satin in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn't know much about Billie's records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of "I'm A Fool To Want You" for my album Post-War."

An impressive 5 CD box set featuring one of the most complete anthologies on English folk and folk-rock around. The first two CDs mostly cover solo artists with a praiseworthy attention to the 80s and 90s, while the last three are dedicated to the most important bands of the Seventies.

This collection of 8 discs may be the most comprehensive collection of its type. There are a total of 120 songs from almost as many artists. There are a few artists represented more than once, with The Kingston Trio represented by 9 songs, every one memorable. The era represented by these songs spans about ten years. The earliest songs in this collection date back to the late 1950's. The latest songs date to about 1968.

Various Artists - Gathered from Coincidence: The British Folk-Pop Sound of 1965-1966 (2018) {3CD Set, Grapefruit CRSEGBOX043}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 791 Mb | MP3 @320 -> 485 Mb
Full Artwork @ 300 dpi (jpg) -> 24 Mb | 5% repair rar
© 1965-66, 2018 Grapefruit Records / Cherry Records | CRSEGBOX043
Rock / Pop / Folk Pop / Folk Rock / Psychedelic Rock

Prior to the early Sixties, folk and pop musicians inhabited largely different worlds. There were folk records that had become crossover pop hits, but in essence there was little or no common ground in terms of instrumentation or ideologies. But in the wake of the British beat/R&B boom (or, if you were in America, the British Invasion) and the emergence of Bob Dylan, such barriers were broken down for good. With British acts making music that, for the first time in nascent pop history, matched the quality of their American counterparts, suddenly everything was grist to the mill and musical cross-pollination was almost de rigueur.