From that first album reputedly recorded on a reel to reel in a friend’s front room. Sheer genius. That distinctive guitar picking. Beautiful.
Today’s Music to keep me IiiiNnNnSSssaaaNNnnEEe – Bert Jansch – Do you hear me now?
Always takes me back to 1965 when I was just discovering these gems – Bert, John Renbourn and Jackson C Frank – then, a little later Roy Harper, Al Stewart, John Martyn, Davy Graham and the rest. Those great days at Les Cousins and Bunjies, The Barge and The Three Horseshoes.
Today’s Music To keep me SssSaaaAnnnNeeE in Isolation – Bert Jansch – Jack Orion
I thought I’d give this one a listen as it is not one I usually play much!! But I do love Bert!!
Today’s Music to keep me SsSaAaaNnnNeeee in Isolation – Bert Jansch – Bert Jansch
A fabulous debut album. Such a great guitarist.
Today’s Music to keep me SssaAAAnnnnEEE in Isolation – Bert Jansch
I found myself whistling some Bert Jansch – Strolling Down The Highway while I was walking today so I decided to go back and play some Bert today – great stuff. I used to see Bert and John Renbourn at Les Cousins – along with the great Roy Harper – great memories!!
Bert Jansch – Strolling down the Highway
Today’s earworm! A very nice earworm!
Music to keep me SANE during Isolation – Bert Jansch
Every day I go out for a walk of about two hours. It helps keep me fit and sane. I’m incredibly fortunate to be out here in a village in the countryside. There are some beautiful walks.
As I’ve been wandering along up hills and down lanes I’ve found myself whistling and even singing (yes I know) various tunes that come into my head – Woody Guthrie’s This Land is Your Land is one that often presents itself. Another is Bert Jansch’s Strolling Down the Highway.
It certainly seemed to suit the vibe. A warm sun, big skies and a pleasant stroll. Busy going nowhere.
So today I’m going to be playing some classic Bert Jansch and mellow out!!
Play it again Bert!
Bert Jansch – I Have No Time
Back in 1965, when I was a lad of sixteen, this song on Bert’s first album was a revelation to me. It blended poetry, philosophy and social comment with music.
I have no time to spend with you
You talk of nothing, what can you do?
You live like kings and you know it’s true
That if famine crossed the waters that’d be the end of you
I’ve heard of people who till the earth
Who sow their seeds for what they’re worth
Who cry for rain all summer long
And weep for the day when winter’s passed and gone
If cherry trees bore fruit of gold
The birds would die, their wings would fold
They’d sing no more their song of love
Nor await the morning sun that lights the sky above
If war returns like it did before
A kiddy’s penny would be no more
They’d cry for love and their candy too
But a kiddy’s wants are nothing ’till killin’ days are thru’
So drink your fill, be happy now
The times will change and you’ll wonder how
A man could die from lack of food
But you don’t give a damn, no reason why you should
Do You Hear Me Now? – Bert Jansch
I first heard this song sung by Donovan. He produced a brilliant EP of anti-war songs with this, Buffy St Marie’s Universal Soldier, Mick Softley’s The War Drags On and his own Ballad of A Crystal Man. Quite a brilliant EP.
This was the mid-sixties and I was very much into lyrics and a complete pacifist. The Vietnam War was raging so this was one of my favourites. I had a girlfriend who was into Donovan in a big way and I remember putting that EP on my Dansette and playing it on repeat.
I had another friend who was into contemporary Folk by the name of Neil Ferby (he nicked one of my girlfriends off me). He introduced me to Bert Jansch and John Renbourn who I considered to be more authentic and less commercial than Donovan so that was good.
That first Bert Jansch album was more political than his later stuff and I liked social/political songs so it was right up my street.
This was a very powerful song and I loved both Donovan’s and Bert’s versions.
“Do You Hear Me Now”
Freedom fighters, speak with your tongues
Sing with the might of the wind in your lungs
Do you hear me now? Do you hear me now?Peace loving women, single or wed
Give thanks for the mercy of a child with one head
Do you hear me now? Do you hear me now?
Sing with the might of the wind in your lungs
Do you hear me now? Do you hear me now?Peace loving women, single or wed
Give thanks for the mercy of a child with one head
Do you hear me now? Do you hear me now?
My mama told me, papa said it too
Son, the world’s divided and you know your cause is through
Do you hear me now? Do you hear me now?
There’s snow-men in the winter, blossoms in the spring
If they drop the bomb in the summertime, it won’t mean a doggone thing
Do you hear me now? Do you hear me now?
Freedom fighters, speak with your tongues
Sing with the might of the wind in your lungs
Do you hear me now? Do you hear me now?
Acoustic Guitarists of the Sixties – Bert Jansch, Davy Graham, John Renbourn and Roy Harper.
The mid-sixties produced a wealth of great acoustic music loosely under the initial heading of Folk-Blues but in reality extending much further than that. The Greenwich Village Scene, sparked off by Bob Dylan, Joan Baez and Phil Ochs, had sparked a massive resurgence in folk music and made it a commercial proposition. So much so that the record companies were chasing acoustic performers and the Pop Charts featured them. The popular performers, like Donovan, were propelled into Pop stardom. But there was an underlying scene that did not see itself as part of the Pop scene at all. They were producing music for a new generation of aficionados.
Davy Graham was probably the most seminal to the movement. His brand of Folk-Blues was adulterated, if that is the right word, with jazz and middle Eastern rhythms and chords. He started the ball rolling with his brilliant Angie (Anji) which set a new innovative standard in guitar playing. Teaming up with the Folk Traditionalist Shirley Collins he took Contemporary Folk in a different direction.
Bert Jansch came roaring down from Scotland with venom and spark to illuminate the Folk Scene with his verve and mastery of the guitar coupled with strident singing.
John was more mellow and melodic and based a lot of his music on more traditional material. He was the ideal foil for Bert and together they produced some excellent music before expanding and teaming up with Danny Thompson and Jacqui McShee to form Pentangle.
Roy burst on the scene a little later, befriended Davy, Bert and John, and developed his own acoustic style that tended to be more aggressive, at least in those early days. For a time Roy had a number of musical directions to follow – his love songs, social protests, humour and instrumentals. It was a toss up as to which he was going to progress.
I was fortunate to see all of them perform on a number of occasions back in the days of Les Cousins, The Barge and Bunjies and I enjoyed them all. I also used to frequent the Three Horse Shoes where, in the basement, Pentangle performed for free – more a meeting of friends.
My feeling was that the fires that stoked Davy, Bert and John cooled pretty quickly as their proficiency developed. Their music was sophisticated and high quality but I preferred the energy, vibe and stridency of the Harper songs – like One For All, or Blackpool. They had an urgency about them. Though Roy was not as technically proficient as Bert, Davy or John, he more than made up for that with his drive and innovation. But then, as with everything, it is always a matter of taste, isn’t it? And musical proficiency does not always produce the best music, does it? Sometimes a bit of raucous energy injects a spark that is lacking in more sophisticated exponents and propels the music into a different dimension.
Oh for the wonders of those days. I’d give anything to see those four perform again. It is so strange to think that Roy is the only one of those four who is still alive.