Download Lindisfarne mp3

Artist: Lindisfarne: mp3 download    Genre(s):  Other     Discography:      The Best Of    Year: 1989    Tracks: 16 Lindisfarne scantily commands more than a footer in most tilt character books. During the early '70s, however, Lindisfarne was unitary of the hottest folk-based rock bands in England, with graph placements on iI of their albums that rivaled Jethro Tull, and had them proclaimed one of the to the highest degree important groups of the ten. With a sound that sundry mournful folk-like melodies, earthy just well-sung harmonies, and acoustic and electric textures, the group seemed poised for international success, when a serial of inauspicious artistic decisions, followed by a split in their lineup, left them bereft of audience and success. Singer/guitarist Alan Hull (b. Feb. 20, 1945), guitarist Simon Cowe (b. Apr. 1, 1948), mandolin player Ray Jackson (b. Dec. 12, 1948), bassist/violinist Rod Clements (b. Nov. 17, 1947), and drummer Ray Laidlaw (b. May 28, 1948) all hailed from Newcastle-on-Tyne, England, and the surrounding area. At some point, they were known as Downtown Faction, only they took their conversant musical form below the diagnose Brethren. The band became a very popular playact on the college circumference, playing what was known as "good time" music, singalong numbers resembling (or straightaway derived from) pub songs in which audiences could luxuriate, normally with Jackson's harp honking along. Alan Hull had a background in kinfolk music which enabled him to freely incorporate that influence, and he was the major songster and singer in the lot. In 1968, they ascertained that an American group was already using the name "Brethren," and the Newcastle group rechristened itself Lindisfarne, taken from the key out of an island off the coast of Northumberland in Northern England -- the island Lindisfarne (likewise known as "Sanctum Island") is most noted for its early medieval monastery and palace and the ancient "Lindisfarne Gospels" knightly manuscript. The new key out accommodate the times and the group's effectual, which was evolving in the focus of folk-style music. The group was signed to Tony Stratten-Smith's Charisma Records, England's premier progressive stone label, in 1970. They released their low (and best) album, Nicely Out of Tune, that same year. Their debut album captured the group's best attributes, a frolicky, offbeat, optimistic collection of hippie/folk music, somewhere midway betwixt Fairport Convention and the early Grateful Dead, with a especially urban, English wage-earning ambience. Their "Englishness," joined with the now and then uneven quality of their songwriting, whitethorn excuse one major intellect wherefore Lindisfarne never achieved more than a lilliputian cult following in the United States. Nicely Out of Tune contained one wistfully amatory number, "Lady Eleanor," which became a favorite bit in the band's concert repertoire, and seemed destined to find an audience. The album and the "Lady Eleanor" unmarried failed to chart, but the group's live shows only grew in popularity -- by the end of 1970, they were able to take for £1500 a night from promoters, a far cry from the £300 they had been acquiring on the college circuit. Their irregular album, Fog On The Tyne, released in 1971, marked their commercial breakthrough -- a assembling of earthy, folk-type taphouse songs, Fog On The Tyne entered the British charts in October of that year and began a slow climb into the middle reaches. In February of 1972, however, the group's label belated issued a single off of the record album, "Meet Me On The Corner." That record was number five on the charts the following month, patch Fog On The Tyne all of a sudden rose to the routine one smirch. Within a affair of weeks, Nicely Out Of Tune entered the charts for the first time and eventually strike number eight; "Lady Eleanor," reissued in June of 1972, made it to number terzetto. That was when the media hype kicked in, raising expectations and aspirations for a mathematical group that, until four-spot months in the beginning, had been a pleasant folk-rock outfit with a solid cultus following. Alan Hull was referred to in the press as the about important new ballad maker since Bob Dylan, and Lindisfarne was saddled with the designation as "the 1970s Beatles." Up to this clock time, the group had played in England and Wales, merely, apart from ane show in Scotland and individual forays to Paris and Holland, its members hadn't even pondered the notion or implications of an international career. It all seemed also expert to last, and it was. Later on in 1972, later on a unrestrained period capitalizing on one and only massive success after another, the band released their third album, Dingly Dell. The album was troubled from the start out. The record's manufacturer was Bob Johnston, the American world Health Organization had worked on Bob Dylan's King John Wesley Harding, among many other records, and wHO had likewise produced Fog On The Tyne. The ring had a dropping out with Johnston over Dingly Dell, and remixed the album themselves immediately prior to release. The resulting record had a selfsame frizzly level-headed, very upfront, and more of a mainstream intemperate rock and roll profound than their previous deuce long-players. Unfortunately, this was not the move that the critics had wanted or expected of the ring -- they wanted a richer, more progressive folk-type sound, in some ways closer to Fairport Convention, not the harder, more basic level-headed that they set up here. Additionally, the songwriting didn't match the prior deuce albums, and nobody was drawing comparisons betwixt Alan Hull and Dylan over the songs on Dingly Dell. Ironically, this album came out at exactly almost the time the group was in the process of gaining a low following in America, although they never very had practically probability of succeeding. Their association with Charisma Records meant that they were afforded a listen by the American progressive rock candy audience, and to some limited extent their miscellanea of folk and careen was "progressive." In reality, Lindisfarne was closer in spirit and music to such hard-rocking bands as Brinsley Schwarz, Bees Make Honey, and Eggs Over Easy, absolutely lacking the pretensions requisite for a prog-rock band. Under other circumstances, the record album would have been passed over by most critics as nix more than a slightly dissatisfactory lapse, simply reviewers and journalists seemed bent on revenge for the group's failure to uprise to the praise and plug lavished on them over the premature year. The record and the group were universally savaged, although it soundless got to number five on the charts and yielded one modest hit, "All Fall Down." The ring toured America, merely discovered that American listeners and critics establish their sound too oddly English -- in the wrong slipway -- to rattling accept Lindisfarne. The chemical group was never remotely as popular as their Charisma labelmates Genesis, wHO were thirstily snapped up by Atlantic Records once their Charisma contract was up. Cowe, Laidlaw, and Clements exited the band in early 1973 and formed a raw chemical group called Jack The Lad, which specialised in a harder, more basic pub-rock heavy, and went on to button three albums on Charisma. A live Lindisfarne album, featuring the original lineup and songs by and large cancelled of the first iII albums, was issued by Charisma in 1973, but it s at best a holding legal action. Later that year, Alan Hull and Ray Jackson were back preeminent a thomas Young Lindisfarne father hold, featuring Ken Craddock on guitar, keyboards, and vocals, Charlie Harcourt on guitars, Tommy Duffy on bass part and vocals, and Paul Nichols on drums. Their number 1 album, Roll On Ruby, was a vital and commercial failure. Hull embarked on a solo transcription vocation at around this same sentence, which seemed to draw away noneffervescent more than of Lindisfarne's original audience. As the school principal ballad maker and voice of the group, and unrivalled of two original members, he held Lindisfarne's public punter than the young Lindisfarne did. The band switched to Warner Bros. for their side by side album, Well-chosen Daze, but it fared no punter. By 1977, Jack The Lad had called it quits and Cowe, Clements, and Laidlaw were back with Lindisfarne. Hull as well recorded with Laidlaw and Craddock under the grouping name Radiator on the Rocket label, releasing a single album, entitled Isn't It Strange. Lindisfarne switched labels once again to Mercury and debuted with a double live album, Magic In The Air, with songs drawn from the group's first three albums. The band remained inviolate, and on Mercury, for two more long-players, Back & Fourth (1978), which yielded a geminate of modest hits in Alan Hull's "Consort For Home," a song that sounds more like Springsteen than Springsteen does, and "Warm Feeling"; and The News (1979), all to little lasting commercial avail. They remained a reasonably popular concert attraction -- especially in Newcastle and the circumferent arena -- into the early '80s, and ingest continued to record and reunite for concerts periodically in the old age since. During the early '80s, they organized Lindisfarne Musical Productions and began releasing their work on the LMP label, including a live album cut in 1983. Their live recordings, featuring novel renditions of their classic early '70s material, seem to draw the sterling enthusiasm. Alan Hull has as well maintained a single out solo life history, and fans of the group should emphatically have his Back to Basics CD, on which he does live acoustic versions of his topper songs from 1970 ahead.