Saturday, 30 September 2017

Folk, Folk Rock, and Singer-Songwriters


A work in progress.....



I'm taking a look into folk rock music. It seems an ill-defined genre. There are bands, like Fairport Convention, Lindisfarne, and Steeleye Span (all British), who play traditional style music on electric instruments (this tends to be called "British folk rock", though a (very small) number of writers and performers feel that "electric folk" is more appropriate). Other bands may play rock songs on acoustic instruments. Other may merge components of the two styles. Artists commonly associated with folk rock include The Byrds, Bod Dylan, Crosby, Still, Nash & Young, Simon & Garfunkel, The Mamas and Papas, Pentangle, Cat Stevens, Van Morrison, and The Poques. A mixed bag.


Folk rock

Wikipedia (I'm responsible for some of this):


Folk rock is a music genre combining elements of folk music and rock music. In its earliest and narrowest sense, the term referred to a genre that arose in the United States and the United Kingdom around the mid-1960s. The genre emerged from bands such as the Beatlesthe Searchers, and the Animals in the UK, and Bob Dylan and the Byrds in the US, who played traditional folk music and songs with rock instrumentation. The term "folk rock" is first noted as being used by the U.S. music press in June 1965 to describe the Byrds' music; the band's debut album was released the same month.
The commercial success of the Byrds' 1965 cover version of Dylan's "Mr. Tambourine Man", along with Dylan's own recordings with rock instrumentation - on the albums Bringing It All Back Home(1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966) - encouraged the creation of folk rock groups in the mid-1960s. Dylan's appearance at the Newport Folk Festival in July 1965, with an electric band backing him, was also a pivotal moment in the development of the genre.
A distinct, eclectic style of British folk rock was created in Britain and Europe in the late 1960s by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire. Fairport bassist Ashley Hutchings formed Steeleye Span with traditionalist folk musicians who wished to incorporate overt rock elements into their music, and this led to other variants, including the overtly English folk rock of the Albion Band (also featuring Hutchings) and the more prolific current of Celtic rock.


AllMusic:


Folk-Rock takes the simple, direct songwriting style of folk music and melds it to a prominent rock & roll backbeat. One of the most distinctive elements of folk-rock is the chiming, ringing guitar hooks, coupled with clear vocal harmonies. Folk-rock was pioneered in the mid-'60s by the Byrds, who played Bob Dylan songs as if they were from the British Invasion. The Byrds established the blueprint that many bands followed. As the '60s winded down, more folk-rock groups emphasized the acoustic origins of folk and backed away from the ringing electric arrpeggios of the Byrds. In the next three decades, both the acoustic and electric folk-rock sounds were commonplace in rock & roll.

British folk rock

Wikipedia (I'm responsible for a lot of this):


British folk rock is a form of folk rock developed in the United Kingdom from the mid 1960s, and was at its most significant in the 1970s. Though the merging of folk and rock music came from several sources, it is widely regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to "go electric", in which, like the Animals, he brought folk and rock music together, from which other musicians followed. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on the song "I'm a Loser" from their Beatles for Sale album. The Beatles and other British Invasion bands, in turn, influenced the Californian band the Byrds, who released their recording of Dylan's "Mr Tambourine Man" in April 1965, setting off the mid-1960s folk rock movement. A number of British groups, usually those associated with the British folk revival, moved into folk rock in the mid-1960s, including the Strawbs, Pentangle, and Fairport Convention.
It was taken up and developed in the surrounding Celtic cultures of Brittany, Ireland, Scotland, Wales and the Isle of Man, to produce Celtic rock and its derivatives. It has also been influential in those countries with close cultural connections to Britain and gave rise to the genre of folk punk. By the 1980s the genre was in steep decline in popularity, but survived and revived in significance, partly merging with the rock music and folk music cultures from which it originated. Some commentators have found a distinction in some British folk rock, where the musicians are playing traditional folk music with electric instruments rather than merging rock and folk music, and they distinguish this form of playing by calling it "electric folk".


AllMusic


British Folk-Rock was heavily inspired by its American counterpart, but it still retained a distinctly British flavor. Such trailblazers as Fairport Convention clearly drew inspiration from the Byrds and Bob Dylan, but they incorporated elements of traditional British folk, as well as English themes that gave the music its unique character. Fairport Convention were the titans of British folk-rock, and such original members as Richard Thompson and Sandy Denny later forged successful solo careers. Their producer, Joe Boyd, also helped developed the careers of a number of other key players in British folk-rock, including the acclaimed singer/songwriter Nick Drake.


Britannica (Stephen Holden)


Folk rock, hybrid musical style that emerged in the United States and Britain in the mid-1960s.
As the American folk music revival gathered momentum in the 1950s and ’60s, it was inevitable that a high-minded movement that prided itself on the purity of its acoustic instrumentation and its separation from the commercial pop mainstream would be overtaken and transformed by pop music’s rapidly evolving technology. Rock music also was transformed by its intersection with folk. Although rock previously had been perceived and created almost exclusively as entertainment, it now began to take on folk music’s self-conscious seriousness of intent. The catalytic figure in the fusion of folk and commercial rock was Bob Dylan, the movement’s scruffy young troubadour, who in one of several audacious career moves “went electric” during a July 25, 1965, performance at the Newport (Rhode Island) Folk Festival. 
Dylan’s dramatic gesture, one of the signal events in the history of popular music, certified a fusion that had already taken place. The hybrid had been presaged in the late 1950s by the huge popularity of commercial folk-pop made by left-leaning performers like Harry Belafonte and the college campus favourites the Kingston Trio, whose hit albums mixed traditional and contemporary material. The traditional material came from many different sources, among them spirituals, Appalachian mountain music, early blues, and English and Celtic ballads. A major influence on Dylan that was not strictly traditional was Harry Smith’s 1952 Anthology of American Folk Music, a collection of evocative 1920s and ’30s hillbilly, blues, Cajun, and gospel songs, released on the Folkways label.
Two years before Dylan’s notorious Newport appearance, which struck die-hard folk purists as a sellout, the folk-pop trio Peter, Paul and Mary had reached number two in the charts with a homogenized pop rendition of Dylan’s protest anthem “Blowin’ in the Wind.” Dylan’s move, which followed the release of his partly electric album Bringing It All Back Home (1965), accelerated the already growing onslaught of socially conscious folk-flavoured music done with a rock beat and electric guitars. The genre reached a peak of formal elegance in the music of the Byrds, a Los Angeles-based quintet (founded by former folk musician Roger McGuinn) whose sound was constructed around the jangling chime of 12-string electric guitars and Beatles-influenced vocal harmonies. Early in the summer of 1965 the Byrds scored a number one hit with Dylan’s song “Mr. Tambourine Man.” Their second number one hit, “Turn! Turn! Turn!,” which came at the end of that year, was based on Pete Seeger’s adaptation of verses from the book of Ecclesiastes.
As folk rock became the trend of the moment, however, its socially critical stance was quickly broadened and diluted, and the relationship between the music and its traditional sources became more tenuous, a matter more of “feeling” than of strict reverence for the past. From then, the music tended to fall into two stylistic camps. In the United States folk rock acts like the Mamas and the Papas, Buffalo Springfield, the Lovin’ Spoonful, Sonny and Cher, Simon and Garfunkel, and Janis Ian personified a generalized, often self-righteous youthful rebellion that in its more pointed songs was labeled “protest” music. The era’s quintessential—although far from best—folk rock anthem was Barry McGuire’s “Eve of Destruction,” which reached number one in September 1965. Simon and Garfunkel’s similarly themed though more poetic “The Sounds of Silence”  reached number one in January 1966.
In Britain folk rock tended to be more respectful of tradition; groups like Fairport Convention and Steeleye Span made records that combined centuries-old folk material with original, tradition-flavoured songs arranged for folk rock ensembles that often used old instruments to maintain a strong Celtic flavour. In the 1970s and early 1980s the English folk duo Richard and Linda Thompson recorded bleak, strikingly compelling social-realist ballads on albums such as I Want to See the Bright Lights Tonight (1974). In a more commercial vein, Scottish troubadour Donovan was a self-conscious answer to Dylan. His first hit, “Catch the Wind” (1965), was a softened and sweetened echo of Dylan’s “Blowin’ in the Wind.”
Folk rock blurred into psychedelic rock and other more personal styles, although certain groups (especially Crosby, Stills and Nash, Jefferson Airplane, and 10,000 Maniacs) and singer-songwriters (Don McLean, Jackson Browne, Bruce Cockburn, Bruce Springsteen, and Tracy Chapman) continued to create socially conscious, issue-oriented pop music into the 1970s, ’80s, and ’90s.




****

Related to folk rock is country rock and the singer-songwriter genre. There is possibly also a folk pop genre.

I'm listening to Jackson Browne's first album right now, and that seems to blend country, folk rock, and folk, in the singer-songwriter style quite nicely.  It's not really just folk rock.


Lists

* 10 Essential Folk Rock Albums
* Best Folk Rock Artists
* 100 Ultimate Folk Rock Albums
* Ian Anderson's 10 Essential Folk Rock Albums
* Matt Fowler's 10 Essential Folk Rock Albums
* Top Twenty Folk Rock Albums Of All Time 
* NME 20 Best Folk Rock Albums 
* AOTY Highest Rated Folk Rock Albums (Rolling Stone) 
* AllMusic Highlighted Rock Rock Albums  
* GuitarPlayer 30 Classic Acoustic Albums 
* LiveAbout Essential Folk Rock Albums 



FAIRPORT CONVENTION - Liege & Lief (1969)  +3
STEELEYE SPAN - Parcel Of Rogues (1973)  +1
JOHN MARTYN - Solid Air (1973) +1
RICHARD & LINDA THOMPSON - I Want To See The Bright Lights Tonight (1974)  +1
LINDISFARNE - Fog On The Tyne (1971)
ROY HARPER - Stormcock (1971)
HORSLIPS - Book Of Invasions: Celtic Symphony (1977)
SANDY DENNY - No More Sad Refrains – The Anthology (2000)
NICK DRAKE - Bryter Layter (1970)
Stealers Wheel - Stuck In The Middle – Hits Collection (1998)  (Odd choice) 

Roy Harper - Come Out Fighting Genghis Smith (1968)
Pentangle - The Pentangle (1968) 
Traffic - John Barleycorn Must Die (1970)
Planxty - After The Break (1979) 
Seth Lakeman - Poor Man's Heaven (2008)
The Young Dubliners - Red (2000)
Andy Irvine and Davy Spillane - EastWind (1992)
Värttinä - Vihma (1998)

Steeleye Span Hark! The Village Wait (1970)
Fotheringay Essen 1970
Led Zeppelin Led Zeppelin III (1970) 
Trees On the Shore (1971)   
Mellow Candle Swaddling Songs (1972)
Hedgehog Pie The Green Lady (1975)
Circulus The Lick on the Tip of an Envelope Yet to Be Sent (2005)
Espers  II (2006) 
Crumbling Ghost Five Songs (2016)

Nick Drake – Five Leaves Left (1969)
Bert Jansch – 'Bert Jansch' (1965)
Leonard Cohen – Songs Of Leonard Cohen (1967)
Bon Iver – For Emma, Forever Ago (2007)
Bright Eyes - I’m Wide Awake, It’s Morning (2005)
Bob Dylan – The Times They Are A-Changin’ (1964)
Fotheringay – Fotheringay (1969)
Sandy Denny – Sandy (1972) 
The Pogues – Rum Sodomy and the Lash (1985)
Joanna Newsom – The Milk-Eyed Mender (2004)
Woody Guthrie – Dust Bowl Ballads (1940)
Laura Marling – Once I Was An Eagle (2013)
Odetta – Odetta Sings Folk Songs (1963)
Pentangle – Cruel Sister (1970)
The Watersons – Frost and Fire (1965)
The Weavers – At Carnegie Hall (1957)
Bonnie “Prince” Billy – I See A Darkness (1999)



(From these lists it appears that people mostly focus on either American artists or British artists, and only occasionally will there be a list that has a balance between both - some stick rigidly to one side of the Atlantic or the other)

Singer-songwriters

There seems to be a blurring of what is called folk rock with those artists who are called singer-songwriters. There is a descriptive phrase of singer songwriter that applies to an artist who writes and sings their own songs, such as Madonna and Adele, and a genre or style called singer songwriter, that is applied to artists in the Sixties and Seventies who wrote and sung their own songs. Bowie is a singer songwriter in that he writes and sings his own songs, but, even though he was active in Sixties and Seventies during the height of the singer songwriter genre, he wasn't called a singer songwriter. James Taylor, Leonard Cohen, Joni Mitchell, Cat Stevens, Donovan, Neil Young, Tim Hardin, Tim Buckley, Al Stewart, John Martyn, etc, were called singer songwriters. What they have in common is they play acoustic guitar (or occasionally piano) to accompany their own singing. They may sing solo or with a band. The band may be acoustic or electric. There may or may not be drums. And what they sing is neither traditional folk music nor modern electric rock, though their music may incorporate elements of either or both those styles. Because of the use of the acoustic guitar, there is generally a folky feel to the music.

> Some artists, such as Bert Jansch, are called folk, though there is little to differentiate them from those artists called singer-songwriters.  The very model for the singer-songwriter is Bob Dylan, who started out very much a folk singer. The difference, I suppose, is that folk artists may mostly play traditional folk songs (as Dylan did when he started out), while singer-songwriters mostly play their own songs, which may or may not be based on the traditional folk genre. 


* Uncut's 50 Best Singer Songwriter albums
* Top 20 Singer Songwriters Of All Time


Country rock

It is generally considered that when country music merged with blues / rhythm and blues, that rock and roll developed. Yet there is a distinct style of rock music called country rock.  Acts generally considered country rock are Kris Kristofferson, Gram Parsons, The Eagles, Neil Young, Creedence Clearwater Revival, The Byrds, The Band, Nitty Gritty Dirt Band, New Riders of the Purple Sage, Poco, Johnny Cash, Waylon Jennings, The Highwaymen,  The Flying Burrito Brothers, etc.

Country music is a branch of folk music which has its own stylistic features. Same as blues is a branch of folk music with its own stylistic features. Both can be played with electric instruments backed with a drum kit. Here's Bob Willis doing Ida Red,  and here's Chuck Berry with his own version of that song, which Berry called Maybelline.  The first is Western Swing / Country, the second is Rhythm and Blues / Rock and Roll or Rockabilly (which is a blend of RnB with Country).

What makes people decide how a song can be identified as one form of music or another seems to be that they recognise certain features, such as the instruments, or the way the instruments are played, the singing style or the topic, or just the attitude and style of the artist. Different groups of people might recognise different things. Country music fans may recognise country music aspects of a song, while folk music fans may recognise folk music aspects, while blues music fans may recognise blues music aspects. Someone familiar with all three styles of music may say it's blend of all three, so it's Country Folk Blues, or whatever.

A number of the artists listed as country rock I would regard simply as country such as New Riders of the Purple Sage, so I wonder if all comes down to personal perception. Some people see The Pogues as a punk rock band, while to me they are an Irish folk band; others might see them as a mix of both. Here's one track, and here's another.  So which is the punk rock band, and which the Irish folk band? How about this and this? Or this and this?


* AllMusic list of country rock artists
* Ranker Best Country Rock artists
* 10 Essential Country Rock Albums
* Top Country Rock Albums


Possible points of difference between folk and folk rock


Folk rock tends to use a drum kit, folk doesn't.
Folk rock tends to use electric instruments such as electric guitar, folk doesn't.
There tends to be more of a beat to folk rock (often driven by the drum kit and an electric bass). 

Some artists move freely between acoustic folk and electric folk - such as Neil Young, while others moved more electric as their career progressed - such as Bob Dylan.



Differences between folk and pop music

In searching the 'net for answers to that question I came upon this blog, which proposes that the difference is that folk music is written to reflect a given culture while pop music is mainly intended to make money. 

I understand the thinking behind the notion that pop is commercial while folk is not, but I'm not sure how helpful or accurate such a statement is.  Folk and pop both use verse-chorus structures, repetition, simplicity, melody, etc.  And while there may be amateur folk artists, interested purely in entertaining people,  there are also amateur pop artists quite happy to entertain at various events, pubs, clubs and family occasions. Also, most folk artists these days are commercial.  There is also a sense of disapproval or snobbery about the notion of pop music making money, when all music genres make money, and some of the biggest money is made in music forms which are not pop, such as hip-hop, soul, RnB, and rock. That an artist seeks to make their music appeal to many people is not in itself a bad thing. Though, it is vital that there are music forms which diverge from that aim, and thankfully there will always be artists keen to take the road less travelled, or never previously explored.  Folk is not a road less travelled, nor is it a road never previously explored. Folk is a popular and commercially successful genre - during the late 50s and early 60s it was one of the most popular and commercially successful genres in both the UK and the USA, as well as Canada and Australia. 


If we take away the individual artist's hope to get paid for their work, what exactly does differentiate folk and pop music? 


Folk music v acoustic music 

The ICTM (the International Council for Traditional Music, originally IFMC - International Folk Music Council) in a conference in Brazil in 1954 defined folk music as "the product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the tradition are 1) continuity which links the present with the past; 2) variation which springs from the creative impulse of the individual or the group; and 3) selection by the community, which determines the form or forms in which the music survives." Maud Karpeles in her article "The Distinction between Folk and Popular Music" for the Journal of the International Folk Music Council (1968) felt that modern (or contemporary folk music) songs "are seldom completely imbued with the folk song tradition. They will use folk song cliches ... they have not been submitted to the moulding process of oral transmission ... when ... a song was not tied to a definite form, but could gradually evolve ... to suit the taste of the community."

It is clear that in the ITCM there is, ironically, a conservative attempt to fix folk music as it was when the people there encountered it, and to resist the evolution and variation which they use to define folk music. So, essentially, for the ITCM, folk music is music that has stopped evolving, and is frozen in time as an example of ethnic and pre-literate culture. It is an historic or academic form of music worthy of study, rather than something alive and part of today's complex culture.

OK, I am getting the sense that there are two understandings of folk music. A conservative, academic understanding  as exemplified in the blog above, in ITCM's definition, and in Britannica's definition, which has it as a traditional form of music, and is close to what is also known as "world music". That understanding seems to boil down to: any music that is non-recent and not widely recognised in the West. And the other is music of the people which uses acoustic instruments. It's possible that today's folk music is pop music. Music of the people. Popular with the people. Songs about love and relationship. Songs about everyday matters: struggling to work, live and love in whatever circumstances we find ourselves in. The instruments used to deliver these songs will be whatever is available and useful, hence the move from acoustic to electric in the Sixties. It actually makes no sense to continue using acoustic guitar when the electric guitar can provide a better, bigger sound.

Academic essay: Folk Music, Art Music, Popular Music: What do these categories mean today? 

Crawdaddy opinion piece 1966: Folk, Rock & Other Four-Letter Words    



Slapping some albums down here to compare and contrast:



1940 
 Woody Guthrie Dust Bowl Ballads  


1956 The Weavers - At Carnegie Hall     


1957 Pete Seegar - Compilation  


1958 The Kingston Trio The Kingston Trio 


1959  Shirley Collins  Sweet England   


1960 Joan Baez – Joan Baez 


1962  Bob Dylan -  Bob Dylan   


1962 Peter, Paul and Mary - Peter, Paul and Mary  


1963 Various  The Iron Muse   


1963 The New Christy Minstrels  - Ramblin'   


1963 Bob Dylan – The Freewheelin' Bob Dylan  


1964 The Beatles - For Sale  

1964  Davey Graham Folk, Blues and Beyond  


1964 Phil Ochs - All The News That's Fit to Sing  


1964  Simon & Garfunkel  - Wednesday Morning  


1964 Buffy Sainte-Marie - It's My Way    


1965 The Beatles - Rubber Soul   

1965 John Fahey The Transfiguration of Blind Joe Death  


1965 Jackson C. Frank Jackson C. Frank 


1964  The Dubliners  - The Dubliners


1965  Bob Dylan - Bringing It All Back Home 


1965  Fred Neil – Bleeker Street  


1965 The Watersons - Frost & Fire 

1965 The Byrds -  Mr Tambourine Man

1965  Bert Jansch - Bert Jansch  


1966  Fred Neil - Fred Neil 


1966 Simon & Garfunkel – Parsley, Sage, Rosemary & Thyme  


1966 The Mamas & The Papas - If You Can Believe Your Eyes And Ears

1966  Donovan - Sunshine Superman  


1966 Tim Hardin - 1   

1966 Roy Harper  -  Sophisticated Beggar   


1967 Judy Collins  Wildflowers

1967  Incredible String Band - The 500 Spirits   


1967 The Byrds - Younger Than Yesterday  


1967  Arlo Guthrie Alice's Restaurant   


1967  Leonard Cohen  - Songs  


1968 The Seekers - The Best Of  


1968 Van Morrison – Astral Weeks  


1968  Joni Mitchell - Song To A Seagull 


1968  Laura Nyro – Eli & the Thirteenth Confession 


1968 Pentangle - The Pentangle  


1968 The Band – Music from Big Pink 


1968 Tyrannosaurus Rex - My People Were Fair...  


1969  Crosby, Stills & Nash – Crosby, Stills & Nash 


1969 Neil Young – Everybody Knows This is Nowhere  


1969 Renaissance Renaissance 


1969 Al Stewart - Love Chronicles    


1969  It's A Beautiful Day It's A Beautiful Day   


1969  Fairport Convention  - Leige & Lief 


1970 Tom Paxton - Compilation   

1970 Crosby, Stills, Nash & Young – Déjà vu 


1970 Neil Young – After the Gold Rush 


1970 Simon & Garfunkel  - Bridge Over Troubled Water 


1970 Cat Stevens – Tea for the Tillerman  


1970 James Taylor Sweet Baby James  


1970 Steeleye Span - Hark! The Village Wait  


1970 Led Zeppelin – III  


1970 Syd Barrett  - Barrett  


1970  John Martyn -  Stormbringer  


1970 Elton John  - Tumbleweed Connection  


1971 Melanie - Compilation   


1971 Joni Mitchell – Blue  


1971  David Crosby – If Only I Could Remember My Name 


1971 Carole King – Tapestry  


1971 Strawbs - From The Witchwood 


1971 Don McLean – American Pie  


1971 Lindisfarne Fog On The Tyne 


1972 Nick Drake  -  Pink Moon  

1972 Jackson Browne - Saturate Before Using  

1973 Clannard Clannard   


1973 John Martyn – Solid Air   


1973 Eagles - Desperados 


1973 Tom Waits - Closing Time  


1974? Joan Armatrading - 


1975 Bob Dylan – Blood on the Tracks  


1978  The Albion Band -  Rise Up Like The Sun  

1978  The Band - The Last Waltz 


1982  Bruce Springsteen – Nebraska  


1983 Billy Bragg –  Life's A Riot With Spy vs Spy  


1985 The Pogues - Rum, Sodomy  


1985  The Waterboys - This Is The Sea   


1987 Suzanne Vega -  Solitude Standing 


1988  American Music Club – California   


1988 Runrig - Once In A Lifetime (live)   This is a bit third rate, lacking in so many areas, ultimately boring. There's a sort of thudding Eighties rock sound to it all, which just makes things worse. There's a reason you haven't heard of Runrig. This is not just their best regarded album but also, according to KitKeifer of AllMusic, one of the best live albums of all time. Yet it sucks......

1990  Dwight Yoakam - If There Was A Way   


1990   Uncle Tupelo - No Depression   


1991   The Levellers - Levelling The Land   


1995   Alanis Morissette – Jagged Little Pill   


1996  Nick Cave & the Bad Seeds – Murder Ballads    


1996 Beck – Odelay 


1996   Babybird - Ugly Beautiful   


1996  Belle and Sebastian –  Tigermilk   


1997  Sarah Mclachlan - Surfacing  


1997 Bob Dylan – Time Out of Mind  


1990   Dido - No Angel   


1998  Bonnie "Prince" Billy - I See A Darkness   


2000 Nelly Furtado - Whoa, Nelly!   

2002 Bright Eyes - Lifted  

2003 Rufus Wainwright – Want One   


2003  Calexico – Feast of Wire 


2004  FeistLet It Die   

2004  Madeleine Peyroux - Careless Love   

2005  Sufjan Stevens - Illinois  


2005  
Antony and the Johnsons - I Am A Bird Now    


2005  The Magic Numbers - The Magic Numbers   


2006 Ed Sheeran  


2006  Amy Winehouse - Back To Black  

2006 Lily AllenAlright, Still    


2007 Bon IverFor Emma, Forever Ago     

2008 Taylor Swift - Fearless  

2008 Duffy - Rockferry  

2008 Laura  Marling - Alas I Cannot Swim   


2010 Robert Plant  -  Band of Joy   



Music Styles & Genres



98  March 2019 

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