- Dave Cousins – guitar, dulcimer, banjo, vocals
- Tony Hooper – guitar, vocals
- Rick Wakeman – keyboards, clavinet
- Richard Hudson – drums, vocals, sitar
- John Ford – bass guitar, acoustic guitar, vocals
Featuring Feist, Bonnie ‘Prince’ Billy, Haim and more covering his songs
To mark the 50th anniversary of his classic 1970 albums Tea For The Tillerman and Mona Bone Jakon, Yusuf / Cat Stevens will host a special YouTube broadcast on December 5.
CatSong Festival features the likes of Feist, Bonnie ‘Prince’ Billy, Haim, Ron Sexsmith, Imelda May and many more covering Cat Stevens songs.
You can watch it for free over at Cat Stevens’ YouTube channel from 8pm GMT on December 5.
From the 2008 debut to 2020’s acclaimed Song For Our Daughter
A follow-up to this spring’s Song For Our Daughter may be a little way off, explains Laura Marling. “If I’m on the road for an extended period of time, I tend to have written an album by the time I get back,” she says. “Obviously that’s been completely scuppered by coronavirus. When I’m at home I play the guitar but I don’t really feel the need to write – I mean, I’m at home, I’ve got nothing to miss.”
For now, though, there’s her extensive back catalogue to enjoy, and it’s this body of work that the songwriter is taking us through here; from her first studio experiences to orchestral arrangements for three bass guitars, via her own personal highpoint, 2013’s Once I Was An Eagle: “It’s just one of those things, maybe a once-in-a-lifetime thing.”
Along the way, Marling ponders her time in Los Angeles, being one half of Lump and her mission as a solo artist today. “I’m not trying to reinvent the wheel,” she says. “As much as I love Blake Mills’ production on Semper Femina – and I would take that any day – really it’s about whether I’m a good songwriter. That’s all I’m really interested in.”
ALAS, I CANNOT SWIM
Marling’s debut, produced by Noah & The Whale’s Charlie Fink
We had four weeks at Eastcote Studios, two weeks doing my record and then a further two weeks back-to-back doing the Noah & The Whale record. We laid down the bass, drums, guitar and vocal all at once, and then we did overdubs – this is the same for all albums I’ve done, pretty much. My dad ran a recording studio which shut down when I was quite small, but I remember growing up around all of that outboard gear at home. So I guess I was slightly more familiar with the studio than the average 17-year-old, but still it was my first proper session. These were all my first songs, written from the age of 16-17. There was a batch of songs before that that were on an EP, “London Town” – I didn’t like them very much by the time I got to making this. I haven’t listened to this for a long while, I very rarely play any of those songs live, so it’s a bit of a distant memory to me now. And the production was very much of the time I guess, that ‘new folk’ world – glockenspiels and banjos and whatever – which is good, that’s what it was supposed to be then. I don’t really think of this as part of my catalogue. Continue reading
Bird In A Cage flickers and flits from verse to verse, while the improvised solos are a taste of how impressive these two are as live performers (and a reminder of what we are all currently missing).Folk Music UK
Beautiful vocals and sentiment.