The Genius of Bert Jansch: Folk, Blues and Beyond


The Genius of Bert Jansch: Folk, Blues and Beyond

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The musical impact was immediate

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when we became aware of the guy called Bert Jansch.

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The dexterity and where he's coming from, as a stylist

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and as an individual, was very engaging for me.

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# Sitting behind the front wheel

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# Got my woman beside me too...#

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He had that kind of cool. He was just cool.

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Didn't have to try.

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Enviable, really.

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# I don't mind the drizzle and rain...#

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Chris said to me, "I'm going to introduce you to Bert Jansch

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"and you'll fall in love with him, cos all the girls do."

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# Baby, we're going home. #

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He had a poetic intensity and he was dark and mysterious.

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He didn't need to bang a drum about what he did.

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It was all there under his fingers, you know.

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At the end of the 1950s there was no fingerstyle guitar,

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hardly, in Britain.

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Ten years later Martin Carthy, Davy Graham, Bert Jansch,

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they had changed the world of acoustic guitar.

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# Just don't bother me. #

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He was this painfully shy, really sweet natured bloke and he started

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to play and I've never seen anybody attack the guitar the way he did it.

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He was really...grrrr, growling while he played sometimes.

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# Day-da-dam-da-doo-dum... #

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It's like a rite of passage a guitar player should know about,

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a bit of knowledge.

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You know, you need to learn how to do this and how to do that

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and at some point you're going to have to deal with Bert Jansch.

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APPLAUSE

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I'm glad that we're doing it here at the Festival Hall cos I think

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Bert liked being here.

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Two years ago, we played here with Bert and the original band.

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The first big gig was at Festival Hall

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and the last big gig was the Festival Hall.

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I talked to Danny Thompson and he said,

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"There's only one thing that I hate about this."

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He said, "It didn't happen when Bert was alive, so he could join in."

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I think Bert would have enjoyed it.

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He was always quite touched when people played his songs.

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I hadn't met Bernard before,

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His guitar strap's not quite as long as some of the guys I've worked with

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but he's got it right.

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I'm just going to, sort of, think, "Hey, Bert, this is for you."

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We'll all be nervy but that's OK too.

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Bert used to speed up when he got nervous.

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APPLAUSE AND CHEERING

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I used to sing just in an amateur way with a 12 string player

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called Chris Ayliff

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and we were running a folk club in South London and John Renbourn

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and Bert used to come down and play and they were our highest

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paying artists, eight pounds, was an awful lot in those days.

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But I did meet Bert, and he went,

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"Do you want to come and have a cup of tea, love?"

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I went, "Oh, all right."

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That was it, really.

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John said to me,

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"We're forming a band and you're going to be the singer."

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# And in the place your time was waste

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# Will spread all over with rue

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# Will spread all over with rue. #

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When we first started, people gave us an awful lot of stick

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because we had bass and drums from the jazz world but we all loved jazz

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but everybody used to say, "We've never heard anything like it!"

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And I suppose, really, we played what we wanted to play.

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And we were lucky that a lot of people started to like it

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and bought the albums.

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Within that year, when we first started,

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we were playing the Festival Hall.

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# I've got a feeling

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# Concerning you

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# You know, I've got a feeling

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# Concerning you

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# Concerning the things

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# That you do

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# I ain't dreaming

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# When I think of you

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# I ain't dreaming

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# When I think of you

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# When I think of

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# What we're gonna do

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# Ooooh

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# Ooooh

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# Ahhh-oh-oh-ooooh

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# Ooooh

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# Ahhhh

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# Oooh-ooh-ooh-oooh

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SAXOPHONE SOLO

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# I've got a feeling

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# Concerning you

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# You know, I got a feeling

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# Concerning you

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# Concerning the things

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# That you do. #

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APPLAUSE

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Thank you.

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Spencer Cousins, Jonathan Wolf,

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Jerry Conway and Gary Foot, thank you.

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The gentleman behind me on the wall is Jackson C Frank.

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He made one record, which was produced by Paul Simon, over here.

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And Bert was, pretty much, obsessed with that record.

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Jackson C Frank had a horrible life

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and a lot of people wrote songs which sound a bit like this

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but they were really romantic songs about the concept of suffering.

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Jackson C Frank wasn't writing about the concept of suffering,

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he was suffering.

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Which, I think, makes this song...special.

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# Catch a boat to England, baby

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# Maybe to Spain

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# Wherever I have gone

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# Wherever I've been and gone

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# Wherever I have gone

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# The blues are all the same

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# Send down for whisky, baby

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# Send down for gin

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# Me and room service, honey

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# Me and room service, babe

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# Me and room service

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# We'll be living a life of sin

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# Try another city, honey

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# Try another town

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# Wherever I have gone

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# Wherever I've been and gone

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# Wherever I have gone

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# The blues, they followed me down

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# When I'm not drinking, Mama

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# You are on my mind

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# When I'm not drinking, Mama

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# When I'm not sleeping, baby

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# When I'm not drinking

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# You know you'll find me crying

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# Maybe tomorrow, honey

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# Somewhere down the line

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# I'll wake up older, Mama

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# Oh, so much older, child

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# I'll wake up older

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# And I'll soon quit all my trying

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# You know living's just a gamble, honey

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# Loving's just the same

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# Wherever I have gone

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# Wherever I played them cards

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# Wherever I've thrown them dice

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# The blues, they run the game

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# Catch a boat to England, baby

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# Maybe to Spain

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# Wherever I have gone

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# Wherever I've been and gone

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# Wherever I have gone

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# The blues, they run the game. #

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APPLAUSE AND CHEERING

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Thank you very much.

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I had some very enlightened teachers in school

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and they used to take us on school trips to see Pentangle.

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Now, how cool is that?!

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LAUGHTER

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And there was one particular gentleman, I have to say,

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who I will always remember just being completely jaw-dropped by him.

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I thought he was utterly astonishing and I still think he is.

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Would you please welcome to the stage

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Danny Thompson, ladies and gentlemen?

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APPLAUSE AND CHEERING

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We're going to do you a song, actually, my brother,

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who is 12 years older than me...

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My brother, Geoff, he used to fill the house with 78s.

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This was in the late '50s and so I got to hear

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all kinds of funky stuff and this was on a record and...

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..he did a nice version of it.

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One, two, three, four...

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# Now, since my baby left me

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# I found a new place to dwell

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# It's down the corner of Lonely Street

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# At Heartbreak Hotel

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# You make me so lonely, baby

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# You make me so lonely, baby

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# Make me so lonely I could die

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# Well, you know, it's always crowded

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# But you sure can find some room

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# Where broken-hearted lovers

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# Do just cry away their gloom

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# You made me so lonely, baby

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# You made me so lonely, baby

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# You made me so lonely I could die

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# Well, the bellhop's tears keep flowin'

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# And the desk clerk's dressed in black

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# They've been so long on Lonely Street

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# They ain't never coming back

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# I feel so lonely, baby

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# I get so lonely, baby

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# I get so lonely I could die

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# So, now if your baby leaves you

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# And you've got a tale to tell

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# You just take a little walk down Lonely Street

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# To Heartbreak Hotel

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# You made me so lonely, baby

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# You made me so lonely, baby

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# Made me so lonely I could die

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# Lonely, baby

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# I get so lonely, baby

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# I get so lonely I could die. #

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Danny Thompson.

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CHEERING AND APPLAUSE

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The Cousins folk club in Greek Street.

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Les Cousins, "lay coozan".

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No-one really knew how to pronounce it.

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We always thought it was "Les Cousin".

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I was looking for Les for years.

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Who was this bloke who owned it?

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The first time I went down to Cousins was with John Renbourn

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and we used to play there quite a lot, really.

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It seemed to concentrate mostly on the young generation of songwriters,

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Nick Drake, Johnny Martyn, Bert, John Renbourn, Roy Harper.

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The Cousins was a place for guitar players.

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I remember Bert didn't own a guitar at one point.

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He had a thumb pick made out of a spoon, a silver teaspoon,

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which he'd chopped the handle off and bent it round

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and he was playing that.

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His attack was really savage.

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Just a young guy sitting in the corner in a combat jacket,

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didn't look anything special and of course,

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when he got up on stage, he just completely blew everyone away.

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Saw lots of people there. And the all-nighters,

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people used to roll up in the corner with their sleeping bags.

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# It's daybreak

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# The all-nighters faded to a close

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# The last of the folk rises and goes... #

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I saw Bert one night at Les Cousins and we all went back to Bert's flat.

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I just sat at his feet and tried to work out what he was doing.

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It was clear that he was the guy to watch.

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And so I learned a lot from Bert.

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He was a great, willing teacher

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and I started writing songs about him.

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This one came.

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MUSIC: House Of Jansch by Donovan

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# Girl ain't nothing but a willow tree

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# Swaying in a summer breeze

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# You'll never change what has to be

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# Girl ain't nothing but a willow tree

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# Sometimes I don't know what I said till I did

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# I wanna be the father of your kid

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# Dragonfly, he sleeps till dawn

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# I knew I'd be here when love has gone

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# Crystal ball is what I wish for you

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# Get it straight, I love the both of you

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# Summer's going through a cold turkey

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# Girl ain't nothing but a willow tree

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# I give your baby a contact high

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# I love another, is what I sigh

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# Looks like rain, I do declare

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# Your baby wants to take my chocolate eclair

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# I couldn't cry

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# I could not laugh

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# Incident about a silken scarf

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# I know what a jealous trip can be

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# Girl ain't nothing but a willow tree

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# Girl ain't nothing but a willow tree

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# Wait for me

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# Willow tree. #

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Thank you. Bert Jansch.

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APPLAUSE

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Now the journey continues with the next artist. I'll see you later.

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Thank you.

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CHEERING AND APPLAUSE

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# To be exposed

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# In all my strife

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# You gaze upon

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# My troubled life

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# But it

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# Don't bother me

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# What you see

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# You take my name

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# And you hang it high

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# You paint my picture

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# With coloured lies

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# But it

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# Don't bother me

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# What you do

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# You twist my words

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# Like plaited reeds

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# To mark your gain

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# And help your needs

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# Oh, but it

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# Don't bother me

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# What you say

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# When the truth is told

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# Of who I am

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# Shall break the silence

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# Of waters calm

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# Oh, but it just don't bother me

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# Who I am

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# But if I was a beggar boy

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# I'd sing of riches I could enjoy

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# Oh, but...it don't bother me

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# What they are

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# I'm thinking now

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# I'd rather hide

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# Or turn my back

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# And stand aside

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# But it...don't bother me

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# What I do. #

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CHEERING AND APPLAUSE

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Fresh As A Sweet Sunday Morning with Paul and Lisa.

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I used to play that with Bert a lot.

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Cos he was so used to playing on his own, when anyone else was there

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it was suddenly, "Oh, what's going on?"

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With Lisa singing it, it sounds beautiful.

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And me and Paul were trying to get her to be out of time,

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cos that's how it would have been with Bert.

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"Do you think you could just...?

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"If you edge ahead a little bit." Cos that's how it was with Bert.

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APPLAUSE

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# As fresh as a sweet Sunday morning

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# Like a high stepping pony strutting and prancing

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# Ah, she's so full of life

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# Sparkling with tiny red roses

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# Let there be music to please her

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# Let it be sunbright to light up her day

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# Let the moon light her night

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# Fill her sweet body with sleepiness

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# And if I were a small bird so tiny

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# I'd climb in her hair now just to be near her

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# And to hear her sweet voice

0:31:570:32:00

# And feel her sweet body beside me

0:32:000:32:06

# And if I were a high lord with riches

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# I'd clothe her in satin from India's far highlands

0:32:580:33:05

# And I'd shoe her in gold

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# And invite her to sit at my table

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# So step out young lady dancing

0:33:270:33:33

# To the sound of sweet music so gaily come singing

0:33:330:33:41

# For your beauty so rare

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# Is as fresh as a sweet Sunday morning. #

0:33:450:33:51

CHEERING AND APPLAUSE

0:34:190:34:21

The manager that we had in the late-'60s, early-'70s, Jo Lustig,

0:34:240:34:27

he said we were the quietest band on stage but the loudest off.

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SHE LAUGHS He was probably right.

0:34:310:34:33

# Well, if hosen and shoon

0:34:330:34:35

# Thou ne'er gav'st nane

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# Any nighte and alle... #

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And then, of course, there were tours of America.

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It was really funny, because we all went

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tweedy and very British, you know.

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And I came back looking like Pocahontas...

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with buckskin dresses and stuff.

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It turned our heads, really, going to America.

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We were just like children in a sweet shop, you know.

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All those lovely memories.

0:35:030:35:06

# Fair thee well, little lady

0:35:130:35:18

# Train's a-carrying me

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# One, two, three and the four thousand miles

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# Miles from you

0:35:300:35:33

# Oh, I tried my best to be your man

0:35:370:35:44

# Can you see, can you feel, I'm burning into myself

0:35:450:35:52

# Don't you understand? #

0:35:520:35:55

APPLAUSE

0:36:410:36:43

CHEERING

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Do you remember that, Dan?

0:36:480:36:50

-Yeah, we had some fun on the road in those days.

-We did.

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Yeah. So it was real. Yeah, it was a joyful experience.

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We were all mates together playing darts and socialising together.

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And it wasn't at all kind of record business and publishing.

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We just did it for the music.

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-I think that says it all, we were all together. It was lovely.

-Great.

0:37:090:37:13

-Sorry about the Speedos.

-LAUGHTER

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-That's when I could wear 'em.

-LAUGHTER

0:37:220:37:25

# I once thought that I did know all about it

0:37:480:37:55

# The rain falls, the wind blows and the sun shines

0:37:570:38:05

# Oh, don't you know that your creator is a-running out of ideas?

0:38:070:38:15

# I know that I might die of poison

0:38:200:38:28

# Invisible hanging there in the sunlight

0:38:310:38:38

# Oh, don't you know that your creator is a-running out of ideas?

0:38:400:38:48

# If I was you, I'd be friendly to your neighbour

0:39:230:39:31

# Be glad that he don't want to be your enemy

0:39:340:39:41

# Oh, don't you know that your creator is a-running out of ideas? #

0:39:430:39:51

CHEERING AND APPLAUSE

0:40:090:40:12

Thank you very much. Thank you.

0:40:120:40:14

Danny, Terry, Bernard Butler.

0:40:140:40:16

APPLAUSE

0:40:160:40:18

I think it's fair to say that there are a lot of friends of Bert Jansch

0:40:280:40:33

involved in this show this evening.

0:40:330:40:35

I'd like to introduce somebody who is on his second album, I believe.

0:40:350:40:38

Would you please welcome the stage Beverley Martyn and her band?

0:40:380:40:42

APPLAUSE

0:40:420:40:44

Hi.

0:40:530:40:54

# Keeps on raining, levee's gonna break

0:41:340:41:41

# Keeps on raining, levee's gonna break

0:41:430:41:50

# And all you people won't have nowhere to stay

0:41:500:41:58

# Oh, last night, I stood on the levee and moaned

0:41:580:42:05

# Oh, last night I stood on the levee and moaned

0:42:070:42:13

# Thinking about my baby and my happy home

0:42:140:42:21

# Rain won't help you

0:42:220:42:25

# Crying won't do you no good

0:42:250:42:30

# Rain won't help you

0:42:300:42:33

# Crying won't do no good

0:42:330:42:37

# When the levee breaks, man, you got to move

0:42:370:42:45

# Worked on the levee, momma, both night and day

0:43:100:43:17

# Worked on the levee, momma

0:43:170:43:21

# Both night and day

0:43:210:43:24

# I was a-working so hard just to keep the water away

0:43:240:43:32

# Now, it's a mean old levee cause me to weep and moan

0:43:560:44:04

# Mean old levee cause me to weep and moan

0:44:050:44:12

# Cause me to leave my baby and my happy home

0:44:120:44:19

# And if it keeps on raining the levee's gonna break

0:44:190:44:27

# Keeps on raining, levee's gonna break

0:44:290:44:35

# And all you people won't have nowhere to stay. #

0:44:350:44:43

CHEERING AND APPLAUSE

0:45:340:45:37

I can't tell you...how much Bert meant to me.

0:45:410:45:45

My favourite thing that he ever did was called Blackwaterside.

0:45:450:45:48

And he used to play this thing for me and I actually cried,

0:45:480:45:52

I couldn't believe it. You know, I was going, "Bert!"

0:45:520:45:55

Bert's grounding in folk music was very strong. Very, very strong.

0:45:590:46:04

I think you can hear in the constructions of his songs as well.

0:46:040:46:07

When he played traditional songs,

0:46:070:46:10

he let the words dictate where the guitar should go.

0:46:100:46:14

That was exactly the right thing to do.

0:46:140:46:17

But he was there first.

0:46:170:46:19

# One morning fair, I took the air

0:46:190:46:23

# Down on Blackwaterside... #

0:46:230:46:28

He had a relationship with this

0:46:280:46:29

lovely English singer called Annie Briggs

0:46:290:46:32

and he learned a few songs from her.

0:46:320:46:34

He learned Jack Orion and he learned Blackwaterside from her.

0:46:340:46:37

He created something pretty wonderful out of what had been

0:46:370:46:41

a song that had been around for 300-400 years.

0:46:410:46:44

And he's come up with this exquisite arrangement,

0:46:440:46:46

much envied, much copied.

0:46:460:46:49

Much copied.

0:46:490:46:51

And still a benchmark for people that want to show

0:46:510:46:54

they can play guitar and like folk music.

0:46:540:46:56

The song I want to do...

0:47:000:47:01

I've called it The Kiss In The Rain

0:47:010:47:04

to suggest something that is a bit transitory or doesn't really last.

0:47:040:47:09

And it's a mythologizing of the handing over of Blackwaterside

0:47:090:47:14

by Ann to Bert.

0:47:140:47:16

# In my mind I see Annie and Bert running free

0:47:260:47:31

# Over the hills but inside of the sea

0:47:310:47:36

# And there's no map between them, just music their guide

0:47:360:47:43

# And the moon on dark water

0:47:430:47:46

# Like a road they could ride

0:47:460:47:50

# Now one day they wrote a new page in their lives

0:47:540:48:00

# Written on wings of sea birds as they dived

0:48:000:48:06

# Swooping down to the sea, marked the turn of the tide

0:48:060:48:11

# And he sang him the song

0:48:110:48:16

# She called Blackwaterside

0:48:170:48:20

# Do do do do do do

0:48:210:48:24

# Do do do do do do

0:48:240:48:27

# Ah da day

0:48:270:48:28

# Da-da day

0:48:280:48:30

# In unfettered freedom, life coursed through their veins

0:48:310:48:36

# A promise exchanged for a kiss in the rain

0:48:360:48:42

# To return her sweet favour if she would decide

0:48:420:48:48

# To teach him the song

0:48:480:48:51

# She called Blackwaterside

0:48:510:48:54

# She sang it again and he took his guitar

0:48:570:49:02

# And he sank by the rocks and he worked a long hour

0:49:020:49:08

# Till he fitted the tune she'd agreed to provide

0:49:080:49:14

# To the words of the song

0:49:140:49:17

# She called Blackwaterside

0:49:170:49:20

# Now when it was finished and fashioned and true

0:49:330:49:38

# Becoming the bond of this oneness of two

0:49:380:49:43

# For the words and the music you cannot divide

0:49:430:49:49

# They're both parts of the song

0:49:490:49:53

# They call Blackwaterside

0:49:530:49:57

# Now the story it told would be much like their own

0:50:220:50:27

# Except for deception, of which there was none

0:50:270:50:32

# There was no promise broken, no tears to be dried

0:50:320:50:38

# Just honey and birdsong

0:50:380:50:43

# Was Blackwaterside

0:50:430:50:46

# Do do do do do, do

0:50:470:50:49

# Do do do do do do

0:50:490:50:52

# Ah da da da

0:50:520:50:54

# Deedle day

0:50:540:50:57

# Do do do do

0:50:570:50:59

# Do do do do do do

0:50:590:51:02

# Da da da da da da

0:51:020:51:05

# She asked him to play it to her again

0:51:090:51:14

# For fear it might fade, like a kiss in the rain

0:51:140:51:19

# But the notes on his guitar did ripple and glide

0:51:210:51:27

# They sparkled like moonlight

0:51:270:51:30

# On Blackwaterside

0:51:300:51:34

# Do do da da

0:51:350:51:38

# La la la la la

0:51:380:51:40

# Da da da da, da da

0:51:400:51:43

# Oh, they sparkle like moonlight

0:51:440:51:49

# On Blackwaterside. #

0:51:490:51:55

APPLAUSE AND CHEERING

0:52:000:52:03

Thanks ever so much. Listen, it's my very great pleasure and privilege

0:52:090:52:14

to introduce Martin Carthy and Lisa Knapp.

0:52:140:52:18

APPLAUSE

0:52:180:52:21

This is that Blackwaterside.

0:52:330:52:36

APPLAUSE

0:52:380:52:40

I didn't really make any kind of an effort to play it like Bert,

0:52:420:52:45

I thought it'd be rather silly.

0:52:450:52:47

Cos nobody could play it like him.

0:52:480:52:50

# One morning fair

0:53:110:53:15

# To take the air

0:53:150:53:20

# Down by Blackwaterside

0:53:220:53:29

# 'Twas in gazing all

0:53:300:53:35

# All around me

0:53:350:53:39

# 'Twas the Irish lad I spied

0:53:400:53:48

# And all for the first part of the night

0:53:500:53:58

# We lay in sport and play

0:53:590:54:05

# Then this young man he arose

0:54:060:54:12

# And he's put on his clothes

0:54:130:54:17

# He says fare you well today

0:54:170:54:24

# Well that's not the promise you gave to me

0:54:250:54:33

# When first you lay on my bed

0:54:330:54:39

# You could make me believe

0:54:390:54:46

# With your lying tongue

0:54:460:54:50

# That the sun rose in the West

0:54:500:54:56

# Then go home, go home

0:54:590:55:03

# To your father's garden

0:55:030:55:08

# You go home and weep your fill

0:55:080:55:16

# And you think on your own

0:55:160:55:21

# Misfortune

0:55:210:55:25

# That you've brought with your want and will

0:55:260:55:34

# One morning fair

0:55:340:55:38

# For to take the air

0:55:380:55:42

# Down by Blackwaterside

0:55:420:55:49

# 'Twas in gazing all

0:55:490:55:54

# All around me

0:55:560:56:00

# Was the Irish lad I spied. #

0:56:010:56:09

APPLAUSE AND CHEERING

0:56:110:56:16

Right.

0:56:360:56:38

# I'm walkin' down a track

0:56:580:57:00

# I got tears in my eyes

0:57:000:57:04

# Tryin' to read a letter from my home

0:57:040:57:08

# And if that train keep running right

0:57:090:57:12

# I'll be home tomorrow night

0:57:120:57:16

# Cos I'm 900 miles from my home

0:57:170:57:21

# And I hate to hear that lonesome whistle blow

0:57:230:57:27

# And I'll pawn you my watch

0:57:310:57:34

# And I'll pawn you my chain

0:57:340:57:38

# I'll pawn you my gold diamond ring

0:57:380:57:41

# And if that train keep running right

0:57:430:57:46

# I'll be home tomorrow night

0:57:460:57:49

# Cos I'm 900 miles from my home

0:57:510:57:56

# I hate to hear that lonesome whistle blow

0:57:570:58:01

# That train I ride on

0:58:410:58:43

# It's 100 coaches long

0:58:430:58:47

# And the whistle blow a million miles

0:58:470:58:51

# And if that train keep running right

0:58:520:58:55

# I'll be home tomorrow night

0:58:550:58:58

# Cos I'm 900 miles from my home

0:58:590:59:05

# I hate to hear that lonesome whistle blow

0:59:060:59:10

# Cos I'm 900 miles from my home

0:59:140:59:19

# I hate to hear that lonesome whistle blow. #

0:59:210:59:24

APPLAUSE

1:00:421:00:44

What Bert had was a real sense of expression and looseness...

1:00:471:00:53

..and darkness.

1:00:541:00:55

What's that? That's rock 'n' roll. It's the blues, you know.

1:00:551:00:59

So it makes perfect sense to me that he, of all of those guitar

1:00:591:01:03

players of his generation, would appeal to the people he appealed to.

1:01:031:01:07

# Now the river sings the sweetest songs in a million harmonies

1:01:071:01:12

# But the sun shines brighter on the other side

1:01:121:01:15

# That's where I wanna be. #

1:01:151:01:17

The blues side of it is intrinsic to rock music

1:01:181:01:21

and where I've come from, my education,

1:01:211:01:24

and so I felt really at home with that and when I started

1:01:241:01:26

playing like that with Bert, I realise that he really locked

1:01:261:01:30

into that because, essentially, a lot of his background is the blues.

1:01:301:01:33

Bert gave me permission to be eclectic.

1:01:381:01:42

The fact that he played, on the one hand, blues,

1:01:421:01:46

on the other hand, traditional Scots ballads. I mean, I...

1:01:461:01:50

I felt very, very strongly, from a very early age,

1:01:501:01:54

that all that music was essentially the same.

1:01:541:01:57

# I don't believe I've seen a woman like you

1:01:571:02:03

# Anywhere. #

1:02:041:02:07

And when you're young and sassy and you want to get going in life

1:02:071:02:10

and you want to express yourself, I think

1:02:101:02:14

it was the blues that attracted us to Bert.

1:02:141:02:19

But he was mixing the blues with the trad.

1:02:191:02:22

That was what made him unique.

1:02:221:02:24

I was playing John Lee Hooker

1:02:281:02:29

and Jimmy Reed stuff at the town hall in the Black Country

1:02:291:02:33

opening for Gene Vincent

1:02:331:02:34

and meanwhile I was going to a folk club on a Thursday night

1:02:341:02:37

and playing washboard and soaking up another world alongside.

1:02:371:02:44

I was just looking across and listening to him

1:02:441:02:47

and getting on, wiggling around a little bit

1:02:471:02:50

and getting ready for the leather trousers, I suppose.

1:02:501:02:52

# Drawing water from the well

1:03:171:03:20

# Spilling over on the grass

1:03:231:03:26

# Walking home my heart is filled with pain

1:03:291:03:34

# Oh, woe is me

1:03:341:03:38

# Go your way, my love

1:03:391:03:43

# Go your way, my love

1:03:471:03:50

# As I walk through the trees

1:03:541:03:58

# Picking up the windy leaves

1:04:001:04:04

# Thinking where you may be sleeping now

1:04:061:04:10

# I-I-I-I wanna die

1:04:111:04:15

# Go your way, my love

1:04:171:04:21

# Ooh, go your way, my love

1:04:231:04:29

# As I sit, mending your clothes

1:04:321:04:36

# That you will never, ever wear

1:04:381:04:43

# Cooking daily for you, I prepare

1:04:441:04:49

# But woe is me

1:04:511:04:55

# So go your way, my love

1:04:561:05:00

# Go your way, my...

1:05:041:05:12

# Is there war in some far land?

1:05:421:05:44

# And have you gone to lend a hand?

1:05:471:05:51

# And do you lie broken and dying now?

1:05:531:05:58

# Oh, I-I-I-I wanna die

1:05:581:06:04

# Go you way, my love

1:06:051:06:10

# Go your way, my love

1:06:131:06:20

# Drawing water from the well

1:06:211:06:23

# Spilling over on the grass

1:06:271:06:30

# Walking home my heart is filled with pain

1:06:321:06:37

# Woe is me

1:06:391:06:43

# Go your way, my love

1:06:451:06:49

# Go your way, my love

1:06:531:06:59

# Go

1:07:031:07:10

# Go

1:07:111:07:19

# My love. #

1:07:201:07:28

APPLAUSE AND CHEERING

1:07:301:07:32

Thank you very much. Beautiful song. Thank you.

1:07:391:07:44

Well, a few years ago, I bumped into Bert

1:07:461:07:51

and it was a spectacular night and very moving, beautiful guitar

1:07:511:07:58

and I dared to knock on his dressing room door afterwards

1:07:581:08:03

and we talked for a while and we found how many amazing roots

1:08:031:08:09

and influences that we all share coming from these

1:08:091:08:13

different places in music and these great cross sections

1:08:131:08:17

and crossroads in time in the '60s.

1:08:171:08:21

Talking of that,

1:08:211:08:22

I used to sing a song that was immortalised by Tim Rose

1:08:221:08:27

and, I guess, the Grateful Dead

1:08:271:08:30

and later in the '90s I recorded this song

1:08:301:08:33

and one day there was a knock on the door and this lady

1:08:331:08:36

stood at the door and she said, "You're singing my song."

1:08:361:08:38

And I was totally unaware that this spectacular piece of music had

1:08:381:08:43

been written by the great - ladies and gentlemen, please welcome -

1:08:431:08:47

Bonnie Dobson.

1:08:471:08:48

CHEERING AND APPLAUSE

1:08:481:08:51

And Speedo.

1:09:041:09:06

LAUGHTER

1:09:061:09:08

APPLAUSE

1:09:081:09:10

# Take me for a walk in the morning dew, my honey

1:09:321:09:39

# Take me for a walk in the morning dew, my love

1:09:411:09:48

# You can't go walking in the morning dew today

1:09:501:09:57

# You can't go walking in the morning dew today

1:09:591:10:06

# But listen

1:10:081:10:10

# I hear a man moaning, "Lord"

1:10:101:10:16

# I know I hear a man moaning, "Lord"

1:10:181:10:25

# You didn't hear a man moan at all

1:10:271:10:35

# You didn't hear a man moan at all

1:10:361:10:44

# But I know I hear my baby crying, "Mama!"

1:10:451:10:53

# Yes, I know I hear my baby crying, "Mama!"

1:10:541:11:02

# You'll never hear your baby cry again

1:11:051:11:10

# You'll never hear your baby cry again

1:11:141:11:20

# Oh, where have all the people gone?

1:11:231:11:30

# Won't you tell me where have all the people gone?

1:11:321:11:40

# Don't you worry about the people any more

1:11:431:11:48

# Don't you worry about the people any more

1:11:511:11:58

# Now there is no more morning dew, my darling

1:12:401:12:44

# Now there is no more morning dew today

1:12:481:12:54

# What they been saying all these years is not true, my darling

1:12:581:13:04

# Oh, there is no more No more, no, no, no, no

1:13:081:13:15

# Take me for a walk in the morning dew, my honey

1:13:161:13:24

# Please, take me for a walk in the morning dew, my love

1:13:251:13:33

# You can't go walking in the morning dew today

1:13:351:13:41

# You can't go walking in the morning dew today

1:13:441:13:51

# Hey, hey

1:13:531:13:58

# Hey

1:13:581:14:03

# Oh. #

1:14:051:14:07

APPLAUSE AND CHEERING

1:14:301:14:33

Bonnie Dobson.

1:14:401:14:41

Would you give a big welcome to Wizz Jones?

1:14:491:14:52

CHEERING AND APPLAUSE

1:14:521:14:54

This is a song from Bert's Black Swan album.

1:15:131:15:17

And, if I'm right about who the song is about...

1:15:211:15:25

..Bert sort of regrets that he didn't do more to help

1:15:261:15:29

a fellow musician.

1:15:291:15:31

It's from the time when Bert was living in Putney, I believe.

1:15:331:15:36

And I was there, and he did do plenty.

1:15:401:15:42

He did as much as a man can do.

1:15:421:15:44

It's called High Days.

1:15:531:15:54

# Sorry if I failed you

1:16:551:16:59

# For that I'll take the blame

1:16:591:17:01

# Sorry if I snubbed you

1:17:031:17:06

# I'll hang my head in shame

1:17:061:17:10

# Those people you call friends

1:17:101:17:14

# Did you much more harm than good

1:17:141:17:17

# I should've tried much harder

1:17:171:17:21

# To reach out when I could

1:17:211:17:24

# When the children come and visit you

1:17:311:17:35

# You break into a smile

1:17:351:17:38

# They fill your heart with sunshine

1:17:381:17:42

# Just for a little while

1:17:421:17:45

# You made a paper aeroplane

1:17:461:17:49

# Just to teach them how to fly

1:17:491:17:53

# When it crashed down on the runway

1:17:531:17:57

# You didn't ask the pilot why

1:17:571:18:00

# I got the lady from Baltimore

1:18:061:18:11

# Stuck on my mind

1:18:111:18:13

# Bringing back those high days

1:18:151:18:18

# When we used to hang around

1:18:181:18:20

# You played your guitar

1:18:211:18:25

# But you never, ever finished a song

1:18:251:18:28

# It didn't matter then

1:18:291:18:31

# I guess it doesn't matter now

1:18:331:18:35

# I got the lady from Baltimore

1:19:071:19:11

# Stuck on my mind

1:19:121:19:14

# Bringing back those high days

1:19:161:19:19

# When we would hang around

1:19:191:19:21

# You played your guitar

1:19:221:19:26

# And never, ever finished a song

1:19:261:19:29

# It didn't matter then

1:19:301:19:32

# I guess it doesn't matter now

1:19:331:19:36

# I guess it doesn't matter now. #

1:19:371:19:40

APPLAUSE AND CHEERING

1:19:531:19:56

He was way ahead of me, musically. I mean, it was me, Long John Baldry

1:19:571:20:01

and David Graham and Martin Carthy. We thought we had it cracked.

1:20:011:20:04

And then, of course, Bert arrived. It was a whole new world.

1:20:041:20:07

We can all learn how to play scales and stuff like that

1:20:071:20:10

and it's the personality is the unique thing in music

1:20:101:20:12

that everybody tries to establish and that's something with him

1:20:121:20:16

that's definitely unmistakable.

1:20:161:20:18

There had been nobody like him and there has,

1:20:181:20:21

since that time, been nobody like him.

1:20:211:20:23

# Strolling down the highway

1:20:241:20:29

# I'm gonna get there my way

1:20:301:20:34

# Dusk till dawn I'm walking

1:20:361:20:40

# Can't you hear my guitar rockin'

1:20:401:20:43

# While I stroll on down the highway?

1:20:431:20:51

# Strolling down the highway

1:21:201:21:24

# I'm gonna get there my way

1:21:261:21:30

# Dusk till dawn I'm walking

1:21:311:21:35

# Can't you hear my guitar rockin'

1:21:351:21:39

# While I stroll on down the highway? #

1:21:391:21:47

APPLAUSE AND CHEERING

1:21:591:22:02

Thank you so much, ladies and gentlemen.

1:22:031:22:05

Goodnight.

1:22:141:22:15

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