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Bert Jansch — It Don’t Bother Me

Bert Jansch — It Don’t Bother Me (December 1965, January 1, 2015/Remastered)

   Bert Jansch — It Don’t Bother Me (December 1965, January 1, 2015)
•   Vyjmenovaná slova po B: Bert Jansch v Tais Awards Encycopaedii. Letos v březnu mu opět vyšlo album Live at the 12 Bar. Připomeňme si však to 50 let staré. Some of his songs feature a basic clawhammer style of right–hand playing but these are often distinguished by unusual chord voicings or by chords with added notes. An example of this is his song “Needle of Death”, which features a simple picking style but several of the chords are decorated with added ninths. Characteristically, the ninths are not the highest note of the chord, but appear in the middle of the arpeggiated finger–picking, creating a “lumpiness” to the sound.
•   Another characteristic feature was his ability to hold a chord in the lower strings whilst bending an upper string — often bending up from a semitone below a chord note. These can be heard clearly on songs such as “Reynardine” where the bends are from the diminished fifth to the perfect fifth. Jansch often fitted the accompaniment to the natural rhythm of the words of his songs, rather than playing a consistent rhythm throughout. This can lead to occasional bars appearing in unusual time signatures. For example, his version of the Ewan MacColl song “The First Time Ever I Saw Your Face”, unlike most other covers of that song, switches from 4/4 time to 3/4 and 5/4. A similar disregard for conventional time signatures is found in several of his collaborative compositions with Pentangle: for instance, “Light Flight” from the Basket of Light album includes sections in 5/8, 7/8 and 6/4 time.Birth name: Herbert Jansch
Born: 3 November 1943, Glasgow, Scotland
Origin: Edinburgh, Scotland
Died: 5 October 2011, Hampstead, London, England
Album release: December, 1965 /January 2015, Remastered
Recorded: c. April 1965 at Pye Studios, Denmark Street, London.
Record Label: The Transatlantic Records / Sanctuary
Duration:     43:47
01. Oh My Babe     4:01
02. Ring–A–Ding Bird     4:44
03. Tinker’s Blues     1:10
04. Anti Apartheid     4:07
05. The Wheel     1:51
06. A Man I’d Rather Be     2:08
07. My Lover     4:05
08. It Don’t Bother Me     4:30
09. Harvest Your Thoughts Of Love     2:16
10. Lucky Thirteen     3:35
11. As The Day Grows Longer Now     3:45
12. So Long (Been On The Road So Long)     3:15
13. Want My Daddy Now     1:39
14. 900 Miles     3:02
Written by:
•   Bert Jansch     1, 2, 3, 4, 5, 6, 7, 8, 9, 11
•   John Renbourn     10
•   A. Campbell     12
•   Traditional     14
•   Antony Amos Project Coordinator
•   Colin Harper Liner Notes, Sleeve Notes
•   Bert Jansch Arranger, Banjo, Composer, Guitar, Piano, Vocals
•   Nathan Joseph Producer
•   Ray Prickett Engineer
•   John Renbourn Guest Artist, Guitar
•   Brian Shuel Cover Design, Photography
•   Becky Stewart Reissue Design
•   Traditional ComposerDescription:
•  ‘It Don’t Bother Me’ was first released in November 1965 and is invariably overlooked because it came so soon after Jansch’s timeless, self–titled debut album. Unlike that album which took its strength from the repertoire he’d been playing for years, as Mick Houghton’s liner notes explain; “When Jansch came to record ‘It Don’t Bother Me’ a few weeks after ‘Bert Jansch’ hit the shops, he was required to come up with a completely new batch of songs just as his life was changing around him.”•  The title track is one of Jansch’s finest and most personal songs reflecting on is new found fame as the poster boy of a new breed of young folk guitarists. Other highlights include ‘Lucky Thirteen’, a sprightly collaboration with John Renbourn which hinted at the promise to come and ‘900 Miles’, the first traditional song Jansch recorded and the first time he played banjo on record. On both counts, ‘It Don’t Bother Me’ presaged the two albums which followed.
•  This superb edition is the second in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever.AllMusic Review by Richie Unterberger
•  Basically an extension of his 1965 debut, Bert Jansch’s second album is perhaps a bit lighter in mood and doesn’t boast quite as strong material, although it’s nearly in the same league. Includes one of his most explicitly political songs ("Anti–Apartheid"), his first recording with John Renbourn ("Lucky Thirteen," a Renbourn original), and his first use of banjo on record ("900 Miles").
•  http://www.allmusic.com/
Website: http://bertjansch.com/                                  Bert Jansch 1968
Recognition and awards:
•   In 2001 Jansch received a Lifetime Achievement Award at the BBC Radio 2 Folk Awards, and on 5 June 2006, he received the MOJO Merit Award at the Mojo Honours List ceremony, based on "an expanded career that still continues to be inspirational". •   The award was presented by Beth Orton and Roy Harper. Rolling Stone ranked Jansch as No. 94 on its list of the 100 Greatest Guitarists of all Time in 2003.
•   In January 2007, the five original members of Pentangle (including Jansch) were given a Lifetime Achievement award at the BBC Radio 2 Folk Awards. The award was presented by Sir David Attenborough. Producer John Leonard said “Pentangle were one of the most influential groups of the late 20th century and it would be wrong for the awards not to recognise what an impact they had on the music scene.” Pentangle played together for the event, for the first time in more than two decades, and their performance was broadcast on BBC Radio 2 on Wednesday, 7 February 2007. In 2007, Jansch was also awarded an Honorary Doctorate of Music by Edinburgh Napier University, “in recognition of his outstanding contribution to the UK music industry”._____________________________________________________________

Bert Jansch — It Don’t Bother Me