Anne Briggs -debut lp Very rare vinyl nearest mint folk
£
142
$
188
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Description
Anne's stunning debut album for Topic records:
12T207 (1971)
Very rare vinyl LP in great condition. This LP has been carefully stored & handled since purchase many years ago.
Condition:
LP itself is very, very close to mint - there's the very occasional crackle (to be expected for it's age).
Cover is in very good condition. The shinny coating on the front of the sleeve has gathered a few tiny storage marks. Back of sleeve has small amount of rubbing around the outline of the lp & a small surface lift-off (a small square - looks like where a price sticker might have been).
As a collector i've seen perhaps 5 or 6 copies of this lp & I can confirm that this is in the best overall condition.
Collectors will be well aware of this LP's rarity, importance & of it's value. I've seen it listed in 'good' condition for between £150 - £550 ! (on a Japanese site).
Please note: I have set the starting price below the value & instead of setting a hidden reserve.
I do accept paypal, but on this item I would prefer cheque / po / imo / cash by registered post etc.. Also i've listed my 'standard' postal charges but I think recorded delivary would be a good idea - please contact me before sending payment to sort this out at actual cost. Thanks.
Blackwater Side
The Snow It Melts The Soonest
Willie O Winesbury(Child 100)
Go Your Way (Anne)
Thorneymoor Woods
The Cuckoo
Reynardine
Young Tambling (Child 39)
Living By The Water (Anne)
Maa bonny lad
In the annals of pop and folk music, there are few sagas stranger than that of Anne Briggs. An awesomely talented singer of traditional English folk music, possessing of as pure and breathtakingly beautiful a voice as one could hope to have, she was the single most important influence on a group of female British folk singers that includes Sandy Denny, Maddy Prior, June Tabor, and Linda Thompson. Even Norma Waterson, herself a hugely important figure in the British folk revival of the mid-'60s, admits to being influenced by Briggs' singing and notes that Anne Briggs singlehandedly changed the way that English women folk singers sang. What makes this story so odd is that Anne Briggs' entire recorded output consists of about 30 songs. She stopped singing at the age of 27, supposedly because she hated the sound of her recorded voice. As folk music became electrified and increasingly popular and bands such as Fairport Convention and Pentangle were reinventing the British folk tradition, and more and more women (Sandy Denny et al) were singing in a style started by Anne Briggs, her legend flourished, yet she still refused (and continues to refuse) to sing.
Anne Briggs was born in Nottinghamshire in 1944 and began singing folk music while still in her teens. Within a couple of years she was a regular at local folk clubs, getting her big break as a result of the Centre 42 tour of 1962. The Centre 42 tour was an attempt by musicians and other artists (backed and supported by trade unions) to deliver politically leftist cultural activities to areas outside of London. Part of Centre 42's appeal was that in each city, local talent would audition for a slot as a support act. It was here that Briggs got her shot and was discovered by British folk legend Ewan MacColl. She was so good that MacColl convinced her to leave school and join the rest of the tour. While touring with Centre 42, Briggs began working with MacColl's friend and co-architect of the British folk music revival, Bert Lloyd. Briggs considers him the most important influence on her work, and her debut EP, entitled Hazards of Love, had Lloyd's fingerprints all over it. But he was not a mere Svengali trying to take advantage of a teenage folk singer; he wanted to give her the direction (as well as the songs) she needed to become a huge talent. Lloyd was smart enough to realize that this was an extraordinary, once-in-a-lifetime type of singer, and he treated her with kid gloves, getting her to relax (Briggs was notorious for her nervousness) and helping her record some wonderful music. But Briggs had a problem with recording her singing -- she hated doing it and hated the way she sounded, so much so that she retired from music, three years shy of 30, already touted as the greatest legend in English folk music. Anne Briggs still lives semi-reclusively in England and is still not recording or singing in public, but her influence remains powerful. As guitarist Martin Carthy so aptly put it: "She didn't mess about. There were no histrionics. There was no posing. There was no self-conscious style. She sang fluidly, easily, with tremendous passion."
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