 | This article needs additional citations for verification .(August 2011) |
Transatlantic Records was a British independent record label. The company was established in 1961, primarily as an importer of American folk, blues and jazz records by many of the artists who influenced the burgeoning British folk and blues boom. Within a few years, the company had started recording British and Irish artists. The company's philosophy was intentionally eclectic.
The label was founded by Englishman Nat Joseph who started the company at the age of 21 after visiting the US and realizing that there was a wealth of recorded music that was unavailable in the UK. Transatlantic licensed recordings from the US, such as the jazz labels Prestige and Riverside and the Tradition folk music label. From the outset, many of the covers included photography and design by Brian Shuel. Transatlantic were also instrumental in the importation of MK Records (a Russian classical label), which were then issued with the original Russian labels, but with an English printed sleeve.
The company's first commercial success came not from music but from three sex education albums. The controversy over these records led to sales approaching 100,000 and the resulting financial lift gave the company money to develop its musical base.
Some of their early records included artists such as The Dubliners, actress Sheila Hancock, jazz singer Annie Ross, actresses Jean Hart and Isla Cameron, and Shakespearean actor Tony Britton. They managed to mix the folk music interest with the money making capacity of the sex education records by issuing When Dalliance was in Flower – a series of bawdy songs performed by Ed McCurdy and licensed from the American Elektra label. As often happened, these were issued first on the Transatlantic label in the UK and then on the subsidiary label XTRA. The catalogue numbers often contained "TRA" within the prefix, thus MTRA, XTRA, and LTRA were all used. The latter prefix was used with a series of LPs produced by Bill Leader (who worked with Nat Joseph from the outset as an engineer). Amongst these "Leader" records were recordings by Nic Jones, Martin Simpson, Mick Ryan, Bandoggs (another Nic Jones group), Andrew Cronshaw, and Al O'Donnell. The XTRA imprint was launched as a discount label to release recordings licensed from the American Folkways label and elsewhere. [1]
With the advent of psychedelia and flower power the Transatlantic stable of artists achieved greater success, culminating in the formation of the supergroup Pentangle. Meanwhile, Transatlantic had been extending its eclecticism, recording such as the audio collageist Ron Geesin, and The Purple Gang, whose "Granny Takes A Trip" was banned by the BBC in 1967. [2] CBS had released the extremely successful contemporary music budget sampler with The Rock Machine Turns You On in 1967. Before CBS could follow up, Transatlantic released Listen Here! early in 1968. Like Rock Machine the record was priced at 14/11d (£0.75) – but Transatlantic took promotion one stage further by printing not only the track listing on the front, but also the price. The record was designed to preview not only the forthcoming Pentangle double album, but solo records by members Bert Jansch and John Renbourn. Listen Here! also served to introduce a new group The Sallyangie, with siblings Mike and Sally Oldfield.
In 1975, Joseph sold a 75% share of his company to Sidney Bernstein's Granada Group and the company became part of Granada. There was a culture clash between the independent-spirited Transatlantic and the corporate sensibilities of Granada and two years later Granada sold its share in Transatlantic to the Marshall Cavendish publishing company, which also acquired Joseph's 25% share. The new company was renamed Logo Records. In the 1990s, Logo Records and the Transatlantic catalogue were sold to Castle Communications (now Sanctuary Records).
Pentangle are a British folk band, formed in London in 1967. The original band was active in the late 1960s and early 1970s, and a later version has been active since the early 1980s. The original line-up, which was unchanged throughout the band's first incarnation (1967–1973), was Jacqui McShee (vocals); John Renbourn ; Bert Jansch ; Danny Thompson ; and Terry Cox (drums).
Herbert Jansch was a Scottish folk musician and founding member of the band Pentangle. He was born in Glasgow and came to prominence in London in the 1960s as an acoustic guitarist and singer-songwriter. He recorded more than 28 albums and toured extensively from the 1960s to the 21st century.
John Renbourn was an English guitarist and songwriter. He was best known for his collaboration with guitarist Bert Jansch as well as his work with the folk group Pentangle, although he maintained a solo career before, during and after that band's existence (1967–1973). He worked later in a duo with Stefan Grossman.
Listen Here! is a sampler album released by Transatlantic Records in 1968. It was the second significant UK contemporary music sampler release in the period.
David Michael Gordon "Davey" Graham was a British guitarist and one of the most influential figures in the 1960s British folk revival. He inspired many famous practitioners of the fingerstyle acoustic guitar such as Bert Jansch, Wizz Jones, John Renbourn, Martin Carthy, John Martyn, Paul Simon and Jimmy Page, who based his solo "White Summer" on Graham's "She Moved Through the Fair". Graham is probably best known for his acoustic instrumental "Anji" and for popularizing DADGAD tuning, later widely adopted by acoustic guitarists.
Anne Patricia Briggs is an English folk singer. Although she travelled widely in the 1960s and early 1970s, appearing at folk clubs and venues in England and Ireland, she never aspired to commercial success or to achieve widespread public acknowledgment of her music. However, she was an influential figure in the British folk revival, being a source of songs and musical inspiration for others such as A. L. Lloyd, Bert Jansch, Jimmy Page, The Watersons, June Tabor, Sandy Denny, Richard Thompson, and Maddy Prior.
Bill Leader is an English recording engineer and record producer. He is particularly associated with the British folk music revival of the 1960s and 1970s, producing records by Paddy Tunney, Davey Graham, Bert Jansch, John Renbourn, Frank Harte and many others.
Terence William Harvey 'Terry' Cox played drums in the British folk rock bands The Pentangle, Duffy's Nucleus and Humblebums.
Basket of Light is a 1969 album by the folk rock group Pentangle. It reached no. 5 on the UK Albums Chart. A single from the album, "Light Flight", the theme from BBC1's first colour drama series Take Three Girls, reached no. 43 on the UK Singles Chart. Another single from the album, "Once I Had a Sweetheart", reached no. 46 in the charts.
Cruel Sister is an album recorded in 1970 by folk-rock band Pentangle. It was the most folk-based of the albums recorded by the band, with all the tracks being versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of folk musicians.
Sweet Child is a 1968 double album by the British folk-rock band Pentangle: Terry Cox, Bert Jansch, Jacqui McShee, John Renbourn and Danny Thompson.
The Pentangle is the 1968 debut album of the band Pentangle: Terry Cox, Bert Jansch, Jacqui McShee, John Renbourn and Danny Thompson. It brought together their separate influences of folk, jazz, blues, early music and contemporary songwriting. One of the band's most commercially successful albums, it reached number 21 in the British charts.
Reflection is an album recorded in 1971 by folk-rock band Pentangle.
Solomon's Seal is an album recorded in 1972 by folk-rock band Pentangle. It was the last album recorded by the original line-up, before the band split in 1973. Jacqui McShee has stated that it is her favourite Pentangle album. The album title refers to the Seal of Solomon — a mythical signet ring with magical powers, sometimes associated with the pentagram symbol adopted by Pentangle.
Nathan Joseph was a British record company founder, theatrical producer and talent agent. He was a pioneer in the development of independent record companies in the 1960s and 1970s.
Folk baroque or baroque guitar, is a distinctive and influential guitar fingerstyle developed in Britain in the 1960s, which combined elements of American folk, blues, jazz and ragtime with British folk music to produce a new and elaborate form of accompaniment. It has been highly important in folk music, folk rock and British folk rock playing, particularly in Britain, Ireland, North America and France.
"Goodbye Pork Pie Hat" is a jazz instrumental composed by Charles Mingus, originally recorded by his sextet in 1959 and released on his album Mingus Ah Um. It was subsequently released on his 1963 album, Mingus Mingus Mingus Mingus Mingus as "Theme for Lester Young" and 1977's Three or Four Shades of Blues. Composed in E-flat minor, Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session and who was known for wearing unusually broad-brimmed pork pie hats. These were "busted down" by Young himself, from hats that might better be described as Homburgs, but which he only purchased in "Negro districts". This was since, according to an interview with Young in the November 1949 edition of Our World, "You can't get the right type in a 'gray' neighborhood".
Bert Jansch was a Scottish folk musician. His discography consists of 21 studio albums, 8 live albums, 36 compilations, 5 videos, 2 EPs, and 12 singles. In addition, his compositions and guitar work have been featured on a number of albums by other artists.
John Renbourn was an English guitarist and composer. His discography consists of 20 studio albums, 5 live albums, 19 compilations, and 2 videos. In addition, his compositions and guitar work have been featured on a number of albums by other artists.
A Raise of Eyebrows is the debut album by Scottish composer Ron Geesin, released in June 1967 by Transatlantic Records. Recorded in his home studio in Notting Hill, Geesin aimed to make a humorous album of social commentary that reflected his musical abilities. Considered a work of electronic and experimental music, the album exemplifies Geesin's tape manipulation of sounds and his skills on numerous instruments, including guitar, piano, banjo and devices atypical to music, and explores music, poetry, spoken word, satire, noise, and sound collages.
