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Ashley Hutchings: The Guv’nor

“A retrospective of the work of Ashley Hutchings containing all rare, archive and previously unreleased material.”

Compiled by Ashley Hutchings and Tim Woodward at Courtyard Recording Studio, Stockport, 1994.

Thanks to Richard Lewis, Dave Gaule, Steve Giles and especially David Suff for valuable assistance in compiling this album.

Due to the recording source of some of these tracks there will be a difference in sound quality. All endeavours have been made to clean up the master tapes as much as possible to ensure your listening pleasure.

Tracks

The Ethnic Shuffle Orchestra (1966)

  1. Washington at Valley Forge (1.15)

Fairport Convention (1967)

  1. Some Sweet Day (2.33)

Fairport Convention (1968/69)

  1. You’re Gonna Need My Help (4.11)

  2. Dear Landlord (4.11)

Steeleye Span (1970)

  1. College Grove / Silver Spear (2.46)

  2. Lay Down Your Weary Tune (4.08)

Albion Country Band (1972)

  1. Four Hand Reel / St. Anne’s Reel (2.45)

The Etchingham Steam Band (1974)

  1. Horn Fair (3.34)

Albion Dance Band (1976)

  1. Lament / Rotta (3.57)

The Albion Band (1979)

  1. A Sailor’s Life / One More Day (8.35)
  2. The Bluebell (3.15)
  3. Six Days on the Road (3.38)

The Albion Band (1982)

  1. The Albion Band Is Here Again (3.27)

The Albion Band (1984)

  1. Lost In Space / Only When I Laugh (3.55)

The Albion Band (1988)

  1. Elements Lament (2.20)

The Ashley Hutchings All Stars (1988)

  1. Angelina (5.57)

The Albion Band (1992)

  1. Three Bampton Morris Tunes (3.45)

The Albion Band (1993)

  1. We Lie (duet version) (5.06)
  2. Didn’t He Ramble (4.02)

Sleeve Notes

Ashley Hutchings’ remarkable contribution to the British Folk Revival has often been compressed into the shorthand: father of folk-rock, alchemist of electric morris, founder-member of Fairport Convention, Steeleye Span and the many Albion Bands. However, this does not begin to detail the full extent of his achievements. Hutchings’ enormous importance as band-leader, arranger, musician, and above all popularist of English-based folk music is centred upon his unique blend of tradition and innovation.

Ashley was born on 26 January 1945, and spent his early years in the Muswell Hill area of North London. His father, Leonard, was a pianist with his own dance band - Leonard Hutchings and His Embassy Five. The young Hutchings followed a passionate interest in all forms of popular music. During the early sixties he led a number of short-lived groups - the Still Waters, the Blue Reeds, Dr. K.’s Blues Band, Tim Turner’s Narration and the Ethnic Shuffle Orchestra. Skiffle, R’n’B and the singer-songwriters of North America provided the repertoire for the nascent Fairport Convention.

Fairport’s remarkable progress through the London underground scene of the mid-60s, to the milestone masterpiece of Liege and Lief is a story that has begun to take on the appearance of legend. The importance of Liege and Lief cannot be underestimated; proving that it was possible to develop modern rock from the indigenous tradition. Hutchings, in search of an ever more English sound, was soon to leave Fairport to found Steeleye Span. Whilst with Steeleye, he worked on a production of Keith Dewhurst’s ‘Corunna”. This began an association with the theatre and theatrical presentations that has continued through the numerous Albion Bands to the present day. Much of this work - including productions at the National Theatre, the Riverside Centre and on concert stages throughout Britain - has been under-represented on record.

Perhaps the hallmark of Ashley’s musical quest during the last three decades has been his remarkable facility to unite musicians into the most formidable squads. He has repeatedly captained the most electrifying teams - ensembles of soloists, capable of uniting diverse musical styles and presenting spectacular stage shows with dance and the spoken word.

Ashley Hutchings has long been acknowledged as a restless catalyst, the quiet architect responsible for assembling a string of great ensembles. Whilst he continues to perform and add to the enormous body of recorded work, this first volume in a series of retrospectives will finally allow the full extent and importance of his unparalleled contribution to be justly measured.

David Suff (1994)