29th
![Who Cares For The Feeling of Being Alone?
Though she was familiar to the classic rock hordes of the 1970s, thanks to her guest spot on Led Zep’s “Battle of Evermore,” I don’t think Sandy Denny ever “broke” in the U.S.A. She certainly didn’t play here much, just a tour or two with Fairport Convention and, apparently, a solo jaunt that brought her to Denver in 1973. This recording was made at a club (the confusingly named Ebbets Field), it just so happens, that used to stand just a few blocks away from where I work. There are a bazillion bootlegs (and even some official releases) from this venue, thanks to their policy of broadcasting shows live on the radio. You’ll hear a little bit of static and crackle here, but it’s a nice, warm recording overall. Sandy plays some tunes from her solo career, accompanying herself on piano and 12-string, singing in that utterly captivating voice of hers. The highlight for me is the a capella version of Richard Farina’s “Quiet Joys of Brotherhood,” a tune she played with both Fairport and Fotheringay. If this rendition doesn’t stop you in your tracks, there might be something wrong with you. Also great is the rarely performed “At The End Of The Day,” wherein Sandy’s vocals send a laser beam of pure love across the midwest and east coast, over the Atlantic and directly into some village in the English countryside. True story. [Note: the first song is “Late November” not “The Sea,” the tracks were mislabeled.]
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Who Cares For The Feeling of Being Alone?
Though she was familiar to the classic rock hordes of the 1970s, thanks to her guest spot on Led Zep’s “Battle of Evermore,” I don’t think Sandy Denny ever “broke” in the U.S.A. She certainly didn’t play here much, just a tour or two with Fairport Convention and, apparently, a solo jaunt that brought her to Denver in 1973. This recording was made at a club (the confusingly named Ebbets Field), it just so happens, that used to stand just a few blocks away from where I work. There are a bazillion bootlegs (and even some official releases) from this venue, thanks to their policy of broadcasting shows live on the radio. You’ll hear a little bit of static and crackle here, but it’s a nice, warm recording overall. Sandy plays some tunes from her solo career, accompanying herself on piano and 12-string, singing in that utterly captivating voice of hers. The highlight for me is the a capella version of Richard Farina’s “Quiet Joys of Brotherhood,” a tune she played with both Fairport and Fotheringay. If this rendition doesn’t stop you in your tracks, there might be something wrong with you. Also great is the rarely performed “At The End Of The Day,” wherein Sandy’s vocals send a laser beam of pure love across the midwest and east coast, over the Atlantic and directly into some village in the English countryside. True story. [Note: the first song is “Late November” not “The Sea,” the tracks were mislabeled.]
