(1972) Sam Parry – If Sadness Could Sing

Argo issue number: ZDA 155
Produced by: Kevin Daly
Recorded by: Iain Churches

Sleeve design and photography: Mick Rock

Availability: long deleted by Argo; released on CD by Small Town (CAMD1), but I reckon the label’s defunct. Re-released by South Korean label Big Pink Music in June 2010 and then by Japanese label Vivid in late November 2010 – prices between $20 and £55. Before you order, though, check out the comments at the bottom of this post.

Sam Parry – vocals, guitar
Brian Daly – 12 and 6-string guitars
Dave Moses – bass guitar


Side One
1 Ain’t no place like home
2 My farm
3 The Blind Man
4 All I wanted was a walk
5 Fusion
6 Going up the mountain

Side Two
1 The day I met my lord
2 If sadness could sing
3 What’s a gambler to do?
4 Those summer days are over
5 Everybody knows I do

A mix of finger-picking folky (“puttin’ on my walkin’ shoes”) introspection and up-tempo harmonica blues from Welsh singer-songwriter Sam Parry. Very much of its time – in a Ritchie Havens/Ralph McTell stylee (no criticism). He’s got a good voice and plays a mean moothie. As far as I know, this was the only album he recorded.

I hadn’t been able to find out anything about Sam Parry, then out of the blue (well, out of Brittany) popped Andrew Hawkey.

“Sam used to claim (and still does) that he didn’t really understand where the music was coming from and that he was being visited by some kind of spirit,” says Andrew. “I can vouch for the fact that when he was playing, he would go into a sort of trance, from which he’d wake, with expressions of mild surprise, at the end of a song.”

Andrew had got to know Sam after moving to Wales to become a hippie in 1973.

“I was renting a house in a tiny village in the hills near Aberystwyth called Trefenter. Sam and his then-partner, Sue, lived in a primitive cottage close by, and we struck up a friendship – I was playing some guitar and doing some song-writing at the time, and Sam and I used to ‘jam’ together … we even travelled all the way down to Hampshire to do a folk club gig…

“Sam was an extraordinary self-taught player, and used open tunings of his own invention, in the style of John Martyn. All the harmonica playing on the LP is recorded live, played in a harness: fantastic breath control!”

Sam was born Trevor Parry into a fishing family in Aberystwyth – at a time when there still used to be a substantial fishing fleet there.

“There were quite a few tales about Sam in circulation at the time: one was that he’d been lined up to appear on TV’s Opportunity Knocks, and that it would be a foregone conclusion that he’d win! Sam being Sam, it never happened; another was that at some stage Jack Bruce was keen to work with him, possibly to record, but Sam pushed the opportunity away…”

Andrew says he has no idea as to how Argo cottoned on to Sam and decided to do the album.

“Sam was pretty disorganized, had no management, and so any gig bookings were pretty casually arranged, I think…I have a hunch he may have made the odd foray to London, and perhaps played informally at Les Cousins club. I remember him saying once that that he’d seen Keith Christmas play, and liked what he was doing. He also used to say that he only owned one record – John McLaughlin’s ‘Inner Mounting Flame’.

Long-gone days in the hills
“If Sadness Could Sing is his sole album, though he did contribute some harmonica on a couple of tracks of an album I recorded and produced in a small local studio (Solar Sound Studios at Llanrhystud) for Strachan & Griffiths on the SoSo label in around 1984. It was as if, rather than losing interest in playing, the gift peaked in 1972-3, and then gradually deserted him. He moved away from music and by around 1976 – after dabbling with flute and sax for a while but never getting very far – he’d more or less stopped playing.

“He became an antiques dealer and horologist in the Aberystwyth area in the 80s and still lives in the mid-Wales coastal area with his wife and daughters. I still bump into him occasionally, and he talks wistfully about playing again, but I somehow doubt he’ll get around to it, with his work and family commitments.

“I still love the record, and it brings back the whole mood of those long-gone days in the hills, in our draughty cottages with sheep grazing all around…”

(Thanks to Andrew for that).

Dave Moses
Dave Moses, who plays bass here, also turned up in 1971 on another Argo folk album, Marie Little’s much sought-after Factory Girl. There’s a bit about him on the post for that album here.

Brian Daly
Brian Daly. Bryan Daley. Bryan Daly. Brian Daley. I’ve kept coming across the names over the years. All acoustic 6 and 12-string guitarists. Were there really four of them? Or were the compilers of sleeve notes a bit slapdash with their spelling?

I’m trying to sort it out, but, in the meantime, if it’s all the same person he had a pretty remarkable career, including the following appearances (and it’s only scratching the surface):

Early/mid 50s – Ewan MacColl 78s issued by Topic and LPs issued by Riverside from 1953-56; Alan Lomax’s Ramblers skiffle group

Late 50s/early 60s – BBC-MacColl-Seeger-Parker Radio Ballads

Late 50s – Johnny (Last Train to San Fernando) Duncan’s original backing group; backing bands on late-50s pop-rock TV shows like Boy Meets Girls; backing band for Gene Vincent alongside Joe Brown and Eric Ford

1960s – recording session guitar stalwart throughout the decade alongside guitar legends like Jim Sullivan, Eric Ford, Judd Proctor, Jimmy Page, Vic Flick…appeared on tracks for people like Jackie de Shannon (‘What the World Needs Now’), The Batchelors, Tony Hatch, Burt Bacharach, Mark Wirtz…

1963 – Cy Grant’s LP ‘Folk Songs and Cool Songs’

1971 – Mary Hopkin’s Earth Song LP on Apple, along with Ralph McTell and Dave Cousins; John Schroeder’s ‘Dylan Vibrations’ album, along with Clem Cattini and Ricky Wakeman (before he dropped the Y); Julie Covington’s The Beautiful Changes; Roy Budd’s soundtrack for cult film Get Carter, with bassist and producer Jeff Cline (Clyne – it’s easy to get those Ys and Is mixed up – put in an appearance on an Argo album too, the 1972 Argo folk super-group extravaganza Giles Farnaby’s Dream Band)

1972 – Fishbaugh, Fishbaugh and Zorn’s eponymous CBS album; Christopher Neil’s RAK album Where I Belong, and Bryan Daly The Velvet Guitar of Bryan Daly on Decca Phase 4 Stereo with the London Festival Orchestra

Late 1970s – Albums by German Christian composer and songwriter Siegfried Fietz

1979 – Daly returns to Argo, playing guitar on the soundtrack of Tarka the Otter featuring, among others, Peter Ustinov and Tommy Reilly (Argo ZSW 613)

1980s – Composed and played music (including the title theme) for Postman Pat and other kids’ TV programmes like Gran and Bertha. In the late 90s, Daly was still writing and playing for the kids’ TV show Tom and Vicky

If you can help verify that it’s all one and the same man, get in touch. Would be good to have as full a discography as possible somewhere on the web for posterity.

~ by folkcatalogue on April 22, 2010.

45 Responses to “(1972) Sam Parry – If Sadness Could Sing”

  1. Hey, my old friend Sam! I knew him well back in the early 70s – I’d moved from London to mid-Wales, to be a hippie, and was renting a house in a tiny village in the hills near Aberystwyth called Trefenter. Sam and his then-partner, Sue, lived in a primitive cottage close by, and we struck up a friendship – I was playing some guitar and doing some songwriting at the time, and Sam and I used to ‘jam’ together … we even travelled all the way down to Hampshire to do a folk club gig … Sam was an extraordinary self-taught player, and used open tunings of his own invention, in the style of John Martyn … all the harmonica playing on the LP is recorded live, played in a harness: fantastic breath control! What was odd about him was that he claimed (and still does) that he didn’t really understand where the music was coming from, and that he was being visited by some kind of spirit … he certainly used to go into some kind of trance state when he was playing … perhaps he was simply hyperventilating! At one point, Jack Bruce was allegedly keen to work with him, posibly to record, but Sam pushed the opportunity away … If Sadness Could Sing is indeed his sole album, and he moved away from music, becoming an antique dealer and horologist in the Aberystwyth area in the 80s and since. I still bump into him occasionally, and he talks wistfully about playing again, but I somehow doubt he’ll get around to it, with his work and family commitments. One of the other things about the Argo LP is that the sleeve design is the very first by Mick Rock, who went on to design some pretty famous covers. I have a mint copy in my collection, of which I’m very proud – it goes for big money these days! I still love the record, and it brings back the whole mood of those long-gone days in the hills, in our draughty cottages with sheep grazing all around. I have a lot of anecdotes and info about Sam, so if you want to hear more, do get in touch. – Cheers, Andrew

  2. Do you have any background info, re. Big Pink Music – Korea?
    It would appear there has been a licensing agreement with them for the Sam Parry album; If Sadness Could Sing ( their catalogue no. 084 ).
    They have made an approach to us and I wanted to learn of any first hand experience with this operation – legal rights, methods, etc.

    • afraid i don’t know much about Big Pink – but i guess if they’ve made you an approach then their heart is in the right place.

      makes you wonder, though, who they got the rights for re-issuing the Sam Parry from. Decca? Universal? Sam? What happened to Midas?

      not sure about Big Pink’s distribution. they seem to be only distributing the sam parry (their cover’s a bit naff, with ‘big pink’ typed haphazardly on top of the argo logo) on eBay. at least it hasn’t reached amazon yet. have you tried asking other people who’ve had their stuff re-released by Big Pink?

      good luck with it.

      • As someone who has already purchased a title from BIG PINK LABEL namely Rab Noakes Do You See The Lights,they did a really great job of duplicating the original album artwork. in the jap mini LP style, so much so i have now purchased this SP disc via ebay, and await its arrival, hope this helps others decide to grab a great singer songwriter GEM from long ago

      • good to hear

  3. Just like buses you wait ages for then 2 come together, as previously mentioned BIG PINK from Korea re released a mini LP style of Sams album ,now the Japanese VIVID are set to release on November 24 at a whopping £50 according to Amazon, so one for the devotees only with deep pockets.

  4. It doesn’t alter the fact that these releases are almost certainly marketed without the artist’s consent. I know for a fact that Sam Parry was not approached by Small Town for the original CD reissue, and I would be very surprised if Big Pink have extended Sam the courtesy of asking. Or Vivid, either, come to that. Nor do I believe for one minute that a remote Korean reissue outfit would have the influence to obtain access to the Decca original masters (even if they still exist, which is not terribly likely …). Looking at a list of rare albums reissued in Korea makes me still more sceptical: a bewildering array of records released privately, with little or no chance of contacting the artist, and records by artists (some of them dead!) on major UK and US labels (Polydor, Fantasy etc.), who would surely give short shrift to approaches from fly-by-night Korean reissue scammers.
    I guess it’s a matter of caveat emptor, in the final analysis: be prepared for discs with poor sound quality, mastered from vinyl, and lack of informative inserts etc. Last but not least, remember that the artist has probably not granted permission for re-issue, and will receive no royalty. If you can live with all that, it’s a free world.

  5. it’ll be interesting to see how folkal point get on with Big Pink. presumably since the label approached them (see stuart amesbury’s comment above) there’s less chance of the group being ripped off.

  6. I read with interest the adverse comments concerning BIG PINK label , has the person who written them purchased one of their discs, if so he would not have reached that conclusion, the sound quality is very good and the artwork is sympathetically done, and at half the price of similar japanese mini LPs style CDs represent good value. As regards Sam Parry not being involved, who probably does not own the rights, can at least take comfort that a record company based in far away Korea has generated so much interest. The album which I downloaded from YouTube prior to placing my order, is a masterpiece in my opinion, and deservers a wider audience I wish Sam would join in this debate to at least put the records straight , mac man

  7. Sorry, Mac, I’m sticking to my guns. Let’s pause a moment, and look at what’s happening in the specialist CD reissue game. As is well known, the bar for blatently dishonest behaviour has been set pretty high here in the UK by a rogue called James Plummer: under various label names – Radioactive, Fallout, Erebus – he marketed over the years, with no permission obtained from the artists, a lengthy list of CD reissues, often shoddily packaged and regularly mastered from less-than-mint vinyl, predominantly US psych bands and solo performers, many of them no longer ideally equipped to put up a fight or defend what’s rightfully theirs, i.e. intellectual rights to their material, and copyright, which would entitle them to royalties. Plummer’s rightly been held to account for his illegal operations, but has shown himself skilled at evasion. Just Google his name, and read the story for yourselves. I don’t know what the current state of play is – maybe he’s gone legit – let’s hope so. Now that Far Eastern operators have spotted a gap in the market (and, don’t let’s forget, WE ARE PRECISELY THE MARKET THEY’RE AIMING THEIR GOODS AT, MUSIC-OBSESSED COLLECTORS), the race is on – they’re on the hunt for suitable candidates for reissue – and in many cases, they’ll be failing to have the courtesy to trace, contact, and draw up an agreement. If anyone can show me evidence that the Big Pink reissue of Sam’s album has his approval and consent, I’ll happily retract that particular accusation. But I won’t be holding my breath …
    It’s said in some quarters that the industry is leaning towards curated, value-added labels like Numero Group and Time-Lag, whose policy is to make contact with the artists and establish a trusting relationship, all with a view to bringing neglected treasures to the attention of … well, PEOPLE LIKE US, who love the music and are happy to know that the artist will derive some small benefit (even if it’s simply recognition) from our purchase of their work.
    Conclusion? Buy South Korean CD reissues by all means, but bear in mind that you’ve been targeted, and that they may well be pirated. But, more to the point, make a fuss about it. We love the music, so we should also fight for the rights of the people who make it. If we don’t do it, nobody else will bother.

  8. VIVID – I can only relate my own experience of this label and how typical it is as regards other performers is anybody’s guess.

    Vivid approached Topic Records in 2001 / 2 with a view to releasing my 2 Topic Vinyl albums (‘Layers’ from 1977 and ‘All things in common’ from ’79 respectively) as part of a series called ‘British Folk Paper Sleeve Collection’. Their plan was to put both albums out on 1 CD. However when they got the masters they were too long, so they then asked if they could put them out separately. Tony Engle at Topic explained the financial deal, which was as per my contracts with Topic for the 2 albums, to me and I was happy to agree, although I couldn’t for the life of me understand a) why they wanted to do it and b) who on earth they thought would buy the CD’s. After a period of a few months, in 2002 I was paid the royalties due and the albums came out. I used most of my royalties to buy a stock of CD’s via Topic to sell myself. They weren’t cheap at circa £10 each. The quality, both audio and packaging, was very good and I sold about 100 of each one. I spotted one of them listed on Amazon, but when I checked there were none in stock. Obviously I don’t know if there had been some stock which was already sold. I guess that’s probably the case.

    However, when I tried to order more CD’s from Vivid, neither Tony Engle or I could get any response from them, so after a number of attempts by both of us we drew the conclusion that Vivid must have gone out of business and the thought did cross my mind that if they were putting out 20+ year old re-issues of unknown British folk albums it was no big surprise if they went bust. I was a bit frustrated at this idea because I could have sold more copies and I had visions of a pile of boxes of unsold stock sitting in a warehouse somewhere where I couldn’t get at them. This was 5 or 6 years ago and until Quentin Kean contacted me today to ask me to comment, I had no idea that Vivid were still operating or that there were other companies dealing in this sort of material.

    I have no complaints about the Vivid deal. I was properly paid in full, up front and the quality was fine. I just wish I could get hold of some more stock.

  9. I have now received my BIG PINK copy of this magnificent masterpiece, it is a min LP Style with liner lyrics and a nice touch is the BP paper sleeve, there is also an OBI strip, sound wise it is clean and detailed, I have also ordered the forthcoming Japanese release at great expense so in love with this record. Once it also arrives I will then be more able to form a qualified comparison . Getting away from the politics of it’s release , I can confirm it sounds great and puts it in the hearts and minds of the discerning listener, surely that’s all that really matters, and if I was as talented as SP I’d be searching out his guitar and harmonica and start promoting this long forgotten masterpiece , mac

  10. That’s absolutely right – unless he has chosen (i.e. been given the chance) to decline any financial reward, Sam should indeed be deriving some monetary benefit … otherwise, it’s theft. I agree with Mac that it’s a good thing that more people will get to hear this wonderful album, but disagree that ‘that’s all that really matters’. See above … don’t want to be too repetitive! By the way, I think it’s highly unlikely that Sam will ‘start promoting’ it by playing live: today’s Sam is no longer 1972’s Sam. We all change …

  11. Given the interest and concern for Sam and his re issued masterpiece it occurred that the only voice that really matters here is Sams so i would appeal to anyone knowing his whereabouts to get in touch and maybe he would consider contributing to this debate and more importantly set the record (no pun intended) straight as to whether or not he has been involved in it’s release.

  12. This masterpiece and i can find no better word to describe it as i listen to it on repeat play, surely deserves to be available on itunes just to give it the wider audience its magnificence merits, even though it is available on youtube where i first heard it the number of discerning ears stumbling upon it numbers only 60, still don’t know how i missed it when it got released in 72, this is one reclusive record.

  13. It was great to come across this website with all the details about Sam. I remember him well when he used to stay at our house in Cheltenham with his girl friend on his way to gigs in the area whilst being managed by my brother – and the evenings when he would continue to play in our sitting room late into the night and early morning. I was spellbound. Hearing him again on your website brought back memories of those days. I have fortunately found the CD available at http://www.grooves-inc.co.uk at about £15.00

  14. Quite impressive and serious discussion above.
    Yes I’m korean guy and knew the label, Big Pink Music so well.
    Big Pink was established a couple of years ago and have almost 150 titles in their release discography until now and keep on releasing old great music now. once i also bought the reissue CD from Big Pink. just look at their reissue catalog. it’s quite awesome and unbelievable lists. and i heard that 7 to 10 of their reissue was illegal and came without artists or recording company. they even reproduce the titles from major company (Mostly Universal-DECCA, fontana, Warner etc..) and they exports brand new releases to Japanese distributor named VIVID sound. VIVID sound sells the first batch of imported titles with Big Pink design to japanese market. and after a while, VIVID makes just small change on Big Pink’s product(add japanese liner notes and japanese OBI strip) and sell it again. i think VIVID is just a distributor. i totally agree with Andrew Hawkey’s opinion. and these kinds of reissue should be made from legit copyright holder or musician itself. they deserves it. so please take this into account when you try to buy CD from Big Pink Music. cho

  15. Thankyou, sung je cho – at last, we’re getting some informed input to this debate from somebody in Korea who clearly has some first-hand knowledge of the activities of these reissue outfits. Just as I thought … it seems that the majority of these reissues lack any agreement with, or consent from, the original artists, or the labels concerned. It looks as if it’s a lottery, at best, for the artists concerned: Chris Foster seems to be satisfied with the deal he’s had from Vivid, who had the common courtesy to obtain his consent, but it looks increasingly certain that he’s very much in a minority. Cho is right: buy them if you want to, but bear in mind that this practice is piracy, or theft by any other name, so let your conscience be your guide!

  16. I ordered my Sam Parry from Grooves Inc but they now say it is unavailable and this was, I imagine, from a legitimate source. So the moral question is, if it is totally unavailable elsewhere and Sam Parry cannot be found, do I then get it from Big Pink??

    • it’s a moral maze! not sure that anyone knows whether there’s a legitimate source out there at all. before we call in michael buerk, shall i just send you an mp3 copy of mine?

  17. Charles, I really don’t think there’s any such thing as a ‘legitimate source’ of Sam’s album in CD form. I simply don’t believe that any of the reissues are legal, or released with Sam’s approval. As it happens, I do know where Sam is (not a million miles from where I live, in coastal mid-Wales), but knowing him as I do, he’s not keen on acknowledging his musical past, and he certainly doesn’t have any CDs to sell. He’s very reclusive, and his life bears no resemblance to the one he led in 1972 (the same could be said of many of us, self included!). If a sympathetic reissue label approached him courteously and showed that they had his best interests at heart, it might be a different matter … meanwhile the Korean vultures continue to circle … Bastards.

  18. In reply to the Grooves Inc post, the SP cd is available on Big Pink at eBay as a buy it now item, that’s where I got mine, the sound is excellent and the retro mini LP cardboard sleeve and paper disc insert adds to a great effort , mac

  19. Calling the Big Pink Label bastards and vultures for sympathetically reproducing long lost albums seems a little unfair to me, I accept that they may not have SP permission but from your other comments he seems totally uninterested in his own masterpiece, unlike I suggest most of the contributors to this blog, I find the argument that prevents anyone hearing his music very tenuous especially given SAMs appathy, mac

    • With all due respect, Mac Man, your logic escapes me. Does Sam’s ‘apathy’ and the fact that he may be ‘totally uninterested’ mean that it’s OK for his work to be reissued without his consent? Like any other creative artist, he’s entitled to (1) the courtesy of being asked for his approval, and (2) royalties on the sales of his work in reissued form. Even if, perversely, he declares that he doesn’t want to gain financially from its reissue, that’s entirely his decision … he might choose to denote his royalties to charity … it doesn’t change the law. Big Pink, Vivid, or any other reissue label that releases this or any other CD without consent is guilty of piracy/theft/dishonesty … call it what you like. Do the proprietors of Korean CD reissue companies ‘sympatheically’ release CDs without the original artists’ consent as some kind of altruistic public service to music lovers? No. They do it because they can make a quick buck, and they know they can get away with it. Bastards.

      • FYI,

        I made a couple of LPs in the 70s. Recently, I was approached by Big Pink Music who asked to buy rights to re-release these albums. They have sent and signed a contract with royalties. They are interested in getting the best quality recordings I can provide for their reissues. I know of another artist who has also signed with them. I can’t comment beyond my own experiences and information, but be careful before you assume anything negative.

        Philip John Lewin

      • Philip, I’m delighted that you’ve been approached and offered a satisfactory deal – same goes for Chris Foster (postings above). But it still doesn’t alter the fact that Sam Parry’s album was reissued without any approach or opportunity to give consent … so in his case I don’t feel obliged to ‘be careful’ in what I say. Perhaps Big Pink have been reading this and other blogs, and are recognizing the error of their ways. I wish you every success with the reappearance of your material.

  20. I take it from comments you would prefer SAMs masterpiece to remain obscure unreleased and unheard not sure how that would be a benefit to anyone including Sam, piracy exists IMHO in some small part because record companies don’t release LPs on cd, Mike Hugg Somewhere a brilliant record never released on cd, so again the only way to hear it is on a torrent site, I emailed the record company in desperation begging them to make this available on cd and never even got a reply, in conclusion music was made to be heard, so three cheers for Big Pink , if Sam did not want it heard he should not have recorded it, macman

    • I’m all in favour of Sam’s excellent album being heard. Who wouldn’t be? But it has to be with his consent. Regarding yor rather hasty closing remark, of course Sam wanted it heard when he recorded it – in 1972! But 39 years have gone by, and he’s probably changed his mind, along with almost everything else about his lifestyle. That’s his prerogative. Sadly, he hasn’t been given the chance to say Yes or No to the reissue. People change … maybe Mike Hugg would say No, too, given the chance. Maybe he already has!

  21. I have been looking for Sam parry for some time as hes my brother in law and i love his music its a shame he does not play any more.

  22. Please can someone put June in touch with her brother Sam , I was re united recently with my sisters attending our dads funeral , now I wished I have kept in touch over the years, back to SP does anyone know what happened to the Japanese re issue, macman

  23. I am Sam’s step daughter, I completely agree June! It is a great shame and I feel very proud to be part of his family.

  24. One thing shines through these postings there is great affection for Sams talent and more important much love for the man, hope he gets to hear about it,

    • Hi, I recently signed a contract with Big Pink Music Korea. They then sent me a cash advance. They found me and asked to legitimately reissue my music from the 70s. They could have easily tried to steal my music and didn’t. Is ignorance bliss? Philio John Lewin

  25. Your section on Bryan Daly was great for me as I’m his son. There is only one Bryan Daly and his name has been spelled wrong on many occasions.

    He did indeed have an broad and rich career, and I spend quite a bit of time with him as a little kid in the late 60 and early 70’s hanging around in recording studios…it was an amazing era.

    Sadly Bryan passed away just a few days ago, deeply missed by all those who knew and loved him.

    • Robert, I’m sorry to hear of your father’s death. I hope someone somewhere is writing a full account of his remarkable career. Kind regards. Xx

      • I’d like to echo these sentiments. I’m sad to learn of Bryan’s passing: his musical CV is an extraordinary one, and any lover of, and collector of, folk and rock music of the sixties onward will have heard the man’s superb playing, and/or have albums on the shelf with his name in the credits. His work on Sam’s album is exemplary – I shall give it a spin later today in memory. My sympathy to you and your family, Robert. RIP, Bryan.

      • Thank you very much Andrew for your kind words. I’ve never heard Sam’s album, so will get myself a copy, I’m really interested in hearing it.

  26. The thing that Andrew Hawkey seems to not have a grip on is the fact that Sam may not actually OWN the rights to this record: In this era, usually, the rights to the recording and artwork were held by the label, not the artist. So while it would be a courtesy of a label like Big Pink to get in touch with him before reissuing the disk, if they’ve gone to the legal rights holder and gotten their consent, there is no need for them to get the artists’ approval. It’s not ideal, but that’s how the business is conducted.

    I’ve only bought one Big Pink title, and it was rather nicely remastered and packaged. This “guilty until proven innocent” mentality is at best uninformed and at worst fascist.

  27. What Mr. Hawkey doesn’t seem to understand is that the artist is NOT ALWAYS the copyright holder. In fact, most ’60s/’70s recordings were funded by labels, who then held on to the copyright. So while it would be nice for a label like Big Pink to let an artist know that his/her stuff was being reissued, it is not necessary. They just need to secure permission from the copyright holder, which more often than not is the label.

    Mr. Hawkey’s “guilty until proven innocent” mentality is certainly based on the prior exploits of some shady folks, but it seems unfair to pass judgement with no proof.

  28. Hi – so great to find Sam’s album on here and all the poeple who knew him.. My father, Bryan Walters, collaborated with him in the 1970’s and they both toured extensively in the UK and abroad with their fusion of poetry and music. He visited our house on many occasions at Llwynhelyg in Llywernog near Ponterwyd and I distinctly remember an evening visit to his house at Trefenter where there was much music and good food. I was just 9-10 years old at the time so the recollections area all a bit hazy. There is an extract of an article written by the Western Mail on 7/1/75 about my Dad and Sam with a picture of them both here http://www.ceredigion.gov.uk/utilities/action/act_download.cfm?mediaid=27593&langtoken=eng

    Best regards
    Mark Walters

  29. Hi,
    I wonder if the owner of this Blog could contact me direct under the E-Mail-Adress I filled in during the registration.
    It is concerning this LP from Sam Parry.
    Thanks in advance…

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