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Sleeve Notes
It is a considerable time since I first met, and heard, Robin Hall. This was very soon after he .first came to London when he was unknown-when his earnings and method of livelihood were almost non-existent-o for he was only singing on one. or two evenings a week, in a Hampstead coffee bar.
In those days, the current wave of folk rave hysteria plus pseudo folk recordings were, with the exception of a rare genuine release, also non-existent. I liked Robin both as a person and as a voice, instinctively and immediately, and despite the fact that the recording of this type of music was generally regarded as being little better, from a record company's point of view, than throwing money down a bottomless drain, a session was arranged. How different it is today! The names of Robin Hall and his partner Jimmie McGregor are virtual household words. Their appearances on radio, TV, concert hall, theatra-their tours over other parts of the globe, have made them world-famous.
In the beginning, recording Robin and Jimmie meant substantial expenditure which, to be frank, I had to personally finance since sales were never sufficient to pay the costs involved. Nevertheless, my erstwhile partner, Paul Carter and myself had the belief that this personality, this voice, would go far. That our faith and belief, in those early days was justified, is a tremendous source of satisfaction.
Of the songs on this record, it is unnecessary to write, since all are well-known, although unfortunately the "Blantyre Explosion" is one of those items of which not enough is heard. "Prince Charlie" is yet another Glasgow song of the streets, and though would in days of yore have been deemed disrespectful, is in no way so today. On these recordings, Robin is heard an nature! without the presence of any echo chambers or other electrical extravaganza.
I must confess to a tremendous feeling of pride at having been responsible for the first recordings not only of Robin Hall, but also of Johnny Dankworth, Chris Barber, Kenny Ball, Mick Mulligan, Mickey Ashman and Delmondi, all of whom have subsequently become famous, and to a feeling that I have been helpful in some small measure in their careers. Here I would also like to pay tribute to a rival company, Topic Records, who had already released a few recordings of genuine folk music before I even started, and also to Peter Kennedy of the English Folk Dance and Song Society, who has been entirely concerned in this field for more years than any of us care to remember.
Despite the current sophistication, I still enjoy this type of music. I hope that you also do.
Colin C. Pomroy