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Bellowhead: The Songbook (Piano/Voice/Guitar)

Bellowhead

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Bellowhead: The Songbook showcases a collection of the biggest and best songs from multiple award winning folk collective, Bellowhead. With songs chosen by the band and their fans, including Betsy Baker and Cold Blows The Wind, this collection spans the ten year history of Bellowhead, and have been specially arranged for piano, voice and guitar.

Packed with photos, biographies, song facts and the history of the band, this Collector’s Edition is a must-have for any Bellowhead or folk music fan.

Publisher: Faber Music

ISBN: 0571538290

Item Code: 0571538290

Price: £16.99
Availability:In stock Territory restrictions apply, see Add. Info

Genre(s): Folk

Language: English

Territories: Item available Worldwide

Instruments:
  • Piano
  • Voice
  • Guitar
Contents:
  1. 10,000 Miles Away
  2. Betsy Baker
  3. Captain Wedderburn
  4. Cold Blows The Wind
  5. Cross-Eyed And Chinless
  6. Fakenham Fair
  7. Jordan
  8. London Town
  9. New York Girls
  10. Parson’s Farewell
  11. Roll The Woodpile Down
  12. Sloe Gin
  13. Trip To Bucharest/The Flight Of The Folk Mutants Parts 1&2
  14. Unclothed Nocturnal Manuscript Crisis
  15. Whiskey Is The Life Of Man

Boden’s Bellowhead show you how it’s done
Given the devotion Bellowhead inspire, this publication of the words and tunes to 15 of their favourite pieces is an essential public service. The Songbook offers the opportunity for people to have a crack at ’10,000 Miles Away’. ‘London Town’, ‘Roll the Woodpile Down’  and ‘Fakenham Fair’.
The character of Bellowhead’s music lies in their extraordinary instrumental arsenal, which cannot be provided here, of course, pieces are arranged for piano, voice and guitar. The music, words and guitar chords are clear, the book is a good size to put on the piano and it even stays open as you play. So it is a pleasure to use as a songbook. But it is much more than that. It is a photo album, a history and musical reference work, too. The songs and tunes are interspersed with pictures of the individual members in performance, the entire ensemble on stage, the rather daft stagey group portraits they have made a speciality of and several rather charming shots of the musicians. I like the one of trumpet player Andy Mellon reading the paper – the Money section. Now the band has signed to Island Records perhaps he’ll not need to so do with such intense concentration.
Paul Sartin (oboe, fiddle, vocals) has penned an elegant history of the band, from it’s first rehearsal in a scout hut to recording for The Simpsons and The Archers. There are neat thumbnail biographies of the band members, and each song is given fascinating and witty introduction. So I’m tempted to recommend this music book even to those who can’t play or read dots.

Julian May, Songlines Magazine, August/September 2014

 

The first question I had to ask myself when considering this book is: is it possible to simplify the complex arrangements of the 22-legged groove machine that is Bellowhead, down to something that somebody with my rudimentary guitar skills can play? After just about getting to grips with ‘New York Girls’ I can say the answer is a resounding YES.
Bellowhead’s first songbook includes crowd-pleasers like the aforementioned ‘New York Girks’. ‘London Town’ and ‘Sloe Gin’, alongside less obvious ones, such as ’10, 000 Miles Away’ and ‘Parson’s Farewell’. All in all there are fifteen songs and tunes arranged for piano, voice and guitar chords. Those with greater skill can make the most of the notation, whilst barely capable (like myself) can strum along and pretend you’re part of Britain’s finest live act.
The book has a potted history from Paul Sartin by way of introduction, as well as pen pictures of each of the band members that displays a range of talent and experience that will make all wannabe folkies green with envy. Even better is each song or tune has an introduction detailing its history and provenance, the most pithy of which is for ‘Unclothed Nocturnal Manuscript Crisis’: ‘Written by Benji in the Welsh Borders in the late 1990s, the title alone contains a comprehensive account of the tune’s inception’.
Admittedly, you’re not likely to sit down and read this cover to cover, but that’s not what it’s for. If you’re like me, however, you can while away your time trying to master a tune and in doing so get a glimpse behind the curtain and get some sense of the group’s genius.

Jonathan Roscoe, Shire Folk Magazine, July/August 2014