幻の猫たち 改訂版


シャーリー・コリンズ  『フォルス・トゥルー・ラヴァース』


Shirley Collins 
False True Lovers 

CD: Fledg'ling Records 
FLED 3029 (2001) 
Made in the UK 

Vivid Sound Corporation 
VSCD-1910 (I) (2001年) 
¥2,500(tax out) 




1.アイ・ドゥルー・マイ・シップ 2:22 
I Drew My Ship 
2.アイリッシュ・ボーイ 1:36 
The Irish Boy 
3.マッコウクジラ漁 2:43 
The Spermwhale Fishery 
4.デニス・オライリー 2:06 
Dennis O'Reilly 
5.マイ・ボニー・マイナー・ラド 1:51 
My Bonny Miner Lad 
6.ジャスト・アズ・ザ・タイド・ワズ・フローイング 1:20 
Just As The Tide Was Flowing 
7.ボビー・シャフトー 1:24 
Bobby Shaftoe 
8.リッチー・ストーリー 4:07 
Richie Story 
9.アンクワイエット・グレイヴ 4:14 
The Unquiet Grave 
10.スワッピング・ソング 1:30 
The Swapping Song 
11.プア・オールド・ホース 1:11 
Poor Old Horse 
12.フォルス・トゥルー・ラヴァース 3:51 
The False True Love 
13.フォギー・デュー 2:26 
The Foggy Dew 
14.大麦刈り 0:56 
Mowing the Barley 
15.スカボロー・フェア 1:40 
Scarborough Fair 
16.酷き母 7:04 
The Cruel Mother 
17.ボニー・カッコー 1:30 
The Bonny Cuckoo 
18.クイーン・オブ・メイ 1:49 
The Queen of May 
19.ダイド・フォー・ラヴ 1:50 
Died for Love 

total time  45:26 

Shirley Elizabeth Collins 
with John Hasted: banjo, 
Ralph Rinzler: guitar & Guy Carawan: guitar 

All songs traditional arranged Shirley Collins 

Produced by Peter Kennedy & Alan Lomax 
Previously released as FOLKWAYS FG 3564 

Drawings by David Suff reproduced by kind permission of the Very Old Gallery, London 
Photographs by Herb Greere from the scrapbook of Dorothy Ball Collins 

Issued under exclusive license from Shirley Collins 


イングランドを代表する歌声の持ち主として知られるシャーリーは、1935年にサセックスで生まれ、50年代の半ばには既にロンドンへ出てフォーク・シンガーとしての活動を開始している。時はまさに英国フォーク・リヴァイヴァルの興隆期であった。彼女は(中略)オムニバス盤への録音等の後、始めてのソロ・アルバムの録音を行う事になった。それは1958年の事で英国民謡研究家のピーター・ケネディのロンドンの自宅で行われた。この頃は米国の民謡研究家のアラン・ローマックスが英国に滞在していたが、シャーリーはローマックスと一緒にロンドンに住んでいて、彼の民謡収集の助手の仕事もしていたのだった。そうした関係でこの録音はローマックスと彼の仲間のアメリカ人のミュージシャン達が全面的にサポートしている。さて録音は37曲行われ、まず18曲が59年にLP “SWEET ENGLAND” (英ARGO RG150)、他の19曲が60年(59年?)にLP “FALSE TRUE LOVERS” (米FOLKWAYS FG3564)として別々に発表された。本CDはFOLKWAYS盤の初のCD化だが、これは「残りもの」の類では全くない。(中略)ARGO原盤のアルバム同様に、シャーリーはイングランド南部の方言の響きを生かした文字通り彼女独自の歌声を堪能させてくれる。」


「There is also something naive in the presentation of the songs, and I'd like to explain. There's the accent - partly my own native Sussex, but with slightly posher vowel sounds creeping in, vowels that were almost certainly insisted upon by the English teacher at my grammar school, the Hastings High School for Girls. For her, a Sussex accent would have implied ignorance. That faux cut-glass pronunciation was also common in films of the time - the English starlets with their "naice" voices, bearing very little resemblance to how people actually spoke.」

「There's some American there, too. I can see why it was happening. In the '50s the BBC had broadcast a series of programmes by the Texan folklorist Alan Lomax about his ballad hunting, and I was carried away by the romanticism of the survival of so many hundreds of British songs and ballads in the mountains of the American South. I was also influenced by the singing of Jean Ritchie, the Kentucky mountain singer. Her voice was the loveliest I had ever heard, high and clear and seemingly suspended in air! I met Alan Lomax when he returned to England from collecting in Spain and Italy in 1954, and lived and worked with him in London from 1956-8 and naturally heard a great deal more American folk music.」

「Then there's the material. I hadn't yet fully become aware of how great and wonderful the English tradition was, but I was slowly making my way towards it. I was still influenced by what I'd heard Mum and Granny and Grandad sing at home ('Just As The Tide Was Flowing' from Aunt Grace) and what I learned in school - and these were mostly songs from Sharp's Folk Songs for Schools and his English Folk Songs. (See 'The Unquiet Grave', 'The Swapping Song', 'Poor Old Horse', 'Mowing The Barley', 'The Queen of the May' and 'Dance To Your Daddy'). When I first left my home in Hastings around 1953 and moved to London to further my ambition to become a folk-singer, I worked in Collett's bookshop on Haverstock Hill, and it was there I bought English Folk Songs from the Southern Appalachians - again the work of Cecil Sharp who collected there in 1916 with Maud Karpeles. The two volumes cost me sixty three shillings. That was more than two weeks' wages and I lived on penny buns from the baker opposite to afford them, and got rather run down that winter! (See 'The False True Love' and 'The Foggy Dew'). Little did I think that in 1959 I would be following in the footsteps of Sharp and Maud Karpeles to the Appalachians and beyond - the first Englishwoman to do such a field trip since theirs. Ironically, it was my year in America that cured me of my romantic view of it, and let me back to my English roots.」