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Track List
01) Canadee-I-O
02) The Drowned Lovers
03) The Humpback Whale
04) The Little Pot Stove
05) Courting Is a Pleasure
06) Barrack Street
07) Planxty Davis
08) The Flandyke Shore
09) Farewell to the Gold
01) Canadee-I-O
02) The Drowned Lovers
03) The Humpback Whale
04) The Little Pot Stove
05) Courting Is a Pleasure
06) Barrack Street
07) Planxty Davis
08) The Flandyke Shore
09) Farewell to the Gold
6:00
6:32
6:05
5:38
5:23
4:29
2:51
2:54
5:18
Data Complete
70%
Total Rating
70%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1980
Folk
Good Natured
Folk
---
Medium
Album
0 copies
Album Description
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The magnum opus from this near-legendary folksinger, Penguin Eggs stands in a virtual class by itself -- a folk record built on playing of such virtuosity that anyone who enjoys guitar, of any type or style, should hear it; a body of traditional songs played with an immediacy and urgency that transcends any dry notions of scholarship; and a record that stands astride the opposing virtues of youth and antiquity, in its execution and source, respectively. Penguin Eggs is one of those rare records were not just every song, but each instrumental part is worth hearing. Jones' singing, some of the most expressive to emerge from the English folk revival, has a richness reminiscent of a young Martin Carthy but also elements of the honest roughness in the work of A.L. Lloyd and Paul Clayton. The vocals are attractive enough to make this record a keeper, but what makes this album truly special, and alluring to modern listeners, even 20 years after its release, is the playing -- Jones' acoustic guitar work is so lyrical, elegant, and sinewy on Penguin Eggs, and gets such spirited (yet economical) support from Tony Hall and Bridget Danby, on melodeon and recorder, respectively, that it would be worth hearing just as an instrumental album, and could show a hardcore traditionalists a thing or two about virtuoso showmanship as well. Moreover, the harmony singing, provided by Danby and Dave Burland, gives this record some of the same appeal that one came to expect from groups such as early Steeleye Span and Fairport Convention, though the use of purely acoustic instruments puts Penguin Eggs in a category completely separate from them.
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The magnum opus from this near-legendary folksinger, Penguin Eggs stands in a virtual class by itself -- a folk record built on playing of such virtuosity that anyone who enjoys guitar, of any type or style, should hear it; a body of traditional songs played with an immediacy and urgency that transcends any dry notions of scholarship; and a record that stands astride the opposing virtues of youth and antiquity, in its execution and source, respectively. Penguin Eggs is one of those rare records were not just every song, but each instrumental part is worth hearing. Jones' singing, some of the most expressive to emerge from the English folk revival, has a richness reminiscent of a young Martin Carthy but also elements of the honest roughness in the work of A.L. Lloyd and Paul Clayton. The vocals are attractive enough to make this record a keeper, but what makes this album truly special, and alluring to modern listeners, even 20 years after its release, is the playing -- Jones' acoustic guitar work is so lyrical, elegant, and sinewy on Penguin Eggs, and gets such spirited (yet economical) support from Tony Hall and Bridget Danby, on melodeon and recorder, respectively, that it would be worth hearing just as an instrumental album, and could show a hardcore traditionalists a thing or two about virtuoso showmanship as well. Moreover, the harmony singing, provided by Danby and Dave Burland, gives this record some of the same appeal that one came to expect from groups such as early Steeleye Span and Fairport Convention, though the use of purely acoustic instruments puts Penguin Eggs in a category completely separate from them.
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