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An
Introduction to Sutherland Records
The late 1950’s and early 1960’s saw a renaissance of
“folk” music spearheaded by the commercial success of such groups as the
Brothers Four, the Kingston Trio and the Weavers. The music they performed was
sometimes traditional but, more often a hybrid form of contemporary composition
which incorporated the storytelling aspects of true archival folk music. The
performance of these songs was often marked by warm vocal harmonies and
accompaniment played on acoustic instruments such as guitars, banjos, mandolins
and autoharps.
Many great writers including Billy Ed Wheeler, Woody
Guthrie, Gordon Lightfoot, Pete Seeger, Malvina Reynolds, Mike Settle, Shel
Silverstein and Bob Dylan penned songs which brought about or contributed to the
widespread recognition of such artists as Odetta, Peter, Paul and Mary, Ian and
Sylvia, Theodore Bikel and Joan Baez.
By the later half of the sixties however, the pure acoustic
sound had given up much of its popularity to the more electric band sound of the
Loving Spoonful, the Beatles, and of course, the recently plugged in Bob Dylan.
Following the release and great success of such records as Sgt. Pepper and
MacArthur Park, the use of huge orchestrated arrangements became such a mainstay
of major label recordings that simple productions became virtually obsolete.
Personally, I still enjoy acoustic productions which
highlight the vocal and/or instrumental performances and allow for a clear and
upfront presentation of a great lyric. After recording major label albums
in the late sixties and early seventies in which my songs and performances were
(in my opinion) buried beneath a sea of violins, horns and background vocals, I
approached the label with the idea of doing a more simple, honest production on
my next album. This was a concept on which we did not see eye to eye and
subsequently I left the label.
In 1981 I began a self-produced album and released it
on my own label. In those days this was considered a bold and rebellious move
for an artist who could have easily had a major label affiliation. Even I
assumed there was a strong possibility the record would be ignored by most
reviewers. How wrong I was! The album “All Strings Attached” received critical
acclaim in virtually all major trade publications and even sold fairly well
considering that, in those days, there was no internet and most major record
distributors dealt only with major labels.
I won’t swear that the folk music of the sixties will
return to vogue. I do, however, feel certain that there are many others of my
generation who miss the simplicity of the early acoustic recordings and many
people of all generations who would appreciate recorded performances of great
folk poets and composers which showcase their individual styles while, in many
cases, incorporating updated instrumental accompaniment and modern studio
techniques. It is to this end that I have rejuvenated Sutherland Records. We
have so far completed and released three wonderful CDs.
Justin Devereaux “Whiskey Eyes” SR102
Stephen Hunter “Finding Time” SR103
Jerry Merrick “Suddenly I’ll Know You” SR104
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