John's Cover Art Annie's Cover Art Lyndon's Cover Art
Tudor Lodge Title
Albums
Tudor Lodge Title

Tudor Lodge
(Vertigo 6360043)
Tudor Lodge First Album
 
  1. It All Comes Back To Me (Stannard)
  2. Would You Believe? (Stannard)
  3. Recollection (Green)
  4. Two Steps Back (Steuart)
  5. Help Me Find Myself (Stannard)
  6. Nobody’s Listening (Stannard)
  1. Willow Tree (Green/Stannard/Steuart)
  2. Forest (Green)
  3. I See A Man (Stannard)
  4. The Lady’s Changing Home (Green/Stannard)
  5. Madeline (Green)
  6. Kew Gardens (Ralph McTell)
(Lyrics)

The original album and single, issued on Vertigo Records in the “Spiral Years”, were recorded in Lansdowne Studios, Holland Park, London, engineered by Peter Gallen and produced by Terry Brown. Danny Thompson and Terry Cox from Pentangle featured on double bass and drums. Sonny Condell from Tir Na Nog played African drums on “Recollection.” Mike Morgan played electric guitar on “The Lady’s Changing Home.”

Several of the tracks featured string arrangements by Graham Lyons. The musicians were:
Graham Lyons – Bassoon/Clarinet
G. Wareham – Oboe/Cor anglais
Tony Coe – Alto flute/clarinet
Douglas Moore – Horn
Sergei Bezkorvany – 1st Violin
David Marcou – 2nd Violin
Fred Buxton – Viola
Suzanne Perreault – Cello

The sleeve artwork (John | Annie | Lyndon) was created by Phil Duffy of P.D. Graphics Ltd.

Two photographs were kindly sent to us in August 2010 by Mr. Norbert Scholz in Germany. Both the album cover and record are still in excellent condition. 

Record Collector Magazine published an article about Vertigo Records in issues 123 and 124, November and December 1989, and had this to say about Tudor Lodge:

This obscure folk trio fronted by American-born vocalist/flautist Ann Stewart [sic] was formed in 1970 [sic]. Touting a sound not dissimilar to that of Pentangle and Mellow Candle, they took their name from a pub in Reading and became a popular attraction in the folk club scene. Particularly memorable was their appearance at the 1971 Cambridge Folk Festival.

Original copies of the album are almost impossibly rare, making this the third most valuable Vertigo release. The sleeve folds out into a magnificent poster, but try finding a copy that hasn’t had the cover artwork damaged! “The Lady’s Changing Home” was lifted off the album as a single, coupled with the non-LP cut, “Good Times We Had”. This is also highly collectable. Tudor Lodge split towards the end of 1971 [sic], little realising that their album would be in such demand nearly twenty years later. This demand has been partly met by a reissue on ZAP in 1988 in a single sleeve, though, more recently, counterfeits have appeared in the original packaging.

The introductory paragraph to the second part of the Vertigo Records article:
Last month we looked at the earliest Vertigo releases, beginning with Colosseum’s “Valentyne Suite” in 1969, ending up in 1971 with Ramases’ “Space Hymns”. Along the way, we glimpsed some of the most collectable names on the market — groups like Gracious, Fairfield Parlour, Affinity, Dr. Strangely Strange, Clear Blue Sky, Legend, Gravy Train, Cressida, Still Life, Patto, and the mighty Tudor Lodge, all have albums worth in excess of £30.


In 1990 the album was reissued very briefly on CD in Germany by Repertoire Records (RR 4064-CX) as part of their “Vertigo Story” series. Part of the original Phil Duffy artwork was reproduced for the accompanying booklet. The album is currently available on CD in Korea, issued by Si-Wan (SRMC 0028). For this release the entire cover has been reproduced in the original shape. A translation of some of the accompanying text follows: 
The instruments used by these three artists are only the guitar and the flute, but like the other guest musicians, their presentation has something special, which magically attracts many people. This is because the style of this music is not the same as an actor’s role in attracting attention, but rather the result of people putting their efforts together to make one fulfilling performance. Even when listening to each piece of music separately, you can feel the full strength of sensation rather than strong emotion. Furthermore, you can understand the meaning from the striking harmony of the vocalists and the almost free performance in which the music reveals itself.

It is difficult to analyze this album in one word, for it seems that it will sound different to each individual listener and their present existence and feelings. As a whole, the center of the performance is beautiful harmony flowing across the surface, making you feel peaceful any time you listen to it. Listening carefully through each of the tracks: in “It All Comes Back To Me”, the first piece on side A, the guest musicians’ performance and the vocalists’ harmonies quickly become apparent. The next piece is “Would You Believe?” where the beautiful harmonies continue to calm the listener’s feelings. The third piece, “Recollection”, when compared to the rest of the music, is less warm; the performance is not depressing but rather relaxed, with a bit of fresh air blown into the continuing delicate performance. In this connection the music returns to the original warm atmosphere with “Two Steps Back”, giving this piece rich feeling. “Help Me Find Myself”, beginning with the sweet acoustics of the guitar, flows into a confession of a singer sending his thanks to that one person who cared when no-one else did, illustrated in the verses of “Nobody's Listening”, at the end of side A.

When you turn to side B you are greeted by “Willow Tree” which is clearly depicted in this intricately compiled album. The next piece, “Forest”, takes your listening ears into the imagination of walking along an old familiar road yourself. “I See A Man” describes the feeling of a man who lives a bitter life in society after having given up everything in the war he returned from, almost to reality, and makes an important social statement was well. After listening to the album, the piece that stands out the most, “The Lady’s Changing Home” is significantly different in performance and lyrics in that it is the most rock-like of all the pieces in this album. The performance is not wild nor does it stand out greatly, but we could feel the fullness of the music. Like water flowing, the guitar performance enables the listener to feel calm in “Madeline” which continues in “Kew Gardens”, closing the album with a calm and peaceful feeling.

Tudor Lodge!
Finally, not a wild album, but one which your hand goes to more often than others, probably because of these artists’ music and the atmosphere they create. There seems to be something more to music than just listening with your ears. This winter, when you are busy with life and want to find some free time, I hope that Tudor Lodge will bring you some comfort.

Written by Meng Kyung Mu
Translated by Yunhee Hong


The Korean CD is also available in Japan, released by Belle Antique of Shinjuku, Tokyo (MAR 97361). The CD and cover reproduction is the Korean product, but an additional booklet, with two pages of information and the song lyrics in Japanese, is included.

The album was re-released in Japan in 2000, as part of the “British Rock Legend Series” by Universal International (UICY-9030). The fold-out sleeve and the original inner sleeve have been faithfully reproduced, and the CD label is an exact copy (except for the record number) of the original label on the initial vinyl release. A folded sheet, with notes in Japanese and the song lyrics in English, is inserted.

Released yet again in Japan in 2007 on vinyl in a limited edition. The sleeve has a textured finish and comes complete with obi strip and sealed in an outer plastic sleeve.

For full details of all the subsequent releases of this album, from 1988 to the present, please see the Discography page. If anyone has a release which we have not recorded, please contact the The Webmaster with details, if possible.


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