By Dave Arthur
Author note: Foreword through Richard Thompson OBE and Preface by way of the Rt. Hon. Sir Stephen Sedley
Folk singer and folks song collector, author, painter, journalist, artwork critic, whalerman, sheep station roustabout, Marxist, and lots more and plenty extra - this can be the tale of A. L. (Bert) Lloyd's outstanding existence. A. L. Lloyd performed a key half within the folks tune revival of the Nineteen Fifties and 60s, yet that's basically a part of his tale.
Dave Arthur files how Lloyd turned a member of the Communist get together, forceful antifascist, alternate unionist and a big a part of left-wing tradition from the early Thirties to his demise in 1982. Following his go back from Australia as a 21-year-old, self-educated agricultural labourer, he was once on the center of an important left-wing pursuits and hugely revered for his wisdom in a number of fields. Dave Arthur recounts the lifetime of an inventive, passionate and life-loving Marxist, and in so doing offers a social historical past of a turbulent 20th century.
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Additional info for Bert: The Life and Times of A. L. Lloyd
But, as Bert said, he had little else to spend his money on except a monthly haircut and a booze-up. It would be interesting to know whether or not Bert’s exploration of the HMV catalogue included listening to the English baritone John Goss and his Cathedral Quartet. J. R. Terry’s The Shanty Book (1921) and Joanna C. Colcord’s collection Roll and Go, Songs of American Sailormen (1924). On a couple of the shanties Goss, for all his lieder background and concert hall enunciation, sounds eerily like Bert.
Some titles seemed very attractive – ‘L’Apres-Midi d’un Faune’, an absolutely irresistible title; I felt sure it must be smashing music even though I didn’t know what was in store … And I understood Mozart was a melodious composer, so I thought that he should be within my reach. HMV had just issued a cheap set on Plum Label, their cheap label – three records of the G Minor Symphony, the 40th. So I sent for that and found sure enough that I could grasp it; it was very charming music, too. And then there was big publicity for a Bach record conducted by Stokowski – the D Minor Cantata and Fugue, arranged for orchestra.
In the script Bert changed the scene of the fire from Ferndale, from where he wrote to his sister, to Bogandillon, and, for some reason, continued to place the fire there when he talked about it in May 1970 on his return visit to Bogandillon for the ABC programme Ten Thousand Miles: ‘I was sent to muster a lot of sheep out of a paddock here on Bogandillon. When the fire came over the hilltop it was quite clear that I wasn’t going to be able to get through the gate myself, let alone run the sheep out.