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Dando Shaft Folk 1971 Spain

Genre:	World, Country & Folk
Performer:	Dando Shaft
Title:	Dando Shaft
Style:	Folk
Date of release:	1971
Country:	Spain
MP3 album size:	1665 mb
FLAC APE album size:	1350 mb
WMA album size:	1556 mb
Digital formats:	ADX MPC DTS VOC AHX AIFF MP1

Tracklist Hide Credits

A1	Coming Home To Me Acoustic Guitar – Dave Cooper , Kev Dempsey*Congas – Ted KayDouble Bass – Roger BullenVocals – Polly BoltonVocals, Mandocello [Cello Mandoline], Tambourine – Martin Jenkins	3:32
A2	Sometimes Acoustic Guitar, Shaker – Kev Dempsey*Bass – Roger BullenCongas – Ted KayMandocello [Cello Mandoline] – Martin Jenkins Vocals – Polly BoltonVocals, Acoustic Guitar – Dave Cooper	3:53
A3	Waves Upon The Ether Acoustic Guitar – Dave Cooper Acoustic Guitar, Vocals – Kev Dempsey*Bass – Roger BullenCongas, Bells – Ted KayVocals – Polly BoltonVocals, Mandolin – Martin Jenkins	4:40
A4	Riverboat Acoustic Guitar – Dave Cooper , Kev Dempsey*Bass – Roger BullenFiddle, Flute – Martin Jenkins Tabla – Ted KayVocals – Polly Bolton	4:20
A5	Dewet Acoustic Guitar – Kev Dempsey*Mandolin – Martin Jenkins	1:38
B1	Railway Acoustic Guitar – Dave Cooper , Kev Dempsey*Bass – Roger BullenFiddle – Martin Jenkins Tabla – Ted KayVocals – Polly Bolton	2:40
B2	Whispering Ned Acoustic Guitar – Dave Cooper , Kev Dempsey*Bass – Roger BullenTabla – Ted KayVocals, Mandolin – Martin Jenkins	1:40
B3	Pass It On Bass – Roger BullenCongas – Ted KayFiddle, Flute – Martin Jenkins Vocals – Polly BoltonVocals, Acoustic Guitar – Dave Cooper , Kev Dempsey*	3:51
B4	Kalyope Driver Bass – Roger BullenTabla – Ted KayVocals – Polly BoltonVocals, Acoustic Guitar – Dave Cooper , Kev Dempsey*Vocals, Mandolin – Martin Jenkins	3:02
B5	Till The Morning Comes Acoustic Guitar – Dave Cooper Bass – Roger BullenCongas – Ted KayFlute – Martin Jenkins Vocals – Polly BoltonVocals, Acoustic Guitar, Shaker – Kev Dempsey*	1:41
B6	Prayer Vocals, Acoustic Guitar – Dave Cooper	0:32

Companies, etc.

Record Company – RCA
Manufactured By – RCA Ltd.
Produced For – Youngblood Production
Phonographic Copyright (p) – Youngblood Music Co.
Copyright (c) – RCA Ltd.
Printed By – Howards Printers (Slough) Ltd.
Published By – Youngblood Music Co.
Recorded At – Pye Studios

Credits

Composed By – Dando Shaft
Design, Photography By – Keef
Engineer – Dave Hunt
Producer – Miki Dallon

Notes

The gatefold sleeve, in textured card, lists the track running order incorrectly, and the double-spread photo which forms the outer cover has been incorrectly printed as a mirror image.

The track listing above is taken from the disc label, which is correct.

First cat.nr. on cover, second on label.

Barcode and Other Identifiers

Matrix / Runout (Label A-side): AGBS 0517
Matrix / Runout (Label B-side): AGBS 0518
Matrix / Runout (Run-out area A-side ''machine stamped''): AGBS 0517-1E
Matrix / Runout (Run-out area B-side ''machine stamped''): AGBS 0518-1E

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
SOMM003	Dando Shaft	Dando Shaft ‎(LP, Ltd, RE)	Sommor	SOMM003	Spain	2011
REP 5043	Dando Shaft	Dando Shaft ‎(CD, Album, RE)	Repertoire Records	REP 5043	UK & Europe	2005
SRA-5525	Dando Shaft	Dando Shaft ‎(LP, Album, Promo)	RCA	SRA-5525	Japan	1971
NE5	Dando Shaft	Dando Shaft ‎(LP, Album)	RCA	NE5	Canada	1971
REP 4470-WP	Dando Shaft	Dando Shaft ‎(CD, Album, RE)	Repertoire Records	REP 4470-WP	Germany	1994

Aloo

Having the ability to directly compare a UK and US press with eachother I couldnt pass up the oppertunity as usual and spent most of my time listening to the first track and Railway. I say Railway and not second track as the UK release has a different song order than the US, but neither get a big advantage as both tracks are far out on the record anyway. Never noticed this difference before however.The easiest way to tell pressings in this case is to listen for the dynamics in the vocals. The UK has a small, but clear advantage when it comes to this aspect and it surely transfers to instruments as well, although more subtly. Another part to take note of is the separation of vocals on Coming Home To Me as they have great parts for testing this with headphones. The UK again might have a slight advantage at differentiating the singers in left and right channel, giving a slightly clearer and expansive soundstage. These are again subtle differences however, and if they are a result of the US using a tape copy generation down, different mastering/cutting decisions etc, I cant tell you. The UK is as a result slightly harsher compared to the more laid back US, and this might actually be prefered by some. The music does not necessarily have to be more engaging like the UK, but speaking objectively Id say it has a sonic advantage.