Vashty Bunyan". fat-cat.co.uk. Archived from the original on 5 September 2015 . Retrieved 5 September 2015. I was a mother of three, and I think my partner and I, Robert, were always looking for the elusive place that we could make our own. We lived in various rented farmhouses. And we made our living by buying and selling old country furniture, farmhouse, antique-y stuff, and having markets by the side of the road. I called it living on wit, and that’s what we did really. We just did what we could to get by.

Heartleap, your third and most recent album, came out in 2014, almost a decade after you released Lookaftering. Why did it take so long? I'd Like to Walk Around in Your Mind" is featured at the beginning of the 2017 Turkish film "Kedi". I did try drums when I first starting working with Max Richter on Lookaftering. We put a bit of drums and a bit of bass behind one of the songs, and I was just like ‘No. It isn't necessary.’ The percussion or the rhythm or the pace of the song was all there in the instrumentation and the vocals, and it didn’t really need underlining in any way. It would only disturb them. My oldest son always goes on about it to me, asking me ‘Why can’t you put drums in there? Or some bass?’ But I just tell him no. I’ve tried it and it just doesn’t work. Vashti Bunyan Interview | Features | Clash Magazine". Clashmusic.com. 18 January 2010 . Retrieved 12 August 2014.

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This fact is reflected by her leaving the hustle and bustle of London behind her in the late 1960s, as she travelled on a pilgrimage to the north of Britain, with only a green gipsy like wagon, a horse called Bess, a dog named Blue and Robert. She was obviously more connected to/in tune with the earth than Drake would have been, and this really comes through beautifully in her musical style... But either way, these two artists were amazing song writers, which is probably the reason why Joe Boyd (legendary producer and founder of Witchseason Records) showed equally as much interest in both their music. I found myself on the phone with the British folk singer on a winter’s morning in 2016. I’d convinced her record label, Fat Cat, into letting me interview her even though I wasn’t on assignment and had no clue where I’d eventually — if ever — publish our conversation. If it hadn’t been for Joe, I would never have recorded those songs at all. But if you ask me why I abandoned it, it was because I didn’t feel it was really a part of me anymore. Even when she’s unwell, the 74-year-old’s voice sounds feathery and wan, sort of as if someone had pumped it full of clouds. It was a voice I knew well; a voice that has remained virtually unchanged for 50 years.

Jennifer Vashti Bunyan (born in 1945) is an english singer-songwriter originating from Newcastle upon Tyne, England. She moved to London at 6 months old. And it’s not like anybody mentioned the album when it came out. It was just friends and family who talked about. Nobody else really took any notice of it. And so it just disappeared out of my life. Blossoming once again in her own time, it has taken another 20 years for Bunyan to write her story down in spare, often luminous prose. “Berneray [in Scotland, where Bunyan lived for a time] held its ancient history near to the surface. With no trees, the only verticals being the new electricity poles, Viking days hung in the air with nothing to absorb them.” And also: “We were two idiot dreamers who chose the wrong island to carry out those dreams upon.” This release in particular is my personal favorite of all her releases. Touchingly real and warmly inviting, it seems to sum up the beauty of life as it must have been here in the UK before electricity graced our lands... Using old standards (Lily Pond is done to the standard of Twinkle Twinkle Little Star) and soft invoking melodies, her lyrics are a moving and heart felt narrative of late sixties dreaming.

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Also, I guess I didn’t do too much promotion. At that time, if you didn’t go out on the road, if you didn’t do live performances, it was very difficult for anybody to promote you. And I had chosen not to do that, so really it was nobody else’s fault but mine. Young, Rob (2010). Electric Eden: Unearthing Britain's Visionary Music . Faber and Faber. pp.44–45. ISBN 9780865478565. And you two were heading to Donovan's commune in the Hebridean Islands off the coast of Scotland, right? That was because when we were mastering the album in London, when we got to the end of the last song, this wonderful woman who mastered it — she had done Lookaftering as well — she turned to me and said, ‘So when we do the next one, we're going to do this and this and this.’ And I said, ‘I’m never doing this again!’ But it was only when we went into the studio to remaster it that I realized what a beautiful job Joe had done and how beautiful it sounded. Because I’d never really heard it since 1970. I didn’t have a record player and I’d only heard it on scratchy, old tape players.