Live In The UK

Ken Perlman: Live in the UK

[CD Cover]

In May, 1987 renowned clawhammer banjo and fingerstyle guitar
player Ken Perlman landed in Manchester ready to embark on his
first tour of the U.K. Ken’s first couple of performances — in
the nearby cities of Macclesfield and Northwich — were taped,
and excerpts were later released as a cassette by Halshaw Music
Company. This CD contains digitally re-mastered versions of all
the tunes from the original cassette, plus a few previously
unreleased selections. Most of the banjo solos have also been
enhanced by the addition of expert flatpick-guitar accompaniment
by John Rossbach.


(All selections not otherwise noted are banjo instrumentals.)

  • 1. Road to Mexico by Ken Perlman
    (Formerly called “Tequila Mockingbird”)
  • 2. Rock the Cradle, Joe
  • 3. Loons on the Pond by Ken Perlman
  • 4. The Mornin’ Blues (guitar + vocal)
  • 5. The Rights of Man (guitar instrumental
  • 6. Nancy
  • 7. Shenandoah Falls
  • 8. Sullivan’s Breakdown by Ken Perlmans
  • 9. The Barnyard Dance (guitar + vocal)
  • 10. Fanny Powers (guitar instrumental)
  • 11. Don’t Let Your Deal Go Down (banjo + vocal)
  • 12. Come Ye By Newcastle/Holmes’ Fancy
  • 13. Colored Aristocracy
  • 14. The Left All Alone Again Blues (guitar + vocal)
  • 15. Avalon Quickstep/Julie-Anne Johnson
  • 16. Reuben’s Train (banjo + vocal)
  • 17. Sandy River Belle
  • 18. Speed the Plow/Prince William


See Pricelist of Books, Recordings and Videos

Ken talks about the recording:

Looked at in context, Live in the UK represents what amounts
to a “middle period” of my musical path. My first LP
(Clawhammer Banjo & Fingerstyle Guitar Solos on Folkways
Records) was pretty much an outgrowth of my fascination with
Irish Music, and my later CDs (Devil in the Kitchen on the
Marimac label and Island Boy on the Wizmak label) resulted
from a deep involvement with the music of Scotland, Cape Breton
and Prince Edward Island. When Live in the UK was made, on
the other hand, my interests lay in expanding the boundaries of
clawhammer and dragging out of the style every last lick it was
capable of. Part of this involved creating a method to play
complex breaks and “variations.” Another aspect was composing
tunes specifically for “melodic” clawhammer that made use of the
style’s unique potentialities. Because it was the only commercial recording that was made
during this “middle” period of my playing, I decided to breathe
new life into it by using some modern recording-studio sleight of
hand. The original recordings were played into a multi-track
digital tape recorder, and enhanced by the sound engineer. Then I
asked guitarist John Rossbach of Syracuse, New York — a very
highly talented bluegrass and “old-time” player — to “overdub”
accompaniment on most of the solo banjo tracks. This helped
smooth out many of the recording-imperfections from the original
cassette. Hope you enjoy the result!

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