Dorris Henderson - Folk (UK-USA)

Folk music exploded in England during the mid-1960s. Solo artists like Roy Harper, Bert Jansch, Martin Carthy, and groups such as Fairport Convention, Fotheringay, and the Incredible String Band burst onto the scene with fresh sounds that made the Skiffle revival of the previous era seem dated and hokey. The Florida-born, Los Angeles-raised Dorris Henderson was a vital presence of the Brit Folk scene. Although she only released two albums under her name (with guitarist John Renbourn) during that era, the African American artist made a strong impact through the quality of her work. She had a strong, bright, and earthy voice and a good ear, and selected top-notch material into her repertoire.

Henderson recorded Watch the Stars, her second album, in January 1966, but it was not released until 1967. The record has just been digitally remastered and reissued by Fledg’ling Records with one bonus cut, Arthur Lee’s bittersweet and bouncy “Message to Pretty”. The crystal clear production suits the L.A. lass’s intimate vocals and Renbourn’s precise acoustic guitar playing style. It’s a shame Henderson, who died in May of this year, did not live to see her music released to a new audience. The old record has been out of print and unavailable for years.

Several of the tracks on Watch the Stars, such as the title cut, are traditional American and English folk tunes. Highlights include the jaunty “When You Hear Them Cuckoos Hollerin’”, the Piedmont Blues of “Thirty Days in Jail”, and the gentle “Come Up Horsey”. The influence of Joan Baez on Henderson is clearly evident on these tunes, in which Henderson’s voice rings like a bell. The L.A. lady also covers Bob Dylan’s wistful “Tomorrow is a Long Time” and Gordon Lightfoot’s loutish “For Lovin’ Me”. These songs were part of the standard folk set list of many musicians of the period and could be heard at hootenannies around the globe. Still, Henderson and Renbourn perform splendid renditions of these cuts. Renbourn opens the Dylan cover with a jangly riff, full of quiet, empty spaces that allow Henderson to gently croon the lovelorn lyrics and be heard. When she raises her voice in volume and pitch for emphasis, the effect is appropriately dramatic.

 Watch the Stars