We Sang Our Songs Upon A Hill

Description

We Sang Our Songs Upon A Hill is an album by the British folk combo St. Edmund’s Folk Choir, released in the UK on MAP in 1974. The album was recorded at TMC Studios in Tooting, London, England (also known as “Tooting Music Centre”).

Scarce private press from UK folk ensemble whose stirring presence is comparable to Cloud, 11:59, Valley Of Achor or (crossing the Big Pond) God Unlimited. Acoustic guitars, soft male/female harmonies and periodic solo singing lead the way, backed by bass, piano and gentle echoed electric guitar. I’d guess there to be around ten or so members in the group. Most songs written by Stephen Church, three of which appear on the equally rare So Confusing And So Very Clear LP (the title track, «It’s Better That I Go» and «Psalm 18»). Also covers of «Silent Night», «All ‘My Trials» and «Day Is Done». [Ken Scott, The Archivist, 4th edition]

LP tracklist:

Side One
A1. “We Sand Our Songs Upon a Hill”
A2. “Answer Me the Mystery”
A3. “I Can Feel the Spirit”
A4. “Who Will Share My Cross?”
A5. “Silent Night”

Side Two
B1. “All My Trials”
B2. “Wouldn’t It Be Nice?”
B3. “It’s Better That I Go”
B4. “Lamb of God”
B5. “Psalm 18”
B6. “Day Is Done”

I was looking for information about Stephen Church which somehow led me to this posting. I was a founder member and the choir leader of St. Edmunds Choir when this album was recorded and released – I played lead guitar on the album not that well in my opinion. Something like 450 copies were printed I seem to recall. The album came about through enthusiasm more than anything else and I feel I need to apologise firstly for the atrocious design of the front cover sketched by a choir member’s sister. I wasn’t insistent enough to push for my preference of a cover design that a friend had painted and which depicted far more meaningfully what we were trying to express through our music and title track. Having said that, I think we felt the music, we enjoyed it though there were always too many egos present expressing it (mine included!) and of course we were so young!!! The recording studio also in my opinion failed to serve us well, inadequately providing sufficient quantity/quality of microphones to capture the depth and breadth of our sound. I note in a comment that the recording sounds like about 10 voices and I would agree. We were about 25 or more in number and I remember how hot it became in the recording studio because there were so many of us in there. The final mix was rushed and hence a further reason for what is I perceive as a shallow sounding recording. I do my own recording now and have a resonable understanding of what could have been achieved through skilled sound engineering. I always meant to return to the the recording studio and demand a remix. I never did!

We had amazing fun and enjoyment making this album and there are many more stories and anecdotes around its creation. My gratitude goes to all who participated. Now I am learning more and more as the years pass to listen deeply to the music and hear what needs to be said and conveyed through it. I am still leading music in church though lately with children and have discovered yet another dimension. My special gratitude remains with Stephen Church who generously allowed St. Edmunds Folk Choir to use his so inspired, meaningful songs and amazing arrangements. We thought we were great (our egos did!) and people flocked to our masses. Yes sometimes our music hit the mark though I recall it was all delivered at the same volume with a lack of sensitivity. Perhaps that was the way in those days. I remember a visit to one of our folk masses from Jim, a member of St. Aidan’s Folk Choir, Coulsdon where Stephen Church was the choir leader. He took me aside after our mass and declared: “Charles you are ruining our songs!!!” [Charles Harvey, 2018]