A source-led map of selected Essex Record Office sound recordings that directly illuminate Chelmsford Folk Club. These catalogue records are retained as sound-archive evidence; they are not automatically converted into new gig records.
| Reference | Date | Catalogue description | Archive use |
|---|---|---|---|
| SA 30/6/402/1 | 18 July 1982 | Chelmsford Folk Club; sides 2 and 4 of 4; Mick and Sarah Graves and Geoff and Penny Harris. Tape 2 of 2. | Direct recording lead for the Folk Club research layer; keep separate from any event date that still needs corroboration. |
| SA 30/6/425/1 | 17 October 1982 | Chelmsford Folk Club; parts 2 and 4 of 4; introduced by Colin Cater and featuring Martin Carthy. Tape 2 of 2. | Useful performer/date recording lead; venue and event-record treatment remain subject to the wider evidence trail. |
| SA 30/6/428/1 | 7 November 1982 | Chelmsford Folk Club; floor singers introduced by Mick Graves, including Annie Harding, with Chelmsford Morris celebrating its 10th anniversary. Tape 1 of 2. | Links the recording layer to named people and Chelmsford Morris while preserving the catalogue as its own source. |
| SA 30/6/653/1 | 3 March 1985 | Chelmsford Folk Club recording including Sam Bond, floor singers, Peter Billing, Geoff Harris, Simon Ritchie and Bobbie?, Steve Morris and parish notices. Recording ends abruptly. | Later-period recording lead; catalogue uncertainty such as “Bobbie?” is deliberately retained. |
| SA 30/6/712/1 | December 1985 | Paul McCann and Jill Palmer-Swift on the East Anglian dulcimer at Chelmsford Folk Club. | Useful late-1985 recording lead, particularly for the instrument/performer strand of the Folk Club archive. |
The Essex Record Office's guide explains that Jim Etheridge recorded many Chelmsford Folk Club evenings, including announcements, floor singers, applause and other parts of the night. That makes the collection valuable evidence for the atmosphere and running of the club, not simply for headline performers.
Where a recording names a performer or date already present in Chelmsford Rocks, the recording should be linked as corroborating source material. It should not silently replace an existing archive entry.
Essex Record Office notes that some sound recordings are available online while others are restricted to searchroom access. A catalogue lead therefore remains useful even when the audio itself cannot currently be played online.
Folk Club Oral History Index — first-person testimony connected with the club and its people.
Archive Research Queue — open questions and evidence boundaries.
External Archive Sources — catalogue leads beyond the packaged Chelmsford Rocks collection.
Folk Club Collection — the existing Chelmsford Rocks Folk Club research layer.