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Mary Hopkin (born 3 May 1950), credited on some recordings as Mary Visconti from her marriage to Tony Visconti, is a Welsh singer best known for her 1968 UK number one single "Those Were the Days". She was one of the first artists to be signed to the Beatles' Apple label.

Life and career

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Early life and singing career

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Mary Elizabeth Blodwen Hopkin was born into a Welsh-speaking family in Pontardawe, Glamorgan, Wales.[2][3] She took weekly singing lessons as a child and began her musical career as a folk singer with a local group called the Selby Set and Mary. She released an EP of Welsh-language songs for a local record label called Cambrian, based in her hometown, before signing to Apple Records, owned by the Beatles, one of the first artists to do so.[4] The model Twiggy saw her winning the ITV television talent show Opportunity Knocks and recommended her to Paul McCartney.[4]

Hopkin's debut single, "Those Were the Days", produced by McCartney, was released in the UK on 30 August 1968. Despite competition from well-established star Sandie Shaw, whose own single version of the song was also released that year, Hopkin's version became a number one hit on the UK singles chart.[5] It reached number two on the US Billboard Hot 100, where for three weeks it was held out of the top spot by the Beatles' "Hey Jude",[6] and spent two weeks at number one on Canada's RPM singles chart. It sold over 1,500,000 copies in the United States alone, and was awarded a gold disc by the RIAA. Global sales topped 8,000,000.[7] Hopkin's recording of "Those Were The Days" was nominated for the "Best Contemporary Pop Vocal Performance, Female" at the 11th Annual Grammy Awards in March 1969.[8]

On 2 October 1968, Hopkin appeared at St Paul's Cathedral in London for the Pop Experience, where she sang "Morning of My Life", "Turn Turn Turn", and "Plaisir d'amour".[9] In December that year, the NME music magazine reported that Hopkin was considering a lead acting role in Stanley Baker's planned film Rape of the Fair Country, which was to be based on Alexander Cordell's book of the same name.[10] That particular project did not materialise but Hopkin did sing the title songs to two of Baker's films, Where's Jack? and Kidnapped.

On 21 February 1969, Hopkin's debut album, Post Card, again produced by McCartney, was released.[11] It included covers of three songs from Donovan, who also played on the album, and one song each from George Martin and Harry Nilsson. It reached number three on the UK Albums Chart, although it proved to be her solitary success in that chart.[5] In the United States, Post Card reached number 28 on the Billboard albums chart.[6]

The next single was "Goodbye", written by McCartney (credited to Lennon–McCartney), and released on 26 March 1969.[12] It reached number two on the UK singles chart,[5] number 13 on the Billboard Hot 100[12] and number 15 on the RPM chart in Canada.[13] Hopkin said she interpreted "Goodbye" as McCartney pledging to stop "micromanaging" her career, since she was uncomfortable with his positioning of her as a pop chanteuse.[14] She also expressed dissatisfaction with her manager at this time, Terry Doran.[15]

Hopkin's third single, "Temma Harbour", was a re-arrangement of a Philamore Lincoln song. Her first single not to be produced by McCartney,[16] it was released on 16 January 1970 and peaked at number six in the UK and number 42 in Canada.[17] In the US, "Temma Harbour" reached number 39 on the Billboard Hot 100 and number four on the magazine's Easy Listening chart.[18] Along with Donovan and Billy Preston, Hopkin was one of the chorus singers on the Radha Krishna Temple's 1970 hit single "Govinda", produced by George Harrison for Apple Records.[19]

Eurovision

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In March 1970, Hopkin represented the United Kingdom in the 1970 Eurovision Song Contest, achieving second place with "Knock, Knock Who's There?"[4] Despite being the pre-contest favourite, Hopkin lost to "All Kinds of Everything", performed by Irish singer Dana.[20] Produced by Mickie Most, "Knock, Knock Who's There?" was released as a single on 23 March 1970 and peaked at number two in the UK.[5] It was a worldwide hit, selling over a million.[citation needed]

Hopkin's final big hit was "Think About Your Children", released in October 1970, which reached number 19 in the UK. Hopkin has expressed dissatisfaction with the material produced by Most, who had taken over as her producer with "Temma Harbour". After appearing in Eurovision, Hopkin wanted to return to her folk-music roots.

After Eurovision

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At McCartney's insistence, Hopkin had recorded a cover of "Que Sera, Sera" in August 1969.[21] Hopkin had no wish to record the song and refused to have the single released in Britain.[21] Originally issued in France in September 1969, it was released in North America in June 1970.[16] The single peaked at number 77 on the Billboard Hot 100.[16]

The last single to hit the British charts was "Let My Name Be Sorrow", which reached number 46 in July 1971. It was produced by Tony Visconti, whom Hopkin had met earlier for a Welsh recording of "Sparrow". "Let My Name Be Sorrow" was a hit in Poland in January 1972.

Hopkin's second album, Earth Song/Ocean Song, was released by Apple on 1 October 1971. The album was produced by Visconti and included cover versions of songs written by Cat Stevens, Gallagher and Lyle and Ralph McTell, as well as the two title tracks by Liz Thorsen. Hopkin felt it was the album she had always wanted to make, so, coinciding with her marriage to Visconti and with little left to prove, she left the music scene.[22] The album's single, "Water, Paper and Clay", missed the Billboard Hot 100. It was Hopkin's last single for Apple Records, which she left in March 1972.

After Hopkin's departure from Apple, a compilation album titled Those Were the Days was released in the latter part of 1972. The album featured all of Hopkin's hits but failed to chart. "Knock Knock, Who's There?" was released as a single in the United States and Canada, both countries having been excluded from the first release of that record in 1970. The single reached number 92 on the Billboard Hot 100 and number 11 on the Easy Listening chart in December 1972, giving Hopkin her last US hit.

Television series

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Following her appearance in the Eurovision contest, Hopkin had her own peak time TV series, Mary Hopkin in the Land of ..., on BBC1. Created by Eric Merriman, each episode featured Hopkin looking at a different aspect of storytelling through music and dance. The six 30-minute programmes were broadcast in 1970 and were repeated in 1971.[23][24][25][26][27][28][29][30]

After the hit singles

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After marrying Visconti in 1971,[4] Hopkin withdrew from the pop-music scene to have a family. Although reportedly unhappy with show business, she did not stop recording. She travelled to Australia with Visconti in January 1972 and performed at a large outdoor rock festival in South Australia,[31] in addition to giving concerts in several major cities.[32] In March, Hopkin announced her departure from Apple Records; her manager, Jo Lustig, said they were considering offers from "three major [record] companies".[33] In June, the single "Summertime Summertime" / "Sweet and Low" was released on Bell Records under the name of Hobby Horse. The A-side was a cover of a 1958 song by the Jamies. With Visconti's assistance, she released the 1972 Christmas single "Mary Had a Baby" / "Cherry Tree Carol" on Regal Zonophone Records.

Hopkin starred in her own one-off TV special for BBC1 on 29 July 1972. Titled Sing Hi, Sing Lo, it was billed simply as "light entertainment starring Mary Hopkin".[34]

Although no other singles or albums came out in her name until 1976, she sang on numerous recordings that her husband produced, such as those featuring Tom Paxton, Ralph McTell, David Bowie (Low), Bert Jansch, the Radiators from Space, Thin Lizzy, Carmen, the Sarstedt Brothers, Osibisa, Sparks, Hazel O'Connor and Elaine Paige. On all of these recordings (and also on her husband's own Inventory album) she is credited as "Mary Visconti". During this time, she also appeared on various TV shows, such as Cilla Black's, as well as various radio programmes.

Return to recording

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In 1976, she returned to recording under her birth name and released the single "If You Love Me (Really Love Me)" (originally recorded by Édith Piaf as "Hymne à l'amour"), which reached number 32 in the UK chart.[5] The B-side, "Tell Me Now", was an original composition by Hopkin. Her next single was "Wrap Me in Your Arms", with the B-side again written by Hopkin ("Just A Dreamer"). These singles came out on Visconti's Good Earth Records label.[5] Several songs recorded for an album at the time have now been released under Hopkin's own label, Mary Hopkin Music.[35]

Two members of Steeleye Span (Bob Johnson and Pete Knight) chose Hopkin to play "Princess Lirazel" on their concept album The King of Elfland's Daughter. She also appeared at the Cambridge Folk Festival with Bert Jansch. In 1976, her second child was born. Before the 1970s ended, Decca released a compilation album of Hopkin's Cambrian recordings, The Welsh World of Mary Hopkin.

1980s

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Hopkin in 1982

Hopkin's first project in the 1980s was a well-reviewed stint playing the Virgin Mary in Rock Nativity at the Hexagon Theatre in Reading, Berkshire.[9] After this, Mike Hurst (record producer and formerly of the Springfields) asked her to sing lead in a new group named Sundance that he had formed with Mike de Albuquerque of ELO.[4] Their only single, "What's Love", allowed them to tour the UK with Dr. Hook but Hopkin quickly left the group, dissatisfied with the gigs. "What's Love" proved very popular in South Africa, albeit the only territory where it charted, peaking at number 10 in April 1982. In 2002, Hurst released recordings from this time on the Angel Air label.

Hopkin and Visconti divorced in 1981. The following year she provided vocals on "Rachael's Song" for the Vangelis soundtrack of Blade Runner. Around 1984, Peter Skellern asked her to join him and Julian Lloyd Webber in a group called Oasis. Their self-titled and only album, Oasis, was released on WEA along with two singles. The album reached number 23 on the UK album chart in 1984 and remained there for 14 weeks. A tour of the UK was planned but was brought to an abrupt end because Hopkin became ill. The group disbanded shortly afterwards.

During the 1980s, Hopkin appeared in several charity shows, including an appearance at the London Palladium with Ralph McTell. In 1988, she took part in George Martin's production of Dylan Thomas' Under Milk Wood. She played the character Rosie Probert and performed a piece called "Love Duet" with Freddie Jones as Captain Cat. The making of the record was filmed and made into a special edition of The South Bank Show, where Hopkin and Jones were shown rehearsing and recording "Love Duet". In 1992, the cast reunited for a performance of the play as a tribute to Thomas in the presence of Prince Charles for The Prince's Trust.[9]

Hopkin recorded an album called Spirit in 1989. This was released on the Trax label and is a collection of light classical songs and featured the single "Ave Maria". The record was produced by Benny Gallagher, of Gallagher and Lyle, who had contributed songs to her during her days at Apple Records.

1990s

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Early in 1990, Hopkin sang with the Chieftains at the London Palladium in a charity show and later joined them on a tour of the UK.[citation needed]

She continued to do projects of her choosing, working with people such as Julian Colbeck; she wrote the lyrics and performed a song on his CD Back to Bach. Also, there was Marc Cerrone's The Collector, a stage play/opera for which she performed two songs on the CD and video. She worked again with the guitarist Brian Willoughby and Dave Cousins (of Strawbs) on their CD The Bridge. She also appeared on a Beatles' tribute album by RAM Pietsch.

Album cover of Y Caneuon Cynnar – The Early Recordings

In 1996, the Welsh label Sain bought Cambrian's back catalogue and released all of Hopkin's Welsh recordings on a CD called Y Caneuon Cynnar/The Early Recordings,[36] which removed the overdubbed drums found on the Decca recordings.

In 1999, she again joined the Chieftains on their UK tour and, later that year, performed concerts in Scotland with Benny Gallagher and Jim Diamond.[9] There were also three TV documentaries about her, one each for HTV (1998), BBC Television (1998) and S4C (2000).[9]

She made a guest appearance on the Crocketts' album The Great Brain Robbery, sang the theme song for Billy Connolly's BBC TV series World Tour of England, Ireland and Wales and re-recorded "Those Were The Days" with Robin Williams rapping. She also appeared in the Sara Sugarman film Very Annie Mary.[citation needed]

2000s

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In September 2005, she released a retrospective album on the Mary Hopkin Music a label run by her daughter entitled Live at the Royal Festival Hall 1972.[1] It was followed in December 2006 by a Christmas recording, "Snowed Under", released on download only.

To celebrate her 57th birthday in 2007, she released an album called Valentine on her new eponymous label.[1] It included 12 previously unheard tracks dating from 1972 to 1980, three of which were written by Hopkin.[1] In 2008, a new album, Recollections, was released on her own label.[1] It included 11 tracks that were originally recorded between 1970 and 1986, alongside a CD of three Christmas songs which included "Mary Had a Baby" and "The Cherry-Tree Carol" (these tracks were first released on Regal Zonophone in 1972) and "Snowed Under", which was released in 2006 as a download only.

Her final archival CD, Now and Then, was released in May 2009. It comprises 14 tracks recorded between 1970 and 1988. She sang the song "Y 'deryn pur" ("Gentle Bird") on the album Blodeugerdd: Song of the Flowers – An Anthology of Welsh Music and Song released by Smithsonian Folkways Recordings in June 2009.

2010s

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Hopkin's daughter, Jessica Lee Morgan, released her first CD, called I Am Not, on which Hopkin sings on several songs.

In October 2010, Hopkin and her son, Morgan Visconti, released You Look Familiar, a collaboration which brings together Hopkin's melodies, lyrics and vocals with her son's instrumentation and arrangements.[37]

In 2013, Painting by Numbers was released on Mary Hopkin Music. The album includes 10 tracks written by Hopkin, two of which are co-written with friends; "Love Belongs Right Here" with Brian Willoughby and "Love, Long Distance" with Benny Gallagher.

For Christmas 2014, Hopkin recorded a single with her son and daughter. The traditional carol, "Iesu Faban" (meaning "Baby Jesus" in Welsh), was described on her website as a "close, intimate choral performance of a traditional Welsh Christmas carol".[38]

To celebrate the 50th anniversary of the release of "Those Were the Days", on 30 August 2018 Hopkin released a new acoustic version, on an EP also featuring the live version from her 1972 "farewell" concert at the Royal Festival Hall. Also included are the versions of "Those Were the Days" and "Goodbye" released in 1977, produced by her then husband, Tony Visconti.[39]

2020s

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Hopkin released an album called Two Hearts with her daughter Jessica Lee Morgan. Featuring newly written material and covers from the Bangles to Dire Straits, it was released on 3 May 2023, Hopkin's 73rd birthday.[40]

Discography

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Main article: Mary Hopkin discography

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mary Hopkin

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from Grokipedia
Mary Hopkin (born 3 May 1950) is a Welsh singer and songwriter renowned for her ethereal folk-pop style and international breakthrough in the late 1960s, particularly with her debut single "Those Were the Days," which topped the UK Singles Chart and reached number two in the United States. Born in Ystradgynlais, near Swansea, into a Welsh-speaking family, she began performing as a teenager in local folk groups like the Selby Set & Mary and released early Welsh-language recordings on Cambrian Records before gaining national attention. Hopkin's career skyrocketed in 1968 when she won the ITV talent show Opportunity Knocks, leading model Twiggy to recommend her to Paul McCartney, who signed her as one of the first artists on The Beatles' Apple Records label. Her debut album, Post Card (1969), featured eclectic covers produced by McCartney, blending folk, pop, and international influences, and included hits like "Goodbye," co-written by McCartney. In 1970, she represented the United Kingdom at the Eurovision Song Contest with "Knock, Knock Who's There?," finishing second and marking her as a prominent figure in British pop. After leaving Apple in 1971, Hopkin married producer , with whom she collaborated on her second album, Earth Song / Ocean Song (1971), and had two children, including singer-songwriter . She largely withdrew from the spotlight in the 1970s and 1980s to focus on family and privacy, occasionally recording with groups like Sundance and Oasis, but resumed a more active career in the with albums such as Live in (2005), Valentine (2007), and Now and Then (2009). By 2023, through her independent label Mary Hopkin Music, she had released 16 albums and four EPs, often exploring folk and experimental sounds. In early 2025, she released her latest album, Doodling, a joyful and experimental collection of 18 original tracks featuring choral, orchestral, and folk elements, co-written in part with her daughter , continuing her legacy of selective, introspective releases while maintaining a reclusive lifestyle.

Early Life and Career Beginnings

Childhood and Education

Mary Hopkin was born on 3 May 1950 in , near in , though some sources cite as her birthplace; she grew up in in a Welsh-speaking family. Her parents, recognizing her early vocal talent, funded weekly singing lessons during her childhood, fostering her interest in music from a young age. Hopkin's upbringing was immersed in the cultural traditions of the Valley, where she was exposed to traditional folk songs through and influences, as well as radio broadcasts that featured local music. This period laid the foundation for her deep connection to heritage, which would later influence her initial recordings in the .

Initial Performances and Discovery

In the mid-1960s, Mary Hopkin began her musical journey by joining a local folk band in , , which later became known as the Selby Set and Mary. She performed with the group at clubs and venues across the region, gaining a modest following through her clear, emotive folk singing style. Alongside these band appearances, Hopkin also took on solo gigs in Welsh clubs, where she honed her skills as a performer and connected with local audiences rooted in traditional folk traditions. Hopkin's emerging talent led to her first recording opportunity with Cambrian Records, a small independent label based in . She released an (EP) titled Llais Swynol featuring four Welsh-language songs on 3 May 1968, which received moderate success within Welsh-speaking communities despite the limited reach of Welsh-language broadcasting at the time. This release established her as a promising folk artist in her homeland, showcasing her versatility in interpreting traditional material with a fresh, youthful voice. Hopkin's breakthrough came in early 1968 when she appeared on the ITV talent competition Opportunity Knocks, performing folk songs such as Pete Seeger's "Turn! Turn! Turn!" on the episode aired on 4 May. She won the contest through public vote, earning widespread praise for her poised delivery and natural charisma, which captivated a national audience. The victory generated immediate media buzz, highlighting her potential beyond folk circuits; notably, model , watching the show, was so impressed that she recommended Hopkin directly to shortly afterward, paving the way for her transition into broader pop opportunities.

Rise to International Fame

Signing with Apple Records

In 1968, at the age of 18, Mary Hopkin was signed to , the newly launched label founded by , after being personally scouted by . Her discovery stemmed from a recommendation by model , who had seen Hopkin's winning performance on the British Opportunity Knocks and alerted McCartney during a casual conversation. McCartney promptly arranged for Hopkin to travel to for an audition, where she recorded several songs and impressed the label enough to secure a contract on the spot. McCartney took on a pivotal production role for Hopkin, guiding her transition from folk roots—often compared to —to a broader pop sensibility suited for international audiences. He selected and arranged material for her early recordings, emphasizing accessible arrangements that blended her clear vocal style with orchestral elements. This mentorship was evident in his hands-on approach, including humming melodies and collaborating on adaptations during sessions. Hopkin's initial recording sessions took place in , where the focus included adapting international folk songs for the English-speaking market to enhance their commercial appeal. These efforts marked Apple's early commitment to nurturing talent through creative and production support. The label amplified her visibility through a promotional campaign that highlighted Twiggy's endorsement, featuring the model's connection in press kits and materials to capitalize on her celebrity status and generate buzz for Apple's new signing.

Breakthrough Single and Debut Album

Mary Hopkin's debut single, "Those Were the Days," was released on August 30, 1968, through , quickly becoming a massive hit that propelled her to international stardom. The track topped the UK Singles Chart for six weeks and reached number two on the US , where it was certified gold. Worldwide, the single sold over eight million copies, establishing an orchestral folk-pop style characterized by Paul McCartney's production and Richard Hewson's lush orchestral arrangement. Building on this success, Hopkin's debut album, , followed on February 21, 1969, peaking at number three on the . Produced entirely by McCartney, the album showcased her versatile folk influences through a collection of international covers, including the Welsh song "Y Blodyn Gwyn" and the French "Prince en Avignon," alongside tracks like Donovan's "Lord of the Reedy River" and Harry Nilsson's "." This multilingual approach highlighted her roots in Welsh folk traditions while appealing to a broad audience. The momentum continued with the follow-up single "Goodbye," written by McCartney and released on March 28, 1969, which climbed to number two on the UK Singles Chart. To promote these early hits, Hopkin embarked on international tours in 1969, including performances across the in April and appearances in , such as in June, solidifying her global presence.

Eurovision and 1970s Career

Eurovision Song Contest Entry

Mary Hopkin was selected to represent the United Kingdom at the Eurovision Song Contest 1970 after being invited by the BBC in August 1969, with the entry finalized through the national final "A Song for Europe" on 7 March 1970, where she performed six songs on The Cliff Richard Show and "Knock, Knock Who's There?", written by John Carter and Geoff Stephens, was chosen by viewer vote on 14 March. The bubbly, novelty-style track marked a departure from her earlier folk-leaning work, such as her 1968 hit "Those Were the Days." Rehearsals took place at the RAI Congrescentrum in on 19 March , leading up to the live performance on 21 March, during which Hopkin, dressed in a red minidress, delivered the song as the seventh act, accompanied by the orchestra conducted by Johnny Arthey. The performance earned the second place with 26 points, just behind Ireland's Dana and her winning entry "," which scored 32 points. Despite the strong showing, Hopkin later expressed deep ambivalence toward the song, describing it as an "ultimate humiliation" and admitting she felt embarrassed performing it due to its bubblegum pop style, which clashed with her preference for ; she recounted going on "auto-pilot" during shows, mentally planning her instead of engaging with the lyrics. Following the contest, "Knock, Knock Who's There?" was released as a single on on 13 March 1970 in the UK, entering the charts at number 7 on 28 March and peaking at number 2, held off the top spot by Simon & Garfunkel's "." The release significantly boosted Hopkin's visibility across , where it charted highly in countries including (number 1), (number 2), and (number 3), capitalizing on the contest's exposure.

Post-Eurovision Releases and Collaborations

Following her participation in the 1970 , Mary Hopkin released her second studio album, Earth Song/Ocean Song, on 1 October 1971 through . Produced by prior to their marriage later that year, the album featured a collection of original songs and covers that leaned into with pop influences, including tracks like "International" and "." Recorded at AIR Studios in , it showcased Hopkin's acoustic sensibilities and clear vocals amid arrangements that incorporated strings and subtle orchestration. The album was supported by singles released in 1971, starting with "Let My Name Be Sorrow" on 18 June, backed by "," which drew from traditional folk themes. Later that year, on 26 November, "Water, Paper and Clay" was issued as a single, backed by "Jefferson," marking Hopkin's final release on before she departed the label in March 1972. These singles highlighted her shift toward more introspective and folk-inspired material, though they achieved modest commercial success compared to her earlier hits. "International," a track from the album, appeared as a B-side to reissues of her Eurovision entry "Knock, Knock Who's There?" in some markets during 1972. Hopkin's professional partnerships in the early 1970s centered on her collaboration with producer , who shaped the sound of Earth Song/Ocean Song and influenced her subsequent recordings. She also contributed backing vocals to other artists' projects, including Ralph McTell's "Not Till Tomorrow" in 1972 and Bert Jansch's album that same year, both produced by Visconti. These efforts reflected her growing involvement in the British folk scene while maintaining ties to her pop roots. In addition to her musical output, Hopkin made several television appearances in the early , including her own BBC1 series Mary Hopkin in the Land of..., which premiered on 6 November 1970 and explored themes through song and storytelling. The six-episode program, created by Eric Merriman, featured Hopkin as host and performer, though it no longer exists in the . She also appeared on shows like in 1971 and starred in her own TV special Sing Hi, Sing Lo in 1972, broadening her visibility beyond recordings.

Mid-to-Late Career Developments

Marriage to and Family Life

Mary Hopkin married American music producer in November 1971, following their professional collaboration on her recordings, including the 1971 album Earth Song / Ocean Song. The couple's relationship marked a significant personal milestone amid her rising fame. Hopkin adopted the professional name Mary Visconti for several releases during their marriage, including contributions to soundtracks and singles, until their divorce in 1981. The marriage soon led to the expansion of their family, with the birth of their son, Morgan Visconti (originally named Delaney), in 1972, and their daughter, , on June 16, 1976. Both children pursued careers in music, influenced by their parents' creative environment, with Morgan becoming a and based in New York, and Jessica establishing herself as a who founded Mary Hopkin Music, the family's in 2005. Motherhood profoundly shaped Hopkin's career trajectory, prompting her to step back from the demands of the industry to prioritize family life. She selectively undertook projects, such as occasional recordings and live appearances, while largely withdrawing from the public eye during the 1970s to focus on raising her children. This period of intentional retreat allowed her to balance personal fulfillment with sporadic artistic output, though she later expressed some regret over limited promotion of key works due to these commitments. Following their 1981 divorce, which was initially acrimonious, Hopkin and Visconti reconciled amicably and maintained a co-parenting arrangement, ensuring their children remained closely connected to both parents. Professional ties persisted, with occasional collaborations on music projects that reflected their shared history and mutual respect in the industry.

Retreat from Mainstream and Independent Projects

Following the release of her second album, Earth Song/Ocean Song in 1971, Hopkin departed the label in 1972, citing growing dissatisfaction with the commercial material selected for her, which clashed with her preference for more authentic folk expressions. This move represented a deliberate withdrawal from the intense promotional demands and pop-oriented direction imposed by the major label environment. Amid personal priorities, Hopkin scaled back her public appearances to prioritize family while selectively engaging in music. She shifted toward intimate folk and acoustic performances in smaller venues and local clubs, performing traditional Welsh songs and original compositions that reflected her roots in folk traditions. This period also saw limited releases, such as her 1972 Christmas single on the independent Regal Zonophone label, highlighting her pivot to less commercial outlets. In 1982, Hopkin further embraced independence by forming the band Sundance with producer Mike Hurst and bassist , enabling collaborative explorations in acoustic and folk styles away from mainstream spotlights. These endeavors underscored her emerging independent ethos, emphasizing artistic autonomy over chart success and laying the groundwork for her eventual self-released projects.

Later Career and Revivals

1980s and 1990s Activities

During the , Mary Hopkin maintained a low-profile presence in the music industry, contributing to select projects that highlighted her versatile vocal style rather than pursuing high-visibility pop releases. In 1982, she provided haunting vocals for "Rachel's Song," a collaboration with on the soundtrack to the film , directed by . This ethereal piece, blending electronic and orchestral elements, underscored her ability to adapt to cinematic atmospheres and remains one of her notable contributions to film music. Hopkin's activities continued sporadically, often in collaborative or niche contexts. By 1988, she appeared on the audio adaptation of Dylan Thomas's , produced by , where she performed songs as the character Rosie Probert, bringing a poignant, folk-tinged intimacy to the Welsh literary classic. These endeavors reflected her shift toward independent, artist-driven work appealing to specialized audiences in the UK and . A highlight of the decade was the 1989 release of her album Spirit on the Trax label, a collection of light classical and operatic pieces including traditional arias like "Ave Maria," which was issued as a single. Produced by Benny Gallagher, the album emphasized Hopkin's pure in arrangements of her favorite classical works, marking a deliberate turn toward refined, non-commercial repertoire. This project, though limited in distribution, resonated with fans of vocal and folk-classical crossover genres. Entering the 1990s, Hopkin participated in charitable and collaborative efforts that further distanced her from mainstream charts. In February 1990, she performed at the "Rock for Romania" in , contributing to the anti-war single "No More War" released under the group name Freedom Found, aimed at raising awareness for Eastern European causes. Later that year, she joined the Irish folk group for a charity performance at the London Palladium and subsequently toured the with them, performing Celtic-inspired material that aligned with her folk roots. Hopkin's 1990s output remained selective, focusing on supportive roles within the folk and progressive scenes. In 1994, she provided backing vocals on several tracks of The Bridge, an acoustic album by Strawbs founder Dave Cousins and guitarist Brian Willoughby, which blended folk-rock elements and was produced in a limited run of 1,000 copies for niche listeners. These engagements solidified her reputation in European folk circles, though they garnered little broader media attention.

2000s to 2020s: Returns and Recent Work

In the 2000s, Mary Hopkin resumed recording through her independent label, Mary Hopkin Music, founded by her children in 2005, beginning with the release of Live at the Royal Festival Hall 1972, a remastered live capturing her 1972 performance featuring a mix of folk and contemporary songs, including the Welsh-language track "Aderyn Pur". This was followed in 2007 by Valentine, an of original compositions and covers produced by her son Morgan Visconti, emphasizing her folk roots with acoustic arrangements. In 2008, she issued a Christmas Songs EP featuring traditional carols like "Mary Had a Baby," alongside her original digital single "Snowed Under" from 2006, which highlighted seasonal themes in a simple, intimate style. The late 2000s and early 2010s saw further independent projects, including Recollections (2008), a compilation of covers from various artists, and Now and Then (2009), blending new originals with reinterpretations of standards. Hopkin collaborated with Morgan Visconti on You Look Familiar (2010), an album exploring experimental folk sounds, and reissued her 1989 album Spirit (2011) featuring classical-inspired vocal pieces. Her 2013 release Painting by Numbers marked a stripped-down, personal effort, recorded at home with minimal instrumentation to showcase raw songwriting on themes of friendship and reflection. During this period, she contributed to Welsh-language projects, such as the 2015 digital EP Iesu Faban, a collaboration with and Morgan Visconti interpreting traditional carols in Welsh. Hopkin made occasional guest appearances at folk events, maintaining a low-profile presence in the genre she helped popularize. The 2020s brought renewed activity, starting with Another Road (2020), an album of ten original songs written and performed by Hopkin, addressing environmental and personal themes through folk-acoustic lenses, and A Christmas Chorale (2020), which included additional Welsh-language tracks alongside choral arrangements. A remastered edition of Live at the Royal Festival Hall 1972 followed in 2021, preserving her historical performance for new audiences. In 2022, Pieces offered another set of original compositions, demonstrating her continued songwriting vitality. Additional 2023 releases included the live album Live at Osaka Expo '70 and the EP When Will I See You Again. In 2024, she released the single "Millionaire's Daughter". A significant milestone came in 2023 with Two Hearts, released on May 3 to coincide with Hopkin's 73rd birthday, featuring duets with her daughter Jessica Lee Morgan on eleven tracks, including co-written originals like "Two Hearts, Broken" and covers such as "Eternal Flame," produced within the family circle to celebrate their shared musical bond. In early 2025, Hopkin released Doodling, an experimental album of eighteen instrumental and vocalise tracks without traditional lyrics, spanning choral, orchestral, Latin, and folk styles, all composed and performed by her, reflecting a joyful, improvisational approach to melody and rhythm. Throughout this era, no major tours were undertaken, but Hopkin sustained occasional UK performances amid a nomadic lifestyle involving travel between countries.

Artistry and Legacy

Musical Style and Influences

Mary Hopkin's vocal style is characterized by an ethereal, clear voice that lends itself naturally to arrangements, evoking a sense of purity and emotional depth. This quality, often described as airy and emotive, drew early comparisons to the folk revivalists of the and was shaped by her roots in Welsh musical traditions, where choral and melodic folk elements play a central role. Her influences included artists like , whose guitar-accompanied vocal delivery she emulated in her initial performances, as well as , reflecting the broader Celtic and acoustic folk heritage of her upbringing in . Throughout her career, Hopkin's musical approach evolved from the pure folk roots of her early work with local Welsh bands like the Selby Set & Mary, where she focused on traditional acoustic performances, to the more orchestral pop sound of her Apple Records era. Produced by Paul McCartney, albums like Post Card (1969) incorporated lush arrangements, including choirs and strings, blending her folk sensibilities with expansive, pop-oriented production to suit international audiences. In her later career, particularly through collaborations with producer Tony Visconti—her husband from 1971 to 1981—she returned to acoustic intimacy, as heard in releases like Earth Song/Ocean Song (1971) and Now and Then (2009), emphasizing stripped-down instrumentation and personal expression over elaborate orchestration. Hopkin consistently favored international and traditional songs, drawing from diverse cultural sources such as Russian folk melodies in "Those Were the Days" and Welsh standards, which allowed her to explore themes of longing and nostalgia without venturing into heavy rock or synthesizer-driven sounds. This preference underscores her key influences from the 1960s folk revival, traditions, and the guiding productions of McCartney and Visconti, who helped refine her distinctive blend of accessibility and authenticity.

Impact and Recognition

Mary Hopkin's emergence in the late 1960s positioned her as a pivotal figure in bridging folk traditions with mainstream pop, blending her Welsh folk roots with accessible, orchestral arrangements that appealed to a broad audience. Her debut single "Those Were the Days," a folk-infused cover that topped charts worldwide, exemplified this fusion, drawing on traditional European melodies while achieving pop success through Paul McCartney's production. This approach helped popularize folk elements within the pop landscape of the era, influencing subsequent artists who explored ethereal and introspective vocal styles. In Eurovision history, Hopkin's 1970 entry "Knock, Knock Who's There" secured second place for the United Kingdom with 26 points, marking one of the country's highest-scoring non-winning performances at the time and solidifying her as a key figure in the contest's legacy of near-victories. Additionally, her role as one of Apple Records' inaugural signings demonstrated the label's potential for artist development; her international breakthrough provided early validation for the Beatles' venture, showcasing how the imprint could nurture folk-leaning talents into global stars. Despite her early prominence, Hopkin's nomadic and independent phase in the and beyond remains underappreciated, as her deliberate retreat from commercial pressures limited broader recognition of her experimental folk work. This aspect of her , characterized by self-released projects and explorations, underscores a legacy of artistic over sustained fame. More recently, her 2023 duet album Two Hearts with daughter revives this family-oriented folk tradition, extending Hopkin's influence into contemporary Welsh music and highlighting intergenerational continuity in the , a thread continued in her 2025 release Doodling, featuring joyful and experimental original material.

Discography

Studio Albums

Mary Hopkin's debut studio album, , was released in 1969 by and produced by . The album features 12 tracks, primarily consisting of international folk covers in multiple languages, reflecting her early career focus on global musical traditions. Her second album, Earth Song/Ocean Song, followed in 1971, also on , this time produced by . It explores experimental folk elements through covers of contemporary songs by artists such as , , and , with a thematic emphasis on and environmental motifs. After a period away from recording, Hopkin released Spirit in 1989 on Trax Music, marking an early independent effort in collaboration with Benny Gallagher. The album comprises folk-influenced interpretations of classical and spiritual compositions and was reissued on her Mary Hopkin Music label in 2011. In the mid-2000s, Hopkin continued her independent output with mature, reflective material on her Mary Hopkin Music label, including Valentine (2007), Now and Then (2009), You Look Familiar (2010), and Painting by Numbers (2013), showcasing her songwriting evolution. By 2023, Mary Hopkin Music had issued a total of 16 albums, including studio, live, and compilations, underscoring her emphasis on artistic autonomy and personal expression. The 2023 album Two Hearts, released on Mary Hopkin Music, represents a collaborative effort with her daughter , blending arrangements across 11 tracks of original and cover material. In 2025, she released Doodling (Mary Hopkin Music, MHM021), featuring 18 tracks of mostly original material.

Singles and EPs

Mary Hopkin's recording career featured over 20 singles released across various labels from the late onward, many of which achieved significant commercial success, particularly during her time with . Her debut single, "Those Were the Days," released on August 30, 1968, by with "Turn! Turn! Turn! (To Everything There Is a Season)" as the B-side, topped the UK Singles Chart for six weeks and peaked at number 2 on the Billboard Hot 100. The track, produced by , marked her breakthrough and sold millions worldwide. Follow-up singles on Apple continued her chart momentum. "Goodbye," penned and produced by McCartney, was issued on March 28, 1969, backed by "Sparrow" on the B-side, and reached number 2 in the UK, spending 14 weeks on the chart, while peaking at number 13 on the US Hot 100. "Temma Harbour," released in January 1970 with "Lontano dagli Occhi" as the B-side, climbed to number 6 in the UK. Her entry for the 1970 , "Knock, Knock Who's There?," came out in March 1970 on Apple, with "I'm Going to Fall in Love Again" as the B-side; it placed second at the contest in and hit number 2 in the UK, though it only reached number 92 on the US Hot 100. Subsequent Apple releases saw diminishing chart returns but showcased her evolving folk style. "Think About Your Children," backed by "Peace on Earth" and released in late 1970, peaked at number 19 in the . The 1971 single "Let My Name Be Sorrow," with "Kew Gardens" on the B-side, entered the chart at number 46 for one week. After departing Apple in 1972, Hopkin issued singles on labels like Good Earth and Polydor, including "If You Love Me" in 1977, which reached number 32 in the . In the independent era, she released material through her own Mary Hopkin Music label starting in the 1980s, focusing on personal and collaborative projects rather than mainstream promotion. Hopkin also produced several EPs, often highlighting her Welsh heritage. Prior to her Apple signing, she recorded a Welsh-language EP for the local Cambrian label in the mid-1960s, featuring traditional songs that gained popularity in Welsh communities abroad. Later, the 2008 Christmas Songs EP on Mary Hopkin Music (MHM004) included traditional carols like "Mary Had a Baby" and her original "Snowed Under," plus a bonus track. In 2015, she released the digital Welsh-language single/EP Iesu Faban (MHM010), a collaboration with daughters Jessica Lee Morgan and Morgan Visconti.
YearSingleLabelB-SideUK PeakUS Peak
1968Those Were the DaysAppleTurn! Turn! Turn!12
1969GoodbyeAppleSparrow213
1970Temma HarbourAppleLontano dagli Occhi6-
1970Knock, Knock Who's There?AppleI'm Going to Fall in Love Again292
1970Think About Your ChildrenApplePeace on Earth19-
1971Let My Name Be SorrowAppleKew Gardens46-
1977If You Love MeGood EarthHeritage32-

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