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BATTLEFIELD BAND – Dookin’ (Temple Records COMD2100)
One thing you can never accuse the Battlefield Band of…and that’s playing it safe. Let’s take for instance the opening few bars of the ‘bluesy’ “Dookin’ For Beetroot/The Head Rooster’ where the ominous piano riff is picked up by guitar chops and whistle then the lead fiddle melody. Add to this mix the texture of practice chanter and finally the full-blown war pipes and you have a serious case of a band going into musical meltdown - in the best possible way. On another set ‘Oh, I Am A Forlorn Man’, Mike Katz (pipes), Alan Reid (keyboards), Alasdair White (fiddle) and new boy Sean O’Donnell (guitar) are joined by the near legendary Mike Whellans on mouth organ. Now, before you think that is going over the top let’s not forget that Mr Whellans was an original member of Boys Of The Lough! As always the lads provide a finely honed combination of traditional and contemporary music including an old/new version (see their sleevenotes for details) of Burn’s classic “My Luv’s Like A Red Red Rose”. This cavalier approach has of course endeared them to generations and looks likely to continue for many years to come. Excellent stuff – now pass me another malt.
Pete Fyfe
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Vicki Swan & Jonny Dyer – Sliptease (Wildgoose Studios WGS 343 CD)
Starting with a song I haven’t heard in years (not since Sweeny’s Men anyway) “Spencer The Rover” is set to a new tune written by Jonny and joined with some lively harmonic interplay between whistle and accordion. Driven along by passionate guitar rhythms and underpinned by double bass you’d be forgiven for thinking that the duo were a band. Both Vicki and Jonny are consummate professionals in their performance and this comes across in a delivery that is both assured and entertaining. From a personal point of view I would rather have seen some darker images created for the ‘Two Magicians’ (perhaps a modal key change for dramatic effect) as the song lasts for just over five minutes but that’s just a minor quibble. As technicians, musically speaking, you can’t fault this dynamic duo and I’m sure their appearances at many clubs and festivals will see them gain a loyal fan base.
www.smallpiper.co.ukPete Fyfe
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Mike and Ali Vass – The Duets ep ((MAVCD01)
I had the pleasure of hearing and watching this Nairn based duo the other day and was immediately impressed in the strength of their instrumental and vocal performance. There’s something very gritty about our Scottish cousins that makes you feel proud to be part of their heritage as I am. Be it from the triplet triggered ‘MacArthur Road’ courtesy of Boys Of The Lough’s Dave Richardson or the more melancholy beauty of Robert Burns ‘Westlin Winds’ this duo have what it takes to be that something extra special. I can’t wait for the full blown album that should hopefully be available in 2008.
www.mikevass.com
Pete FyfeReturn to the Reviews Contents Page
Jenna Witts - Barefoot and Eager
Jenna Witts is a young North Devon based Singer Songwriter who was discovered by Steve Knightley (of Show of Hands) a few short years ago, has co-written a song for the Show of Hands 'Country Life' (Seven Days) and toured with Steve Knightley and Seth Lakeman on the Western Approaches project tour.
Indeed Show of Hands have provided their services on this debut CD with Knightley producing and Beer recording as well as providing their many instrumental skills alongside Witt's guitar and piano playing. The album itself consists of 10 songs, seven of which are self penned, sitting alongside the traditional 'Flora' and covers of Knightley's own 'You're mine' and Pink Floyd's 'Wish you were here'.
Many of those songs composed by Witts reflect and are inspired by her native Devon, its seaside associated activities such as surfing alongside the emotions and experiences associated with it, indeed this theme is bought to the fore by the title track which is coincidently the opening song, neatly laying down the feel for the album as a whole, 'Barefoot and Eager' committing the experience of the individual surf to song. One of the things which really jumps out from the CD is the strength of the songwriting alongside the diversity which clearly lays down strong markers for the future, which sit very well alongside Witt's interpretation of the traditional 'Flora' and the two tracks which are covers (Knightley's 'You're Mine' and Pink Floyd's 'Wish you were here'.
Expect to hear more from Witt's over the next few years, on this evidence she certainly appears to be the more original and imaginative songwriters to have emerged in recent years..
For more details see www.myspace.com/jennadwitts or the www.showofhands.co.ukReturn to the Reviews Contents Page
The Outside Track – The Outside Track (Bedspring Music BOING 0701)
A young band who will gain a following for their cross De Dannan/Altan/Patrick Street style of performance. Plenty of feisty jigs and reels played with aplomb topped by Norah Rendell’s vocals on a mix of traditional and contemporary songs including a more than decent cover of Mick Hanley’s “A Kiss In The Morning Early”. This quintet should earn a legion of Celtic music fans.
www.theoutsidetrack.com
Pete Fyfe
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GREENCARDS - Viridian
EMAIL lorikampa@dualtone.com OR lori@dualtone.com OR jwilliams@wma.com
www.dualtone.com OR myspace.com/thegreencards
Playing Time – 44:04Warm, comforting and as smooth as suede, “Viridian” has shimmering music that is like rays of sunlight reflecting from a serene lake on a breezy summer day. From Australia and Great Britain, the spunky trio that now makes their home in Nashville (via Austin, Tx.) previously released two albums and toured with Bob Dylan and Willie Nelson in the 2000s. More than emerging troubadours, the mysterious and fascinating Greencards have arrived with an electrifying neotraditional alt-folk sound. They used to be more rooted in bluegrass, but their music is evolving into their very own sumptuous contemporary Americana styling. Perhaps that is why they call the album “Viridian,” a durable bluish-green pigment. Because the trio has endured, they also display added cohesion these days.
Nominated by CMA Australia for “Best Female Vocalist,” Carol Young has a torchy voice with seductive charm. She also plays electric bass. “River of Sand” and “I Don’t Want To Lose You” are mesmerizing and crowning moments on this album. From Adelaide, Kym Warner has won four consecutive Australian mandolin championships from 1994-1997. He also plays bouzouki on this project. Warner’s “All The Way From Italy” documents his family’s emigration from Italy to Australia. From London, red-headed fiddler Eamon McLoughlin was classically trained at London’s Royal School of Music and has toured with the Austin Lounge Lizards. McLoughlin based “When I Was In Love With You” on a English poem by A.E. Housman, and the song melds punk-era simplicity with the magic of classic folk traditionalism. Capturing their band’s lineage and inspirations, original instrumentals “Su Prabhat” and “Mucky the Duck” trace roots and evolution of their band’s signature sound through Celtic, old-time and newgrass genealogy.
Growing up on American roots music from Lefty to Loretta, these exuberant young folks decided to follow their muse to the U.S. where they have been able to further develop and harness the melodies, lyrics, harmony, dissonance and spirit that just needed an outlet for release. The band is joined by guests Doug Lancio, Bryan Sutton, Larry Attamanuik, Jedd Hughes, Andrea Zonn, and Viktor Krauss. Chris Carmichael arranged the string quartet.
The Greencards’ music is deliriously fun …. bright, brisk and full of brilliant musical vignettes. Their stirring original material is smart and introspective. Memories and emotions are interwoven with fantasies, observations, and interludes. Written by Kym Warner and Jerry Salley, “Lonesome Side of Town” shows that they haven’t forgotten the rules and sideboards of straight-ahead bluegrass. “Shinin’ in the Dark” is another from both writers. The songcrafting of “Who Knows” included collaboration with Ronnie Bowman, and that number with a jamgrass groove asks a poignant question about what tomorrow holds. A hint is that “in harmony we find the answer.” While always tasteful, drummer Larry Attamanuik’s beat could’ve been toned down a few decibels in the mix. With music that is rehearsed, flowing and expertly produced. The Greencards are carving out their own niche among listeners who enjoy a hybrid of styles and the fusion of classic folk balladry with a bluegrass consciousness.
Joe RossReturn to the Reviews Contents Page
Tom Kitching & Gren Bartley – Rushes (Fellside Recordings FECD202)
Some years ago Paul Adams sent me a recording of a then unknown duo (Spiers & Boden) and although perhaps not quite so striking as that recording this performance by fiddle player Kitching and guitarist songwriter Bartley does show promise. The backing appears to be a case of ragged but right (listen to the tracks “Young Love” or the double-stopped fiddle on “Long John”) which may be enough to capture a brash young audience but the generally melancholy feel to the album does leave me lost a bit.
www.tomandgren.co.uk
Pete FyfeReturn to the Reviews Contents Page
Mauvais Sort - Fittleworth Village Hall 13th JulyMauvais Sort are a Quebecois band I first saw at the Cambridge Folk Festival last year, and were one of the highlights for me. They never made it onto the main stage, but I’m sure it won’t be long before they’re invited back.
My memories of their performance are what drove me fifty miles to the little village of Fittleworth on one of the few nice days this summer. A village green in the last stages of a summer fair; people, children and dogs milling about. Old fashioned red telephone boxes, a rare sight in London and the sounds of music coming from the village hall.
There are six in the band, all dressed differently and entirely in black and red. I like that, a band with a theme, although I don’t know why the black and red. They all sing too. There are three at the back of the stage, marginally quieter than the others, and these are Guillaume Côté and Frédéric Drouin on drums and percussion, and Christian Jacques on bass. The three band members at the front steal the show for their stage presence, enthusiasm and sheer largesse, and these are Nicolas Geoffroy on guitar, mandolin, banjo and feet , Stéphanie Richard on accordion and Patrick Giroux on violin and mandolin.
I know nothing about Quebec folk music, and it seems an odd way to spend an evening in Sussex, but it works. Initially disappointed to find tables and tables of older people the evening soon got going, with plenty of singing in both French and English, hand clapping and dancing. And not just the free form stuff people do when their feet are moved to dance, this was the proper ‘demonstrated by the band’ dance moves. Fantastic!
Nicolas, Patrick and Stéphanie share the frontline of the stage, and the chair in the middle too. They swap places and take it in turns to sit in the chair, playing and dancing with their feet at the same time. I couldn’t achieve one, never mind both, and they make it look effortless and enjoyable at the same time.
For that’s what this band are about to me. Fun, enjoyment, smiles and laughter. At the end of the evening it’s not so much your feet that ache from dancing, but your face that aches from grinning.
The music’s quite good too!
Claire PriorReturn to the Reviews Contents Page
Breabach – The Big Spree (Vertical Records VERTCD081)
The Tannahill Weavers and The Battlefield Band have a lot to answer for when it comes to enforcing the signature of Scottish ‘folk’ bands. OK, so having established the path taken by the quartet Breabach I’m personally pleased to see that they have retained their roots with the explosion of war pipes, fiddle, whistle and guitar driven tunes. A warm smile will cross the faces of those of old enough to remember when tunes such as Merrily Danced The Quaker’s Wife were king and the inclusion of the more melancholy Matt McGinn song “Rolling Hills Of The Borders” and the traditional “Lochaber No More” will please those of a gentler persuasion.
www.breabach.com
Pete FyfeReturn to the Reviews Contents Page
Scott Matthews iTunes Festival Thursday 12th JulyThe iTunes Festival runs for a month at London’s Institute of Contemporary Arts, and I could happily have gone every night to see some band or other. Ash, Athlete, Paul McCartney, Mika, Editors, Kasabian, Amy Winehouse, Crowded House and Travis; and these are only some of the bands, a small sample of what was on offer. The ICA, as its known, has an art gallery, a bar, somewhere to eat, and a lovely 350 capacity venue. I’ve not been there for a horrifying amount of time- something like 20 years- and I don’t why, as it’s a great place to go. High ceilings, good visibility and great sound, painted all black and with no noisy bar in the corner, it worked for me. It worked for Scott Matthews too.
When he first came on I thought he was one of the techs, checking the sound. Young, serious, and dressed in black, he quietly arrived and started a slow acoustic build on his guitar, and gradually the audience realised what was happening and fell silent. Unassuming, understated and undeniably brave to start a gig in this fashion, the song reached its crescendo and ended to enthusiastic applause.
He was then joined by a cellist for the next song, a guy with an expressive face and dreadlocks who would have looked equally at home on stage with Nizlopi, before the arrival of the remainder of the string quartet, two violinists who looked liked they’d walked straight from rehearsals with the London Philharmonic, and a viola player who’d joined them on the way from the Globe. They gave the evening a different slant, a much quieter acoustic style to the evening which seemed to come as a surprise to the audience. However, they were for the most part a good natured, educated appreciative bunch and took it in their stride when Scott announced he wanted to try some different stuff to the album. And the sight of five music stands and a string quartet was probably not what must of the audience had anticipated when they left home that evening.
Scott played most of his album ‘Passing Stranger’; from the Indian overtones of ‘Dream Song’ to the rich, warm, dark chocolatey vocals of ‘Fool’s Fooling Himself’.
He performs in passive way, standing still and serene with little facial expression but with such an emotive voice that the hairs stand up on the back of your neck. He seemed delighted to meet such rapturous applause at the end of the evening, and surprised to be asked back for an encore. Eventually he decided to play ‘The Boy With The Thorn In His Side’, apparently unable to remember any of his own songs.
A fitting end to a lovely evening.
Claire PriorSee www.scottmatthewsmusic.co.uk
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Last Orders – Last Orders (Fellside Recordings FECD207)
With an average age of 18, this quartet of musicians who all came together via the North-East based Folkestra give a strongly assured performance with heavily punctuated rhythms and soulful playing. Joined by the wonderfully sweet-toned vocals of 16 year old Maz O’Connor on a couple of songs and judging by their youthful enthusiasm for the material they perform (they even know where the tunes originated!) I hope the choice of title doesn’t end when the froth disappears.
www.myspace.com/lastordersfolk
Pete FyfeReturn to the Reviews Contents Page
LYRA CELTICA Monday, May 21, 2007
In case you were wondering, Lyra Celtica is not a brand of indigenous Scottish sportswear, but a vehicle for the virtuoso accordian playing of one time BBC Young Traditional Musician of the Year, Lynn Tocker. Accompanied by Frankie McGuire on a variety of percussion and whistles and Mark Canning on guitar, Lynn showed her credentials as a brilliant piano accordion player throughout two superb sets tonight at Bob Chiswicks' Monday Music Club.
As something of a wannabe guitar player myself, I could just about see what Mark was doing, albeit that bit faster than I can manage, and as a child, equipped with mums knitting needles and the arm of the sofa, I had a good idea what drumming was all about, but the piano accordion to me is a total enigma. I had no idea tonight what Lynn was doing, but it sure sounded good.
Lynn cut her teeth on the instrument from the tender age of nine and worked with a whole bunch of extraordinary musicians in her home of Northumberland. Being exposed to the likes of Willie Taylor, Joe Hutton and Will Atkinson, as well as being a member of Kathryn Tickell's band did no harm for the young musician, nor did her triumph in 1987 when she won her prestigious BBC award.
Tonight the trio were on good form and played two excellent sets to a small and quiet but appreciative audience. Bare footed, Lynn switched from dazzlingly raucous jigs and reels (Scottish, Irish and French Canadian or somewhere closer to home) to emotive and tender ballads, during which she lovingly laid her head upon her instrument, in a gesture of complete tenderness. Well, Jimi Hendrix used to sleep with his guitar didn't he?
Floating from Skerry, a beautiful composition with a beautiful title, comes from the less than beautiful experience of a fifteen year old's boat trip to Shetland with a stinking hangover, such is the manner in which tunes come to the head of Lynn Tocker. I didn't get much of a chance to speak to Lynn tonight, but her stage persona suggests she's an absolute darling.
Frankie McGuire drives the sound along alternating between bodhran, bongos and jembe, as well as providing sensitive low whistle and penny whistle accompaniment. I was looking at all the strange percussion instruments at Frankie's feet and noticed one that looked remarkably like a screwdriver. I was looking forward to hearing what sound it made, only to discover later, that it was indeed just a screwdriver, presumably for tweaking the drums! Frankie is also a fine singer of ballads and The Queen of Argyle was one of the highlights of the set. The band also premiered a new song called When I Go, with its potent Native American imagery.
I wasn't expecting to enjoy this band as much as I did. The years of listening to instrumental Celtic music from the Bothy Band, Planxty, Moving Hearts, Clannad, Capercaille and an endless list of pretenders may have taken it's toll on my sensibilities, but up close and very definitely live, who could not enjoy it, really?
Allan Wilkinson www.myspace.com/northernsky2005For more information see www.lyra-celtica.co.uk
To book Lyra Celtica contact lynne@amandalynnemusic.com
Tel 01270 628041 Mobile 077 900 82523Amandalynne Music,
68 The Beeches, Nantwich, CW5 5YP
www.myspace.com/amandalynnemusic
New site up mid-August www.amandalynnemusic.comReturn to the Reviews Contents Page
Deborah Henson-Conant – Invention & Alchemy (Golden Cage Music GC-06-002-CD)/Invention & Alchemy DVD (Golden Cage Music GC-06-001-DVD)/Artist’s Proof:Phase 2 (Golden Cage Music GC-03-013-CDX)/’Round The Corner (Golden Cage Music GC-87-002-CD)/Talking Hands (GRP Records GRD-9636)
Having studied and performed classical music from the age of 12, Deborah Henson-Conant has exploited the harp more than any other musician I can think of. Dispelling the myth that this beautiful, sweet-toned instrument should be thought of only in terms as background music for the purposes of sipping tea in an elegant restaurant or an interesting diversion in an orchestra are soon replaced with a sense of wonder at what the instrument is actually capable of. OK, so Henson-Conant pays lip service to the requisite ‘popular’ standards “Take Five”, “Over The Rainbow” and “Summertime” on her 1987 recording ‘Round The Corner but even then there’s a sassiness that makes you feel something is brewing. By 1991 on her album Talking Hands she is totally in control with a fusion of Latin jazz that would put a smile as wide as the Grand Canyon on the face of Carmen Miranda. Jumping ahead to 2003’s Artist’s Proof and she has found her voice (literally) opening with a gutsy “Dance The Way You Dance” proving that she’s no shrinking violet…in fact, this lady has balls! Confidence manifests itself in many ways…with Deborah it’s an exuberance that on her latest recording Invention & Alchemy explodes when she’s on stage joined by the Grand Rapids Symphony Orchestra. Much like the sorely missed Burl Ives, Deborah is an engaging raconteur who can conjure pictures vividly in your imagination with introductions regaling the audience like some modern day troubadour. Visually (check out the DVD also titled Invention & Alchemy), she cuts a striking figure in spangly-top, mini-skirt and cowboy boots using her garish blue clarsach as a kind of sexy extension. As I said, not for the faint-hearted folkie but for those who like their music with a bit more poke. Finally a word of congratulations must go to the outstanding publicity package compiled by Michael Belcher. It really makes a journalists job a pleasure when the artist is this well represented – artists take note.
www.hipharp.comPete Fyfej
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Fran Rodgers - I fell to you under winter sun
Debut 7" Single & Download
Released 16/07/07
Label - On The Bone RecordsWell I'd say Fran Rodgers has not been a round for very long to be fair and after a few home brew releases and playing the usual folk circuits Leeds' label 'On The Bone' have put out her debut release and 'again' to be totally honest and fair I'd say………….IT'S A BELTER. Folk, Nu-Folk, Traditional Folk, etc, I'm not sure where it fits and who gives a good, God damn. Stunning vocals and production with a middle chorus that sounds like what you might hear at the end of the light. It will have the hair on the listeners' neck standing on end for many moons. B-side's 'to long no more' and 'she dwelt among th'untrodden ways' (Which lyrics are borrowed from Wordsworth) tie up this single release in a knot which seals its true worth as debut from a real true talent. Watch out for this one.
John Lowe
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Josh Pyke Brighton Tuesday 5th JuneJosh Pyke is an Australian singer songwriter who played in front of just twenty people at the Brighton Barfly on Tuesday. It’s always strange when a venue is so empty; there were almost as many door and bar staff as there were customers.
Still, Josh gave it his best shot. His songs were a curious blend of folk/pop and varied between the two styles all evening. Very reminiscent of Crowded House in places, with some lovely harmonies going on in ‘Beg Your Pardon’
However, I found this acoustic stuff worked less well live than the full band sound. ‘Goldmine’ and ‘Private Education’ [the new single] were much rockier, with drums, guitar and fiddle. There were four guys in the band, playing an assortment of drums, banjo, electric bass, guitar, fiddle, and computer aided percussion.
For the most part the sound was fairly terrible, but maybe to a degree this is to be expected in a venue of this size and shape with such a small audience. It was a shame, as it did mar what had the potential to be a really good live show.
Interested enough to buy his album? Yes, and I would have, except the tiny stall only sold bags and t shirts, neither of which I was ready for! A missed opportunity for the merchandising department.
Josh Pyke seemed in many ways to be bigger than he turned out to be, in sound, presentation, and marketing. Maybe it’s a premonition? Time will tell…
Claire PriorSee www.joshpyke.com for further details.
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Dalla – Rooz (Dalla Records DACD 04)
The opening track “Young Man Of Cornwall” conjures up images of the Wicker Man soundtrack with Hilary Coleman and Bec Applebee’s distinctive harmony vocals and Neil Davey’s dramatic chordal fiddle accompaniment proving a great start to a great album. At times, sounding not unlike the much missed Pyewackett particularly when joined by the gutsy tones of the clarinets Dalla’s music has a dervish quality that will grab the listener by the throat. This trio don’t hold back when it comes to waulking style songs and the unusual inclusion of rock smashing has to be a first. By the way check out the superlative mandolin playing by Neil on The King Of Sweden – astonishing!
www.dalla.co.uk
Pete FyfeReturn to the Reviews Contents Page
6 day Riot - Live at the Spitz - 13th June 20076 day Riot at the Spitz. No, not a headline from an East End rag, but one of the most exciting bands I’ve seen for a while performing at the lovely Spitz, one of those trendy art gallery/restaurant/clubs on the site of Spitalfields market. The place had been quiet, almost deserted for the first two acts; a pianist, and the truly awful Cerise, and yet as 6 day Riot appeared the numbers grew, photographers arrived from nowhere, and the audience hardly needed encouragement from the band to move closer to the stage, all signs that the word was out about this band.
When this band first found me on Myspace, I clicked on the link dubiously, as the name conjures up something Emo like. I was expecting Funeral for a Friend, and instead got Crooked Still/Altered Images/Nizlopi. And it works. They sound great.
6 day riot began when Danish multi-instrumentalist Søren Burke met Scottish former gymnast and fashion student Tamara Schlesinger, now a singer song writer, at a gig in 2004. She asked him to play guitar on her solo album, and they started writing songs together. Joined by Jonathan Beyer on upright bass and Daniel Deavin on drums the live sound has unified into a glorious mix of sounds, and the band has now recorded their first album.
They have a lovely manner with the audience, a gentle way that gets responses, and style all their own. Both Jonathan and Søren in shirts and waistcoats, Daniel in an orange shirt, braces, and a pork pie hat , looking like he’d just left Babyshambles, and Tamara looking stunning in that slightly kooky way that either looks amazing or very very wrong. And Tamara looked amazing. She reminded me of Audrey Hepburn. Audrey Hepburn in a little black dress with a floaty layered skirt, a diamante collar and belt, footless tights and black high heels with her Hair pinned up under a small black hat trimmed with netting and perched jauntily at an angle. Audrey Hepburn playing a ukulele!
Their songs vary between folk, blue grass and pop, and it’s easy to hear Eastern European influences too. Søren and Tamara’s voices blend beautifully, a swirl of deliciously sweet harmonies that weaver their way between the steady rhythms of the songs. These are tunes that you sing as you leave the venue and are still in your head when you wake the following morning, their light sound, happy melodies and gentle rhythms infectious and happy.
And if further proof were needed that this is an exciting band on the threshold of bigger things, the audience left when the band did, unwilling or unable to risk spoiling their evening by waiting for the headline act. Perfect.
Claire PriorSee www.6dayriot.co.uk for further details.
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Andy Findon – When The Boat Comes In (AMF 01)
I’ve rarely bought an album on the strength of one track but Andy Findon’s title track does it for me every time. If you loved the evocative mini version of When The Boat Comes In as used for the Young’s Sea Food advert then you’ll doubtless enjoy this extended version. But, I’m pleased to report this is no one-hit wonder as there are many tracks for the ‘folk’ musician to enjoy including a jaunty Percy Grainger interpretation of the traditional “Molly On The Shore” (evoking memories of arrangements by Andy’s old band The Home Service) and casting his net further he manages to include everything from “Ave Maria”, “Theme From Poirot”, “Sabre Dance” and even “Stairway To Heaven”. This album proves nothing if eclectic and the proverbial breath of fresh air…whistle and flute induced of course!
www.andyfindon.com PETE FYFEReturn to the Reviews Contents Page
GAIL WADE – Journey
www.gailwade.net
Playing Time – 42:35Being an eclectic musician with many interests can help a versatile performer land many engagements, but it can also make an artist difficult to categorize. No matter because who needs categorization? Grounded as a singer/songwriter and guitarist, Gail Wade demonstrates comfort with folk, blues, jazz, and swing idioms. With regular performing during the past 25 years, I suspect that she’s built a considerable fanbase for her approach to music. She's sung on the Tall Ships in Maine, toured Europe as a member of “The Hot Flashes,” and completed and Irish tour with singer/songwriter Gary Ferguson (who harmonizes here with Gail on her self-penned song, “Harder Every Day”). On “Journey,” the core band includes Gail Wade (lead & harmony vocals, guitar, clawhammer banjo), Peggy Ann Harvey (fiddle, flute, sax, harmonica), Kevin Lynch (mandolin, lead guitar, National steel guitar), and John Urbanik (string bass). On one track apiece, she’s joined by Stephan Wade (lead guitar), Ian Wade (percussion), and Gary Ferguson (harmony vocal).
“Journey” will launch Wade to new heights as more folks discover her earthy and enchanting material. Her relaxed and seamless set offers plenty of intelligently thoughtful sentiment. Wade opens with an interesting rendition of “Ain’t Misbehavin’,” with some countering sax riffs that impart a personality of their own. Other covers come from Roseanne Cash/John Levanthal, Deborah Hornblow, Pam Gadd, Richard Torrance/John Haeny, and Mark Irwin/Irene Kelley. Her scat in “Rio De Janeiro Blue” shows another way that she embellishes a song, and my guess is that learned this song from Nicolette Larson’s cover of it in the 1980s. The banjo and flute in “Will You Remember Me?” give that piece a haunting old-time, almost Celtic, flavor. With a more erudite, poetic approach to songwriting than Wade’s more direct style, Deborah Hornblow’s “Winter” is a beautiful love song that requires contemplation. Gail’s rendition of bluegrass songwriter Pam Gadd’s “All the Old Men are Gone” is quite different than the version I’ve heard Doyle Lawson & Quicksilver do.
Most impressively, Gail Wade wrote six of the songs on “Journey.” Lyrics aren’t included in the CD jacket, and I hope she’ll find a way to upload them on-line. To analyze her skill development as a tunesmith, I started with her blues at track #8, “Hurry Home Daddy,” that Gail wrote way back in 1980. It’s rather standard fare, enhanced by Harvey’s harmonica and Lynch’s guitar. Written between 2000-2004, Wade’s other originals have thoughtfully flowing melodic twists and lyrical turns. I appreciate songs that are straight-forward, conversational, and that have a beginning, middle and end. Such is the case with songs like “Try it On for Size,” Harder Every Day,” and the spiritually-tinged title track, “Journey.” Her messages are clear and sincere. A ballad like “Anna’s Owl” has lyrics that set a stage, pull us into the story, grab our attention and hold it until the song’s conclusion. Gail’s bouncy instrumental “Down the Kennebec” conjures imagery of river rafting in Maine.
Similar to Karla Bonoff’s singing, Gail Wade’s alluring voice is silky smooth, and her folk/blues-based repertoire makes for an enchanting listen, especially at dusk when in a reflective mood. I’d like to hear Gail sing some more duets with a male voice. Perhaps a song like “That’s How You Know” (recorded as a duet by Steve Wariner and Nicolette Larson) would work for her and Gary Ferguson. I wonder if Gail has ever had any interest in singing solid roadhouse R&B. That type of production could convince a major label that she’s more than just a versatile folkie with a sweet voice. No matter what direction she takes, I’m certain that major recognition and success are just on the horizon for Gail Wade.
Joe Ross
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SCOLDS BRIDLE & DAVE WALMISLEY – Gregson Lane Folk Club 7th June.It was one of those last minute panic things – every organiser’s nightmare! Our regulars were expecting an evening with Jon Brindley who, due to a very nasty dose of Chickenpox (Hope your feeling better when you read this Jon!) had to cancel with only four days to go.
The question was – who could fill this slot and satisfy the audiences high expectations’ not only of excellent music but with some warm entertaining chat as well.
My first thought was Scolds Bridle – Having had them at the club and at Worden Arts Centre before, I knew that they were extremely good and if they were available, I could guarantee a first class evening that would not only delight our regulars but would also appeal to those who may have travelled a distance to see Jon.
We’d had a bad couple of weeks at Gregson Lane due to the fact that some thieves had walked off with our PA speakers and bass amplifier. So you can imagine how relieved I was when Sue Bousfield said that Scolds Bridle (she and Liz Moore) were free on the night and would be delighted to come and play for us.
I was feeling quite pleased with myself for pulling off this 'coup' at the last minute – Scolds Bridle booked and Trouble at’ Mill’s PA in place to ensure a great sound, I wasn’t expecting ‘Icing on the cake’ but I certainly got some. Liz & Sue arrived accompanied by Dave Walmisley (Ex Risky Business – now performing solo) and he walked up the stairs carrying his Martin guitar and mandolin – and obviously in the mood to perform.
We (T at’ M) started the evening off with a 15 minute spot which allowed the packed audience to get their drinks in and re-arrange the furniture.
Sue had said that Dave would like to do some on his own and that he would also be providing accompaniment on one or two of their songs. (Dave plays on Scolds Bridle’s latest album – ‘Horizons’ he also produced it – if you haven’t already got it, I suggest that you go to a Scolds Bridle Concert or to www.scoldsbridle.co.uk and get a copy right away.) I told them to just do what they thought would be right and run the rest of the evening’s proceedings between them. This turned out to be a good call – the whole evening then took on a festival type atmosphere – you know what I mean – if you could bottle it and re-produce it at will – you’d make a million.
Dave started the (now almost impromptu) show with a few of his own songs including ‘The Raven’, ‘When the Fat Lady Sings’and ‘Count on you’. I’d previously seen Dave with 'Risky Business' & about 15 or so years ago I’d seen him in a duo ‘PlanB’– performing at Preston Arts Centre as support to Ken Nicol in a concert that I had arranged. I knew that he was a first class instrumentalist and singer and I was keen to see how he would go down as a solo singer/songwriter. He was fabulous – the feedback I got from our audience was more than just positive it was an overwhelming vote for more in the future.
Then Sue and Liz took the stage – the Scolds Bridle magic started (most of us had seen them before and knew what to expect). The two ladies just stand for several moments and say nothing – Sue then slightly changes her facial expression and the crowd go into fits of laughter – I have to put this down to nothing but the charisma generated by this pair who have been wowing club and festival audiences for over 30 years. The way that they work together and feed off each other during the whole of their performance is the hallmark of a very professional partnership – after all they are both serious performers who can stand on their musical ability alone– the comedy is just a bonus.
The girls sang some old favourites – I particularly love their versions of ‘I’m tired of sleeping alone’ and ‘The OMO song’ plus some off the new album – ‘Horizons’ my personal favourites being ‘Sounds of the night’, ‘The Menopause’ and ‘Come home safely to me’. Every song that they perform has the whole audience spellbound – two voices in perfect harmony and superb guitar and bouzouki playing from Liz (must mention Sue’s Drum on one song because it’s easier to spell than ‘bouzouki). The also played some songs from their recent Radio 4 Show – ‘We are the Women’.
Like other folk clubs the tables at Gregson Lane are filled with flyers from all and sundry – Sue and Liz use these to their advantage when they sing Lynn Herauds’ 'The Menopause' – every women in the audience promptly followed Sue’s lead by picking up a flyer and using it to fan off a hot flush. (I thought that all our Gregson Lane ladies were well past that sort of thing GD)
As well as accompanying Sue and Liz, on several songs, Dave did some more on his own during the second half.
When James came up from the bar downstairs to say “It’s quarter past eleven please announce ‘last orders’” I don’t think that anyone in either crowd or on stage could believe how fast this evening of top class entertainment had gone.
In case anyone doesn’t know, a Scolds Bridle is a very useful device that shuts women up – I sincerely hope that no one ever decides to shut Sue and Liz up they are an absolute delight to see and hear – hopefully we will see them carry on for another 30 years. (“/I love this music and intend to keep singing and playing it until I get bored with it! And that will be never – (Liz Moore).
I’m glad to say that I have them booked at Worden on September 20th – Dave Walmisley is performing there on November 1^st and Jon Brindley (Hopefully his spots will have gone by then) is there on November 15th www.worden.ukart.com
See you there!
Keep music live!
Graham Dixon.Return to the Reviews Contents Page
Steve Knightley - Cruel River
www.showofhands.co.uk
www.myspace.com/steveknightleymusicKnightley is one half of Show of Hands and the principal songwriter for the acclaimed duo, here he has released his first solo for seven years to coincide with his first solo tour again for the same number of years. The album consists of nine songs newly composed by Knightley, a reworking of the SOH track 'Crooked Man' in order as Knighley put it himself to "really express my rage at the deceit that led us into the tragedy of this seemingly never ending foreign campaign", a cover of Gary Fjellgaard's 'Caragana Wind' and a bonus track - a live version of Mark Knopfler's 'Romeo and Juliet'.
For those who are familiar with Knightley's music and writing with Show of Hands you will not be disapointed (or unduly surprised) here, again you will be treated to Knightley's observations of West Country life, the stories of its people and their environments, 'Cruel River' being an example of the latter, a song based around the local tragic saying 'River of Dart, river of Dart, every year you claim a heart' and on a rather different note 'Transported', not as you might think concerned with a historical tale of injustice and transportation to a certain far away land, but a modern tale of West Country villainry and quick wits, again in both cases Knightley's ability to give the characters of his songs their own depth and to absorb you into the surroundings described is outstanding. Knightley's writing and interpretations go far beyond the West Country with songs such as 'All Quiet on the Western Front' with its succinct observations of England over the last twenty years or so which sits 'nicely' alongside 'Poppy day' a look at the role of the poppy plant in conjunction with the war on drugs and the invasion of Afghanistan.....
The CD opens with 'Raining Again' and Knightley's Cuatro driving rhythm to the fore, indeed whilst there are some guest musicians featured it is Knightley's playing on the Guitar, Cuatro, Mouth Organ and Mandocello which are rightly to the fore along with his stories. 'Cruel River' is an outstanding example of the strength of Knightley's songwriting both for its misleading simplicity and its diversity both in tempo and subject, like most of Knightley's material a number of listens are called for to really absorb some of the nuances and the characters involved although thats not to say it doesnt reach out and grab your attention within the first few chords of 'Raining Again', in short again, I for one hope it isnt another seven years before the follow up for this fine release materialises..
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Joe Ross - Festival Time Again
http://www.cdbaby.com/jross3
http://www.talentondisplay.com/joerosshome.html
Song list: Festival Time Again, Blood Red Roses, Good Deeds, Hotqua Nights, Pitch Black by The Ton, My Home in Old Virginia, Desert Grave, Goldfield, Old Dan and Little Ann, Many A Blue Moon, Philosophy, Through Heaven’s Gate.Joe Ross is a prolific music journalist based in Oregon with over 1,200 credited articles and reviews. He is also an accomplished multi-instrumentalist and songwriter and is also an “edutainer” with his “Roots of Bluegrass” and “Folk tales of Old Japan” presented with mandolin, guitar, banjo, concertina and hammered dulcimer. He also performs with The Celtic Tradition and in the Joe Ross Band with Beth McNamara, Jerry Ashford and Al Brinkerhoff.
With such a wide-ranging musical background, it’s not surprising that this album of original tunes has its roots in many styles. Some songs are strongly bluegrass, others have the Americana singer-songwriter flavor and the instrumentals have a life of their own. “Festival Time Again” may be Joe’s signature piece as he sings of the many delights to be found at a bluegrass festival. He’s joined by Randy Kohrs on dobro, Adam Haynes on fiddle, Ben Greene on banjo and Jerry McNeely on bass. Other stellar instrumentalists on the album include Bryan Bowers, Al Brinkerhoff, Tim Crouch, Ron Stewart, Radim Zenkl and Scott Vestal.
Joe’s a strong storyteller and he takes care to include glimpses into the lives of everyday heroes. “Pitch Black By The Ton” is a tribute to the Sago miners who died while working far underground, and “Desert Grave” honors the life and death of a sojourner where “the winds provide a eulogy and I provide a prayer.” Joe is joined by bluegrass great James King in a tribute to their common birthplace, “My Home in Old Virginia.” “Old Dan and Little Ann” is a retelling of the classic book, Where The Red Fern Grows, bluegrass style. “Philosophy” is a meandering look at life’s possibilities accompanied by koto, penny whistle, autoharp and “keys.” “HotQua Nights” is a Hot Club romp with the gypsy jazz rhythms spearheaded by Joe on hammered dulcimer. Joe Ross is a modern day troubadour with a bag of songs to delight and fascinate and listeners will be playing the songs over and over to catch the fine nuances of words and music.
(Brenda Hough hufstuff@oakapple.net)
Joe Ross - The Spirit of St. Louis
http://www.talentondisplay.com/joerosshome.html
Playing Time: 39:48
There’s a lot to like about this latest effort from Joe Ross. Eleven new original songs cover everything from stirring Gospel, to songs about logging, Mom, Oregon (where Joe calls home), love, even fowl, and, as the title implies, Charles Lindbergh’s epic flight across the Atlantic.
Al Brinkerhoff’s melodious resophonic guitar kicks things off very appealingly on the lively “The Logger’s Song,” vividly illustrating the life of an Oregon woodsman. “The River In Oregon” is a tribute to the rivers and tributaries, “the lifeblood of the land…please take care of them,” Joe writes in the liner notes. “One Legged Turkey,” a clever, upbeat instrumental, was written in memory of an actual wild turkey that hung around for a while on the roof of Joe’s home. “Mother’s Songs” is quite emotive; a beautiful piece that Joe says always choked him up as he sang it. Recorded with the fine Missouri band Cedar Hill, the cut features Mel Besher in a first-rate bluegrass tenor lead vocal backed by Lisa Ray on harmony vocal. The one traditional in the collection, “St. Anne’s Reel,” is lovely with Joe on hammered dulcimer and mandolin, Bryan Bowers on autoharp, and Radim Zenkl on pennywhistle. “The Church Bell No One Hears” and “His Hand Is Divine” are two very well-crafted Gospel pieces, the latter featuring some excellent fiddle work by Ronnie Stewart.
Again Joe composes in a nice array of styles…the very bluesy “Streamliner,” Calypso on “The River In Oregon,” and driving bluegrass. And as usual, he’s assembled a fine line up musicians quite equal to the task; the likes of Randy Kohrs, James King, Adam Haynes, Kevin Prater, Tim Crouch, and Scott Vestal contribute masterfully on various cuts. The word sure seems to have gotten out among his peers that Joe is a talent to be reckoned with; it’s more than about time this notion catches on with the listening public and bluegrass radio.
(Joe Falletta, Joezeke5@yahoo.com)Return to the Reviews Contents Page
Michael McGoldrick, John McCusker and John Doyle at the Mac Arts Centre, Birmingham May 12th 2007So, the last of these three gigs, fuelled both by necessity and opportunity. I needed to see this trio perform, and at the last minute on Saturday realised I had no obligations, so after a quick cal to the Mac Arts centre, near Edgbaston, we were heading towards the M25. That terrible road can make all the difference to a journey north, but for once, it was traffic free and we arrived at the Mac in time to grab something to eat.
The venue was big, with a cinema, bar, café, shop, and two theatres. Although not formal in building style, it seemed so, with warnings about latecomers not being admitted, no drinks to be taken inside, and a clock outside the door of the theatre set to the time the show was going to finish No cameras or videos either! A very different kind of place to Hammersmith, although locals said it has a reputation for putting on good acts. I wasn’t about to disagree with that, as this was a well published well organised gig, and by 8pm everyone was in their seats waiting!
John McCusker, Mike McGoldrick and John Doyle walked on to much applause; this was a very appreciative audience who were behind this trio from the start. There was no support, so they played two sets with an interval. Billed as being a Mike McGoldrick trio, the split between the songs was similar to the first night I’d seen them, with half being Mike’s and the half split between the two Johns.
Having seen Mike McGoldrick play in other trios I’d been hesitant as to whether I would enjoy this combination of musicians as much, although I’ve always thought Michael a generous musician, allowing each member of his big band/trio/quartet the freedom to express themselves and to play solos within the set. I’ve seen him with the same core musicians, and the result has been wonderful. Natural organic sounds; soaring, uplifting and completely without face; traditional yet modern, a blend of influences.
Tonight was different, not in a better or worse way, just different. This trio was an equal split, a trinity of beautiful music. Each taking their turn to shine, to rise, supported subtly by the others, or, on occasion, while the others watched in awe as one with the audience. Each tune, no matter it’s source, fitting easily with the one before, so that the whole evening became a joyous flowing thing, whether it was ‘Under One Sky’, ‘Convenience Reel’ or ‘Trip to Pakistan’. ‘Teehan’s’ was just gorgeous, a slow rhythmic sensual tune that left me feeling a long way from a folk gig!
The audience was asked to applaud at the end for the cd that was being made by the sound guys …here’s to hoping it sees the light of day, either honestly or as a bootleg. I’d love a copy!
Claire Prior
See www.johnmccusker.demon.co.uk, www.johndoylemusic.com and www.capercaillie.co.uk/theband/michael for details.
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No Fixed Abode: Clearwater
Crossover- Celtic/folk -acousticWhen you are a Radio DJ, you could be having lunch sitting atop a telephone pole and it's guaranteed that somebody will climb that pole and shove their CD in your hand. They will then commence to spout some well-rehearsed chatter about how their album is a cut above the rest and the world will stop if only you'd play it. And you know something, that's okay. It's our job to listen, evaluate, and play the music if it qualifies within that allusive, nondescript criteria we refer to as "Taste." Naturally I refer to independent radio stations where airplay of a song is based on merit and not some payola or marketing commandment.
But the sad truth is in the current scene, most of the music reflects artists simply trying to clone themselves in the image of other successful bands. And this redundancy spans all genres.
So, it is with pure elation that I write this review of No Fixed Abode's latest CD, "Clearwater." From the first few notes of "What Did I Do" they had me. The song launches into a rolling rhythm that has enough hooks at the start to catch a Great White, followed by Una Walsh's Angelic vocal that insists you listen on. I was instantly convinced that these folks were seasoned professionals and yes, a cut above. The second song on the CD, "Kebab Crazed Nutter" slapped me back. I struggle for the words here. This is the song that caused me to throw out any preconceived ideas I was forming to fit what this band was all about. Here is a tune that I can only describe as Celtic Gypsy. Actually, it fully breaks out of any definitions of any genre. It takes you to a place only your imagination can go. Have a listen, you'll see what I mean.
The fourth tune, "The Salty Sea Dog" Was a flowing, rolling tune that started to reel the band back in to more traditional Celtic folk but somehow finds a new refreshing way to summon the Celtic Soul. While listening I thought this would have been a song John Denver would have sold his soul to record.
When the tune "Sunne Days" came up, I was already primed to expect the unexpected. But I wasn't quite prepared for such a radical and delightful switch. "Sunne Days" just flat out gives No Fixed Abode an international appeal with the back street speak- easy, ambience it creates. It certifies that this band has range. This song, much like the earlier tune, "Modern Life" sent me right to a smoky pub in the New Orleans', French Quarter, sipping on something in a Julep glass and watching a sultry beauty belt out her tune while a single spotlight followed her every move…or maybe it was in Paris?
And so it is with the entire album. No Fixed Abode are story tellers, bards in the truest sense. They paint images with music as deftly as Leonardo did with pigment and with equal innovation.
"Clearwater" literally possesses something for everyone. With only Tony Dean's perfectly stated guitar work and Una Walsh's stunning vocals it would be enough to be called a masterpiece… but there is so much more.
Comparing No Fixed Abode to other groups in an effort to give you a sense of what they do would be an injustice. They stand alone at the center of a musical desert of indifference. This CD begs to be in every collection. I give it 10 whole notes.
Timothy J. Dowling
Artist's International Independent Radio (aiiradio.net Los Angeles Affiliate)
For further information visit freewebs.com/musicnfa or www.cdbaby.com/cd/nofixedabode .Return to the Reviews Contents Page
Fran McGillivray and Mike Burke
“Restless" feels like a road movie in song. It's folk blues, tinged with Americana, that switches between driving and drifting. Along the way it encounters people and places, occasionally pausing to throw in a traditional song, that they adapt to their style. Fran and Mike pull a richness into their music that belies the simplicity of its construction. Fran has a really expressive voice that delivers emotion so well, almost like June Tabor in a blues context. "Restless" captures that sense of wanderlust.
Neil Fatea"Superb music and performances which are never flashy, always spot-on and wonderfully entertaining. Combine this with the power and passion of Fran's vocals, the clever lyrics of the original material and the original approach and you have a delicious cocktail which never quite slakes your thirst and leaves you forever wanting more" (Blues Matters Magazine)
For more information see www.franmike.com or listen to clips and see forthcoming dates at www.myspace.com/franandmike.Return to the Reviews Contents Page
EMILY SINGLETON - Spirit on the Prowl
www.emilysingleton.com
Playing Time - 60:37
SONGS - 1. Spirit On The Prowl, 2. A Little Jaded, 3. A Few Words, 4. Shadow of a Mountain, 5. Mother, Mother, 6. Rise Up My Love, 7. So Mean, 8. Ain't Gonna Work Tomorrow, 9. Song for a Winter's Night, 10. Hobo Railway, 11. Sweet Becky at the Loom, 12. Keep on the Sunny Side, 13. Little Maggie, 14. Working On A BuildingBorn, raised, and reared on traditional music in middle Tennessee, Emily Singleton is now building a reputation as an eclectic adventurist and innovator. Emily Singleton's third album, "Spirit on the Prowl," follows her successful 2003 Bell Buckle disc ("Life in the Moment") that brought considerable attention to her genre-crossing approach that blends elements of bluegrass, Celtic, folk, blues and classical music. With a large body of original material, along with covers from Chris Kokesh, Gordon Lightfoot, A.P. Carter and traditional sources, "Spirit on the Prowl" is well-wrought and tastefully-rendered Americana. Elevating one's personal repertoire above mediocre singer-songwriter fare is every Emily Singleton's challenge. Folksingers could learn from her admirable efforts. Emily and the lean feminine harmonies (from her sister Teressa Parker, Jennifer Rinehart, Andrea Zonn, Becky Buller) are richly textured to be both earthy and somewhat ethereal. Although I wouldn't have minded additional vocal harmonies on a few more pieces mid-set (e.g. Hobo Railway), two parts work for most. The fullest, most robust vocals are discovered early in the set ("Spirit on the Prowl," "A Few Words," "Shadow of a Mountain") and then again to close the album with the blues-hued and spiritually-infused "Workin' on a Building." Adapted from a Gaelic song, "Rise Up My Love," is full of melancholy, and Gordon Lightfoot's "Song for a Winter's Night" is hypnotic and impressionistic balladry at its best.
Following her own muse leads Singleton into some unpredictable territory with such offerings as a precociously soulful and bluesy reworking of the traditional "Ain't Gonna Work Tomorrow." Emily can be dreamy and moving with a song like "Sweet Becky at the Loom," and she can also be surprisingly funky with an original "Hobo Railway," about a ramblin' man during the great depression. While their rocking groove of "Keep on the Sunny Side" is rhythmically propulsive, the wistful vocals rendered seem diminutive for the instrumentation. Emily doesn't shy away from intricate arrangements and interesting dynamics. Standard bluegrass instruments are heard, courtesy of such fine musicians as her husband Dave Higgs, Chris Joslin, Becky Buller, Jim Hurst, Ross Sermons, Jon Martin, Ricky Rigney, John Doubler and others. Singleton's music makes a large sonic leap from the bluegrass genre by copiously incorporating such instruments as viola, mandocello, accordion, pennywhistle, 12-string guitar, banjola, harmonica, concertina, octave mandolin, dulcimer, electric bass, and percussion. I'll bet it was great fun for musicians like Buddy Greene, Jeff Taylor, Andrea Zonn, and Dann Sherrill to add their stamp to the mix. It's a thrilling ride that documents her creative swagger, head, heart and soul.
Joe Ross
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Bellevue Rendezvous – Tangents (JYM001)
This album is essentially for those of you who enjoy listening to music from an artistic point of view. The three members, Gavin Marwick (Fiddle), Ruth Morris (Nyckelharpa) and Cameron Robson on Bouzouki and Guitar (as their sleeve notes point out) have leanings towards a broad European repertoire including Schottisches, Polskas and Waltzes. This is the kind of recording that will capture your imagination in a non-sterile, pleasant way featuring as it does well structured arrangements evoking images of baronial splendour (think of elegant Elizabethan dancers in banqueting halls) with graceful, measured performances. An interesting and beautiful album that will grow on you with each repeated play.
www.myspace.com/bellevuerendezvous
Pete FyfeReturn to the Reviews Contents Page
PAM TILLIS - Rhinestoned
www.pamtillis.com
Playing Time - 44:52Born in 1957, the daughter of country music singer Mel Tillis first appeared at the Ryman Auditorium when she was just eight years old. Now she's on the list of top female country singers of all time. Drawing material from many influences, Pam's always been known for incorporating pop, rock, bluegrass, folk and other influences into her country. For example, acoustic stringsters like Bryan Sutton, Sam Bush, Aubrey Haynie, Steven Sheehan and Jonathan Yudkin add a few tasty bluegrass flavorings to the mix that primarily emphasizes electric guitar, bass, piano, organ and drums. Pam's own composition, "Life Has Sure Changed Us Around" is a tongue-in-cheek statement sung with John Anderson in one of the more acoustic arrangements.
For a Texas rockabilly beat with some understated banjo, John Armenti's "Down by the Water" is just the ticket. Jim Hoke's clarinet and harmonica impart an old-time jazz sensibility to "Crazy By Myself." The talking blues storyline of "Bettin' Money on Love" evolves into a cautionary tale about taking chances, making choices, winding up hurting, and spending a little fortune on love. Anyone who's ever played or partied in the country honky-tonks will be able to relate to the story of Red, Louise and Tommy in "Band in the Window." Drawn to trouble and courting disaster, Pam's own self-penned "The Hard Way" is an expressive statement as she sings "I love to play with matches 'tho I have to walk through fire." Bluegrass and Celtic instrumental flavorings of banjo, mandolin and pennywhistle close the set in "Over My Head."
It's been a few years since Pam released her "Thunder and Roses" and "It's All Relative" projects. "Rhinestoned" is a thoughtful and eclectic set of well-arranged songs that beats with the rhythm of her country heart and tender soul. Her traditional sensitivity comes through front and center. The result is a creative and impressionable set of reality music. It's refreshing to hear songs arranged, with stellar musicianship, around vibrant, colorful and sincere messages and stories. Right on, Pam!
Joe RossReturn to the Reviews Contents Page
Jez Lowe – Jack Common’s Anthem (Tantobie Records TTRCD 109)
Jez Lowe is many things to many people. To me he is probably the hardest working and finest singer-songwriter in what we British lovingly call ‘the tradition’. I’ve never experienced a bad recording by Jez and never expect to so it goes without saying that this album is another fine collection of songs joining an already more than prolific repertoire. Conjuring images of a colourful North East both good and through the hard times was never a problem in the skilled hands of Mr Lowe and the melodies, often quirky are always approachable. Real life situations play an important part and none moreso than the hardships encountered at the shipyards in “Taking On Men” or the doomed love of “The Sea And The Deep Blue Devil”. To be perfectly honest I’d rather listen to the lyrics of one of these songs than plough through a whole auto-biography (Jez’s excluded!) and I apologise if that makes me sound too ‘unbookishly’ modern. Aided and abetted amongst others by long time collaborators The Bad Pennies, Steve Knightley (also the producer) and Phil Beer the musical accompaniment is never less than sparkling. I know I don’t need to say it but if you like ‘folk’ music or just good stories then buy this album at the earliest opportunity!
www.jezlowe.com
Pete Fyfe
ALISON MCMORLAND & GEORDIE MCINTYRE - White Wings
greentrax@aol.com OR cath@greentrax.com
www.greentrax.com
Playing Time - 55:55In true folkloric tradition, "White Wings" is a tribute to song carriers that preserve material from earlier days. Song-by-song notes document sources, and they come from both oral and printed tradition. Scottish singer and folklorist Alison McMorland spent some years in England before returning to Scotland and forming a highly-acclaimed duo with Geordie McIntyre, a well respected singer and songwriter. Alison McMorland grew up around music, and she has built a reputation as a singer, collector, broadcaster, author and tutor. She was nominated for the 'Singer of the Year' Award at the 2005 Scots Trad Awards. Similarly, Geordie McIntyre has spent a lifetime involved in song, balladry and poetry. Although both are solo performers, Alison and Geordie have developed a joint collaborative repertoire based on their common interests and mellifluous blend
"White Wings" includes solo a cappella renditions by both singers, duets, and others with lean instrumental accompaniment of guitar, fiddle, concertina, viola, whistle, jaw harp, banjo, and/or mouth organ. The instrumental work is kept sparse to not detract from the lyrics. Duets like "Here's A Health To All True Lovers" are sung in unison. I especially enjoyed those selections that partnered their lyrical vocalizing with the bouncy interplay of just fiddle and concertina (White Wings, The Shoreheid Boat, Time Wears Awa, John Barleycorn). Norman Chalmers is the talented concertina player who is as fluid and tricky as he needs to be with his buttons and bellows. Derek Hoy has a sweetness and purity of tone on his fiddle. Both musicians are members of Jock Tamson's Bairns. A drama teacher, Kristy Potts (Alison's daughter) adds her clarion singing part to three numbers. Her involvement is a comforting affirmation that the songs are being passed down to the next generation's song carriers. It is very much appreciated that the 24-page CD jacket also includes lyrics for all the songs.
Both McMorland and McIntyre provide engaging interpretations of ballad and song. Their voices emerge as irresistible forces of clarity and emotion in the finest Scottish singing tradition. They are strong, controlled, and genial as the pair sings songs full of lament, hope and humor.
Joe RossReturn to the Reviews Contents Page
ROBIN LAING - One For The Road
www.greentrax.com OR www.robinlaing.com
Playing Time - 50:08'There's a world of whiskey out there, so let's have another dram," is the opening statement from Robin Laing, a well-known Scottish singer/songwriter who makes his home in rural South Lanarkshire. "One For The Road" is Robin's third album on the subject of Scottish whisky, and it's his seventh album overall. In fact, he also sings about whiskey from other regions too. His self-penned "Heaven Hill" about Kentucky bourbon is arranged with some understated banjo to give it a slight bluegrass flavoring. More than half of the songs on "One For The Road" were written by Laing, and the remainder come from Karine Polwart, Mark Wise, Amy Allison, Simon Haworth, Tegwen Roberts, and Harley Allen & Carson Chamberlain. Lyrics for all are found on his website robinlaing.com.
It's interesting that Robin has focused his study to songs and poems about whisky, but I can see how there would be demand throughout the world for a skillful singer/songwriter with his interest and specialty. Of course, he also has songs about many other subjects on other albums. I wonder how he discovered his calling. At present, Robin chairs the tasting panel of the Scottish Malt Whisky Society. He writes many of their almost poetic tasting descriptions. He also contributes regularly to Whisky Magazine and has published "The Whisky Muse," poems and songs about Scotch Whisky. He is also about to publish "The Whisky River" about the distilleries of Speyside.
In a humorous vein similar to Hank Snow's "I've Been Everywhere," Robin's "Speyside Whisky Song" is a real tongue twister about a a wee dram waiting at the end of every mile. One verse exclaims, "From Glenrothes to Gentauchers, From Glenfarclas to Glenspey, From Glen Moray to Glen Elgin and Glen Grant, From Glenfiddich to Glenlossie, Glenlivet to Glen Keith, I'm a whisky-sippin' Speyside sycophant." I'd like to see him try singing this song about a sip or two of Scotland's finest.
If you also see potential for whisky as a deadly lethal weapon, then be sure to pay attention to the words in "We Can't Let Al Qaeda Get Their Hands On This." A song like "Uisquebaugh Baul" is pure unadulterated edu-tainment. Laing uses his sense of humor and musicianship to both entertain and educate. His presentation has country, folk and pop leanings largely the result of choice of instrumentation (guitars, bass, keyboards, banjo, drums, pedal steel, accordion, sax, flute, and vocals). The supporting cast of musicians includes David Scott, Jim Gash, Derek Star, Ian Barbour, David Cormack, Brian Molley, Stuart Kidd, Rachel McKenzie, and Ursula Laing. They've produced an intoxicating concept album that is sure to boost your spirits. Whether a shot, double or drappie, yu must sample some of his smoothly blended music.
Joe RossReturn to the Reviews Contents Page
DREW EMMITT - Across the Bridge
www.compassrecords.com OR www.drewemmitt.com
Playing Time - 55:38Somewhat like Tim O'Brien, mandolinist and singer Drew Emmitt has a contemporary style all his own. Unlike Tim who incorporates electric guitar, drums and percussion into his arrangements, Drew Emmitt prefers to keep his music fully acoustic. Drew is best known for his work with Leftover Salmon, a Colorado electric "jamgrass" band (actually their own genre moniker was "Cajun slamgrass") which broke up in 2004. Drew then assembled a band, The Drew Emmitt Band, which has returned to a more traditional sound. His musical compadres include some first class musicians -- Matt Flinner (banjo, mandoin, bouzouki), Greg Garrison (bass, harmony vocals), and Ross Martin (guitar). Guest artists appearing on this CD include Del McCoury, Ronnie McCoury, Sam Bush, John Cowan, Stuart Duncan, Paul Barrere and Jim Lauderdale. Barrerre (of Little Feat) sings lead vocal and plays slide guitar on his own composition, "All That You Dream."
"Across the Bridge" is actually Drew's second release, and it's largely original material. It would've been nice if the CD jacket had included lyrics. Emmitt is the sole composer of "Reach Out For Me," "Silvanite," and "Out in the Woods." The former is ¾-time is an offer of love, friendship and support in tough times. Over 7 minutes in length, the latter is a fluid piece that gives equal footing to instrumental improvisation and the song's message in a similar way to how Leftover Salmon performed it. Once the groove is established, each string wizard gets to strut their stuff. Three songs were written by Emmitt and Jim Lauderdale ("Up Where We Are," "The Awakening," and "This House"). Emmitt's collaboration with Ben Galloway resulted in two numbers, "All Night Ride" and "Cross That Bridge." "Big Ice" is a snappy instrumental written by Flinner. The nearly 7-minute cover of Dylan's "Meet Me in the Morning," gets a tad bit tedious and could've potentially been arranged.
Emmitt's multi-genre exploration takes us into steaming bluegrass ("All Night Ride"), engaging country ("Reach Out For Me"), gripping instrumental ("Silvanite"), and even some ethereal new acoustic territory ("The Awakening"). His music is tightly crafted with a visceral quality that is both intense and profound.
Joe RossReturn to the Reviews Contents Page
TOM RUSSELL BAND - Raw Vision 1984-1994
www.rounder.com OR www.tomrussell.com
Playing Time - 60:34
SONGS - 1 Waterloo, 2 U.S. Steel, 3 Blue Wing, 4 Home Before Dark, 5 Veteran's Day, 6 Purgatory Road, 7 Heart of Hearts, 8 Navajo Rug, 9 Gallo Del Cielo, 10 Spanish Burgundy, 11 Hurricane Season, 12 Haley's Comet, 13 Oil Field Girls , 14 Hong Kong Boy, 15 Denver WindAbout a decade or two ago, The Tom Russell Band's music was considered folk. Now, this album hails the band's frontman as "one of the seminal artists of the Americana movement." The singer/songwriter from New York emerged on the scene in the mid-1980s, and his sound had influences of country, rock, Tex-Mex and folk. You might have seen his name in songwriting credits in collaboration with such big names as Nanci Griffith, Peter Case, Ian Tyson, Sylvia Tyson, Dave Alvin and Katy Moffatt. On "Raw Vision," all but three selections were written solely by Russell. "Navajo Rug" was written with Ian Tyson; "Haley's Comet" with Dave Alvin; and "Hong Kong Boy" with Greg Trooper. Americana has now come to signify an eclectic blend of music, largely acoustic, for diverse tastes. The format implies an aesthetic style that is honest roots music with a connection to country. Americana is both a small grassroots specialty format as well somewhat of a marketing strategy too. It's also a foundation that serves as a springboard for artists who are difficult to categorize exactly.
The Tom Russell Band released five albums on the Philo label between 1984 and 1994. With deep voice, Russell is a storyteller with his lyrics. His songs are packed with imagery and emotions. Instrumentally, the band works as a strong team. Besides Russell on acoustic guitar and vocals, there are Andrew Hardin (guitar, bass), David Mansfield (slide guitar), Fats Kaplin (pedal steel, fiddle, harmonica, accordion), Lee Thornburg, Tom Timko (horns), Skip Edwards (keyboards), Hank Bones, Dusty Wakeman, Billy Troiani (bass), Steve Holley, Charlie Caldarola, Mike Warner, Jeff Donovan (drums). Guests include Katy Moffatt, Greg Trooper, Ian Tyson, and David Hidalgo.
This compilation documents some solid performances of some very polished songs. With this album's release following in Katrina's aftermath, "Hurricane Season" is particularly a timely piece. "Haley's Comet" is a classic about Bill Haley's demise. So are "Blue Wing," "Veteran's Day," and "Navajo Rug." Johnny Cash also cut the first two. Another popular Tom Russell Band song is "Gallo del Cielo," which Joe Ely covered. One cut that I wish Tom would've included is one co-written with bassist Andrew Hardin called "Zane Grey."
Americana has been trying to position itself as a "better alternative" to mainstream stations. Tom Russell Band has as strong alternative country flavor. If you're part of that whole segment of music-listening populace who is not listening just to what is programmed on the pop and country charts, you owe it to yourself to rediscover this body of work from The Tom Russell Band. "Raw Vision" realizes that the country music umbrella is much broader than just might hear on mainstream radio. Tom Russell's tangent from the 80s and 90s was on the leading edge of the Americana movement. "Oil Field Girls," "Hong Kong Boy," and "Denver Wind" are previously unreleased.
Joe RossReturn to the Reviews Contents Page
THE DUHKS - Migrations
www.sugarhillrecords.com OR www.duhks.com
SONGS - Ol' Cook Pot, Mountains of Things, Heaven's My Home, The Fox and the Bee, Down to the River, Who Will Take My Place?, Moses Don't Get Lost, Three Fishers, Domino Party!, Out of the Rain, Turtle Dove
Playing Time - 39:38The Duhks' progressive "neo-folk" or "cerebral folk" music is best described as highly-arranged folk and Americana that draws inspiration from various genres such as old time string band, Celtic, soul, gospel, folk, and zydeco. The band was nominated for the 2005 Emerging Artist of the Year Award by the Americana Music Association. "Migrations" has about 2/3 of the music that their self-titled debut did, but you'll find that the 11 tracks and 16-page CD jacket don't leave us feeling short-changed. In fact, the project took home the 2006 Juno Award for Roots & Traditional Album of the Year in the Group category.
Hailing from Winnipeg, the quintet likes to invite a few guest artists into their mix; in this case, Tim O'Brien (5 tracks), Luke Bulla (1 track), and Katie Herzig (1 track). "Migrations" was produced by Gary Paczosa and Tim O'Brien who suggested songs, contributed additional lyrics, and even played or sang along in Tim's case. In keeping with their successful personalized sound, we hear well-crafted, creative songs with soul-stirring vocals and striking guitar, banjo, bass, fiddle and percussion. Low whistle and Uilleann pipes also appear in their kettle of sound. Three of the five Duhks provide vocals, both lead and harmonies. Whether covering Tracy Chapman's "Mountains O'Things" or serving up a Zydeco-flavored "Down to the River," they manage to find some novel material to infuse with their stamp. Tracy's song, of course, encourages us to "renounce all those material things" to save our souls. An instrumental medley of two originals with a Cape Breton tune illustrates how The Duhks blend tradition with their own individuality. Repertoire is also drawn from African-American spirituals (Turtle Dove, Moses Don't Get Lost) and Celtic-flared instrumentals (Three Fishers, The Fox And The Bee).
The band's affinity for reflective ballads with poignant lyrics capitalize on Havey's plaintive vocalizing (Heaven's My Home, Who Will Take My Place, Out of the Rain) to round out the set. "Heaven's My Home" provides a subtle vision for cautious optimism in a life full of trials, travails and adversity. "Who Will Take My Place?" was written by Dan Frechette about the Irish patriot Michael Collins but has more universal application for anyone fighting oppression. Penned by Jessee Havey, "Out of the Rain" provides sunny direction "far from the pain of being tied to your back door."
The Duhks' are Scott Senior (percussion), Jessee Havey (vocals), Leonard Podolak (banjo, fiddle), Tania Elizabeth (fiddle, mandolin), and Jordan McConnell (guitar, whistle, pipes). Creative artistry is built around an ability to free one's own muse. The Duhks' approach allows for personal expression without belittling the very traditions that they're stretching. This successful and impressive debut effort was done right and with abundant rewards. Before reinventing tradition, The Duhks have obviously lived and breathed the tradition itself by knowing, respecting, and appreciating the natural graces and flowing rhythms of Celtic and folk music. It's an amazing feat for these twenty-somethings. With this strong foundation, The Duhks then incorporate their own life experience to arrange and create a signature sound. The musicians' sensory journey takes us along with joy, sorrow, inspiration, and even occasional humor.
Whether serving up a beautiful, spiritual ballad or a rousing medley of reels, they manage to make each a part of greater Duhkville. With impressionistic and memorable material, this album continues presentation of The Duhks' earthy. Their music conveys an understanding of the bond between land and soul. Their compelling performance is one wrought with the emotional impact and virtuosity of soulful vocals, slapped skins, wailing fiddle, flowing guitar, and bouyant banjo. With a band vision to redefine both folk and pop music, The Duhks are well on their way to doing it with their acoustic tools of the trade. I, for one, greatly appreciate their conscious decision to not rely on any electric instruments, synthesizers or drum machines.
Joe Ross
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NORTH CREGG - The Roseland Barndance
www.greentrax.com OR www.northcregg.com
EMAIL greentrax@aol.com
SONGS - 1. Sliabh Luachra Polkas (Untitled, Sonny Riordan's, Bill The Weaver's), 2. The Dark Eyed Sailor, 3. The Roseland Barndance, 4. The Girl From The Big House (The Girl from the Big House, The Humours of Ballingarry, Molly Brannigan's), 5. Barbara Allen, 6. Earl Mitten's (Bridgie's Barndance, Earl Mitten's Breakdown), 7. The Humours Of Ballydesmond (The Borlin Polka, The Humours of Ballydesmond, O'Keeffe's), 8. An Raibh Tu Ag An g Carraig, 9. I'd Rather Be Married Than Left (I'd Rather Be Married Than Left, The Gleanntan Frolics, Barrack Hill, The Clare Jig), 10. Go Your Way, 11. Crehan's Reels (Crehan's, Bonny Anne, Dermot Byrne's)
Playing Time - 40:56With a solid set of dance tunes and songs, North Cregg's fourth album also is a milestone that celebrates their tenth year in the Celtic music business. As most bands with such longevity have experienced personnel changes, a few members (fiddler Caoimhin Vallely, guitarist John Neville, pianist Paul Meehan and vocalist Fiona Kelleher) have come and gone over the years since their seed was first planted in a pub session. The Irish band now consists of Christy Leahy (button box), Liam Flanagan (fiddle, banjo), Ciaran Coughlan (piano), Martin Leahy (guitar, drums) and Claire-Anne Lynch (vocals, fiddle). Martin is Christy's younger brother who originally joined the band about 1998 for a tour to Germany. Flanagan has been with the group since 2004; Lynch since early-2006. Together, they are an inspired and energetic bunch. They owe their moniker to 5-year-member John Neville who once had to quickly respond to a festival organizer when asked for the band's name. He thought of a tune (by uilleann piper Jimmy Morrisson) that was named for a small town in County Cork. Thus, North Cregg found its direction, although many fans now just affectionately refer to them as the Creggies.
On this album, the title cut written by Joe Derrane, recalls some of the Irish dancehall music played by emigrants to the U.S. in the early-1900s. It's a fine showcase for talented accordionist Leahy, while the subsequent track with a medley of jigs particularly demonstrate the fine bow work and pluck of Flanagan. "Barbara Allen" and "The Dark Eyed Sailor" are perfect ballad choices for Lynch's gentle and alluring vocalizing. If there's anything I miss in beautifully poignant contemporary Celtic music like this, it's vocal harmony and perhaps some of the men singing too. A lively piano-centric set with a French Canadian flavor is "Earl Mitten's." Guests Dirk Powell and Seamus Burns add clawhammer banjo and spoons, respectively. Another guest joining the North Cregg on the album is upright bassist Chris McCarthy. That's a wise move as I do like hearing some low end in Celtic music. Besides jigs and reels, some spirited sets of polkas are pure delight to liven up the party. The Gaelic offering at track 8 is dreamy and seductive as it tells the story of a banished young man's desire to see his true love. "Go Your Way" is another hypnotic ballad, this one written by English folk singer Annie Briggs. Claire-Anne's delicate voice is silky, expressive and enticing. I hope that the band might consider adding their songs' lyrics to their website for further analysis.
Recorded in Cork, "The Roseland Barndance" is an admirable addition to the band's musical catalog. During the past decade, North Cregg has carved out their niche and built a reputation for distinctive music with both emotional depth and downhome fervor. Most importantly, their enthralling music exudes polish, stability and maturity. Touring the world, North Cregg brings their soulful stamp on Celtic music to the largest festival stages. Their previous albums include "...And They Danced All Night" (1999), "Mi Da:Za" (2001), and "Summer At My Feet" (2003).
Joe RossReturn to the Reviews Contents Page
ANAIS MITCHELL - The Brightness
www.righteousbabe.com
SONGS - 1. Your Fonder Heart 2. Of a Friday Night 3. Namesake 4. Shenandoah 5. Changer 6. Song of the Magi 7. Santa Fe Dream 8. Hobo's Lullaby 9. Old-Fashioned Hat 10. Hades & Persephone 11. Out of Pawn
Playing Time - 39:37From Vermont, Anaïs Mitchell is a singer-songwriter with a precociously girlish voice. A winner of the New Folk competition at the Kerrville, Tx. Folk Festival, she's only in her 20s but has already released three albums since 2002. "The Brightness" is a debut on Ani DiFranco's Righteous Babe record label. With similar tempos and melodies, Mitchell's contemplative songs require astute listening and comprehension skills. Her lyrics need your focus and undivided attention. "Your Fonder Heart" demonstrates her wide vocal range as she sings "way over yonder I'm waiting and wondering, whether your fonder heart lies." The album's title is derived from the second track, "Of a Friday Night," a ballad that is full of nostalgic imagery as it paints a picture of a time-worn town with its old poet that once knew fullness in the quarter "out in the brightness of a Friday night." Carrying her own poetic and literary torch, Mitchell seems willing to assume various roles in the song as good time gambler, restless wife, or midnight writer if she can help revive that Friday night luster that once was. Her enthusiasm and optimism glow.
Embellished with Michael Chorney's melancholic saxophone, "Namesake" makes an exclamatory statement - "everybody knows you, nobody knows you, everybody knows you, I want to know you." I view the song as a search for identity among both oneself as well as another with whom your name is shared. "Shenandoah," one of the few tracks featuring Ben Campbell's banjo and background vocals, relates a tale of love lost, a reckless daughter of the rolling water. Accepting loss and pain can be stressful and demanding. We cope in different ways, and "Changer" seems to just ask for a little reconciliation and understanding: "I know love is a stranger, I know that changes come, I know love is a changer." While Anais' mainly plays guitar and sings, this song is the only one with her piano in the mix. Other instrumentation on the project includes some understated lap steel, bass, sax, organ, drums, viola, banjo and cello. Besides three songs with background vocals by Ben Campbell, some are also sung by Miriam Bernardo.
"Song of the Magi," a song awash in emotion, is set in a welcoming west bank town that, because of war, evolves into a town of hope. "Santa Fe Dream" is ambient and austere in the shadows, but Mitchell conveys a pleasurable sentiment - "if it should happen, if you should turn to see, the way that moon sheds her light, on your love where she sleeps, go lay down beside her, and wonder again, that such a small window, lets so much light in." I can sense that Anais loves to travel, and some of her inspiration comes from discoveries along her journeys. "Hobo's Lullaby" continues the album's sleepy, lulling atmosphere, and if there's one complaint, it might have been nice to orchestrate the set with a few moderately-tempo'ed pieces for some pick-me-ups. "Old-Fashioned Hat" is about not needing much to enjoy life and love, but the song ends on a pessimistic note that, following marriage, there will be fighting, drinking and forgetfulness. Inspired by Greek mythology, "Hades & Persephone" is presented as a conversation between the King and Queen of the Underworld. Hades obtained his queen through trickery, but Persephone seems astute enough to ask "what does he care for the logic of kings? the laws of your underworld? it is only for love that he sings! he sings for the love of a girl." Set in New Orleans, I interpret "Out of Pawn" as a tale written from Uncle Louie's heart and experience during the flood when it was realized that "the girl and the city were one and the same, and last call never came."
In lean, rawboned singer/songwriter fashion, Anais Mitchell's alluring feminine voice is the radiant and resplendent beam in each piece. With a buoyant and feathery presentation, the troubadour provides some novel interpretive tales and twists to emotional attachment, sensitive feelings, and even controversial political issues. I was hoping to peruse her lyrics for a much better understanding of this songwriter's muse. Instead, I'm just left with as many questions as answers. I understand that she gets considerable inspiration from "The Alexandria Quartet" (a 4-part novel series by Brit author Lawrence Durrell). She also once wanted to become a journalist. In a sense, "The Brightness" is a kind of musical diary or journal that documents her thoughts, happenings, and probably some fictional occurrences too. She writes very legibly, and I think her best Pulitzer prize-winning music may still be yet to come.
Joe RossReturn to the Reviews Contents Page
All Jigged Out – Wish Hill (Hobgoblin Records HOBCD1004)
The opening few bars of this tremendous instrumental album will immediately catch your attention! For those of you who can cast your mind back to Moving Hearts or early Davy Spillane you’ll feel comfortable in an indulgent sort of way and those who can cast their mind even further back there are touches of Vladimir Cosma who wrote the inspired score for the David McCallum TV version of ‘Kidnapped’. This sense of grandeur explodes from arrangements such as ‘The All-Knowing Salmon/McArthur Road’ featuring the band’s jazz/folk cross-over brilliantly with a Grapelli-esque Benjamin Lee (fiddle) sparring with the flute of Philippe Barnes. Tom Phelan (Piano) and Ollie Boorman (percussion) prove no slouches either when it comes to accompanying the death defying instrumental leads laying a solid foundation of rhythm that just makes you want to dance. This is a staggering debut from a band that should see them as late-night festival headliners in no time at all. Brilliant!
www.alljiggedout.com
Pete FyfeReturn to the Reviews Contents Page
ELANA JAMES - self-titled
www.elanajames.com
SONGS - 1 Twenty-Four Hours a Day 2 One More Night 3 Oh, Baby 4 Goodbye Liza Jane 5 All the World and I 6 Run Away with Me 7 Eva's Waltz 8 Down the Line 9 I Got it Bad (And That Ain't Good) 10 Silver Bells 11 The Little Green Valley 12 Memories of You 13 I Don't Mind
Playing Time - 40:24Elana Fremerman is originally from Kansas. In search of her muse, she's now living in Austin and is known as Elana James. Beaming with irresistible, savory music, Elana's debut comfortably presents original songs alongside classic jazz and western swing standards. All have straightforward stories and simple declarations. The ten-year member of the Hot Club of Cowtown was invited to join Bob Dylan's group shortly after the former disbanded. She covers Dylan's hit that was originally released in the 60s, "One More Night," and she's clearly ready for the light to shine on her. Building off her previous body of recorded work, Elana's music radiates with plenty of seductive charm, confidence and composure. It's nice to see the skillful musician making the big leap to being a full-fledged soloist in the spotlight. It's obviously a kind of liberating experience for her. Six of the CD's cuts are her own self-penned original songs demonstrating her proficiency as both musician and lyricist. Her challenge is to make the set sound both new and old alike, and Elana has that special knack that will surely bring much continued success. One of the youngest inductees into the Texas Western Swing Hall of Fame, Elana is happening….probably because she sings and plays with so much fervor and infatuation. She's got it bad, and luckily for us that's good!
Whether bowing her "Eva's Waltz" or vocalizing Eubie Blake's big 1940s hit "Memories of You," she connects the dots from past to present. She's blessed with a Midas touch on her violin that moves effortlessly from note to note throughout the album. Actually, she prefers to be known as a "fiddilist." With a standard like "Silver Bells," she and Johnny Gimble do some expressive twin fiddling in harmony before embarking on some brief but fiery improvisations. Recording with James on his 80th birthday, Gimble also plays his electric mandolin on "Goodbye Liza Jane." Besides Gimble, other instrumental support on the album comes from Beau Sample (bass), Dave Biller (guitar), Luke Hill (guitar), Joe Kerr (piano), Bruce Brackman (clarinet), and Mark Hallman (brushes). Sample also contributes some harmony vocals.
James' voice is lovely, limpid and even somewhat exotic on her leisurely rendition of Duke Ellington's "I Got It Bad (And That Ain't Good)" and "I Don't Mind." The latter is a very pleasant song that we just don't often hear covered as frequently as Duke's bigger hits. While some may perceive her lyrics as a tad novice ("Run Away With Me") when laid out alongside words from the likes of famous lyricists, I feel that Elana holds her own with some splendid musical vignettes…."oh baby, take me by the hand, help me understand." She writes with more traditional sensibility than with some contrived or modernistic approach that attempts to push boundaries of the genre she's playing. "Twenty-Four Hours A Day" opens the project with a jumpin' groove, and her own harmonies on "All The World And I" are more winsome, old-time and folky. The latter song was inspired from a biography about A. P. Carter as she sings "when all the flowers grow up, it's you they want to be." What a feather in her cap that her own plain but thoughtful messages can stand up side-by-side to those of Bob Dylan (One More Night), Billy Strayhorn (I Don't Mind), Andy Razaf (Memories of You), Paul Webster (I Got It Bad), and Carson Robison (The Little Green Valley). You may recall that the last song was a hit for Marty Robbins, and Elana does seems to have an affinity for elements of nature as she observes "I hear a mockingbird down in the little green valley / he's singing out a song of welcome just for me." Elana is very comfy singing about babbling brooks and shady nooks, or searching (in "I Got It Bad") for sweet, gentle love as she feels "like a lonesome weeping willow lost in the wood."
Elana James' debut album is enchanting and mesmerizing. It shows that she's both accomplished and witty -- a proficient swinging and jazzy raconteur if you will. Be sure to catch her own trio (with Sample and Hill) when they come to town. This album reinforces her belief that the key to success is just a matter of getting out there and doing it.
Joe RossReturn to the Reviews Contents Page
SUNNY SWEENEY - Heartbreaker's Hall Of Fame
Email: donica@hollerbackpr.com OR sunnysweeney@yahoo.com OR emilee@hollerbackpr.com
www.myspace.com/sunnysweeney OR www.sunnysweeney.com
Playing Time - 39:27Based in Austin, the vivacious Sunny Sweeney sings smart, tuneful songs on this auspicious debut. Her infectious spunk is perfect for the sturdy alt-country and Americana offerings. She has assembled a formidable band, but I noted that vocal harmonies were a tad understated. Sunny's Texas drawl conveys some rather alluring sensuality or honky tonky kick-up-yer-heels fun on both originals and covers. Sweeney's originals include "Ten Years Pass," "Slow Swinging Western Tunes," and "Heartbreaker's Hall of Fame." While she's written many songs, these are her best and the ones she was most comfortable and enthusiastic about presenting to us. They've got some memorable melodies and lyrical sentiments. Writing from personal experience to be honest and convincing seem to drive her songwriting. Jim Lauderdale co-wrote two numbers, "Refresh My Memory" and "Please Be San Antone." Jim also makes a cameo appearance in a duet with Sunny on Keith Sykes' "Lavender Blue." Her optimism and exuberance are exciting. I serious doubt that she'll be the "Next Big Nothing" as she facetiously suggests.
I love to hear singers express emotions about their own regions or homes. Covering another Texas singer's hit, Sunny gives a mighty fine Lone Star treatment to Libbi Bosworth's "East Texas Pines." Sunny was raised in the piney woods of east Texas near Longview, got a degree in public relations at S.W. Texas State Univ., tried her hand at improv theater/comedy, and then decided to form a country band. Produced by Tom Lewis and Tommy Detamore, the album was also designed with an objective of portraying her ebullient personality and capturing the kind of live show she presents. While some more variety in arrangement might've been nice, all of the songs on "Heartbreaker's Hall of Fame" include full ensembles of proficient session players who know their way around their guitars, bass, drums, pedal steel and fiddle. Some occasional harmonica, mandolin, banjo, or Dobro embellish a few pieces with some understated acoustic tints. I could've used more of Ted Roddy's harp and bobby Flores' fiddle and mandolin. In some secluded woods near San Antonio, one goal of the Cherry Ridge Studio in Floresville, Tx. was to facilitate Sunny tapping into the emotional strength and feeling of her repertoire. Special recognition is worth of Lars Albrecht's taste and technique on his Telecaster guitar.
Her debut album has carefully cultivated tunes with some new, fresh outlooks that country music needs so badly. I reckon that's what I really enjoyed about this set. Nothing stale here ….. even when covering Iris DeMent's ballad "Mama's Opry" or Tim Carroll's plain-and-simple raucous tongue-twistin' "If I Could" (also recorded by John Prine) that admits we all have disappointment but to get past them. "Now if I could, then I would, make money doin' something that I love, I'd thank my lucky stars above, If I could just get by, lovin' you dear, Then I would just get by, makin' love to you."
Tom Schuyler's moving "16th Avenue" (a version of which Lacy J. Dalton recorded about 1982) is a sweet nostalgic way to conclude the set. Just like the "boys who make the noise," Sunny's got that same million dollar spirit. She takes the lyrics seriously. Golden words roll off her tongue, and she's seeing her dream come true. She's walked away from everything just to sing for me and you.
This Texas dreamcatcher doesn't want to just be a bystander. She wants to front one of the best country bands in Texas. The honky-tonkin' songbird's vocals can soar like a hawk or swoop like a swallow. With both elegance and country charm, she wraps her lyrics around some stellar accompaniment. For some down-home Texas country heart and soul, Sunny Sweeney's lone star brand of music is definitely worth a listen.
Joe RossReturn to the Reviews Contents Page
Philippe Barnes & Tom Phelan – The Madrid Sessions (Hobgoblin Records HOBCD1003)
This is one of those albums that seamlessly draws together two like-minded musicians who were just born to perform with each other. This is technical yet non sterile playing which is a soulful co-joining of both traditional folk and jazz proving that both musicians are not frightened to expose their Celtic roots. Both Philippe and Tom are equally at ease paired down to just the duo (flute and piano) for this album or working with their full-blown band All Jigged Out. Listen and be prepared to be amazed by some digital dexterity at its best.
www.philippebarnesandtomphelan.co.uk
Pete FyfeReturn to the Reviews Contents Page
CHRIS THILE - How to Grow a Woman from the Ground
www.sugarhillrecords.com OR www.christhile.com
SONGS - Watch 'at Breakdown, Dead Leaves and the Dirty Ground, Stay Away, O Santo De Polvora, Wayside, You're An Angel and I'm Gonna Cry, How To Grow A Woman From The Ground, The Beekeeper, Brakeman's Blues, If The Sea Was Whiskey, Cazadero, Heart in a Cage, I'm Yours If You Want Me, The Eleventh Reel
Playing Time - 50:28My goodness…it's truly amazing what Chris Thile has done with his music since Nickel Creek first burst on the scene about 1990 at the San Diego Bluegrass Festival. A child prodigy, Chris won the Arizona State mandolin championship in 1990 and 1994. In 1993, at just age 12, he won the National mandolin championship. The Thile Family moved to Kentucky in 1995 where Chris' father accepted a job as a musical instrument technician at Murray State University. The early 2000s found Nickel Creek winning IBMA's Emerging Artist of the Year award, as well as being nominated for Grammies. Chris' first solo album for the Sugar Hill label was actually recorded way back when he was just 13 (back about 1994).
Among the young and restless, I wondered when the members of Nickel Creek would move on to other endeavors. The announcement was made that Nickel Creek was being put on the back burner in 2007. On the front burner, however, is Chris' vision to continue molding his own unique, creative acoustic music. It has a thoughtful and calming effect and has managed to build a legion of Thile fans. His music is special because of its joie de vivre. It just oozes with carefree abandon and joy of life. What he needs is some catchy moniker for it, just as David Grisman coined "dawg" to describe his jazzgrass.
Bluegrassers should be proud of Chris' affinity for their genre's instrumentation to present his charming arrangements. Interspersing songs from David Rawlings & Gillian Welch, Jack White, Julian Casablancas, and Jimmie Rodgers with his own meandering originals, Chris' explorations cover a lot of territory. He may not be the greatest yodeler ("Brakeman's Blues"), but he's got the spirit and occasionally likes to sing in falsetto too. And listen to his bluesy downstrokes driving the band that includes Chris Eldridge (guitar, vocals), Greg Garrison (bass), Noam Pikelny (banjo, vocals), and Gabe Witcher (fiddle, vocals). There are many crowning moments on this album, and your favorite will depend on your outlook at the moment. There are five instrumentals, and nine vocal numbers. For pure technical instrumental virtuosity, Paul Shelasky's melodic "Cazadero" allows the musicians to pick with plenty of Celtic-flavored individualism. Being a mandolin player myself, Thile's own "The Eleventh Reel" or "The Beekeeper" are also favorites. For a song with rocking influences, Chris gets rather ballsy in "Heart in a Cage" as he sings "I don't feel better when I'm fuc*ing around, and I don't write better when I'm stuck in the ground."
It sure doesn't sound like Chris' heart is in its cage. In fact, his music exhibits large and abundant heart. Whether his music is "bluegrass" or not may be subject to debate. However, when you think about it, that's really not the point. It's unimportant what label you put on Chris Thile's alluring music. Simple fact is that it's full of moxie, raw energy and saucy demeanor. On February 20, 2007, Chris Thile turns 26. I can hardly fathom what more to expect from him in the future.
Joe Ross
CHRIS THILE & MIKE MARSHALL - Live Duets
www.sugarhillrecords.com OR www.christhile.com OR www.mikemarshall.net
Playing Time - 53:00
SONGS - Shoulda Seen it Comin', Byron's, Carpathian Mt. Breakdown, I'd Go Back if I Could, The Only Way Out, Hualalai, J.S. Bach Dm Gigue (from solo Violin Partita #2), Joy Ride in a Toy Car/Hey Ho, 'Til Dawn, Sedi Donka, TanjaWith Mike Marshall in the left speaker, and Chris Thile in the right, "Live Duets" captures two virtuoso mandolin masters at work. After the opening cut of their composition, "Shoulda Seen It Comin'," we can hear one of the players comment, "We're gonna have fun tonight!" And that is no doubt why this record was made … for us to enjoy the fun and energy of their 16 strings in consummate performance. After the second cut, Mike says, "This is fun!" Based on their power and strength, the dynamic duo could very well be two super heroes in disguise. This sequel to their successful 2003 collaborative effort, "Into the Cauldron," takes us into some similarly adventurous territory. To these guys, Mandoville has no city limits. Four cuts feature one of the guys playing mandocello, and one of those (Thile's "Hualalai") actually has Marshall on both mandola and mandocello.
There are a couple ways to tune into the music of this indefatigable duet. One is to listen very intently to appreciate the sensational musical telepathy and groove happening between the two. Mandolin players might want to follow this course. Another approach is to merely relax and let the notes and rhythms casually weave their way through a Zen-like atmosphere in search of truth and understanding. To me the players' minds seem clear of all limitations as they strive for oneness in their music. They realize that there's really only one way that they can collaboratively succeed - and that is along a musical path that is straight, open, wide, and free of obstructions. A traditional Bulgarian tune, "Sedi Donka," begins with Thile demonstrating the complicated rhythm to the audience ... long, short, short, long, short, short, short, short, long, short, short. The song's genesis includes aqueous improvisation and tremolo built around the tune's unique melody.
Through invisible, their sound does have much color like a kaleidoscope. Marshall and Thile use their instruments in much the same way that Monet and Piccasso used paintbrushes. The juxtaposition of one's notes with the other's creates each piece's coloring. Notice how their sonic colors work together to produce feelings. I was very happy to see a delicate piece like Marshall's 2-minute "'Til Dawn" breathe some slower air into the overall set. With high musical intellect, good ears, and considerable sensitivity, the duo works well together to create nuance and significant emotional content. Check out their musical canvas to discover the special quality of their sound. As with most live albums, applause between songs can be a little annoying.
Joe Ross
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Flook at The Irish Cultural Centre, Hammersmith - 28th October 2007Four gigs in four nights
The last gig was Flook at the Irish Cultural Centre, Hammersmith. Just what we needed, the perfect end to four days of gigs. Like going round to see your Mum and dad and knowing they're going to make a fuss of you, like putting on your slippers after a hard at work, or being warm indoors when it's cold and wet outside.
The Irish Centre is a small community centre in busy Hammersmith, with a cheap bar, and staff who phone up to tell you your tickets will be on the door for you. Add to that an informal table and chairs arrangement, and a host of familiar faces, and this has to be one of my favourite places. The sound isn't that good, the stage is tiny, but the bands just keep returning, so it must go to prove the atmosphere is something special.
Flook are something special too. They have something distinctive about their sound which makes them easily identifiable, and are one of the hardest working bands around, seemingly forever touring, though that may change now that the youngest Flook Maisy is here-Sarah's six month old daughter was at the back with her dad tonight ,waving and clapping her hands.
The band played a couple of new tunes [although Sarah said it'll be a while before we can expect a new album] and favourites from Haven, like Asturian Way, Gone Fishing and Souter Creek. They tell great stories too, either background to the tunes they're about to play, or just stuff that's happened. Favourite story tonight was one which involved Ed doing a Keith Richards impression!
It wouldn't be a Flook gig without JohnJoe doing a solo, this time lasting seven minutes. It was so impressive that when Brian messed up the introduction to the next tune, nobody was really aware because they were still so busy applauding the genius that is JohnJoe. Brian said it was the last time he gave JohnJoe a bodhran lesson!
I left this gig with a warm comfortable glow that's still with me now. Go and get it for yourself… Claire Prior
Flook - Live at the Spitz, London 28th June 2007I saw Flook last night at the Spitz, a venue at Spitalfileds Market which has been given notice to quit by it's landlords. Apparently it will become a Wetherspoons-like we need another one of those!
But we need the Spitz. Ideal for small intimate gigs,the club is upstairs, but with a lift for wheelchair access.It's a wooden floored venue that holds a few hundred people; the stage is off set along one wall, meaning the audience are able to stand around three sides of it.There's a gallery above, closed to the public, which overlooks the stage and bar area, and it was from here that Sarah Allen's daughter Maisie was able to watch the show- we could hear her cooing and gurgling inbetween sets, sharing her enthusiasm at the new 'Crooked Still' reel. Such good taste in one so young!
Flook, for those that don't know, are Brian Finnegan, Ed Boyd, JohnJoe Kelly and Sarah Allen, recently returned from having baby Maisie. They're one of the busiest folk bands around, regularly travelling around the world. It was good to hear some new material tonight- the 'Mountain' jigs, 'Night ride to Armagh' and 'Marga's Moment'. No idea whether these are working titles, correct, or just what I scribbled down, but I hope they're identifiable!
The chemistry between Sarah and Brian is incredible to watch. Sarah standing on one leg, her foot resting on her knee,and so very still.Brian constantly on the move, but both of them maintaining eye contact with each other the entire time.Swapping parts during 'Night ride to Armagh', the crossover between harmony and melody fluid and effortless.Brian plays fast and furiously.He dances and twists, up and down on the balls of his feet, constantly moving until it seems its only the microphone that keeps him anchored to the stage.
JohnJoe and Ed are the other duo in Flook, and JohnJoe was in fine form last night,entertaining as always, winking and pulling faces at the audience, trusty make up brush in hand as he plays his bodhran, until the music sucks him in and he's away, concentration and effort showing on his face. By contrast Ed is quiet, hunched over his guitar, so low that his ears are almost touching the strings and seemingly oblivious to anyone else around him.Unless of course, he's asking questions of the audience. Like 'Which two Flooks are vegetarians?' I got that one right. Tonight's question-'Which Flook does 500 press ups a day?' I'll leave you to work it out!
Claire PriorSee www.flook.co.uk for more details.
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THE COTTARS - Forerunner
www.rounder.com
Playing Time - 43:55Whether playing their native Cape Breton or as far from home as Japan, The Cottars are received with enthusiastic audiences who clap, sing, and stomp their feet. The two brother/sister pairs are only in their teens, but their music is indicative of a group with many years of experience. The MacGillivray and MacKenzie familes met at a festival in Cape Breton in 2000. Within six months, the four kids (Fiona and Ciaran MacGillivray, and Roseanne and Jimmy MacKenzie) were performing as The Cottars, a term that refers to the Scottish peasants and laborers who arrived in Cape Breton between 1793 and the 1840s as a result of the Highland Clearances. Things have happened fast for The Cottars since then. They've toured with The Chieftains. Besides winning the 2003 Best New Artist honors at the East Coast Music Awards in Nova Scotia, it was there that Rounder Records' Ken Irwin found them "striking," "rootsy," and Fiona's voice full of "emotion and purity." And Rosie really has the Cape Breton style fiddling down. The four play piano, guitar, electric guitar, whistle, bodhran, accordion, fiddle, percussion, and tenor banjo. They all read music, as well as play by ear. Recorded in both Cape Breton and Nashville with production assistance of Allister MacGillivray and Gordie Sampson, respectively, "Forerunner" also has guest artists who add bass, bouzouki, guitar, piano, drums, percussion or cello. With the exception of guest vocalist Jimmy Rankin on "Atlantic Blue," liner notes don't indicate exactly who's playing when.
The Cottar's set on "Forerunner" ranges from the opening delicate song (Karine Polwart's "Waterlily") to a more commercial closing cover of Tom Waits' "Hold On." Other contemporary renderings come from Sinead Lohan ("Send Me A River") and Canada's Ron Hynes ("Atlantic Blue"). They also cover Waits' dramatic "Georgia Lee" at mid-set. Their repertoire also has plenty of supercharged instrumental medleys incorporating jigs, polkas, hornpipes, strathspeys, and reels. Whether slow or fast numbers, they have been arranged with verve and intensity. If Celtic-based music has an equivalent of bluegrass music's Nickel Creek, then it is likely The Cottars. Their musicianship, charisma, exuberance, sheer force and powerful energy will take them far. It will be interesting to see what directions they take. Their style and influences indicate that the four young folks have four feet in tradition and four feet in the future. They've already grown considerably in musicianship, are building a large fan base, and I see "Forerunner" as an exceptional harbinger of even greater things to come.Joe Ross
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WEST OF EDEN - Four
www.westofeden.com
EMAIL info@westofeden.com OR schaub@comhem.se
Playing Time - 41:38Eden is a paradise full of joy and happiness. Due west of Eden, you will find the well-produced and arranged original music of this group from Sweden that has developed a personalized signature contemporary folk sound with Celtic and soft rock expression. Lead vocalist Jenny Schaub has silky smooth delivery that immediately enraptures us. This band has abundant talent, and Martin Schaub's singing on "My Kind of Town" is also an aural treat. I'd like to hear him sing more than three on the next album. West of Eden's songs like "Auburn Skies," "The Words I Forgot to Say," "True Believer," "Time," and "Ghost of You" are innovative, imaginative, lyrical, melodic, and inspirational. While often sad or incorporating nostalgic musings, the pensive messages are evocative and thought-provoking.
The band's electric guitar, fiddle, drums, and keys are supplemented with a full string section arranged and conducted by band member and multi-instrumentalist Martin Schaub. The full-bodied robust string ensemble is almost too much on "Immortal," and it might have been nice to include a couple more lean, raw-boned arrangements (without percussion and string section) on "Four" for a little contrast. Sung by Martin, "Could Have Been" appears at track ten, and it is a mellow, reflective composition in this vein. Smart move! Guests also add bass throughout, as well as whistle, banjo, dobro, or sax in spots.
"Four" has very strong material and musicianship that crosses the bridges between genres. While Celtic-based, their vision is simply to present quality music with broad appeal. It's also music to contemplate. Apparently still self-released independently, I would hope that record labels are sitting up and taking notice of West of Eden's musicianship, messages and, I dread to say it, commercial appeal. But that is a bottomline in a cut-throat, ruthless and competitive music industry. They have been together since 1995 and are deserving of a larger audience for their original music. They have a seductive kind of charm. While many of their songs "deal with how time inevitably leaves us behind," I hope that West of Eden's music isn't soon forgotten. At present, their albums can be ordered at cdon.com, tayberry.com, or at westofeden.com.
Joe Ross
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Gráda - Live at The Irish Cultural Centre, Hammersmith 21st July 2007The Cultural Centre was strangely quiet last night. This had nothing to do with the quality of the band about to play, and more to do with the gala night of traditional Irish music in North London, in appreciation and support of fiddler Brian Rooney, who has been seriously ill.
Gráda didn't let this deter them from giving a great performance, and before long I'd forgotten how small the audience was as the atmosphere warmed up. With a mix of New Zealanders and Irish in the band the sound is great, a lively enthusiastic mix of tunes and songs.
Colin Farrell [the fiddle player, not the actor!] was missing from the line up tonight, ably replaced by talented Tóla Custy from Clare. The first set started with a set of New Zealand tunes, with Alan Docherty on flute, Andy Laking on upright bass, Nicola Joyce on bodhran, Tóla on fiddle and Gerry Paul on guitar [does anyone else think Gerry Paul bears a passing resemblance to comedian Alan Carr?!] My attention had been distracted during these tunes by catching sight of an orange on stage. I'm used to seeing all manner of drinks there, but never anything as healthy as an orange. And during the next song, the lovely 'Back of Beyond' Nicola picked it up and I thought she was either going to beat her bodhran with it, or eat it. Turns out its one of those shaky percussion things but it made me smile though!
Other favourites were a set of Tóla reels, and in the second half '18th June', taken from the new album 'Navigation'. The tunes that Gerry wrote about his first Italian girlfriend were inspiring, brilliant flute work by Al, and a rhythm section led by a solo on double bass. This was the highlight of the evening until they came back on for an encore, and played a set of reels which included the Abbey reel. I love this tune, and during it the rhythm section dropped away just leaving fiddle and flute in harmony before seamlessly rejoining. Well deserved whoops and whistles greeted the end of the encore, and I know I'll be back for more!
Claire PriorSee www.gradamusic.com for more details.
MISTY RIVER - Willow
mistyriverband.com
Playing Time - 51:30
SONGS - Green Eyes, When I Go, Kathy's Song, Homegrown Tomatoes, The Cuckoo, Shady Grove, These Are My Mountains, Box of Lace, Blue-Eyed Boston Boy, Tammany Hall, This Town, Bright Morning Stars, Willow, Baird's LullabyMisty River's Americana music has acoustic tints of Celtic, old-time, folk, country and bluegrass. As a sequel to their live album, "Willow" has engaging arrangements of five originals and nine others. Haunting aires, mournful ballads, and winsome lullabies might first appear to be their greatest strength. However, the mists rise when the four talented women transition from their leisurely approach to spiritually-tinged uptempo material such as "Homegrown Tomatoes," "The Cuckoo," and "Shady Grove." The latter includes some rousing twin fiddling and tastefully rendered key changes. Their standard instruments of choice are guitar, banjo, fiddle, accordion and bass. In their own personalized approach, "Willow" also incorporates some percussion, mandolin, shakuhachi, and uilleann pipes. The production and recording assistance of Billy Oskay (bigredstudio.com) becomes apparent in certain songs.
The band includes Carol Harley (guitar, banjo, mandolin, ukulele), Chris Kokesh (fiddle, guitar), Dana Abel (accordion, piano), and Laura Quigley (bass). All four impart both lead and harmony vocals to the mix. In fact, the majority of their songs with singing incorporate 3- or 4-parts to the choruses, and they have become a key component of Misty River's rippling current. Their masterful guests include Rob Schnell, John Reischman, Hanz Araki, Doug Smith, Billy Oskay, Greg Clarke, and Tom Creegan. If there's one slight misstep on "Willow," it is the heavy double mandolin in the mix of "Tammany Hall," an instrumental with both Harley's and Clarke's mandolins. While the technique certainly imparts rhythmic intensity, it becomes a bit overbearing.
The first half of "Willow" blossoms with their covered material. When Misty River chooses repertoire, they look to the great songs of Kate Wolf ("Green Eyes"), Dave Carter ""When I Go"), Paul Simon ("Kathy's Song"), Guy Clark ("Homegrown Tomatoes"), as well as some traditional favorites. Despite the genres they draw from, their technique is to look for introspective singer/songwriter material. By the second half of this set of music, the album evolves into a very strong presentation of Misty River's original material that is both entertaining and very listenable. The finest moments occur in Chris Kokesh's trademark songs, produced with evocative messages that f