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The Durbervilles - Alternative Route To All Destinations
Both within and outwith the ballpark of our expectation, at long last in strides the Durbervilles’ long-awaited “difficult third album” with all the swaggering, punchy confidence we know and love.
The actual opening bars of the set may be more laid-back, but as soon as the drumkit kicks in for the chorus we know we’re back there in familiar Durbervilles territory for a good-time-anthem (that’s blessed with one of the longest titles concocted in recent years!), amidst all the catchiness of prime Lindisfarne.
Since their second album, the Durbervilles have suffered no disruptive lineup changes or stylistic upheavals, so Alternative Route… gives us just more of what they’re good at, the tried and tested formula in many ways. Buy hey, I don’t mean to imply that the band are standing still musically or failing to progress, for their togetherness as a performing unit (as well as their muso-cred as five individuals) is even more apparent on this new set, as are those intelligent subtle little details in the arrangements and picking that can sometimes get a little hidden even with the fine sound they get to achieve on a live gig. Not to mention the ever-quirky observation and offbeat inventiveness of the lyrics, which, though still drawing to some extent from the trusty conventions and sensibilities of the wellspring of Americana and roots heritage, retain a definably wry quality that’s thoroughly English (I dubbed it “downhome-UK” last time round, and I stand by that tag).
That quality unavoidably invokes comparisons with the likes of Squeeze or Ray Davies (Randell Avenue), Clive Gregson (300 Letters) and Little Johnny England (Glory To The Few), the latter outfit also being honourably invoked through the rocked-up-reeling backbeat of the fun instrumental Corporal’s Trousers/M’Lady’s Moustache (which comes complete with guest morris and clog dancers and slightly silly touches). Which leads me on to remark that even though the album is self-evidently a studio production, the Durbervilles have succeeded in capturing much of the essential infectiousness of their live performances, the energy and drive that they always bring to their music, the momentum that carries the listener along and forward too. They’ve also learnt the lesson of the virtue of economy, for there’s no excess baggage in their songs, they get on with it, make their point and then shuffle off, none of them overstretched or needlessly extended – in fact, perhaps one or two (Silence After Midnight and the rock’n’roller Unguarded Moment) feel a little prematurely curtailed.
Standout cuts for me include Rain Upon The Road, with its timeless roadsong feel, No Good Around Here, and the closing track, the mini-epic The Last One, which features some typically florid, soaring soloing from Fairporter Ric Sanders. Ric also guests on four other tracks, and Chumbawamba’s Jude Abbott brings her distinctive vocalising to two of the songs; otherwise it’s an all-Durberville production with regard to both performing and compositional credits.
The whole affair turns out a well unified production, not least considering the liner note’s claim that it was recorded “in various places and numerous front rooms all over the north and the midlands”, representing another irresistible and thoroughly entertaining 44minutes in the life of the Durbervilles.
By Dave Kidman
www.durbervilles.co.uk www.myspace.com/durbervillesReturn to the Reviews Contents Page
Lasairfhíona - Flame of Wine
Lasairfhíona is a singer very much rooted in the Sean Nos song of her native Aran Isles off the West Coast of Eire and as you would expect this is very much reflected in her material, both self composed and traditional. 'Flame of Wine' is her second release following her 2002 debut 'An Raicín Álainn' and with this release whilst keeping true to her roots she has branched out a little, including some English language material both self composed and traditional.
'Flame of Wine' consists of 14 tracks, the majority of which are Gaelic, some of which she has learned directly from close family members on the Aran Islands and has given her own touch to the material, other material includes a haunting interpretation of Aoibhneas An Ghrá, a piece of Irish Bardic poetry (interpreted as 'Loves Enchantment'), through to the soothing 'An Gleanntán Uaigneach (The Lonely Valley), a slightly adapted version of a song she learnt from her Uncle. Each song on this recording stands out in its own right and each clearly indicates the breadth of Lasairfhíona's talent and connection with the roots of her music. Make no mistake Lasairfhíona is one of the most outstanding singing talents to emerge from Eire in recent years, and this release is testament to the increased diversity of her material whilst making no compromises, as well as her own strengths as a vocalist Lasairfhíona has collaborated with the likes of Máire Breatnach (providing fiddle and production skills), Mary Bergin (Tin Whistle) and Bill Shanley (Guitar), each of which has added their own skills to an outstanding release.
I would hope that visits to this side of the Irish Sea will be on her agenda in the not too distant future in the meantime for further information see www.aransinger.com (which helpfully includes clips from all the tracks of 'Flame of Wine') or myspace.com/lasairfhionaReturn to the Reviews Contents Page
Ffynnon - 'Adar Gwylltion'
Ffynnon are a four piece based in Cardiff, although relatively unknown this side of the big pond, which is perhaps a symptom of the lack of acknowledgement given to the Welsh contribution to the folk arts in these islands, the band were signed to the Green Linnet label in the states as a result of a demo tape sent through the post, following this up they have performed succesful concerts across the US. The band started life as a trio consisting of Dave Reid, Lynne Denman and Stacy Blythe, Read was well know on the Jazz scene both in London and Wales and his Guitar playing bought a special element to the original trio when combined with the more 'folky' elements of Denman's vocals and Blyth's accordian and harp. Although sadly Reid suffered a fatal heart attack in 2003 his influences can still be felt in the bands sound. After this tragedy and loss the band re-organised and recruited two new members, Fiddler Emma Trend and Guitarist Matthew Lovett who like Read has a background in the Jazz scene and indeed plays with the BBC Not NOW Jazz Ensemble.
'Adar Gwylltion' is one of those CD's where it is hard to identify a particular highlight or two, indeed without fail every track is a highlight in its own unique right. The quartet experiment, improvise, include other traditions and put their own mark on each track whether instrumental or song based. Indeed the 13 full tracks include both instrumental and vocal based tracks and range from Songs taken from the Breton tradition to Welsh poems and elements of the Welsh oral tradition put to song. The two examples of the former are 'En filant ma Quenouille' and 'Septmartins' with the latter being a traditional Breton song concerned with the young women of the village waiting for the return of the sailors, examples of the latter include 'Rheged' which are verses from 'Diffaith aelwyd Rheged', an ancient Welsh poem lamenting the betrayal which lead to the loss of the ancient British lands and 'Llys Ifor Hael' a work by the 17th century poet Ieuan Brydydd Hir. For the most part the songs are in the Welsh Language, the exceptions are the English Language poem by contemporary poet Janet Dubé and part of the final song 'Breuddwyd'. However the strength of this quartet lies precisely in their innovation and absorbing other influences (the Jazz background of one of their members being an obvious example) whilst in no ways losing the essence of their own tradition or for that matter the Breton songs they include on this collection.
Whilst each of the band are busy and are involved in several other projects on the strength of this release I find it hard to believe that Ffynnon will not become more of a 'name' on the folk scene over the next few years. My only criticism are the lack of details on the inlay card either about the band or the songs and poems, although to be fair the lyrics and details of the songs are clearly available online and can be found at ffynnon.com which includes the details you would expect along with short clips from each track on the current CD, sufficient to encourage you to increase your credit card bill I would suspect.
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Shoormal - "Turning Tide"
Released October 2006
Greentrax Label
www.shoormal.co.ukWhat can I say about this album? As it turns out, there’s too much to say!
This is a dazzling piece of work. Truly, an offering without blemish. Shoormal, in Turning Tide, has set a standard that others can only mimic. A Must Buy Album
Turning Tide is twelve tracks (plus bonus tack) of sheer unadulterated delight, a listening pleasure which will massage both your senses and your spirit: I recommend you slip this album into your player, dim the lights and indulge yourself.
Opening with the wonderful Serendipity, with its rich luxurious intro and Donna Smith’s wonderful vocal the standard is set. One of the joys on this album is that Smith has more lead vocals, with arguably the best track, the sensitively written and stunningly performed, Tightrope Walker.
Freda Leask opens her account and delights us as she leads in the eponymous and emotive, Turning Tide. As enchanting as her Shetland dialect is, it never-the-less cannot hide the pain, emotion, and pathos that are found in the lyric. She radiates again in the country vibed, Skin Deep, little wonder, as it is inspired by a poem by her late brother, the poet Brian Tulloch.
You can’t talk about Shoormal without mentioning (though methinks she would shrink from the description) the jewel in their vocal crown Joyce McDill. For me McDill is Scotland’s most underrated female vocalist and songwriter. Reading her lyrics over the past three albums I am convinced she should consider poetry to more deeply express her inner thoughts.
Meandering back to McDill’s vocal, she simply shines whether it’s in the thought provoking Sanctuary, the divine Woods In Winter or the upbeat in both tempo and content Slack Water.
Shoormal may be blessed with great vocals, but that is only a part of what they are. In Smith and Tulloch they have two extraordinary guitarists, with Ritch, Kemp and Arthur. On Bass, Percussion and Piano respectfully, this is truly a gifted outfit, and gifts they use to wonderful effect, all for our ministration.
I for one am thankful for their efforts
Ben HamishReturn to the Reviews Contents Page
Mick Sands with Clive Carroll – The Ominous And The Luminous (Box Room Records BRR0001)
Funny how life has a way of surprising you? Only this week I’ve had a couple of happy ‘folk’ related incidents both connected with the Young’s Fish TV advert. Having just discovered that Andy Findon is the ‘whistle’ player on the latest incarnation of ‘When The Boat Comes In’ I now notice that Mick Sands (who provided the original vocal version) has recorded a new version for this, his latest venture. Being hand-clapped and spoons led, it’s certainly different but who wouldn’t just die for those vocals? I’ve known Mick for many years having first met at The Boyle Family sessions at the Riverside Studios in Hammersmith. Since then he has developed a career as a theatre composer and worked on many collaborative music projects. It was on one of these that he first encountered the stunning guitarist Clive Carroll who was working with Maggie Boyle. Out of a mutual respect for each others musicianship the occasional duo was formed and this recording, steeped in the tradition with songs such as; “Up The Raw”, “Lough Erne’s Shore” and “Cunla” complemented by Mick’s not inconsiderable talents as a writer himself is the pleasing result. As is obvious from the outset Mick’s love of words particularly the beautiful Robert Burns “Slave’s Lament” is compassionate without the sense of over sentimentality conveyed by (how shall we say) less worthy singers. For copies of the CD drop Mick a line via E Mail at micksongsands@aol.com
Pete FyfeReturn to the Reviews Contents Page
Albion Band – Lark Rise To Candleford (Talking Elephant Records TECD097)
I suppose for many British folk musicians like myself, the late 1970s early 1980s were possibly the most fruitful for the combination of theatre and ‘folk’ music. Lark Rise and Candleford were being staged at the National Theatre and I can still remember being jostled by Brian Glover in one of the numerous performances I attended like an unpaid extra in a TV production. The excitement for me of course carried over to the sound that was The Albion Band. Helmed by Ashley Hutchings the group included amongst others John Tams, Graeme Taylor, John Kirkpatrick, Martin Carthy and (the sadly missed) Howard Evans. It was indeed a glorious racket that ushered in the opening track with the brass band taking on the full majesty of the electric slide guitar with ‘The Girl I Left Behind Me’ followed by Carthy’s harmonically accompanied ‘Lemady’. In fact, I can remember every single track (for there wasn’t a bad one) of the twenty-one included on the album and of course the recording remains as fresh today as it ever did then. If you missed out at the time or are indeed looking for something to get into after your latest fix of Bellowhead then this is where it all began. It’s great to see a recent upsurge in re-releases of some classic folk albums and Talking Elephant are leading the way. For more information check out the website at www.talkingelephant.com
Pete FyfeReturn to the Reviews Contents Page
THE McCALMANS - Scots Abroad
www.greentrax.com
greentrax@aol.com OR cath@greentrax.com
Playing Time – 56:47The original McCalmans (Ian McCalman, Hamish Bayne, Derek Moffat) met in 1964 at the Edinburgh College of Art. The folk craze was in full swing with groups like the Kingston Trio and others having a significant impact on young college students worldwide. In 1982, Hamish retired to a life of building concertinas, and Nick Keir joined the group. When Derek Moffat sadly passed away in 2001, Stephen Quigg joined. Back in 1986, The McCalmans signed on with Greentrax Recordings when Ian Green’s label had just formed, and the label’s second release was the group’s “Peace and Plenty.” Six other McCalman albums have been released on the label over the years. Now, twenty years since they first contracted with Greentrax, the label’s 300th album release is The McCalmans’ “Scots Abroad.” Their popularity, longevity and success are largely attributable to their strong vocals and harmonies anchored by Ian MacCalman, Nick Keir and Stephen Quigg. Instruments used include guitar, bodhran, keyboard, mouth organ, mandolin, and whistles.
Besides an emphasis on “Scots Abroad,” the 17 songs also tell stories of Scots at home. The themes of traveling, rambling, dreaming and roaming have always been consistent crowd-pleasing subjects in Scottish ballads and songs. Over half of the offerings are originals, and I was particular intrigued by Nick Keir’s wry-witted “American Accent” about the old days when everyone sung like Dylan or Elvis. I always enjoy good renditions of traditional fare like “The Broom o’ the Cowdenknowes” and “The Skye Boat Song.” From one of Scotland’s finest songwriters, Karine Polwart’s resplendent “Follow the Heron” tells of winter’s back being broken as the seeds of summer have spoken. “Scotland's Story” speaks to the great ethnic diversity in Scotland’s population.
The rousing 3-tune instrumental set at track 10 is a showcase for Nick’s whistle. Nick Keir’s “All Over This Town” is a heart-rending and eloquent love song. And, for a song about a favorite Scottish haunt for dreaming, listen to the beautiful imagery in Nick’s “East Lothian Sky.” Sung in English and Danish, “The Tivoli Song,” a collaboration between Jeremy Taylor and Nick Keir, was recorded live in Hagge’s Musik Pub in Tonder, Denmark. Closing the album is another live cut -- from the 2005 Scots Trad Music Awards concert, when they brought doon the house with their humorous “The 12 Folk Days of Christmas.” I compliment the group and label for including both the lyrics for and notes about the background of each song (with the exception of the lyrics for “Learning to Row”).
“The Macs,” as they are endearingly called, are a premier male Scottish folk and vocal harmony trio. In 2004, they were honored at the Scots Trad Awards with the “Hamish Henderson Award for Services to Traditional Music.” Truly indefatigable and wry-witted, The McCalmans continue to present new material. Because their largely baby boomer audiences are encouraged to sing along, I recommend that you pick up a copy of “Scots Abroad” so that you can learn some of their newest songs like Ian’s “Extra Time” about aging healthfully, cleaning up your act and towing the line. As they sing in Leaving Denmark, “the old boat rolls a little more.” It’s a profound statement about their own endurance.
Joe RossReturn to the Reviews Contents Page
BODEGA – Self-Titled www.greentrax.com OR www.bodegaband.com
greentrax@aol.com OR cath@greentrax.com
Playing Time – 52:55Every serious band wants to create its own unique, tantalizing, personalized sound that is immediately recognizable. One talented group that is well enroute to achieving that goal is Bodega. While only together since early 2005, Bodega exhibits youthful exuberance, joyful optimism, and sheer creative audacity. The five band members met at The National Centre of Excellence for Traditional Music in Plockton, Ross-shire (northwestern Scotland). After forming for a few casual gigs, they realized that something special was in the breezy Scottish air. Bodega subsequently won the BBC Radio 2 Young Folk Award in 2006.
Produced by Jack Evans, their debut album is an ingeniously designed triumph that particularly showcases the strong instrumental abilities of Gillian Chalmers (pipes, whistle, fiddle), Ross Couper (fiddle), Tia Files (guitar, bass guitar, snare drum, djembe), Norrie MacIver (vocals, accordion, guitar, djembe) and June Naylor (clarsach). Between the five of them, they have all the instrumental bases well covered. Their repertoire includes plenty of traditional tunes, some even sung in Gaelic. Interestingly, one of their own favorite songs is Bob Dylan’s “Wagon Wheel,” learned from The Old Crow Medicine Show. Norrie MacIver sings with considerable confidence and gusto, and his voice works best with rousing songs like “Crooked Jack” and “Greenland.” I was happy to hear some of Norrie’s own backing vocals in the mix of the latter, but the heavy effects on Ross’ fiddle break takes some getting used to. Norrie’s vocal presentation is a bit too assertive for the lovely 6-minute ballad, “Oran Chaluim Sgaire,” that could’ve also been embellished with some vocal harmonies. Of special note is the set of “Compositions” at track 8 that feature contemporary tunes penned by June, Ross and Tia. Bodega’s album debut proves that they are clever and skillful. Their versatility is a clear strength, and this CD will build them a legion of fans who can appreciate both their talent and affability.
Joe RossReturn to the Reviews Contents Page
VARIOUS ARTISTS – Scotland: The Music & The Song “20 Year Profile of Greentrax” Cockenzie Business Centre Edinburgh Road Cockenzie East Lothian EH32 www.greentrax.comRetired police inspector Ian D. Green launched Greentrax Recordings in 1986, and the company has released 350 albums in twenty years. The award-winning label of Scottish traditional music has supported both established musicians and previously unrecorded ones. In 2001, Greentrax became the European distributor for Alasdair Fraser’s Culburnie label, and there’s a cut from his and Natalie Haas’ 2004 Scots Trad Awards winning “Fire & Grace” album included on this sampler. The 3-CD sampler from Greentrax includes Ian Green’s 59 personal favorites (with 4 hours of total music), a couple even from out-of-print albums by Ian Hardie and Ceolbeg (with Davy Steele). Although originally conceived as a one-CD anniversary compilation, the project was wisely expanded to provide a more thematic understanding of the label and presentation of its myriad artists. The first CD reviews the decade from 1986-1996, and the third CD covers 1996-2006. The second CD in the digipak features cutting edge contemporary Scottish music from the entire twenty-year period.
There is emphasis both on singing, as well as on consummate instrumental work. Perhaps the former receives slightly more focus from Greentrax, and in a few instances (e.g. Jeannie Robertson’s “Harlaw”) the Scottish brogue and dialect will require some further study for complete understanding of the lyrics. The Gaelic language is also praised in “Canan Nan Gaidheal” from the album “Gaelic Women,” and there is even some examples from Mairi MacInnes of Puirt-A-Beul (Gaelic nonsense songs sung for dancing when bagpipe and fiddle were banned after the Jacobite uprising). If instrumentals are your preference, then you’ll certainly appreciate the Neil Gow compositions played on bouzouki, mandolin and guitar by Kevin MacLeod and Alec Finn. And, of course, there is plenty of danceable ceilidh music too. The cutting edge material on disc two defies categorization but illustrates the label’s open mind to technofunk (Roddy MacDonald’s “Good Drying”), The Easy Club’s swinging jazzy rhythms, South American influences in MacUmba’s music, and the toe-tapping Latin/Celtic blend of Salsa Celtica.
Greentrax Recordings has consistently released very high-quality Scottish music full of heart, soul and emotion. This well-executed 3-CD set of beautifully arranged music is a must for every lover of eclectic Scottish music. Every cut is special. Ian Green, and all the musicians on Greentrax, should be very proud of their achievements at this 20-year milestone in the company’s history.
Joe RossReturn to the Reviews Contents Page
The Sage Gateshead Americana Festival July 22-23rd 2006This weekend was very exciting, not just for me but for many lovers of Americana and country music here in the North East. To me it symbolised a huge turnaround…that after years of being left off the map, suddenly we are an area where quite rightly American music artists want to perform, and there is no shortage of music venues, with The Live Theatre, The Cluny, All Saints Church and others in Newcastle and The Little Theatre and the stunning new Sage on Gateshead Quayside.
The Sage was primarily responsible for this spectacular event, held in the Performance Square directly outside of the building, with stunning views, commented on by many performers, over the River Tyne, the Millennium Bridge and the Baltic Arts Centre, and across to the Newcastle side of the Quayside, whose recent transformation along with the Gateshead side has provided the North East with something of which to be truly proud.
There was even an arrangement with independently run Tyneside Cinema to show American country classics such as ‘Walk The Line,’ ‘O Brother Where Art Thou’ and ‘Nashville’ as a limited Americana programme.
The Sage was featuring ticketed events also by such greats as Solomon Burke, Guy Clark, Giant Sand, Adem, Joan as Policewoman, and the three which I had the great pleasure of attending; Thea Gilmore, Dwight Yoakam supported by Tift Merritt and the great Emmylou Harris, supported by Jon Randall. To get artists of their calibre is clearly a huge coup and testament to the commitment to music of the Sage Gateshead.
The weather this weekend for once did us proud and enhanced the atmosphere tenfold, everyone was in high spirits and out to see the best music had to offer for two whole days whilst basking under the sunshine. The organisation was second to none all weekend, each artist allocated a 45 minute time slot and everything ran incredibly smoothly. American themed snacks such as nachos and margheritas abounded from stalls around the stage and the music flowed…..
The Saturday began in the absence of Juliet Turner which was a shame, with Beaver Nelson and friends, followed by Martin Stephenson and the Toerags, both of whom got things off to a toe tapping start.
Next up was South Wales band The Storys, whose music I had actually been introduced to through Tia McGraff. A thoroughly enjoyable set followed, including several tracks from their self titled CD, including ‘I Believe in You,’ ‘Be by Your Side,’ and perhaps lesser known ‘Journey’s End.’ The Storys, fronted by lead man, Steve Balsamo have already heralded comparisons with such greats as The Eagles and Fleetwood Mac. I for one am already looking forward to their return to the North East in September.
Having heard a great deal about Stacey Earle and Mark Stuart I was looking forward to seeing their set. Stacey reminded me of a younger Nanci Griffith in more ways than once, and they really shone when performing songs which showed off their harmonies.
Saturday’s highlight for me came in the form of The Greencards, an Austin, Texas based bluegrass band comprising members from Australia and the UK. In all honesty I have never been a great fan of bluegrass but this group could well have changed my view. They clearly enjoy performing so much and wowed the audience with tracks such as the achingly beautiful ‘The Ghost of Who We Were,’ ‘Weather and Water,’ ‘What You Are’ and ‘Almost Home.’
Sunday commenced with a soul tinged session from Jeb Loy Nichols followed by Ukelele Allstars who I am assured performed a lively set. However I missed this one as my friend and I decided to head inside to check out one of the events in the aptly titled Americana Lounge, which over the weekend was hosting workshops with Otis Gibbs, and American themed films. Having been to Montana and Wyoming back in 2003, and fallen in, love with the area, I decided I wanted to hear Cowboy Poet Wallace McRae, read some poetry and talk about his life on the ranch. The stories he told of his life rang so true and were told with such humour everyone quickly warmed to him. As he talked of the battlefield of Custer’s last Stand and ranch life, I was transported back to that area. Then he treated us to a recitation of one of his most requested poems ‘Reincarnation.’ On talking to the man himself afterwards, it emerged that en route to Mount Rushmore I’d have been within 20 miles of his land…..small world indeed. Information about his poetry can be found at http://www.cowboypoetry.com/mcrae.htm
Paul Kelly Duo from Australia was up next on the main stage outside playing a range of songs; some known, some less familiar. They were followed by Scottish group Aberfeldy who it seems are currently making a big name for themselves on the UK music scene with such songs as the intriguingly titled ‘Vegetarian Restaurant.’
Finally came the moment I have to confess I had been waiting for, having been told by both Tia McGraff and various friends how amazing Eve Selis is and having waited a long way for her to venture in our direction. So to be treated to a free performance by the lady herself, accompanied by her amazing band (Marc "Twang" Intravaia, ‘Cactus’ Jim Soldi and Sharon Whyte) was an opportunity to good to miss. The first thing that must be pointed out about this lady is how down to earth she is and the almost magical, certainly effortless way in which she connects with and engages her audience. From the second she bounded onto the stage and launched into the rockin’ ‘Mr Lincoln,’ I and those around me were held captivated by Eve’s performance. This she followed with ‘The Ballad of Kate Morgan,’ ‘Russellville,’ a wonderfully penned song about being lost, Kim Richey’s great song ‘Those words we said’ and a stirring version of the ballad ‘Pocket Full of Stones.’ Essentially this is a song about kindness and I am confident that I am not the only person who was moved to tears by it. Another highlight was ‘Do you Know Me?’ a song penned by Canadian singer Lisa Brokop and Eve’s long time collaborator Kim McLean (previously known as Kim Patton-Johnston) about how there are angels all around us and we just have to learn to recognise them. What most strikes you about Eve’s performance is the sheer energy she exudes. It has been said of her ‘Eve Selis isn’t just a “singer” — she’s an emotion transducer who converts country, R&B, blues, folk, and rock ‘n’ roll signals into a megawatt zap that galvanizes everyone in its path.’ Using her own brand of roadhouse rock, her ‘lemonade and whisky voice’ as it has come to be known, finds its way to your very core and leaves you in awe at the experience. Eve is returning next year, both with and without her band, and I can virtually guarantee she has found a whole new audience here in the North East. Looking around, people were blown away by her performance and the queues to buy her CDs were the biggest I’d seen all weekend. Even she was amazed at the reaction to her music.
Suffice to say for the sake of the music loving public and Americana music, I for one am hoping and praying that this festival will not only be repeated in 2007 but that it will become an annual event at the Sage Gateshead. I urge anyone who enjoyed it to pass that feedback to the Sage and to encourage them to follow this event up with another.
Helen Mitchell, South Shields.
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Tia McGraff and Tommy Parham @ The Riverside, South Shields, July 25th 2006-08-20Tia McGraff is making big waves here in the UK, that is for sure. Building on the success of two tours in 2005, they returned this summer to perform a variety of venues, including the Sesiwn Fahr festival in Wales, where they performed with such artists as Amy Wadge. They have had writing sessions with members of The Storys and The Christians and great things are happening. Even well known North East radio DJ Alan Robson held a live session at Metro Radio, which resulted in some new faces at the Riverside.
It was a pleasure, therefore, to welcome Tia and Tommy back to The Riverside after an eight month interlude, on this, their honeymoon UK tour! Tia seemed genuinely happy to be back in a town she says reminds her of home in Port Dover, Ontario, and was in good spirits on a blisteringly hot summer night.Beginning with the now well known title track of their current CD, Outside of the Circle, which had several audience members singing along, Tia then took us on a journey of songs and emotions from earlier work through to brand new material. The Fisherman song went down well, here in this once busy port and was complimented beautifully by a song which held everyone spellbound. Tia said since we were in a coastal town, she wanted to try out a new song they had just written in Wales the previous week. Thus we had the privelege of hearing the first live performance of Devil's Gold, written about a clipper which hit rocks in Wales, en route home from Australia. There is a tale, the old folks tell here/ about the storm of 1859/ 500 souls, sailing homeward/ dreaming of tomorrow / with riches on their mind /………But greed is the devil's daughter/ in the deepest water she'll drag you down…… This song is destined for the new album, to be recorded later this year and was definitely the highlight of the evening for me.
Other new songs included That Ain't My Story' an almost tongue in cheek look at the current news and political stories we hear so much about. I Can't Quit, Tia wrote for Tommy and is a touching, but not over sentimental, love song. Silver Lake was inspired by the place in Port Dover where they annually perform at the July 1st Canada Day celebrations. Clearly despite seven years in Nashville, Port Dover is still home to Tia; It makes my heart ache, for Silver Lake.
Ending the set with Jewel's Café, and Catfish Deacon, and the touching song, written by Dinah Brein, Until We Meet Again, which seemed highly appropriate, Tia and Tommy left the audience wanting more and eagerly awaiting their return.
I don't think it will be long before Tia has outgrown such venues and seeing her perform in such intimate locations will be a distant memory. I suggest that before this happens, you grab the next opportunity with both hands.
Helen MitchellReturn to the Reviews Contents Page
Puppini Sisters – Betcha Bottom Dollar - (Universal Music 9857592)
I might sound a little like the character played by Hugh Grant in the film ‘Notting Hill’ writing for ‘Horse & Hounds’ but the end justifies the means and with this in mind I’d like to draw your attention to this gem of an album that just about crosses into the realms of folk music and, let’s face it, who wouldn’t die for those fabulous Andrews Sisters style harmonies?
Marcella Puppini, Kate Mullins and Stephanie O’Brien are a trio who not only let you re-live the 1940’s but through an ingenious bit of re-arranging transport the listener with the likes of Kate Bush’s ‘Wuthering Heights’ and Tina Turner’s ‘I Will Survive’ into the same period – a bit like The Philadelphia Experiment perhaps?
A quick glance at the track listing; “Sisters”, “Mr Sandman” and “In The Mood” shows where the girls allegiance lies in terms of their musical influences and the inspired choice of French-Canadian guitarist Benoit Charest as producer proves a master stroke. I’m sure that by the time you read this the Puppini Sisters will have amassed a phenomenal fan base and the recording will have sold millions – it deserves to!
Further details from www.thepuppinisisters.comPete Fyfe
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Rachel Hair – Hubcaps & Potholes (March Hair Records MHRCD 001)
This is a bright and breezy offering from newcomer Rachel Hair and as the CD cover boldly declares…this is Scottish, Irish and original music performed on the harp or, to be precise Clarsach. Recently I’ve been swayed by the likes of Corrina Hewat and even the more heavily jazz influenced Deborah Henson Conant but, wouldn’t you know it, here is an album that really works for me as it is just the harp pure and simple with a smattering of Douglas Millar’s piano and the breathy tones of Peter Webster’s flute on one track. Harking back to that bright and breezy introduction, that is certainly true of Rachel’s own uplifting ‘Starry-Eyed Lads’ which opens a set of jigs rounded off nicely by the traditional ‘Rolling Waves’. Although it won’t set the world on fire, it’s refreshing to just hear an instrument unadorned of any clever posturing and let’s face it who needs it when it is performed this well?
Further details from www.rachelhair.com
Pete FyfeReturn to the Reviews Contents Page
Christy Moore – Live In Dubln 2006 (Columbia-Sony/BMG DVD 828768 27789)
Well, folk music certainly can’t be accused of not holding up its end when it comes to marketing. The age of the DVD is upon us and, if I’m perfectly honest I relish it every time I get a silver disk in my mitts rather than a piece of paper saying I’ve paid twenty quid to sit on an uncomfortable seat in some unforgiving theatre to try and see the pin prick that is ‘the artiste’. No, thank you very much I’m more than happy to switch on the TV or computer and see the performer in all their glory sweating for their art. If that’s what you want (and I do) then the close-ups on those tricky little fills that Declan Sinnott is so adept at bringing to the table, featuring his weapon of choice the trusty Fender Stratocaster then I for one salute the cameraman for earning his money. And don’t let us forget for one minute that without the dynamics both vocally and on acoustic rhythm guitar of Mr Moore himself this whole exercise would be pointless. Of course it’s Christy’s moment…it always was and ever more shall be so even if you get some dick-head from the audience trying to impress his girlfriend by shouting out something unintelligible. For here is a man whose passion engulfs the listener…I’m thinking of Burt Lancaster in all his outrageous glory as Elmer Gantry here…uttering lyrics with such zeal that each word becomes some kind of sacrificial offering – but then again I don’t need to preach to the converted do I?
No, show me anyone who hasn’t got a recording of “Ride On” or “Hiroshima Nagasaki Russian Roulette” propping up their record collection and I’ll show you someone without music in their soul. Never one to hold back it certainly takes bottle to put across the sentiments of Morrissey’s “America, You Are Not the World” and whether you like it or not you have to admire Christy’s tenacity for hitting some of the audience where it really hurts! On the audio commentary overlapping ‘The Soundcheck’ tracks Christy states that the soundcheck itself presents a whole new perspective to his singing and playing which is more relaxed and as he says is not so adrenalin charged and I couldn’t agree more. It’s these subtle differences in his performance that makes the DVD just that little more interesting and, by the way, if you purchase the double CD there’s an additional eight tracks. If you’re a shrinking violet this recording may not be the one for you if, on the other hand you’re made of sterner stuff you won’t be disappointed. Further details from www.christymoore.comPete Fyfe
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Vanishing Girl - Liz Simcock (ANGCD002)
Liz Simcock is the first artist to be signed to Angelic Music - the UK's first label to specialise purely in female singer/songwriters. Liz's music career has been a quiet revolution, after having a song chosen to appear on the 'Playpen' compilation cd alongside Eliza Carthy, Billy Bragg, Eddi Reader and Kathryn Williams. Liz then released 'Seven Sisters Road' her first full length cd, treading her own independent path and building a solid reputation as a live performer along the way. Liz's determination to be totally her own woman is a theme that continues on with this new album 'Vanishing Girl'.
The wry tongue-in-cheek Letisha Boccemski (Liz's alter-ego) gently but firmly lets you know in no uncertain terms that the artist has no interest in swaying with the well meaning advice and opinions of those who think they know better. She knows, as all true artists should, that what really matters, is a calm focus on her music and lyrics above all else. Her source of inspiration is clear in 'The Sand that makes the Pearl'. Quite literally the 'pearl' of the whole album, the song takes the story of the life of Joni Mitchell and works it into a shimmering work of beauty. The message however, goes beyond Joni's personal story to reach out on a personal level to touch everyone who hears it.
"Time and time again the choice for me, Either to be loved or to be free, Has left me wheeling skyward frozen and alone - But it's a winter that brings springtime to my world: It's the sand that makes the pearl."
Blessed not only with a voice that is charged full of emotion, direct, warm and melodic, Liz's lyrics are both calm and passionate, full of poetry and yet instantly accessible, warm and welcoming but tinged with a touch of sadness, perhaps at this mad world we all find ourselves in - it's clear in the opening track 'Fish Out of Water',
"And I feel like a fish out of water trying to breathe, Twisting and turning but the water is out of my reach. You could say that it's just how life goes but I still dream - of rivers running out to the open sea"
In this world of pop idols and celebrity worship, a quiet revolution is indeed taking place!
There are those of us out there looking for the real thing - if that's you, close your eyes, turn off the mobile and prepare for a treat! - www.lizsimcock.com
Jasmine Blake
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Arcanadh – Turning Of A Day (Wren Records WRCD1601)
Well, what a surprise. I had a few minutes spare and just by chance reached across for this more than welcome contribution to my record collection. Arcanadh are a sextet comprising Maria Corbet, Fiona Walsh, Colm Breatnach, Sinead Gibson, Martin Gallen and Mags Gallen. The first thing that is obvious are their references to those that have gone before; early Clannad, Bothy Band, Deanta, Tamlin and Cherish The Ladies – you get my drift and, if you don’t, then where have you been all these years? Still, let us embrace all those influences, package them with a nicely rounded production (particularly where their vocals are concerned) and you have a more than capable unit who can exploit the best of the tradition and include their not inconsiderable talents as songwriters in their own right. Perhaps not as raunchy as say Solas, the band still cut finely honed performances of “Silver Dagger” with established nautical bodice rippers like “Billy Taylor” and, without wishing to sound a party-pooper (I suppose I could be held accused of jolly-ing up certain songs for audiences in a pub) when Arcanadh dilute a ballad as weighty as Mick McConnell’s “The Tinkerman’s Daughter” I’m not sure it’s quite such a good idea. I think this is probably the only misplaced track on what is above all a sparkling album full of choral sounding vocals liberally sprinkled with tremendous musicianship. Further details available from www.arcanadh.com
Pete Fyfe
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CLOGMANIA – Worden Arts Centre – 22nd June.The floor at Worden had to stand up to a fair old battering when it became host to ‘CLOGMANIA’ for the evening.
Renown clog dancer and tutor – Alex Fisher was the driving force behind this marvellous event, her vision is simply to ‘Engage young people and make this heritage live on into the 21st century’ and from what I, and the rest of the ‘packed to the rafters’ crowd at Worden, witnessed tonight Alex is certainly delivering the goods.
The four ‘teams’ of clog dancers came from four local schools,
Three Primary;
St Mary Magdalen’s – Penworthaham
Our Lady & St Gerards – Lostock Hall
Coupe Green – Hoghton
& One High SchoolLostock Hall
Each group of young people danced for 10 minutes or so delighting a crowd that was made up from parents and general public alike (not forgetting South Ribble’s Mayor & Mayoress). These were 4 completely different routines all performed to a very high standard – a credit to Alex who has only had seven workshop sessions with each group.My thoughts when watching these young people perform were first and foremost it was more than obvious that not only did they really enjoy dancing but they were all ‘bought in’ to ensuring that the event was a total success in the way that they conducted themselves whilst other groups were performing giving each other lots of support and encouragement. Secondly I was pleasantly surprised to see so many young lads involved.
It was also nice to see that at least one teacher had donned her clogs and got involved with this ‘new’ extra curricular activity.
When I arrived the four groups were running through a last-minute rehearsal of the ‘Grand Finale’ whereby they would all take to the floor together ‘en-mass’. I noticed that the majority of the youngsters had gone for the ‘traditional look’ of flat caps, waistcoats and shawls whilst others wore modern casual attire – jeans and T-shirts emblazoned with ‘Pop’ slogans . I wasn’t sure whether this would somehow spoil the image of the clog dancing. It didn’t – in fact it was a plus – these youngsters made clog dancing look ‘cool’ which can’t be a bad thing if the idea of the exercise is to encourage more to become involved.
Musical accompaniment for the dancing was in the hands of Carolyn Francis (Striding Edge) who played fiddle and drum whilst the cloggers did their thing.
Musical interludes were provided by ‘The Becky Taylor Band’ with Becky Taylor on Irish pipes, Frances O’Rourke on fiddle and Pat O’Reilly on bazouki. They treated us to a selection of lively slip jigs and Bretton tunes and it was quite obvious from the way that 36 or so pairs of ‘Clog-shod’ feet clattered in time to the music that the youngsters liked what they heard.
During the interval there were displays by ‘Clatter of Clogs’ (Michael & Janet Jackson) – Roger Dower (The clog-maker from Oswaldtwistle Mills) and Leyland Morris Men. There was also a fine display of ‘Clog-related art’ from Our Lady & St Gerards school.
Clogmania received funding from – Awards for All, Lancashire Folk, Eccleston Heritage Clog and South Ribble Borough Council who all deserve our thanks for helping maintain our musical heritage.
If you would like to know more about clog dancing or Clogmania then contact Alex Fisher (Eccleston Heritage Clog) on 01257 453185
Graham Dixon
Return to the Reviews Contents Page James Ross – James Ross (Greentrax Recordings CDTRAX284)
The piano in all its majestic glory can transport the listener (I’m listening to this album in a high-rise flat!) to a different place entirely – take for instance this beautiful recording by young Scots whippersnapper James Ross. For those who can cast their minds back a few years to (what appeared to be) the groundbreaking album The Dolphin’s Way by Michael O’Suilleabhain you can revel in that cool jazz-folk crossover that touched our very souls. The funny thing is it’s been done before and in fact I can remember vividly this particular style of performance back when I was in infants’ school. Traditional Scottish melodies more than their Irish counterparts have an empathic link to jazz interpretation and this is ably demonstrated with the melancholy re-working of ‘The Haggis’ before it is taken into the rip-roaring pace most musicians will be familiar with. There’s not a track on this recording I don’t like and it really makes me feel inadequate as a performer knowing that I’ll never attain the peaks achieved here but then again, that’s the nature of the beast – you are ultimately in charge of your own destiny and if that is the case Ross will be well rewarded for his efforts. A majority of the tracks rely on the good old ‘trad arr:’ but just as effective are the use of Andy Cutting’s “Spaghetti Panic” or his own composition “Deirdre’s Computer Slip”. Produced by Brian McNeill it’s pleasing to note that James is allowed plenty of space to breath with only a mere smattering of accompaniment for a touch of colour – in fact, this is one of those rare recordings that everybody should have in their collection just to prove that ‘real’ music can make a difference. Contact www.greentrax.com for more details.
Pete FyfeReturn to the Reviews Contents Page
Fran Rodgers at Escobar, Wakefield. Sunday 19th March 2006Some singers simply sing lyrics, some live the lyrics, the rare talented ones take the audience within the songs and on to a higher musical experience, Fran Rodgers is such that rare talent. Her thirty minute performance at the “Acoustic all-dayer” at Wakefield’s Escobar was a musical joy to behold. Every word was sung with a delicate, yet powerful pureness rarely heard. It would be easy to describe Fran as Yorkshire’s answer to the multi-award winning Karine Polwart, however this would detract from the uniqueness of Fran’s song-writing and singing abilities. Her set included songs from her new and acclaimed four-track CD ‘Let the Rain Fall’, each song being individual and poignant. The perfect antidote for a day of stress would be to dim the lights, have a glass of wine and play a Fran Rodgers CD over and over and over…
Paul Abraham
www.leedsmusicpromotions.comReturn to the Reviews Contents Page
Shaun T Hunter - The Great DepartureRunning time 62.53
If you are one of life’s “fortuitous people” you will hear an album which has a profound effect on your life, Shaun T Hunter’s recently launched CD “The Great Departure” is such a CD. Personally I have never listened to an album of songs which have touched me so emotionally and spiritually.
Seeing Shaun “live” is a wonderful experience, however, in a noisy pub it is impossible to take in all the subtle and poignant lyrics this unique song-writer produces.
A ‘normal’ CD review outlines the songs and describes or quotes certain lyrics, to do this with Shaun’s CD would take a ream of paper, due to the complexities and feelings described in the songs, all of which we have experienced along our journey in life, including all the pain, suffering, despair, hope and joy.
To listen to these songs, either in a room of subtle lighting or with your eyes closed takes you to a higher consciousness, where you will find, or touch, your own personal god, spirit or destiny.
Paul Abraham
www.leedsmusicpromotions.comReturn to the Reviews Contents Page
Richard Digance – Working Class Millionaire (Castle Music CMDDD1328)I don’t want to be a clerk, a conductor or a spark or a music journalist for that matter – but hey, we all need to earn a living somehow and Richard Digance predominantly makes his with guest appearances on Countdown these days. Mind you, throughout the 70’s Digance used to be a regular performer on the folk circuit. It was at the Bird In Hand folk club in Forest Hill that I first met Richard and for some reason I purchased his debut album (hot off the press if memory serves me right?) ‘England’s Green and Pleasant Land’ without knowing what he sounded like. It was on the strength of talking to him prior to the gig that I felt I could trust him to turn out the goods and, thankfully my judgement proved right as the album was a revelation to me in my inexperienced youth as a budding folk performer. His gig proved to be just as revelatory with songs including the gorgeous ‘Migration Memoirs’ and ‘A Natural Gas’ which hinted at the strength of his leanings towards a clever and comical lyric. Of course he later established himself as a consummate support act to the likes of Steeleye Span and in fact his second album ‘How the West Was Lost’ (and still my personal favourite) produced by Steeleye’s Rick Kemp was a landmark Melody Maker album of the year. As well as the emotion wringing title track it included plenty of other great numbers such as ‘I Hear The Press Gang’, ‘Drag Queen Blues’, ‘Dear River Thames’ and of course ‘Working Class Millionaire’. Although pretty much overlooked by the music press his third recording for the Transatlantic label ‘Treading The Boards’ still had some good tracks including ‘The Red Lights Of Antwerp’ and again a trusty music hall inspired ‘Rosemary McLaren Of The Strand’ - a precursor to ‘Drinking With Rosie’ perhaps? He always was a class act and this can be heard to great effect on the ‘In Concert At The Rainbow Theatre’ album which featured the wistful ‘Beaver The Believer’ showcasing his talents as a guitarist of great quality and humorist par excellence. The heady days of a ‘folk music’ career may be long gone for Richard but for those of us old enough to wallow in the nostalgia of it all, we can feel sated that this 2 CD (4 album!) package of those early recordings will once again get a good airing. Further details from www.sanctuaryrecordings.co.uk.
Castle Music should be congratulated for all their recent Transatlantic re-issues and perhaps, if anyone at the company is reading this review they might consider getting the rights to the first three JSD Band and Harvey Andrews recordings – how about it?
Pete Fyfe
Richard Digance – Fairfield Halls, Croydon (18.10.06)
Richard Digance is no new comer to an audience at the Ashcroft Theatre. Mind you, this was an afternoon concert and as he pointed out a bit of a new departure on behalf of the management at the Fairfield. Casting my eyes about I couldn’t help but notice that the assembled throng were predominantly of a ‘certain age’ and appeared to be counting down (sorry about that) the minutes in eager anticipation of the arrival of the man himself. With just a guitar for company he immediately engaged his audience as if he was meeting a bunch of mates down the pub and put everyone at ease with his friendly Cockney banter. Unusually he decided to sit down for a majority of the performance and not unlike his own childhood hero Val Doonican soon treated everyone to a mixture of songs, tunes and poems interspersed with anecdotes of his time as a guest on TV’s Countdown and tours with Jim Davidson. Although these days he might be better established for his appearances in Dictionary Corner, he certainly knows how to hold centre stage and with splashes of colour including the digitally challenging guitar set-piece (ranging from Bach to Ragtime) he can certainly ‘entertain’. In time honoured end-of-the-pier tradition his off the cuff routine - inviting a couple of the audience to join him on stage to read one of his poems - proved an obvious ‘local’ crowd pleaser whilst his song “200 Remembers” had us all yearning for the days of Spangles and Flying Saucers. It’s hard for any artist to be tempted out of bed for an afternoon gig …and let’s face it, what self respecting musician would want to (?) but Digance did it with aplomb!
For more details of upcoming dates check out his website at www.digance.co.ukPete Fyfe
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Jeff and Vida - 'Loaded'
Jeff Burke and Vida Wakeman are 'Jeff and Vida', formerly of New Orleans, in the aftermath of last years dreadful events relocating to Nashville, they are a duo rooted in traditional Americana music, chiefly bluegrass influenced but with side dishes of Blues, Rockabilly, Country, mixed to create a more than edible main course. They have been making their mark across the Americana scene in the US and have been making regular trips to the UK and Eire since the late 90s, have won and been nominated for several awards for both their recorded work and their live performances, and are regularly invited back to events such as The Johnny Keenan Banjo Festival in Eire and the New Orlean Jazz and Heritage Festival, an indication perhaps of the strong impression they leave behind of their live performances.
Like their previous two releases ('The Simplest Plans' and 'One Horse Town') 'Loaded' consists entirely of their own compositions (twelve in this case) although more than once I had to do a double check on the CD notes to check whether the song was contemporary or had been written in years gone by, despite the freshness and individuality of their sound, they do more than justice to the traditional roots of the music.
The tempo and feel of the songs are as wide and varied as the topics they cover ranging from the faster bluegrass influenced road song 'high load, heavy load' via 'Dont give your heart to a stranger', to the much slower 'Blessed but Not Favoured', another song reflecting life on the road (a reflection of their own lives and lifestyles perhaps) and 'I cried' representing a further departure through the variety of Americana music they respect and pay homage to in their own manner, in that particular case bringing Patsy Cline to mind. Whilst the bulk of the songs have their lyrical contents covered by Wakeman's powerful vocals, Burke provides Guitar, Mandolin, Banjo and lap steel Guitar often providing multi-dimensional layers to the release as a whole, working in harmony with Wakemans Burke provides some of the impressive (and sensitive on the slower tracks) Banjo and Mandolin playing in Americana.
Having seen Jeff and Vida for the first time about five years ago and already having their two previous releases in my collection 'Loaded' was pretty much what I expected from the duo which in no way makes it predictable, their sound is as fresh, energetic and original as it was the first time I saw them and long may it continue.
Expect to hear more from this duo in the future and I hope they make their trips to the UK a more regular occurance, for further information, clips and tour schedules visit www.jeffandvida.com.
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Janis Haves - Big Front Door
Listening to Big Front Door, the first solo album from Janis Haves - one half of Haves and Haves the other being her husband, guitarist and producer Geoff - is a bit like being a welcome guest in her home, you're privileged to be there as a well-thumbed family album is opened. Warm memories and experiences pour out of every note and line. It is impossible not to be enchanted by the magical world Haves has created. To step through the Big Front Door is to enter a better place. Somehow it is entirely fitting that the artwork for the album should come from a birthday card given by Geoff to Janis. It encapsulates the whole weave of personal and family history that runs though the heart of Big Front Door. It also provides and instant connection between artist and listener.
Haves also provides a reminder of how incisive, beautifully simple folk music can be. Her voice on songs like The Box pierces through the darkness like a pinpoint of light. There is a crystal clarity about what she says and how she says it. In common with the very best of folk singers, male or female, Haves displays a strength of purpose. As with Joni Mitchell or Joan Baez, there is nothing twee or condescending about either Janis Haves or Big Front Door, Waiting For Jesus for one is sombre and direct . But whether it's the touching Gwendoline or the well of emotion that is In My Chair, a song written and performed through her grandfather's eyes, or even the straight, pacy narrative of Mary and Me it is impossible to escape the magnetism of these stories. For the space of an album her personal is your personal. She is so engaging a performer that you can't help but become inextricably entwined in songs like Blind Leading The Blind, but more important than that you can't help but care about them.
Big Front Door is the musical equivalent of having a masterpiece painted before your eyes. Each song adds another shade until the picture is complete.
Michael Mee
www.netrhythms.com
Visit www.janishaves.com for more information.Return to the Reviews Contents Page
BEYOND THE SAND
Les Cameron & Barbara Helen (Saltburn Beach Music SBM)
Saltburn residents Les & Barbara are two-thirds of Third Party (who went down very well at July's Nature's World festival), and this is their first CD release as a duo partnership. It works well too, with proficient and characterful singing and attractive, mellifluous accompanying guitar work; Les and Barbara share the lead vocal duties, and Barbara also doubletracks some nice harmony vocals on several tracks. The material they perform is a persuasive mix of traditional and composed songs. Here, of the CD's ten tracks, six are penned by Les himself (one of those co-written with Barbara), and there's a setting of Walter Scott's Maid Of Neidpath by Barbara. Les's songs at their best convey simple truths and direct emotional responses in an equally direct musical idiom that at times owes as much to contemporary country as to folk (I particularly liked the poignant Johnny-Cash-style duet Loving In The End). The traditional songs are generally well chosen: Ploughman Lads is acknowledged to come from the singing of Nic Jones, whereas I Am A Youth Inclined To Ramble, described as a "poignant, romantic piece with a beautiful melody", gives Barbara the chance to demonstrate her mastery of effective minimal decoration. The third traditional song, Matt Hyland, I initially thought less successful, for in deciding to adopt a rather choppy syncopated rhythm for singing the text the essential flow of the narrative seems disrupted somewhat - but strange to say by third play I actually rather preferred it to the more orthodox, altogether sweeter treatments of other singers. The recording process was presided over by Brian Bedford, and the result is admirably clean and clearly defined. To purchase this attractive and good-sounding CD, contact: 01287 - 624528.
Email: lesandbarbara@ntlworld.com
Website: www.saltburnbeach.co.uk
David Kidman
Folk Roundabout
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Steeleye Span – Bloody Men (Park Records PKCD81)
A great title! - that nicely puts across the point of a majority of the album. Steeleye (for me anyway) were always the folk-rock band of choice for a juicy ballad and in Ken Nicol they’ve found a fine replacement where once stood Bob Johnson. Being the fresh blood (sorry about that) within the ranks of the band Nicol’s sense of the dramatic in relating British history is well researched and documented in the informative sleevenotes. It pays dividends on his own compositions ‘The Story Of The Scullion King’ and ‘Demon Of The Well’ whilst the obligatory trad.arr ‘The 3 Sisters’ and a slightly twisted arrangement featuring Maddy Prior’s vocals taking on the male perspective on ‘The Bonny Black Hare’ it’s good to see the band biting back again. Another great thing about Ken is his undoubted talent as a guitarist. Whether rocking it out on electric or his beautiful finger-picked acoustic playing on ‘The Dreamer And The Widow’ he proves a worthy contender for my personal musician of the year. Of course, instrumentally speaking the other members are no slouches either with Peter Knight at his fiddle flailing best on a powerful set of tunes and Rick Kemp’s bass offset by Liam Genockey’s drums provide just the right tension in the rhythm section. The second CD features Rick’s five part storytelling of the Luddite Rebellion providing a showcase for the band’s theatrical wide-screen approach to their subject matter. In many ways I’d say this album is a bit of a ‘sleeper’ in that it will grab your attention when you least expect it but that’s also what will keep it fresh.
Further info from www.parkrecords.comPete Fyfe
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Steeleye Span – Folk Rock Pioneers In Concert (Park Records PRKCD89)Do you know, I don’t think in all the time I’ve been a fan of Steeleye I’ve ever heard them produce a bad album - not bad for a band who have been together forty years! OK, it goes without saying that a lot of the numbers on this album are well established favourites (with their fans) but if, you are that way inclined the inclusion of ‘King Henry’, ‘Sir James The Rose’ and ‘Long Lankin’ will sate those of you who enjoy a bit of a gore fest whilst those who are looking for the an element of smugness in their lyrics can turn to the perennial hit ‘All Around My Hat’. Personally, if you’re looking for a track with real substance then I’d check out ‘Betsy Bell & Mary Grey’ which is a superb bit of showmanship from Peter Knight whose evocative violin is just the right foil for Maddy Prior’s plaintive vocal on a chilling tale of the deaths of the said ladies from contracting the plague in 1666. Instrumentally the band haven’t sounded better with those great bass lines from Rick Kemp, Ken Nicol’s sparring guitar on ‘Cam Ye O’er Frae France’ and most notably Liam Genockey’s drum solo neatly segueing into ‘Drink Down The Moon/The Cuckoo’. In his sleeve notes Phil Udel states that more than a debt of gratitude from the likes of Jim Moray and Bellowhead are owed to Steeleye and I totally endorse his views. If you’re just getting into the traditional British folk scene then I can’t recommend this recording more highly - if you’re already a committed fan then you won’t need any cajoling. Further details from www.parkrecords.com
Pete Fyfe
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Steve Gillette and Cindy Mangsen - LiveMany things, and much of life, is 'awesome' these days, the words to over exaggerate our perception of this or that moment abound and are often made into nonsense by their inappropriate use. Of course, for some people, exaggeration may be a way to escape the dull thud of another unexciting day. So here am I, I cannot say I need to punctuate another boring day, I simply cannot remember having a boring day, but I do need, here and now, some big word to describe something that really was 'extraordinary'. So I reach for my Roget's Thesaurus, purchased in Foyle's book shop, Charring Cross Road London, in October 33 years ago. It only cost £0.65 pence back then, probably a lot of money for me then, but look what it gives me now 'THAUMATURGIC' 'that which has the power to work miracles' - my MicroSoft spell checker wants to correct the spelling but my Oxford Dictionary knows better....How on earth would you pronounce it ?
Thaumaturgic is a word that can really describe the powerful concert which, Steve and Cindy gave. Two parts of about 50 minutes and more than twenty beautiful songs. Cindy has a voice of which any angel would be proud and she compliments and contrasts the several voices which are Steve's. It was a very 'Folk' sounding concert Cindy squeezing harmonica's and Steve playing the guitar in a way which many of us, so called guitarists, would love to be able to achieve.
The material was rich and deep and full of stories, with powerful melodies and strong hooks, 'Here's to the Rocky Road' has been buzzing around my head for nearly a week now. Steve wrote some, and Cindy wrote some, and Steve wrote some with some other people, and some other people wrote some without Steve and Cindy so there was a huge range of ideas with each song thaumaturgic it's own right.
The audience sat memorised, tapping feet, laughing at the jokes and the extremely funny, and very clever, song ' I'm My Own Grandpa' by Moe Jaffe and Dwight Latham, from 1947 and based on a Mark Twain anecdote. http://users.cis.net/sammy/grandpa.htm (you can hear the tune on this linked page but it is not Steve and Cindy playing the music). Both Steve and Cindy are possessed of large enough self images to make the audience feel comfortable and their vast experience in live performance meant that everyone present became emotionally involved. Another thaumaturgic moment.
I have been getting to know Steve, through e-mails, for about 8 months now, however, it is so much more powerful when one meets face to face. My head full of the information gleaned from the http://www.compassrosemusic.com a nervousness came over me knowing that I to must perform in the same concert and I wondered if these people with so great an history would be kind or honest. So we sat, guitars in laps, wondering where to begin then it struck me. Tom Paxton was the link between us so I started tickling the strings with 'The Last Thing on my Mind', 'Just how Tom does it' said Steve, nice, may be honest, anyway the ice was broken and off the three of us went swapping songs swapping stories, it was obvious that we had all come up that rocky road, so another thaumaturgic experience took place.
When it was all over, and it was time to go, like a child finishing Christmas, I had that longing that it would just last a bit longer. Great concert, great people they are always touring so look out for them, for if you miss them you may well have missed one of the thaumaturgic concerts of your life.
Almond Greenway
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Johnny Dickinson - LiveLooking relaxed and making one of his now rarer appearances on his home turf, Johnny played a beautiful set of slide-guitar and finger-picked blues; a set that took us on a global trip from Mongolian yurts, laid-back Hawaii, India, and even down the terraced pit rows of Pegswood (a mining Northumbrian village). The man's a true blues-master. Johnny's slide playing is simply mesmerising, and he's got a unique feel for British folk in both interpretation and voice. Johnny's vintage blend included his own classic tracks like 'Beach Road' and new favourites like 'Map of the World' and tunes from his delightful Northumbrian 'Border Ballads' album - tunes composed by Johnny and featuring the sumptuous words of Algernon Charles Swinburne, as demonstrated on 'A fragment of a Border Ballad'. Johnny really talks the talk an all (he really is great crack live). The show included a wonderful rendition of Black jack Davy, a catchy rendition of Jock O'Hazeldene, some haunting improvised airs and yes, Scottish pipes on the slide guitar as Johnny played a stunningly beautiful version of the Drunken Pipers. It's the second time I've heard him play it and it...just... gets me somewhere. Johnny Dickinson's a Northumbrian gem. If you missed him - go and treasure him next time he's playing!
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Ribbon Road - 'The Tender Coming'Ribbon Road are Brenda and Geoff Heslop who originally hail from Northumberland, but are now living on a tiny island on the west coast of Scotland. Their music is up-front and personal in it's approach, using the craft and experience of many years to present music of surprising directness and emotional honesty.
'The Tender Coming' is the latest of four albums made over the last 14 years, combining the singing and songwriting talents of Brenda with the arranging, production and performing of her husband Geoff. Combining fine lyrics with two voices which complement each other perfectly, the result is a music of deep emotion that speaks to the audience on a very personal level. It is a set of 13 intimate and searing torch songs - stark, mimimal and led by Brenda's exceptional vocals. It unashamedly takes you on an emotional journey through themes of loss, betrayal, faith and the tortuous nature of romantic love. Brenda's haunting voice and the close vocal harmonies from Geoff are synchronised and perfectly in tune, drawing the listener into the intimacy of their relationship. You almost feel you're in the same room as they are.
Ribbon Road's work is increasingly fascinating, the album covers (by Geoff) are fused with their music to form complete artworks.
All the musical work of Ribbon Road can be experienced and bought on their web-site www.theshipbuilders.com
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Stitherum - 'Threads'"Fourteen tracks from Sue and Mike Dewsbury of Gainsborough folk club. A thoughtfully selected collection of material from contemporary folk songwriters, from tragic to comic and including Woven Threads of Linen, Sue’s winning song from the 2003 “Write a Song for Lincolnshire ” competition with its unique approach to the story of the second world war bomber squadrons in the county.
Comedy comes in the form of Bernard Carney’s Cricket Lovers and the gentle wit of Brian Bedford’s Too Old To Care, plus Mick Ryan’s The Devil and the Widow, now as much a part of the tradition as many a 200 year old song.
Outstanding track on the album however is He Fades Away from the pen of Alistair Hulett, a story of lung disease in the mining industry. It’s a song which fully tests the interpretative skills of any performer and Stitherum pass the test with flying colours, a clean and uncluttered arrangement with clear and sensitive singing which leaves the song to speak for itself..
The no nonsense delivery of quality material from Sue coupled with Mike’s understated guitar work make for a very listenable album with plenty of depth and variety" See www.angelfire.com/folk/stitherum for more information
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Adrienne Young & Little Sadie: The Art of Virtue
www.adrienneyoung.comAdrienne Young has a unique flair in her music that is an enchanting mix of old-time and pop with 21st century musical keenness and business acumen. Young's astute approach involves association with consummate musicians, charged-up arrangements, thoughtful messages, and bright and breezy vocalizing. Like her debut 'Plow to the End of the Row,' Young's sophomore effort, 'The Art of Virtue,' is on her own Addiebelle Records. One has to appreciate this talented, young lady's self-confidence as she continues to build her resume in a very competitive field.
'The Art of Virtue' was inspired in part by Ben Franklin's 'virtues of man' writings and stories. Songs like 'My Sin is Pride' and 'My Love Will Keep' and 'Wedding Rings' emphasize the themes of morality, goodness, and high levels of integrity. Her messages might have a nostalgic look back to yesteryear, but her music is very contemporary and soothing. There's certainly nothing wrong with a thematic album that appeals to us in a visceral way 'down where the roots grow deep.' Ballads like 'Ella Arkansas' and 'Rastus Russell' paint powerful pictures and tell engaging stories while incorporating country and acoustic blues riffs.
Art of Virtue features Young's proficient songwriting, some reinvented old-time fiddle tunes, the gospel standard 'Farther Along,' and the Grateful Dead's classic 'Brokedown Palace.' A Zydeco-flavored 'Wedding Rings' is a spirited performance that gets us up and cutting a bean, while 'Don't Get Weary' is an old-timey offering with frailed banjo, guitar, bones, resonator guitar, and voices. Young's lyrics offer mature and solid advice, usually gained from a lifetime of experience. Her smarts and wisdom belie her age.
A grad of Belmont University's music business program, Young's career took off after winning the Chris Austin Songwriting Contest at Merlefest. Her 'Plow to the End of the Row' CD earned a Grammy nomination for album design. On 'The Art of Virtue,' Young's songwriting exhibits honesty and a natural inclination to create lyrical and melodic treasures. Her singing shines with its greatest lustre on the slower songs, while a few pieces (like 'Don't Get Weary') portray a more arduous side to her voice. An uptempo 'Farther Along' is an interesting bluegrass presentation that certainly works, but her greatest success is as a storyteller of original folk tales. Young's parables put to music are very likeable.
Joe Ross
Adrienne Young & Little Sadie – Plow to the End of the Row
www.adrienneyoung.com
Playing Time – 48:49Originally from Florida, Adrienne Young may be a new face on the Nashville music scene, but she and her band Little Sadie are making a big splash with their neo-traditional sensibilities that incorporate elements of folk, country, and bluegrass. Keep in mind, however, that this is an independent release so just how far and wide will her largely original music get disseminated? On the other hand, Adrienne is a recent Belmont University graduate with a music business degree who has a considerable amount of business acumen. This debut CD is packaged in such a way that garnered her a Grammy nomination for best recording package. The tri-fold digipak comes complete with a 20-page paper booklet (all lyrics included) and a small packet of wildflower seeds. Take her advice to break dirt and cut the furrow. With a voice as sweet as the lemon mint, Adrienne’s sharing a bit of that passion and love for music that blooms in all of us.
The music on “Plow to the End of the Row” is solidly crafted and has a pleasant, at times striking, feel. The band’s instrumental and vocal prowess are more than sufficient, and Will Kimbrough’s and Todd Schneider’s french harp playing (on two tracks) is an especially nice, relaxing touch. The bluesy quality on “Home Remedy” is perfect to emphasize the power of love to cure most anything. Other standouts include Tyler Grant’s lead guitar and Clayton Campbell’s fiddling on a traditional tune like Leather Britches or Lonesome Road Blues. The banjo (played by Robin Rucker, Ketchum Secor, Will Kimbrough, or Adrienne) is only given a subordinate role for fill in ten songs. My own personal preference calls for mandolin over snare, drums or drum loops. Their vision for success today, however, necessitated the latter forms of percussion, and this may actually allow them to get them more airplay on the likes of Americana and public radio “fresh tracks” programs. Electric guitar and drums draw them closer to the modern singer-songwriter folk genre.
Adrienne’s messages are thought-provoking and presented with genuine sincerity. Her advice in “Blinded by Stars” is to not “let the towncrier decide if we go to war” and “don’t be blinded by stars tangled in stripes.” Her song, “I Cannot Justify,” addresses reincarnation, but a deeper message deals with personal growth as she sings “How can I justify the narrow vantage of these eyes, such a good disguise, I cannot justify.” The title cut is a straight-forward expression of the trials, tribulations and hardships faced by farmers.
“Sadie’s Song” starts with the fiddle tune’s familiar riff but evolves to become a tragic murder ballad of trust gone astray that provides us with some insight into the rationale for Sadie’s ultimate demise. The song took first-place in the bluegrass category of the 2003 Chris Austin Songwriting Contest at MerleFest. “Poison” and “Nipper's Corner” get a little too raucous and pop oriented for my own tastes, so I’m glad to see the band come back to leaner and more acoustic arrangements by the album’s last few traditional offerings.
Adrienne Young demonstrates a maturity that belies her age, and she’ll see plenty of better days ahead. She’s been able to translate her vision into a welcome and successful Americana journey. With her soft, silky voice and songwriting talent, she’s sure to go far. I think she’s just trying to get people reconnected with what’s important in life. She sings about being born a rebel and questioning what she’s told. Let’s hope that her premonition “no wonder this young skin I’m wearin’ feel so old” does not come true and discourage her. In fact, it’s her confidence, independence and business savy that should propel her to greater heights in an industry in need of something organic, pure and fresh.
Joe RossReturn to the Reviews Contents Page
Almond Greenway - LiveIn February I was visiting friends in Newcastle upon Tyne, They invited me to a Tom Paxton concert, excellent. However, I really enjoyed the man who introduced him, Almond Greenway, he made a speach and sang a song, the performance was all to short. After the concert I was able to buy his CD 'My Passport Says Planet Earth' - Just this fabulous voice and a simple guitar, I think it is great. There are a couple of songs on the album which some folkies might not think should be there but if you read the cover notes you can see why they have been selected.
One song 'The Galway Shawl' he learned from the great Christie Hennessy. Unaccompanied and you can just see the shawl draped around a beautiful Irish girl.
I like too his view that 'My Passport should Say Planet Earth'.
Simply great. I found his web site at www.almondgreenway.com
Gerald Barrington
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Angie Palmer - "Road"
Palmer is a Lancashire based singer songwriter who from the age of 17 spent seven years busking and playing concerts on the streets of Europe (mainly France and Switzerland) before finding herself back in the UK. Her experiences playing, busking and earning a living through her music in Europe has impacted on both her playing style (as she explains she had to play hard to make herself noticed and make an impression on the Paris pedestrians) and her songwiting. Her style broadly falls into the 'Americana' genre with clear Country and Country rock influences, amongst others, whilst certainly not being a carbon copy of any of the current well known crop from across the pond.
"Road" consists of nine jointly composed tracks and Palmer is accompanied by Acoustic Bass, Fiddle, Mandolin, and Cello alongside her own Vocals, Guitar and Banjo playing. She has also co-written all the lyrics with Paul Mason which range in subject and tempo from the more reflective "Down the Street of the Cat who Fished" to the more Honky Tonkish rocking Fishtails whilst detouring through the smoother Country song "Ballad of Love and Strife" and opens with the strong and country rocking "Footpints in the Snow". Apart from Palmer's mature and diverse vocal styles the lyrics themselves are incredibly strong and whilst they deal with human relationships in the broadest sense they are the signs of a very strong storyteller in their own right.
Rarely has an independant recording come along (although to be fair Palmer has spent many years learning her trade, years that were well spent) which contains such a strong mixture of songwriting, vocal and musical skills, combining a firm edge with sensitivity, a rockier component with balladry and more contemplative elements such as the lengthy Down the Street of the Cat who Fished" (worth buying for the song title alone), this is a recording that really doesnt fail to please, no fillers, every track stands out on its own merits and a clear indication of the strength of the whole. That aside I still suspect that Palmer's strengths even more in her live performances, and I'll certainly be grabbing the first opportunity to test that hypothesis
This is Palmers third release and with this recording she has started to mark the impression she rightly deserves (the strength of this recording alone should be suffice to ensure that) and I would imagine or more accurately predict that she will be a far more regular booking in the better venues shedules soon.
For more information visit Palmers site at www.angiepalmer.com and expect to see her at a venue near you soon.Return to the Reviews Contents Page
Swill and The Swaggerband - "The Day After"For those of you who are unaware, 'Swill' (Philip Odgers) is one of the frontmen of longstanding folk rockers The Men they Couldnt Hang. This is a Odgers first side project where essentially he took a set of tunes, a handful of friends and some instruments and stayed in the studio until he got the result he wanted, by that I dont mean that months were spent polishing and shining the release, on the contrary Swill and friends booked the time they needed and simply played until they produced the result they wanted.
The end results consists of 13 tracks, a mixture mainly of his own compositions, and some others re-arranged for the recording, as well as Swill's guitar and vocals he's joined for this session by the renowned Bobby Valentino on fiddle (the chances are youve heard Mr Valentino's fiddle even if you dont realise it), Tom Spencer on Guitar and Banjo, fellow band member Ricky Maguire on Acoustic Bass and Jon Odgers on percussion.The songs are considerably more mellow than Men They Couldnt Hang Material, not to say they have any less of an edge to them in their own right. They range in subject and tempo whilst they do suffer to a small degree from 'sameness', there isnt one song that fails to stand out on its own merits or grow with repeating listening, that said the two or three tracks that particularly stood out for me were the opening track "The Thief, the Brief and the Boy in Blue", probably the closest to some of the earlier Men material lyrically and in style, 'The Day After', a rather chirpy tune concerned with the last few moments of love and life after (I assume) a nuclear holocaust, 'In the Jailhouse Now' a finger tapping tune where Swill is accompanied by guests Marsha Swanson (vocals), and Jamie Mathews on Ukulele. As a contrast 'Lost in the Flood' describes (as indeed you may well guess) the rise of rivers and the associated destruction (homes and lifes etc) is treated with the respect and feeling it merits (Valentinos fiddle really stands out here for its sensitivity) and personally this track more than any other made me reach for the repeat button.
One minor criticism include the lack the inlay details, which had the knock on effect of making me listen a little bit harder to the lyrics...., that aside I for one am looking forwards to the next 'Swaggerband' release which could be sooner rather than later, Swill has recently signed up to Robb Johnson's irregular records and all being well a further release of songs which couldnt quite make it onto this recording will be hitting the streets.
The 'Swaggerband' have made a few trips out into gigland, visit www.tmtch.net to see if they are playing in the not too distant future and for further information and news.Return to the Reviews Contents Page
Bob Cheevers – Fiona's World (Berkalin Records 10002)
Fiona's World is almost cinematic in its proportions, which has prompted me to outline a proposal for a new blockbuster. I think I'm going to cast Brad Pitt as our main protagonist, if that's okay with you Bob. I would have preferred Paul Giamatti but this has got to be a hit. Our leading lady will probably be Kate Winslet; she's from Reading which is as near as dammit to the New Forest where Fiona resides, so the accent shouldn't be much of a problem.
The plot is simple. Green-eyed blonde beauty sketches visiting American singer whilst singing songs about the Civil War in a Southampton club. American meets artist after show and promptly falls in love (with Fiona, not the sketch). Winslet will be okay with this as she did precisely the same in Titanic only in reverse. Locations used throughout include the American Deep South, Southampton, the nearby New Forest and Paris. Okay, it's going to be a romantic movie.
Bob Cheevers has set out this romance quite eloquently, referring to it as a 'mystical journey and symbiotic relationship' in no less that forty poems and sixteen songs, fourteen of which are contained within this handsome package, featuring Fiona's original sketch on the cover. Cheevers wears his heart on his sleeve here, with an outpouring of emotion, which probably came as much of a surprise to him as to anyone else. On "New Forest Girl", he squarely admits he didn't see this coming, as in the outset of most symbiotic relationships that embark on mystical journeys.
Specific songs relating to familiar landmarks of Southern England sound rather enchanting when spoken or sung in a voice reminiscent of Willie Nelson. With a backdrop of the New Forest, Bob and Fiona play out their romance with little interruption from any extras. This is essentially a screenplay for two.
By scene six, the action moves from England to France, after our Romeo and Juliet's first encounter in Southampton. To sweeping accordion fills, we find our sweethearts roaming the Champs-Élysées after carefully planning out their rendezvous in Paris. This is where Winslet predictably gets her kit off and goes for the love scene that will finally get her that much sought after Oscar, you know, the one that continually seems to evade her.
Whilst "Only Roses" appears to be the stand out song on this imaginary soundtrack; a poetic confessional that alludes to all the inadequacies that a traditional 'dozen red wishes' has to offer, "Every Beauty" celebrates romantic love in the most direct form; 'every beauty must have a flaw, but I have yet to find yours'.
Fiona herself makes a cameo appearance in this movie, singing her part in a duet on "Pictures of Strangers", which is immediately convincing. It becomes increasingly ambiguous as to who exactly is the artist here and who is the muse. The lines are frequently crossed throughout the fourteen songs.
My only reservation about this completely romantic collection of songs is the climax, which is essentially "New Forest Girl" speeded up as a hoedown. It's a mixture of Thomas Hardy meets the Clampetts. I feel if this track had to be included, it should've been one of those 'hidden tracks' that pops up five minutes after the album has ended. Having said that, if you allow yourself to be drawn into Fiona's World, it really is quite an engaging experience.
Allan Wilkinson
Bob Cheevers - "One Man One Martin"
Bob Cheevers is a Nashville based Singer Songwriter who occupies that arena which is described as Americana these days, and he has made a significant impact in that field with two of his recent albums charting in the 'Americana Charts', his music is clearly rooted in the best traditions of story telling and has clear Folk and Delta Blues influences. Cheevers has his roots, both ancestral and musically in the Mississippi Delta, and whilst he has been based in Nashville since the early 90s his music and stories are often still focused on and influenced by his origins, and stories of characters of that area.
Whilst many may not have heard of Cheevers he is a regular visitor to these shores often playing thirty or more dates on relatively short visits and as often as not he will return with a new recording usually with a slightly different slant to it. In this case the CD does exactly as it says on the label, so to speak, Cheevers has here released a collection consisting solely of his voice and guitar with no need for any other accompaniment. Stripped right down to the bare necessities,
'One Man One Martin' consists of 12 songs which vary from exploring (sometimes intensely) relationships in songs such as 'Drowning Moon', 'Ruby, Scarlet and the Sacred Rose' and 'Heads and Tails' to tales of characters he has either met on his (considerable) travels and experiences or who are products of his imagination. Tales such as 'Horseshoe Man' and 'The Quick and the Dead' bring to mind times long gone in the West and Cheevers ability to bring such times and his characters to life through his words give extra deepness to the words.
Cheevers is a songwriter who appears to write (rather prolifically at times) of characters and feelings that have genuine meaning to him and this is probably reflected in an almost detectable integrity in his songs, as he himself puts it 'I dont know if these stories are true, but they happened to me', clearly why he can sing of his subjects with such familiarity and feeling at points.
For more details and to check future UK tour dates visit Cheevers website at www.bobcheevers.comReturn to the Reviews Contents Page
The Machine Breakers - "The Bells Ring Anyway"
It certainly doesn't seem like 2 years since their last album but it most definitely is and the wait has been well worth it. Twelve great tracks make up 'The Bells Ring Anyway' and there's a new coherence to these latest songs from the now three piece Machine Breakers. The whole thing has a silkier feel to it, a new richness, a professionalism, yet it still retains the powerful, raw spirit of Julian Pollard's earthy songs.
Typically, Simon Othen's guitar work accentuates Julian's own work beautifully as he picks, strums and slides his way effortlessly behind the gritty vocals. New man, Mark Platt, has brought a softness to the mix with his excellent backing vocals, percussion work and fine whistles.
There's a variety of moods to take in here and not a bad track in sight. Opening with the punchy, statement laden, 'Mediocrity (UK)' and finishing with the subtle and moving, piano (Steve Preston) backed title track this is a fine, contemporary, piece of work. I particularly liked the moody use of cello (Catherine Oldham) on the superb 'You Haunt Me', the subtle guitar work of the excellent 'One Regret' and the combined vocal work, powerful guitars and brilliant lyrics of 'Hit 'Em Hard'.
There's other guest appearances worthy of mention here too with Luke Wormli on harmonica and Alesandra Di Prospero on flute; both adding their individual touches to this remarkably fine album.
'The Bells Ring Anyway' is a brilliant piece of modern aural sculpture and by far the best thing thus far from this talented acoustic trio.
Peter Brown (www.toxicpete.co.uk)
More details of the Machine Breakers can be found at: www.themachinebreakers.comReturn to the Reviews Contents Page
Doyle Lawson and Quicksilver – Beyond the Shadows
Sugar Hill Records SUG-CD-3753
Publicity [at] sugarhillrecords.com
Playing Time – 32:38
Songs - . When We Meet to Part No More, 2. By the Side of the Road, 3. Babylon's Falling, 4. Every Time I Feel the Spirit , 5. Beyond the Shadows, 6. When the World's on Fire, 7. When Life Is Over, 8. Hiding From the Storm Outside, 9. The Wings of Faith, 10. The Long, Long Journey, 11. We'll Sing in Gloryland, 12. My Lord Delivered Me“Beyond the Shadows,” now being reissued by Sugar Hill Records, is Doyle Lawson and Quicksilver’s third gospel release (from 1986), and it celebrates a few different highlights in the band’s career. Firstly, it celebrates the band’s existence for a quarter century since their formation in 1979. The band signed with the Sugar Hill Records label the following year, and this reissue marks an impressive and prolific long-term relationship that has resulted in 24 albums in as many years for this fine group that features well-blended vocal harmonies and arrangements.
Let’s recall the early history of Lawson’s band. In 1979, Lawson put Quicksilver together with banjo player Terry Baucom, guitarist Jimmy Haley, and electric bass player Lou Reid. The band released the albums Quicksilver, Rock My Soul, Quicksilver Rides Again, Heavenly Treasures, and Once and for Always. After rededicating his life to Jesus Christ in 1985, Lawson recorded the all-gospel “Beyond the Shadows” with new players Scott Vestal (banjo), Curtis Vestal (electric bass), and Russell Moore (guitar). It was momentous occasion that indicated the band’s ability to continue to set a high standard for bluegrass gospel music.
His gospel (and secular) albums consistently best sellers, Lawson’s recipe for success has always been to present an excellent variety of material that appeals to the young and the old. As an example of this approach, let’s analyze the last five songs on “Beyond the Shadows.” Moving effortlessly from an acapella “Hiding From The Storm Outside” to the call-and-response (with just guitar and mandolin accompaniment) of “The Wings of Faith” (by Don Reno) demonstrates their skill. A slow triple-timed “The Long, Long Journey” (by Jimmie Davis) adds Mike Auldridge’s pedal steel and provides us with an inspirational message. The band then picks up the tempo with the a cappella “We’ll Sing in Glory,” before closing the album with a bright, fully accompanied rendition of “My Lord Delivered Me.” I miss hearing some fiddle in the mix, but this gospel project doesn’t particularly suffer from its absence. Also, the electric bass has been equalized to approximate the sound of an acoustic upright, but at times it tends to have a bit much sustain. All in all, the instrumental accompaniment, when used, does not detract from the vocals and the songs’ messages.
The album’s title cut comes from the pen of one of the early queens of country musician, Martha Carson., who was a big draw at the Renfro Valley Barn Dance in Kentucky. Lawson and band add guest Mike Auldridge’s steel on this cut, and it’s a song that epitomized the type of great old-time gospel gold that Lawson searches out and arranges for his band. “Babylon’s Falling,” presented without instruments, precedes an uptempo “Every Time I Feel the Spirit” that is accompanied with only the guitar playing a vamped barre chords.
Another occasion for this reissued album to celebrate is Doyle Lawson’s 60th birthday in 2004. Happy Birthday, Doyle! He developed a love for quartet gospel singing as a child. His mother, father, and sister sang in various trios and quartets. Preserving his family traditions has always been one of Lawson’s goals. “Beyond the Shadows” is an album that presents gorgeous vocal work, both from the lead and harmony singers. All should take note of this band’s ability to seamlessly blend their voices, as well as to arrange their songs without any or with just enough instrumentation to make them special and memorable. “Beyond the Shadows” could make a rainbow appear on even the darkest, stormy day.
Joe RossReturn to the Reviews Contents Page
Raven Moon – Raven Blue
RM-002
8922 Trolley Rd., Columbia, Il. 62236-3422
WEB: www.ravenmoonband.com
EMAIL: ravenmoon [at] rdr.net
TEL. (618)939-7453
Playing Time – 41:51The strength of Raven Moon, a 5-piece band from Illinois that formed eight years ago, is their variety of material that spans the genres of old-timey, bluegrass, swing, blues, Celtic and country. While they might seem to have an identity problem, I suppose the band members just have a variety of musical interests, and they’ve built their regional following by appealing to audiences who like a lot of variety. In producing such a project as “Raven Blue,” they take us from the British Isles and Appalachia (“Frosty Morning”) to the brother duets of the 1930s (the Delmore Bros.’ “Pan American Boogie”). Wayne Rayne’s “Fast Train Through Arkansas” is given a locomotive treatment that’s full of steam.
Raven Moon also weaves their musical journey through traditional bluegrass (“Foggy Mountain Special” and “Walls of Time”), progressive bluegrass (“Down by the Riverbed”), swing (“Full Moon of Love”), and country (“Blue Kentucky Girl” and “Walkin’ After Midnight”). Their melting pot of acoustic music even offer an appealing original, “Magic Mandolin,” a nostalgic recollection of Grandpa and his instrument. The songwriter of that number, Christine Peick, is Raven Moon’s guitarist and primary lead singer.
Besides Christine, Raven Moon includes John Higgins (fiddle, harmonica, vocals), Bob Lucas (banjo, guitar), Johnny Stephens (bass), and Glen Obata (lead guitar, vocals). Guest musicians include Bob Breidenbush (dobro), Tom Murphy (mandolin), and Lois Clay Quest (harmony vocals on “Clay Halo”). All of them are solid and accomplished musicians. Competent on their respective instruments, the band presents an adept regional band sound that is immediately appealing yet not overly flashy like some of the over-produced products from Nashville these days.
This album is a nice sampling of the varied music that Raven Moon brings to their live shows. Crowds are always guessing what they’ll do next. Some in their audiences may take to the bluegrass while others’ affinity may be for the Cajun or Irish tunes. At the end of a show, Raven Moon’s audiences go away happy with the whole package. The band has been able to open doors for bluegrass. Raven Moon is known in St. Louis as the band that takes bluegrass to places it has never been performed before.
Raven Moon keeps busy by playing many festivals in Missouri and Illinois, and they have enjoyed a considerable amount of success in that locale. They even achieved some national fame when Garrison Keillor, host of “A Prairie Home Companion,” played one of their songs on his radio show. The band was invited to showcase at the 2004 IBMA Convention and Trade Show, but they are just too booked to fit that in. Let’s hope they can make it in a future year, as that may launch them to greater heights and more national recognition.
Joe RossReturn to the Reviews Contents Page
Jenny & Martin Schaub "Kite High"
West of Music, Box 5015, 402 21 GBG, Sweden
EMAIL: schaub@epsilon.telenordia.se
WEB: www.westofeden.com
Playing Time – 41:03Jenny and Martin Schaub hail from Sweden where they perform as members of West of Eden, a band formed in 1995 and which has released three highly-acclaimed albums from 1997-2003 with Celtic and pop sensibilities. “Kite High” offers an enchanting repertoire of uplifting music with several interpretive twists arranged around the multi-instrumental talents of Martin and the gripping vocal performance of Jenny. While liner notes don’t give any indication, Martin apparently plays such instruments as guitar, mandolin, bouzouki, piano, tenor banjo, fiddle, accordion, dobro, tin whistle, and synthesizer. Jenny is a defining voice of her time, and she is blessed with a silky touch and ability.
The album is graced with eight originals and five arrangements which they identify as traditional numbers. The latter are harvested from fertile Celtic fields, inspired after the duo spent the summer of 2001 studying Irish music traditions in Limerick.. “The Flower of Magherally,” “Poor Old Horse,” “The Snow it Melts the Soonest,” and “New Year’s Prayer” are beautifully-paced ballads. “Two Blackbirds” is a splendid little nostalgic tale of lost love. A common theme of love-gone-wrong is the message in “The Biggest Fool.” Martin provides some fluid and precise lead vocals for “Paddy’s Lamentation,” and Jenny gives us a tastefully rendered “Seventeen Come Sunday.” Both are favorites that have become standard fare for many Celtic groups.
Many of their originals were also composed following their Irish summer experience, and their leisurely approach to their well-arranged music is an exercise that yields bountiful rewards. On songs like the opening cut of “Underneath the Harvest Moon” and the title cut of “Kite High,” we are given smooth and bouyant melodies that float effortlessly from note to note like clouds in a tranquil spring sky. Happily, I found lyrics for five originals on their website – westofeden.com. The Schaubs say that lately their lyrics contain more intimate and down-to-earth storytelling about human beings and relations, which also affects the music itself. The stories behind the making of the songs can be found on the group's website. Spirited instrumentals like “The Road to Ravello” and a reflective lament, “A Place by the Sea,” round out the project.
I would like to hear more of Martin and Jenny Schaub’s music. They are excellent musicians, and their “Kite High” project will serve to solidly hold them a place among the most engaging and dynamic duos currently on the Celtic music scene. The Schaubs should be very proud of this piece of masterful art.
Joe RossReturn to the Reviews Contents Page
Monroe Crossing – "The Green Mossy Ground"
Monroe Crossing MC-0603
17625 Argon Street NW Ramsey, MN 55303
TEL. (763)213-1349
art@monroecrossing.com OR info@monroecrossing.com
www.monroecrossing.com
Playing Time – 45:38Songs: This Morning At Nine, The Way You Look At Him, The Green Mossy Ground, Leavin’ Rosine, I Love To Tell The Story, No Mother or Dad, Listening to the Rain, The Sweetest Song I Sing, Eight Good Years, Blake’s March, Just Because of You, The Rain, Tequila Mockingbird, Why Did You Wander.
Monroe Crossing’s logo shows a yellow and black crossing sign with Big Mon and his mandolin. Rules of the road necessitate our slowing down and paying attention to this busy band from Minnesota that includes Lisa Fuglie (fiddle), Art Blackburn (guitar), Graham Sones (banjo), Matt Thompson (mandolin, fiddle) and Mark Anderson (bass). Their third album in as many years offers a lively set of traditional standards, four originals, two instrumentals, two gospel numbers, and some other surprises. There’s plenty here to thrill their fans as they continue to break out of the regional band category and into a national spotlight
Their allegro rendition of Sid Campbell’s “This Morning At Nine” (classic Country Gentlemen fare) sets the stage for some high stepping and fast traffic ahead. They also cover hits from The Osborne Brothers (Listening to the Rain), Flatt & Scruggs (No Mother or Dad), and Bill Monroe (Why Did You Wander?). With their abilities, I’d like to see them wander a few more of the back roads of bluegrass for less oft-played material.
Engaging arrangements for their instrumental offerings spice up Aubrey Haynie’s tribute to Bill Monroe, “Leavin’ Rosine,” and a tune from Norman Blake called “Blake’s March” offers some tasty flatpicking. Sones’ banjo is in the spotlight on Pete Wernick’s “Tequila Mockingbird.”
Blackburn and Fuglie are Monroe Crossing’s lead vocalists. Harmony support is ably provided by Thompson and Anderson, and the band really shines on the gospel song written by Becky Buller (“The Rain” ), a Tim O’Brien love song (“The Sweetest Song I Sing”) and old Lutheran hymn (“I Love to Tell the Story”).
Just when you start to think you have this band pegged, they lay out something like an original honky tonk country song, “Just Because of You,” that kicks off with twin fiddles and a strong walking bass line on Anderson’s portable upright. A pleasing trademark of this band is their propensity to arrange their songs with occasional phrases of instrumental harmony. The band’s other original material is also impressive. “The Green Mossy Ground,” by Fuglie, is a triple-timed high lonesome tale of love that leads to death. Blackburn’s “The Way You Look at Him” speaks to a common theme in bluegrass, love gone wrong after encountering a “cruel and unkind twist of fate that hard life often brings.” Blackburn also penned “Eight Good Years,” a contemporary song with the questions a couple face when they reach a crossroad in their relationship. The next time you are on the highways of Big Minnie, be sure to slow down and stop when you see a Monroe Crossing sign.
Joe RossReturn to the Reviews Contents Page
Jen Gloeckner - "Miles Away"
Jen Gloeckner is an Iowa based singer songwriter and multi-instrumentalist and 'Miles Away' is her debut release. Thus far the release and her music has been described as 'alt-folk', 'alt-jazz and several other labels all of which have validity and a mixture of these
would probably most accurately describe what is on offer.. Whilst 'singer-songwriter' is increasingly meaningless as a label as it tells you nothing about the music (or talent) of the artist concerned, if this particular artists music needs to have a description it could be described as falling somewhere between the two aforementioned categorisations, although there are certainly some 'world music' influences at play as well. The 'alt-jazz' feel of the recording is perhaps most in evidence in tracks such as 'Glimpse' or 'Otherside' with Gloeckners vocals ranging from intimate to almost distant where you can feel the singer perhaps absorbed in her own song and music.
The album itself consists of 15 tracks and is a respectful 55 minutes in length, starting with the title track 'Miles Away', as an opening track it provides a sound taster of what is too follow, Gloeckner furnishes the track with a gentle but firm finger picking style woven around her vocals also accompanied by herself on keyboards, providing an atmospheric background to the track, whilst remaining firmly in the background. All the tracks were written and composed by Gloeckner herself, the range of lyrical matters ranging from the allegorical such as 'Clear the Sand' to reflections of relationships and their strains on tracks such as 'Glue' and curiously named 'Swarm'. There are a number of tracks that capture the imagination, but one that particularly struck me was 'Mountain' in the way that Gloeckners Guitar and Mandolin playing is combined with a particularly impressive flute and the use of congas to provide a non intrusive but firm beat, however the variety offered on the album cant really be done justice by naming one or two tracks.
These days the term singer-songwriter doesnt necessarily say very much about the music or style of the artist concerned, however whilst labels or pigeonholes will not really suffice here, it is fair to say that Gloeckner is very much her own artist, certainly 'Miles Away' is one of the more original offerings that will surface this year, expect to hear more from her direction.
For more information and clips etc visit www.jengloeckner.com
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Afan "Queen of the Rushes Brenhines Y Brwyn"Track listing: Can Merthyr, Cwrw Da Set, Kevin goes to town?, Waterfowl Set, St Augustine, Water Kelpie, Y Deryn Pur, Afon Afan,
Bear Dance Set, Llwyn Onn, Big Mon Set, Mermaid Set/Ar Lan y Mor, Suo Gan/Queen of the Rushes set, Kelly Anne Set, Stumpie Set
Afan are an Arizona based four piece (in truth a five piece including the bands dancer Sarah Houghtelin) Celtic combo consisting of John Good, Kevin King, Billy Parker and Caven Clark, each of whom are accomplished multi-instrumentalists. Despite the considerable experience of the bands components parts as a unit they have only been playing together since 2001 with the aim of putting traditional Welsh music to the fore and whilst they have maintained this as the core of their agenda, that has since been broadened out to include other influences (including Wales, Ireland, Scotland, North America and further afield) all of which is reflected on this, their first release. The bands flautist John Good originally learnt his skill in the South Wales Valleys before departing across the pond (taking up an MSc in composition from Cardiff University enroute), his band mates have equally if somewhat more local pedigrees.
The album itself consists of a far more than reasonable 15 tracks and represents a fair variety of the bands influences and styles with Welsh, Scottish and Irish traditional material sitting comfortably alongside a sprinkling of self composed material and the odd helping of American Folk and Bluegrass. The American folk influences on the album are represented by on the one hand the old Dylan anthem 'I dreamed I saw St. Augustine' and from a somewhat different angle 'Big Mon' by Bluegrass legend Bill Monroe. Mixed in with these influences are traditional tunes from across the 'Celtic' world including an interesting Breton tune 'Me anvez goulmik' and The Welsh Trad song 'The song of Merthyr' and self composed material including 'Kevin goes to Town' where the bands bodhran player provides an energetic solo slightly reminiscent of John Joe Kelly of Flook fame, and a number of compositions by John Good. All of these are played with an impressive talent and gusto by the band, with strongly suggests they are an impressive outfit live.
Apparantly Afan have made an impact in Arizona and have been described as the best "Celtic Band" by the local media, whilst Im not quite sure of the usefulness of such labels this CD is a damned fine contribution with an enjoyable mixture of styles and influences by talented musicians and I'm looking forward to the next such contribution.
To listen and find out more visit Afan at www.afanmusic.com
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'Po Girl' Live at The Ceol Castle, Birmingham - 3rd February 2004There are only 3 chances left to see these three outstanding Canadian girls from Vancouver .If you are anywhere near Hereford tonight, Windsor tomorrow, or Basingstoke on Sunday make the effort to see them .I dragged an ill wife through the Birmingham rain onTuesday but like me she was absolutely blown away . For those who don't know, Po Girl consist of Trish Klein from the equally excellent Be Good Tanyas on vocals guitar harmonica and banjo, Allison Russell on vocals and clarinet and Diona Davies on Vocals violin and guitar.
The music is a fusion of folk jazz and blues but that is really an oversimplification . The real secret is the balance between the vocals,particularly Allison Russels soulful voice .Their songs are a mixture of traditional American folk and own compositions ranging from the delightful opener "Gone in Pawn" through "Cold Hungry Blues" to the socio political " City Song" sung by Trish. The political theme was carried on in the first of two encores "Resist War" adding the bands comment to the WMD debate.
My neighbour leant across to me after the duet between Allisons vocal on "Lullaby" and Dionas violin and said that alone was worth the ticket price . I had to agree.
The only slight downside was that the girls had some sound problems particularly at the start but these were not intrusive . We had a chance to chat briely in the bar afterwards - no prima donnas these three!
I took the unusual step of sending the band an e- mail afterwards and had an immediate reply from Trish which made my day.
If you cant make it this time they tell me they are back in the Autumn so see them then and in the meantime check out their website www.pogirl.net and buy the CD of the same name.
Nigel Sellar
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Giveway "Full Steam Ahead" Greentrax CDTRAX 245 2003Give way, yield right of way, and make way for this fantastic family group!
From the gentle opening developing into a spirited tune on track one 'Manonymous' of this album, I defy anyone not to be enthralled by this group. Who else would mis-pronounce anonymous and then admit their error and use the word as an opening title on a debut album?
Made up of four sisters - Kirtsy, Fiona, Mairi and Amy - with an array of instruments from fiddles and whistles to accordions, drums, keyboards and synthesisers, this is the sound of Scottish folk in the Third Millennium. Aged from 13 to 17 years they have a sound far in advance of their years.
The title track 'Full Steam Ahead' gives a final lie to the old adage that a gentleman (or lady) is one who can play the accordion, but doesn't. Kirtsy will boil your blood with her playing on this track. I dare you not to tap your foot as she wrings magic from her instrument ably assisted by her sisters. This is joyous music. This is what music needs to be.
To prove that spirited is not their only mode, they then present the old traditional tune 'Blue Bonnets (Over the Border)' and show us how drums can greatly enhance even the gentlest tunes in the hands of those with an obvious love of the music.
The track 'Riverdance' is not the worldwide Irish phenomenon, but a medley of reels.
'Jigging' is unusual in that the set opens with a very slow piece but it soon takes off to have anyone with a dram of Celtic blood hopping and 'lepping' around the room.
Amid the traditional and contemporary compositions there are three by 17-year old Fiona. One of these is 'Glencoe Beginnings'. This is beautiful and mature composition recounting how an aunt of the girls lost some of her school friends in a storm. It prevented her from taking part in outdoor activities but when she re-learned the joy of such pursuits she met her future husband. Keeping it in the family, a poem by the girls' grandmother is spoken on the track.
This CD has just about all anyone could ask of it. The music is fabulous. The notes are informative - and funny without the usual self-importance of sleeve notes. Treat yourself to a bit of modern Scotland with more than a hint of tradition and a palpable love of what is being performed. Watch out for this group - they won't give way.
www.givewaymusic.comNicky Rossiter
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Janne Henshaw "Drifter’s Prayer"
www.jannehenshaw.com
Email: janne1@juno.com
Total Playing Time – 41:05
Songs – 1. So Long Gone, 2. Fatherless Child, 3. Bottomlands, 4. Wondrous Love, 5. The Stone is Rolled Away, 6. Dear Elinor, 7. Green Rolling Hills, 8. How Long, 9. Light In Your Window, 10. That's How It Seems, 11. A Drifter's Prayer, 12. Mary Wants To Ride, 13. I Will Not Forget YouNashville-based songwriter Janne Henshaw has assembled some impressive players for her debut album, Drifter’s Prayer. The fiery picking of her top accompanists could easily overshadow her vocals, but instead these professionals know how to complement her comfortable delivery with just the right notes and fills. The cast includes Jeff White (guitar), Andrea Zonn (fiddle), Rob Ickes (dobro), Jim Hurst (guitar), Butch Baldassari
(mandolin), Mike Bub (bass), John Mock (tin whistle, low whistle, concertina), Bryan Sutton (banjo), and Joey Schmidt (accordion). White, Zonn and Michael Reynolds sing the harmonies to Janne’s sweet, mellow voice. Compression used during the mixing process unfortunately accentuates a little more of her breathing between phrases than I would have preferred.
A gifted singer with a distinctive voice and award-winning songwriter with great knack for the craft, Janne Henshaw has been compared to Nanci Griffith. I also hear tints of Mary Black, Jean Redpath, Kathy Kallick, Will Maring, Gillian Welch and Emmylou Harris. Along with her Nashville compatriots, this is a very impressive acoustic music album.
Henshaw draws her repertoire from original material, along with songs from Wil Maring, Utah Phillips, Betty Elders, Lee Satterfield and George Teren. The project opens with “So Long Gone,” a hope for love reunited. “Fatherless Child” won her second place in the 2000 Merlefest Chris Austin Songwriting Contest. Songwriter Will Maring was also a Merlefest contest winner (in 1998), and her song “Bottomlands” is one of several standouts on this project. The addition of Mock’s whistle and Sutton’s clawhammer banjo give the song a distinctive Celtic and old-timey feeling.
“Dear Elinor” is a beautiful ¾-time song inspired by a love letter written by John Briner in 1863 during the Civil War. Sutton’s banjo also appears in Utah Phillips’ “Green Rolling Hills,” which has been supplemented with additional lyrics written by Hazel Dickens and Alice Gerrard. Henshaw’s bouncy “How Long” would’ve benefited from some hot bluegrass banjo in the mix. The album slows down with “Light in your Window” and “That’s How it Seems” before the title cut adds a spark and optimistic message. The ballad “Mary Wants to Ride” illustrates Henshaw’s apti