Will Pound and Eddy Jay Ignite


Will Pound and Eddy Jay
Photograph by Elly Lucas

Sparks were always going to fly when master musicians Will Pound and Eddy Jay decided to form a duo.

The fusing of awesome accordion player Jay with the much feted skills of Pound (“one of the world’s greatest harmonica players” – Daily Telegraph) is a dynamite combination.

Ignite, the duo’s debut CD, is a fast-paced 11-track feel-good album guaranteed to make the gloomiest day a whole lot brighter. From its pyrotechnic packaging to the final arresting notes of the closing track’s Balkan dance it is on an upward trajectory.

Three times nominated for BBC Radio 2 Folk Awards Musician of the Year (2012, 2014 and 2015), Pound won the same title in the 2015 Spiral Earth Awards and was named Instrumentalist of the Year in 2013 and 2014 by FATEA Magazine.

Undoubtedly one of the finest harmonica players of his generation his inventive style always pushes the boundaries as seen in his former duos Walsh and Pound and Haddo and the four piece Will Pound Band. In 2012 he memorably played the harmonica intro on the Guy Chambers-produced Hillsborough charity single ‘He Ain’t Heavy, He’s My Brother’ which became the Christmas No 1.

Jay meanwhile is a virtuoso accordionist who can make his instrument sound more like an orchestra! A former member of Newfolks with Mabon fiddler Oli Wilson-Dickson, his eclectic arrangements have seen him journey into theatre including the hit stage musical version of Noel Coward’s Brief Encounter which toured Broadway venues. He has also performed with Irish singer songwriter Cathal Coughlan and UK jazz singer Tina May, devised his own version of Prokofiev’s Peter and the Wolf and an Edith Piaf tribute show Piaf The Songs which toured the UK and beyond.

This potent partnership owes a lot to instinct, improvisation and alchemy, with Pound and Jay forging a path to new folk sounds – harmonica and accordion gelling almost as one instrument.

Romping across reels, bluegrass, swing, polkas and rachenitsas, the duo’s exuberant arrangements of traditional tunes cannot fail to impress. A dazzling display of virtuosity performed with power and precision, Ignite ducks and dives and pulls no punches.

If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

‘Floating Candle’ from the album Ignite:


DANIEL MARTIN MOORE –Archives Vol. II – Old Stepstone (Ol Kentuck Recordings)

Daniel Martin MooreHard on the heels of the UK release of his Golden Age album of original material, Kentuckian singer-songwriter Moore has assembled this collection of traditional songs. Recorded at home over the winter of 2012/2013, Moore notes that most of the material is rooted in the oral tradition of family parlour favourites, to which end they’re treated with a simple, stripped down approach, a distinct contrast to the fullness of Golden Age. Apparently songs he’s been singing live for some years, the material ranges from Child Ballads to traditional Appalachian tunes, several popularised by the likes of the Carter Family and Woody Guthrie.

Maidens either ill done by or separated from their soldier/sailor lovers regularly turn up in the traditional repertoire and it’s one such, ‘Pretty Fair Miss’, a song dating back to the early 1800s and previously covered by such names as Jean Ritchie and Bill Monroe, though, despite her pessimistic outlooks, this one comes with an eventual happy ending, Moore’s soft rasp adding to the sweetness.

A much covered Child Ballad, the six minute ‘Lord Bateman’ tells a similar tale of hearts reunited, treated here to a bright syncopated guitar backing and sprightly step to its tune. The lively mood continues with ‘Give Me Your Heart’, a parlor tune from the 19th century that has Moore whistling while the guitar and what sounds like a tapping foot lays down the rhythm. The parlour tradition is also the source of the melancholic fingerpicked title track, a song dating back to the late 19th century, but probably best known via Woody Guthrie, and the seven minute ‘In the Shadow of the Pines’, a tale of stubborn pride, love lost and regret popularised by The Carter Family and with a tune that also found its way into Springsteen’s ‘Highway Patrolman’. Another number figuring prominently in The Carter Family is the three-quarter time waltzing ‘Storms Are On the Ocean’, a call and response number that can be traced back to Scottish origins.

The two remaining numbers take a stylistic swerve, the brief 17th century folk ditty ‘One Morning in May’ (another maiden and a solider tale, this time the latter a bit of a cad ) is given an a capella treatment that showcases the soft warmth of Moore’s voice while the closing track, ‘Jubilee’, is a traditional Appallachian step dance work song, an all whistling, all clapping, all stomping goodtime affair with album collaborators Dan Dorff, Jr., Joan Shelley, Cheyenne Mize, Julia Purcell and Ben Sollee joining in with the party

Inevitably of somewhat specialised appeal, it’s being limited to just 500 CDs (in addition to downloads), so if you like the sound of what’s on offer, I’d move pretty sharpish.

Mike Davies

Artist’s website: http://www.danielmartinmoore.com/

Not from the new album but also a traditional song from Jean Ritchie: ‘In The Cool Of The Day’:

Barenaked Ladies announce live album

Barenaked Ladies

“Gotta see the show, ‘cause then you’ll know,” sings Ed Robertson on Barenaked Ladies’ chart-topping hit, ‘One Week’, a song featured on the band’s new live album BNL Rocks Red Rocks, recorded at the fabled Morrison, CO, Amphitheatre on June 10, 2015 during the band’s Last Summer On Earth tour.

That’s as good a description as any about seeing these rock icons in concert, an experience filled with the kind of energy, precision, finesse and outright celebration among its fans that is a tribute to Barenaked Ladies’ remarkable longevity. The band is still together after nearly three decades, producing 14 studio albums which have collectively sold more than 14 million copies, won eight Juno Awards, earned multiple Grammy nominations, a U.S. chart-topping single (‘One Week’) and the theme song to one of TV’s most popular shows, The Big Bang Theory.

“I don’t think there’s a secret,” Robertson explained to People magazine last year when asked how BNL managed to not just survive, but thrive, continuing to sell out venues wherever they go. “It’s work. You’ve got to respect each other, you got to give each other space, but you also have to support each other… This band learned early on to communicate, right from the beginning we didn’t want to burn out. We wanted to keep making music.”

BNL Rocks Red Rocks features some of the multi-platinum band’s biggest hits, including ‘One Week’, ‘Pinch Me’, ‘If I Had $1,000,000’ plus songs from their last two records including ‘Odds Are’ which hit #2 at iTunes, and the most recent single ‘Duct Tape Heart’ from their latest album Silverball.  The record includes a special moment when Barenaked Ladies accompany Colin Hay to perform his #1 hit ‘Who Can It Be Now?’, joined on stage by Blaise Garza of Violent Femmes to cover the famed saxophone solo, recognized around the world! And in a tradition BNL followers have come to expect, a rousing encore cover of Led Zeppelin’s ‘Rock and Roll’ by Tyler Stewart with Ed Robertson on drums.

“We appreciate what we do more than ever,” explains Robertson. “We’re not looking for external validation. We’re enjoying working together and we’re doing some of the best shows of our entire career.”

BNL Rocks Red Rocks captures the group in all its glory, a living demonstration of their on-stage camaraderie, and the instrumental skills and finesse that expounds their durability in a pop music world of fleeting fame.

“I still love writing songs,” insists Robertson. “And it’s such a privilege to work with these guys. They have my back, and I have theirs.  It’s pretty amazing to watch the crowd light up when we play a song we recorded 25 years ago, and then hear them sing along with something brand-new.”

BNL Rocks Red Rocks places you front and centre for one of the most amazing – and, dare we say, fun – concerts on the current rock circuit.  It also spotlights the band’s rapport with their rabid followers, a bond that is among the strongest in all of rock. “Our fans have been on this journey with us, so we’ve kind of grown up together,” says Ed. “It’s a special relationship, within the band and between our fans. Every band says they have the best fans, but we actually do. And we know that because other bands tell us that.”

“It’s not easy to be hyperactive, brooding and whimsical all at once,” the New York Times pop critic Jon Pareles once wrote about BNL. “But the Barenaked Ladies do just that.”

The proof is on BNL Rocks Red Rocks.

If you would like to download a copy of the track or just listen to snippet of it then click on the banner link below to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.

Artists’ website: http://www.barenakedladies.com

‘The Old Apartment’ from BNL Rocks Red Rocks:

Deluxe re-issue of The Lake Poets debut album

The Lake Poets

The Lake Poets is Sunderland based singer-songwriter/guitarist Marty Longstaff. His self-titled debut album was released last autumn to excellent reviews and has spawned the singles ‘Your Face’ and ‘Edinburgh’. Since first being aired on 6 Music, the former has quietly gone about racking up over 3 million plays on  Spotify, while the latter has recently been playlisted by Radio X.

Recorded in Nashville’s famed Blackbird Studio and produced by Dave Stewart (Eurythmics, etc), the eleven songs that comprise the album see Longstaff’s shimmering, pure voice sit atop intimate, sparsely beautiful arrangements. Autobiographical lyrical content that is rich in painting the big picture about love and mortality by way of a keen eye for the small details of life also incorporates a heavy dose of social realism, such as in  ‘Vane Tempest’ and its story of how the Miners Strike affected his father. The decimation of the North East and further family struggle is also writ large in ‘Shipyards’


Artist’s website: http://thelakepoets.com/

‘Your Face’ – official video:

SHEL – video and album


There is a great tradition of metal and rock songs being worked over by their non-metal contemporaries and the multi-instrumentalist quartet of sisters of SHEL have taken one of the most iconic 80s thrash metal songs and breathed new life into it by replacing the heavy instrumentals with haunting traditional instruments and group harmonies. The track is as disconcerting as it is beautiful.

Starkly contrasting James Hetfield’s signature growl from the original, lead vocals provided by Eva Holbrook add a breathy quality to the composition.  The song crescendos further along, introducing yet more instrumentals and shifts dissonantly yet seamlessly in and out of the major key.

The reworking’s release is extremely timely, with Metallica being ambassadors for this year’s Record Store Day taking place worldwide on Saturday, April 16th 2016.

While recording the cover of ‘Enter Sandman’, Eva Holbrook was concerned about how to tackle it. “When recording ‘Enter Sandman,’ I said a prayer to the gods of rock that I wouldn’t be struck dead, or mysteriously electrocuted in the studio for whispering the lyrics to a Metallica song, or for not including an electric guitar in the arrangement.  I’ve survived to say that I am truly blown away by the poetry of the song.”

Artists’ website: http://www.shelmusic.com/

‘Enter Sandman’:

JOSIE NUGENT – Modal Citizen (Josie Brian Music JNBS002)

Modal CitizenJosie Nugent or, to be precise, Dr Josie Nugent MA is a graduate of Cambridge University, a music therapist and a violin player and composer and Modal Citizen is her debut album. It’s a clever title but also representative of her musical interests.

I have to say that the album is, in part at least, one for the specialists and Josie hasn’t escaped far from academia. It opens with sets of slip jigs and reels, both original compositions, the first with just added guitar and bodhran and the second with flute and Uilleann pipes added to the mix. All very nice but my interest was seriously aroused by the title track. It’s one of three pieces, the others being ‘ Éadan Doire’ and ‘First Flight’, which feature Josie playing a Rhodes Mk 1. Now, I’m no expert but I know that the current model is the Mk VII and that Josie’s must be pre-1979. It has a very distinctive sound which anyone who was around forty-odd years ago will recognise and these two compositions take Josie away from her traditional roots into a very different area.

The other composition that attracted me is a waltz, ‘Lisfannon Sundays’, which begins in a stately manner but takes side-steps as it builds up before bursting out into a flute solo. The final tracks on the record move from away from Josie’s compositions to real traditional tunes including several from the Harding Collection. I usually urge musicians to stick with the tradition they sprang from but in Josie’s case I’d like to hear more from her role as a contemporary composer.

Dai Jeffries

Artist’s website: www.josiebrianmusic.info

A set of quadrilles played by Josie Nugent and Brian Stafford: