Kevin Henderson comes from the Shetland Islands, an island with one of the richest fiddle traditions in the world. He is in hot demand as he performs around the globe with four high-profile musical groups. He is a founding member of award winning Shetland group, Fiddlers’ Bid, formed in 1991, has been a member of folk music legends, Boys of the Lough, since 2002, a member of Scottish super group, Session A9, since 2004 and recently helped to co-found the Nordic trio, The Nordic Fiddlers Bloc. Continue reading Kevin Henderson – “Fin Da Laand Ageen”
The prolific and ever-talented Thea Gilmore has announced details of a unique new collaborative album, ‘Don’t Stop Singing’. Released on November 7 via Island Records & Mighty Village, the record brings together Gilmore’s songwriting and arrangements with previously un-scored lyrics penned by folk legend Sandy Denny. The seeds for this extraordinary project were planted, albeit somewhat inadvertently, twelve years ago, when a Denny biographer unearthed a collection of unscored lyric manuscripts amongst Denny’s personal effects (held in Australia by the Fairport Convention singer’s widower, Trevor Lucas). These ‘lost’ manuscripts continued to lie essentially dormant until late 2007, when Denny’s home label – Island Records – and the custodians of her estate began combing through her correspondence, as part of a BBC project. In doing so, they found the lyrics to twenty brand new and never-heard-before songs. Denny’s estate, willing them to reach a public audience, set about the unenviable task of trying to find the right artist to flesh out these words with music.
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Perhaps unsurprisingly, a name which frequently came up in discussions was that of Thea Gilmore. Beyond the frequent and favourable comparisons that have been made between the crystalline vocals of Gilmore and her predecessor, there seemed to be a strong resonance of Denny’s legacy in Thea’s work. Bizarrely, it was as an intern at Fairport Convention’s Oxfordshire studios that a young Gilmore’s burgeoning career began. Here has followed a vehemently independent and prolific output, which has thus far seen Thea release ten critically-acclaimed studio albums in as many years (she is barely 30), and acquire fans such as Bruce Springsteen and Joan Baez. Gilmore, though understandably daunted by the task of agreeing to make an album that was in some senses already written, agreed to take up the challenge.
‘Don’t Stop Singing’ is no mere exercise in hero-worship on Gilmore’s part. Thea has crafted an elegant, emotional score to accompany Denny’s unfinished songs, which effortlessly reflects the content of Sandy’s words, and shines new light on both artists involved. This is perhaps best demonstrated on the gorgeous, string-led opener, ‘Glistening Bay’, where the wistful wish to return to a far-off city acquires an emotional new resonance. And though this is a fundamentally tender record, it is not without colour: see the upbeat folk-pop of ‘London’, which features the accordion playing of John Kirkpatrick (a contributor on original Denny recordings).
Whilst the record certainly has Thea’s stamp on it, there is no mistaking the talent and unflinchingly personal narrative of Denny. This is a collection sewn together in equal parts by Denny’s awe of the natural world, the experiences of her marriage to Lucas and her well-documented personal battles. ‘Pain in My Heart’, for instance, details a conflict of love and fidelity, and even references occasions of stage fright. One of the album’s most poignant moments, ‘Long Time Gone’, portrays an artist ill at ease with travel, separation, and herself: “I’m in such a terrible state, and my city’s just like me / I can’t afford to live in this place / And I can’t afford to leave.”
And yet despite Denny’s lyrical demons, the title track of ‘Don’t Stop Singing’ proves to be prophetic: this is a record that points to the enduring value of artistry, made – in extraordinary circumstances – by two extreme talents. Says Thea-
“I can’t remember a time in my life where I didn’t know at least one Sandy Denny song. Growing up the 80s, in an impossibly rural corner of Oxfordshire, she was one of the voices who filtered through from my father’s record collection, and ‘Late November’, ‘Fotheringay’ and ‘Next Time Around’ were as embedded in my psyche as surely as the delights of Bros and New Kids On The Block were thrilling my alleged peers…
As I moved further away from my beginnings and as the world moved further away from 1978, Sandy began to assume the proportions of a reference point, a fountainhead even, for any girl who wanted to sing and write and who didn’t wish they’d been born American.
Who knows how she would have developed these fragments, poems, words without tunes, had she lived longer? I was pleased to be asked, by those who survived her and those who continue to curate her work, to develop them, pleased when the words began to carry me somewhere and to suggest places that they and I could go together, and pleased when musicians who knew her and worked with her gave me encouragement, urged me to make this record.
Would Sandy have liked to see these songs being finished by me and released to the world? I hope so, but I will never know and neither will you. I see some of her contemporaries receiving posthumous garlands, being lauded by new generations of listeners, and I wish the same on Sandy’s beautiful timeless music. If you are reading this and don’t own a Sandy Denny album, consider yourself urged to go buy one.
And hey, in the end, who cares where the time goes, the music stays.”
Artist Web Link: http://www.theagilmore.net/
The Old Songs is the second album from Damien and Mike and follows the pattern of their debut, Under The Influence, drawing material from, in the main, two distinguished singers – in this case Peter Bellamy and Mike Waterson. None of the songs are really obscure although ‘The Charlady’s Son’ may have you scratching your head unless you have Mike Waterson’s solo album and Dave Dodds’ ‘Drinking Song’ may be unfamiliar unless you live in this corner of the Surrey/Hants border where Dave was a well-known figure thirty years ago. Continue reading DAMIEN BARBER & MIKE WILSON – The Old Songs – DBS Records DBS004
Two years in the making, Luke Ritchie‘s debut album ‘The Water’s Edge‘ is testament to the amazing journey this singer-songwriter has been on. In Autumn 2009, Ritchie was approached by start-up label Angel Falls to make an EP. The Cover It Up EP was recorded and produced by Ant Whiting (M.I.A, Paloma Faith, Zero 7), however the deal fell through, and the EP was never released. Rather than quit at the first hurdle, Ritchie embarked on a personal challenge to continue doing what he enjoyed best. Recording a song a week, Ritchie created a series of podcasts for six months which were spread around through word of mouth, resulting in 8,500 downloads by the time he stopped. Continue reading Luke Ritchie – The Water’s Edge – Album released 21st November
Two years in the making, Luke Ritchie’s debut album ‘The Water’s Edge‘ is testament to the amazing journey this singer-songwriter has been on. In Autumn 2009, Ritchie was approached by start-up label Angel Falls to make an EP. The Cover It Up EP was recorded and produced by Ant Whiting (M.I.A, Paloma Faith, Zero 7), however the deal fell through, and the EP was never released. Rather than quit at the first hurdle, Ritchie embarked on a personal challenge to continue doing what he enjoyed best. Recording a song a week, Ritchie created a series of podcasts for six months which were spread around through word of mouth, resulting in 8,500 downloads by the time he stopped.
Whilst playing in other bands, including The Golden Retrievers who supported Rumer on her Spring 2011 tour, and critically acclaimed folk singer Hannah Peel, Ritchie’s podcasts had reached some big names, including Leo Warner of Fifty-Nine Productions, who had just been working with Jonsi of Sigur Ros for his solo album. Through Leo, Ritchie was put in touch with classical composer Nico Muhly (Anthony and the Johnsons, Bjork), who’d also worked with Jonsi.
Nico composed pieces for five songs on the album, including opener Lighthouse, and played the piano and harmonium himself. The arrangements have taken ‘The Water’s Edge’ to another level, effortlessly building on Ritchie’s original works to create wonderfully rich melodies. This is reinforced even more so by the beautiful backing vocals from Nia Lynn (Jazz Vocalist of the Year nominee 2010, Gwilym Simcock) in tracks Lighthouse, Shanty and Butterfly
Ritchie finished recording ‘The Water’s Edge’ with winner of the Breakthrough Producer 2010 Award, Paul Savage (Arab Strab, Mogwai), at Chem 19 Studios in Glasgow, the pair began working together after the legendary producer was impressed with the songwriter’s demos, and he has played a pivotal role in the album’s production. Keep your eyes and ears open and make sure you take a listen to Luke Ritchie, as his exciting new journey is well and truly just beginning.
“Sky-scraping vocals” – The Guardian
“A taste of blues with a chaser of folk via John Martyn” – Tobias Hill
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The Guide Cats for the Blind album series was produced to raise funds for a project run by the British Computer Association of the Blind (BCAB). Guide Cats Volumes 1 to 4 enabled the Association to create “EyeT4All”, a programme of life changing computer workshops for blind and partially sighted people. The work doesn’t stop there. With funds from Vol. 5 ‘Herding Cats’ will empower community centres for blind and partially sighted people throughout the UK to hold “EyeT4All” workshops for themselves. Continue reading Les Barker’s Guide Cats for the Blind Vol. 5 ‘Herding Cats’