SAM KELLY & THE LOST BOYS – Live at Cambridge Junction, City Roots Festival, 5 March 2018

Sam Kelly & The Lost Boys
Photograph by Philip O’Brien

Battling snow and ice on tour for the past week has clearly taken a toll on this group of musicians (amongst many others no doubt), but that won’t stop them putting on a storming show this evening.

Support act, Honey And The Bear (aka Jon Hart & Lucy Sampson) deliver a half-hour set of earwormy, catchy songs, culminating in ‘William’ from their 2016 EP, About Time Too and the galloping, riffling ‘Wristburner’. Their slightly low-key stage presence belies their lively, well-crafted and perfectly performed music. And it turns out that there’s so much more to this versatile duo: manning the merch stall, driving the van and even providing the evening’s sound tech. Headliners, book them now, while you can.

A short while later, the seven-piece line-up of Sam Kelly & The Lost Boys fills the stage as percussionist Evan Carson sets a grinding groove for the first song, ‘Hickathrift’, the tale of a legendary Norfolk giant-killer.

With so many big, sing-along tunes on both the band’s albums to date, from ‘The Golden Vanity’ via the deceptively jolly ‘Angeline The Baker’, the call-and-response of ‘The Keeper’ or the barrelling ‘Jolly Waggoners’, featuring a frenzied banjo part from Jamie Francis, it’s blindingly obvious why this band is such a festival success.

Then there’s the dry, irreverent and often charmingly unfiltered humour that allows them to respect what they do without being in thrall to it. If you’re after reverential folk that won’t poke fun at the often ludicrous and/or plain old sexist scenarios of some songs, this might not be the band for you. If you want a solid, tight set of superb musicians who know how to have a good time, then they’re a must-see.

Still, it’s not all wall-to-wall party. The well-paced set contains many quieter moments, such as the tender rendition of ‘If I Were A Blackbird’, and Cornish ballad ‘Grwello Glaw’ (‘Let It Rain’). Originating from Kelly’s time with The Changing Room, it’s an appropriate choice for a St Piran’s Day gig. (Also, we’re told, it will be the first dance the band plays for Hart and Sampson’s wedding in June. Altogether now: aaahhh!).

A rather different sound comes with ‘The Shiny Ship’, an effect-laden track from the Pretty Peggy album that has been reworked for the live environment. Carson’s shimmering cymbals and hard rapping drum offset Graham Coe’s shoulder-slung, psychedelic, droning cello to create an atmosphere of moody mystery.

For the family members present in the audience, Kelly dedicates a cover of Dire Straits’ ‘Sultans Of Swing’ which starts leisurely before building into a floorshaker. Finishing with Archie Moss’s melodeon leading the mischievous cross-dressing tale, ‘The Close Shave’ and buffered by tunes from Ciaran Algar and Toby Shaer, the set ends on a whirling high.

As the audience erupts in appreciation, the band returns in typically self-deprecating fashion. “The dressing room was locked” deadpans Algar. Meanwhile, there are two clear contenders for an encore among the crowd. Carson holds a vote, defying Algar’s sardonic, “This is not a democracy”. 48% want ‘The Chain’, but 52% are pro ‘Greenland Whale’, so there it is. Luckily, this is one vote that doesn’t cause deep or lasting division, as we all sing happily together before going our separate ways home.

Su O’Brien

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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.samkelly.org/

‘Sultans Of Swing’ – live at the other Cambridge Festival:

FALSE LIGHTS – Harmonograph (Wreckord Label FL003)

HarmonographThe second crop of fruit from the joint project between Sam Carter and Jim Moray brings in Stuart Provan on drums and adds Archie Churchill-Moss’s melodeon to Tom Moore’s violin with Barnaby Stradling on bass.

As with their Salvor debut, it’s rooted in traditional folk songs given a contemporary and often off-kilter treatment with contemporary resonance, case in point being album opener ‘Babylon’ which, opening with a radio broadcast sample, takes the shapenote hymn by the scruff of its neck and lurches into a driving rock drum beat bulked up with electric guitars and brass, the “Babylon’s falling” chorus refrain chiming with its described reaction to current British and US politics.

The drums and guitar solo may lean to the heavier side of folk rock, but there remains a definite traditional air to the 19th century transportation ballad, ‘Black Velvet Band’, set to a new, moody and slow-paced six minute plus tune by Moray that’s a far cry from the familiar rousing Dubliners’ version, the verse melody leeching off the similarly-themed ‘The Whitby Lad’.

The Roud collection also provides the source for ‘William Glenn’, Carter taking nasally lead on a nautical tale of mutiny, superstition and the crew casting overboard the captain they deemed responsible for the storms, a rousing, urgent shanty-founded interpretation learned from Nic Jones with the addition of new lines based on Tony Rose’s version as ‘Sir William Gower’.

Written by Moore, ‘The Ombudsman’ provides an instrumental break, violin naturally to the fore over a dampened bass drum thump, the initial nervy African-textured guitar work giving way to fierce, almost prog-folk riffs, the fury subsiding for the leaving song ‘Far In Distant Lands’, another shapenote hymnal, taken from The Southern Harmony 1854 as ‘328 Missionary Farewell’, it’s timely echoes of the migrant crisis delivered over a wheezing drone and a tinkling repeated keys pattern, building to a climax with wind effects before its final ebbing way.

It’s back to sea for the album’s lengthiest number, ‘Captain Kidd’, the Roud broadside about the legendary alleged pirate who was executed in politically controversial circumstances in 1701, the tune based on ‘159 Wondrous Love’ from The Sacred Harp, starting out in acoustic mode with Moray’s vocals accompanied by fiddle and drone before erupting around the two minute mark into steady-paced but full-blooded electric folk rock.

Another folk standard ballad, ‘Murder In The Red Barn’, the Suffolk-set true story of how Maria Marten was shot dead by her lover William Corder who was subsequently tracked down, found guilty and hung in 1828, events also giving rise to a popular melodrama and something of a local tourist industry, with even part of Corder’s scalp, ear attached, being displayed in Oxford Street. Unusually sung from Corder’s viewpoint, it’s set to a folk rock combination of ‘129 Heavenly Amor’ and ‘146 Hallelujah’, two tunes by shapenote composer William Walker that appear in The Sacred Harp, and featuring an almost Byrdsian jangling guitar solo. A fine companion piece to ‘The Murder Of Maria Marten’ recorded in 1971 by Shirley Collins and The Albion Band.

Featuring in both the Child and Roud collections, ‘Serving Man Become A Queen’ gets a sweeping rework, barreling along on both a newly written Moray tune and a borrowing from The New York Trader as it moves from high velocity drums-driven urgency to a slower passages with a brief touch of almost Bach organ.

The penultimate track and another nautical tale, here about one of three Scottish brothers who turned to piracy to support himself and his siblings, ‘Henry Martin’ begins with clattering African-styled percussion from Laurence Hung before Provan’s drums and glowering electric guitar take control, the number venturing into almost improvisational jazz rock territory towards the end. It ends in suitably jaunty form with melodeon akimbo and fiddle surging for ‘Drink Old England Dry’, a song originally written in response to Napoleon’s boastful threats to invade and drink the country dry, the French subsequently variously substituted by the Germans and Russians, but here reworked to tone down any pro-Brexit sentiments with Moray and Carter trading the new verses and joining together on the suitably rowdy, glasses raised chorus.

Invented in 1844 by Scottish mathematician Hugh Blackburn, a harmonograph is a mechanical device that uses two balanced swinging pendulums to draw geometric pictures, two different but equal forces working in perfect harmony to create a complex whole. What better metaphor for the musical symbiosis of False Lights could you ask!

Mike Davies

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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: www.falselights.co.uk

‘William Glenn’ – official video:

SAM KELLY & THE LOST BOYS – Pretty Peggy (Navigator NAVIGATOR 102)

Pretty PeggyBased in Bristol, but born in Norfolk, Kelly stakes a claim for a Best Album nomination in next year’s Radio 2 Folk Awards to add to this year’s Horizon win. Backed by his six-piece live band, comprising Jamie Francis on banjo, fiddler/guitarist Ciaran Algar, percussionist Evan Carson, Graham Coe on cello with Toby Shaer and Archie Churchill-Moss providing woodwind and melodeon, respectively, Pretty Peggy their first album together, also features contributions from folk stalwarts Cara Dillon, Damien O’Kane, Mike McGoldrick and Geoff Lakeman.

Save for three numbers, all the material is traditional, refashioned and refurbished, opening with a rousing haul away tempo take of the whaling shanty ‘Greenland Whale’ that can’t help but bring Seth Lakeman to mind. Dillon and McGoldrick’s Uillean pipes complement ‘Bonnie Lass Of Fyvie’, the pretty Peggy-o of the title, a jaunty Celtic-hued version that successfully avoids sounding like any of the many previous recordings.

A tale of lost childhood love regret, the equally lively, thigh-slapping, fiddle-driven ‘Angeline The Baker’ has Appalachian roots and then comes the first of the original numbers, ‘When The Rievers Call’, a Jamie Francis song about the raids on the Scottish borders during the middle ages featuring, unsurprisingly, some fiery banjo work and again recalling that Seth Lakeman sound.

Returning to the traditional repertoire and featuring O’Kane on electric tenor guitar with a melodeon solo, ‘If I Were A Blackbird’ is a lovely, lilting and gently ripping take on the Irish love song, reversing the lyric’s genders and set to a tune based around Chris Wood’s ‘Ville De Quebec’. This is followed by the darkly menacing ‘The Shining Ship’, a suitably spooked and nervy six minute tale, sung in low, at times whispery tones with swirling sonics, of a woman lured aboard a ghost ship by her long lost lover and based on the 17th century Scottish ballad ‘Demon Lover’.

Featuring himself on piano and Shaer on fiddle, the only Kelly original is ‘Chasing Shadows’, another lively tune about understanding that “the deepest dark comes just before the dawn”, and one of the more contemporary sounding tracks. Then comes the comic relief, ‘The Close Shave’ being New Zealand singer Bob Bickerton’s variation of the traditional romp, ‘Barrack Street’, about a gold miner relieved of his treasure by a man posing as a woman.

The obligatory instrumental track comes with ‘Shy Guy’s Serve’, a jaunty fiddle medley of Shaer’s ‘Josh’s Slip’ and Algar’s ‘Rookery Lane’, before they dig into the more obscure pages of the Dylan songbook and turn up the volume for ‘Crash On The Levee’, a punchy and driving version of ‘Down In The Flood’ off The Basement Tapes. The penultimate number is another traditional English folk song, drums, fiddles and flutes pumping along sexually euphemistic ‘The Keeper’ with its call and response derry derry down chorus, the album ending with the intitially subdued but gradually gatheringly strident strains of The Rose, Kelly’s translation of the French song ‘Le Beau Rosier’, originally by Belgian outfit Naragonia with whom he played mandolin last year.

Having practised his art as a youngster singing to the family’s cows, in 2012 Kelly was a finalist for Britain’s Got Talent (the one won by Pudsey), at which time he said “I don’t want to make a mediocre album of covers just to sell as many as possible on the back of BGT…musical integrity is really important to me.” He’s clearly lived up to his words.

Mike Davies

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 SAM KELLY & THE LOST BOYS – Pretty Peggy link 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.

ORDER – [CD]

Artists’ website: www.samkelly.org

‘Angeline The Baker’:

English Folk Dance and Song Society awards funding for new music

Creative Bursary

Seven projects will create new music rooted in the English folk tradition following the latest round of funding awards by England’s national development agency for the folk arts.

The English Folk Dance and Song Society (EFDSS) has made four awards under its 2017 Creative Bursary scheme and three through its Creative Seed Funding programme.

Both initiatives are funded through the PRS for Music Foundation Talent Development Partner scheme. They come under the umbrella of EFDSS’ Artists’ Development Programme, which provides professional development support, both creative and business, to artists at all levels of their career.

Katy Spicer, EFDSS Chief Executive and Artistic Director, said: “All the successful applications are rooted in the folk arts but will bring a fresh take on their subject matter.

“By its very nature, folk music has always evolved and reflected the issues of its generation and these awards will help to develop some very innovative and relevant proposals. We look forward to supporting and working with the artists as their ideas take shape.

“Our bursary and funding schemes are designed to kickstart projects, giving the recipients time to bring their ideas to life. A great example is Sam Sweeney’s Made in the Great War music and storytelling project which began thanks to an EFDSS Creative Bursary.”

The Creative Bursary scheme invited applications from more established artists for an award of up to £2,000 to support creative research and development, together with use of rehearsal space at Cecil Sharp House and access to the Vaughan Williams Memorial Library. They have been made to:

·       Alex Vann (Spiro) to create an instrumental concert trio using traditional English tunes as the basis for improvisation where each performance is one piece of improvised music using traditional tunes as the cornerstones

·       Tom Moore and Archie Churchill-Moss (Moore Moss Rutter) to develop and produce an album of new art-music based compositions and devised improvisations with their roots in local English folk tune traditions

·       Alma (John Dipper, Emily Askew & Adrian Lever) and Nick Hennessey to devise a new multi media experience including lighting, data projectors and other technology to enhance the performance and build bridges between inherited traditions and modern media experiences

·       Fiddler Rowan Piggott to explore traditional and contemporary folk songs highlighting the decline and environmental threats to our native honeybee and bumblebees.

The Creative Seed Funding Programme was open to emerging artists and involves a £750 bursary to research and develop new work linked to the English folk arts. The awards have been made to:

·       Emily Mae Winters to research, record and tour new songs dealing with modern socio-political issues including the movement of people, feminism, fake news, global warming, war and social media

·       Heg Brignall (Heg & The Wolf Chorus) to research new material based on modern day myths or myths and legends that have found their way back into our culture, leading to a single/EP release and finished studio album in 2018

·       India Electric Company to research, write, record and release the second in a series of releases for 2017 with the theme of country and the city on a six track EP/album.

More information: https://www.efdss.org

GREG RUSSELL – Inclined To Be Red (Fellside FECD281)

Inclined To Be RedWhen he isn’t partnering Ciaran Algar or working with Nancy Kerr’s Sweet Visitor Band and half a dozen other projects, Greg Russell follows another path. Inclined To Be Red would seem to be his first completely solo album even though he seems to have been around for ever…and he’s still only 24. The album’s title has a double meaning, I think. The line comes from ‘Joe Bowers’, a song that dates back to the California gold rush, but many of the songs concern the lives of the working classes suggesting a certain political leaning. Of course it could just be that Greg is of the ginger persuasion.

Greg has written four of the songs here, adapted four more from traditional roots and shrewdly borrowed four others. The opener is one of his own songs, ‘E.G.A’, written for the Shake The Chains project. Its subject is Elizabeth Garrett Anderson and her fight to become a doctor, the first woman in the country to do so. It’s a masterful piece of writing encompassing Anderson’s life and struggle in under three minutes. ‘Road To Dorchester’ is Graham Moore and Mick Ryan’s song about the Tolpuddle Martyrs and one of the best tracks on the album. Greg returns again to the plight of the working man with Dominic Behan’s ‘Crooked Jack’, a song that I hadn’t encountered before, and Keith Marsden’s ‘Willy-Ole Lad’. I can’t tell you how pleased I am that someone is covering Keith’s songs and Greg’s voice suits this one perfectly.

Three songs concern the life of the itinerant musician. The first, ‘Travelling Onwards’ is autobiographical and Greg suggests that the second, Christine Lavin’s ‘Tomorrow You’re Gone’, is the perfect answer to people who ask him what he does. Her description of a life lived in hotels one night at a time is perfectly judged. The final track, ‘Storylines’, is about the songs that people perform and the attitudes behind them.

Greg is supported, sparingly, by Archie Churchill-Moss on accordion and Tim Yates’ double bass and although they both add colour and shade to the songs I think I prefer Greg’s solo performances. Some of these songs are quite hard-hitting but he doesn’t hit you with them – he just suggests that you might care to listen.

Dai Jeffries

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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.

Artist’s website: http://www.gregrussellfolk.co.uk/

ANGE HARDY & LUKAS DRINKWATER – Findings (Story Records STREC1662)

FindingsI can’t decide if I’m more impressed by the quantity or the quality of Ange Hardy’s work. The ink is barely dry on Esteesee, her 2015 exploration of Samuel Taylor Coleridge and she’s back with her fourth album formalising her work in partnership with Lukas Drinkwater. Findings is a term for the linking pieces in jewellery that join the settings and stones together – Ange knows about this stuff – and provides the theme of this album. And I do find it refreshing to find a themed album that sticks to its central idea all the way through without forcing it down your throat. For that alone Findings is a wonderful record.

In the opening track, ‘The Call/Daughters Of Watchet/Caturn’s Night’, the link is the railway that linked Watchet to the mines of the Brendon Hills but it is also four love stories. The final track, ‘Fall Away’ returns to Watchet and the four daughters of the town now that the mines and the railway and the fishing are gone. Findings mixes original and traditional material, often in one song. So ‘The Pleading Sister’ builds a song around the single verse of ‘Little Boy Blue’ and ‘Bonny Lighter-Boy’ sets a new tune to a traditional set of words.

The (more or less) traditional pieces are ‘The Trees They Do Grow High’, ‘The Berkshire Tragedy’ and ‘The Parting Lullaby’ and I can tell that you’re working out the findings each of these songs. The original songs cover a multitude of relationships but I will single out ‘Invisible Child’ as a masterful example of Ange and Lukas’ songwriting – simple and direct but powerful and moving.

Sometimes Ange and Lukas perform alone but there is a small band of Archie Churchill-Moss, Ciaran Algar and Evan Carson with additional vocals from Nancy Kerr, Kathryn Roberts and Steve Pledger. Even so, the accompaniments are restrained and the songs are out front where they should be. Not to belittle its predecessors but Findings could be Ange’s best album.

Dai Jeffries

Some copies of Findings carry a sticker which can be matched with another to win a (possibly) fabulous prize. Mine reads PHMOI. If you have the matching half, please let me know and we can split the loot.

If you would like to order a copy of an album (CD or Vinyl format), download a copy or just listen to snippets of selected tracks then click below to be taken to our associated partner Amazon’s website (use the left and right arrows below to scroll along or back to see the full selection).

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: www.angehardy.com