KEITH JAMES – Captured: The Best Of Keith James (Hurdy Gurdy HGA2927)

CapturedIt’s hard to encapsulate a long, varied and distinguished career in two CDs. After all, Keith James is not only an excellent musician and producer, poet and songwriter in his own right. He also has a remarkable ability to set the verse of other poets – represented here by settings of Lorca, Dylan Thomas, Ginsberg, Kerouac, Neruda and Blake – while his sensitive interpretations of songs by Nick Drake, Leonard Cohen and others attract enthusiastic concert audiences. The 33 songs here include most of the tracks from his recent Tenderness Claws CD and several from the previous album Always. Other tracks make up a good introduction to his earlier CDs, however.

‘White Room’ is a reinterpretation of the Cream song, with Pete Brown’s lyric benefiting from more space and varied pace than the Wheels Of Fire version.

‘Anthem’ is the Leonard Cohen song. While Keith’s voice doesn’t have the gravitas of the growl-y bass-baritone voicings of Cohen’s later performances – in fact, he generally sounds more confident in his higher register – the performance is true to the song.

‘Daydreams For Ginsberg’ is an accomplished setting of Jack Kerouac’s poem.

‘The Unfaithful Wife’ is a setting of Federico Garcia Lorca’s ‘La Casada Infiel’: it’s a great example of Keith’s skill at adapting and setting verse.

‘Semana Santa’ (Holy Week) is one of Keith’s own songs. A lovely combination of lyric and melody.

‘Always’ is a setting of Pablo Neruda’s ‘Siempre’, with Spanish-accented guitar supporting a lyric about love that transcends jealousy.

‘Rich Man, Poor Man’ is another of Keith’s own songs with an arrangement with echoes of Jobim.

‘Decorated Cardboard Human Shapes’ sets one of Keith’s own poems. Driving percussion underline a complex soundscape. Highly though I rate his settings, I’m also impressed at how well his own lyrics stand in the company of those other poets.

The blues-jazzy ‘Scatterland’ and the poppier ‘Brand New Jeans’ are Keith’s own songs, while the flamenco-ish ‘Andalucia’ is based on a poem by Lorca. In ‘Floating Bridges’ Keith weaves another Lorca verse into a setting that makes the poem sound as if it was made to be sung.

‘New Face’, ‘Pantomime Horses’ and ‘The Water And The Rain’ are all songs by Keith, taken from his Always CD, which largely features songs derived from his own poetry. The last track on the first CD, ‘A Few Small Grains’, is another song of Keith’s, one of several songs here from his CD of the same name.

The first track on the second CD, ‘Fruit Tree’, is a song by the (still) much-missed Nick Drake. Keith’s vocals are particularly effective on this track. I really must try to get to one of Keith’s interpretive concerts.

‘The Mask’ and ‘Tyger Tyger’ are both featured on Tenderness Claws. ‘Tyger Tyger’ is an effective and appropriate setting of William Blake’s poem, but ‘The Mask’, based on Lorca’s Danza De La Muerte (Dance of Death), is just stunning.

‘Diamond’ is a setting of Lorca’s El Diamante: like many of the settings here, it comes from Keith’s album with Rick Foot Lorca.

‘Blue Angel’ is an atmospheric setting of a poem by Allen Ginsberg.

‘Glory Box’ is a very different, more straightforward version of the Portishead song, while ‘Take This Waltz’ revisits Leonard Cohen’s take on Lorca’s ‘Little Viennese Waltz’. (One way or another, there’s a lot of Lorca on this album, but there are a lot of people out here who will be more than happy about that.)

‘There Must Be A God’ is another song of Keith’s with a relatively pop-y arrangement. Like Nick Drake’s ‘Three Hours’ (which proves again how effective an interpreter of Nick’s songs Keith is) it was previously released on the Outsides album.

‘A Process In The Weather Of The Heart’ is an effective setting of the Dylan Thomas poem. ‘The Queen And The Soldier’ revisits a story song from Suzanne Vega’s debut album.

Two more of Keith’s songs, the ‘Lizard On The Wall’ and ‘Every Bond’, are followed by a chilling setting of Lorca’s surreal, disturbing ‘Sleepless City’.

Two more of Keith’s songs – ‘Run Before You Walk’ and ‘Only Occasionally’ – and finally back to a Lorca setting for ‘Nocturne’.

If you’re among the ever-growing circle of Keith’s admirers – especially if you’re acquainted with his most recent CDs – you’ll know what to expect: fine musicianship and lyrical intensity, leavened here with the occasionally more mainstream sounds of his earlier songs and versions of classic songs by other writers. If you’re not familiar with his work, this is a first class introduction to it. I look forward to hearing more about his current projects.

David Harley

Artist’s website:

‘Anthem’ – official video:

What we’ve said about Keith James:

KEITH JAMES – Always (Hurdy Gurdy Music HG2925)

KEITH JAMES – Tenderness Claws (Hurdy Gurdy HGA2926)

Sarah McQuaid CD launch tour – 25th January 2018

Sarah McQuaid
Photographs by Martin Stansbury

While I’ve been living in West Cornwall for nearly two years now, and have checked out some local open mics and even a folk club or two, I hadn’t managed to get to a Proper Concert until now, when Sarah McQuaid launched her new album , If We Dig Any Deeper It Could Get Damgerous, due for release on the 2nd February 2018, with a concert at The Acorn theatre and arts centre in Penzance, Sarah’s adopted home town. I hadn’t heard her live before, but on the strength of the album – which I like very much – and some videos I found in passing on YouTube, I expected great things. Nor was I disappointed.

This tour sees Sarah expanding her instrumental armoury, bringing onstage not only her Andy Manson acoustic guitar but also an Ibanez Artist electric guitar (courtesy of Michael Chapman, who produced and played on the CD), a Roland piano (courtesy of Ralph Houston), and even a drum (courtesy of Roger Luxton, who also played on the CD). And very good use of them she makes too.

The launch concert started with a recording of Michael Chapman, who was unable to attend the concert in person but is clearly delighted to be associated with it. Sarah then kicked off with two songs from the new album, ‘Slow Decay’ and the title track, the latter featuring some nifty looping to work in some backing vocals. That new pedal board is definitely a Good Thing. However, while the concert included most of the songs from the new CD, there were plenty of other treats for the ears. In the course of the evening, Sarah did some digging (!) into her very substantial back catalogue: standouts included the epic ‘Hardwick’s Lofty Towers’ from The Plum Tree And The Rose, the nostalgic ‘Charlie’s Gone Home’ from When Two Lovers Meet, and, from Walking Into White, ‘The Silver Lining’, ‘Yellowstone’ and ‘The Tide’. She went back to her American roots (and the I Won’t Go Home Till Morning CD) with ‘West Virginia Boys’ (also known sometimes as ‘Come All You West Virginia Gals’), with an enthusiastic audience taking over the vocal on the last line

Going back to the new album, the concert included her cover version of Jeff Wayne’s ‘Forever Autumn’: no disrespect to Justin Hayward, but for me, Sarah’s version is definitive. For ‘One Sparrow Down’, the drum was pressed into service, with enthusiastic additional percussion from the audience. Other standouts – but there were too many to list them all! – included the lovely ‘Time To Love’, co-written with Gerry O’Beirne, and ‘Break Me Down’ – “possibly the cheeriest song ever written about decomposition” as it says in the CD press release. Neat drum looping on this one, by the way.

The medieval Latin of the 13th-century hymn ‘Dies Irae’ brought out an ethereal quality in Sarah’s voice that would have been just as stunning if she’d sung it unaccompanied: however, her use of the Manson to introduce a polyphonic line sounded absolutely right, as well as demonstrating her mastery of the guitar (and the DADGAD modal tuning in particular).

The intensity of the performance showed no signs of faltering with the last few songs of the evening: ‘Cot Valley’ and the single ‘Tug Of The Moon’, and the encore, a fine unaccompanied rendition of ‘The Parting Glass’: the latter is usually heard sung to a variation on a fiddle tune called ‘The Peacock’ (among other names), but Sarah’s version uses a very moving, highly ornamented melody with which I’m not familiar, though in places it resembles the better-known tune. Finishing with ‘The Parting Glass’ is almost a tradition in itself in folk circles, but in this case I can’t think of a better way to finish what was already a very rewarding evening.

Sarah is already well into album launch tours in the UK, Netherlands and Germany, with USA, Ireland and more extensive UK tours to follow later in the year.

David Harley

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TRENT MILLER – Time Between Us (Bucketfull Of Brains BOB801)

Time Between UsTrent Miller’s new CD Time Between Us, due for release on 16th March 2018, as yet has no mention that I could find on his own web site or that of his record company, so I guess it’s very hot off the press. However, it appears that he originally hails from Turin and now lives in London. His previous albums include Cerberus, Welcome To Inferno Valley, and Burnt Offerings, the last being released in 2014. So he does, so to speak, have a track record, and has been compared to Guy Clark, Townes Van Zandt, and Gene Clark (among others), and certainly the album sits squarely in the Americana category.

Track listing is as follows:

  1. ‘Time Between Us’
  2. ‘How Soon To Never’
  3. ‘Moonlight Café’
  4. ‘Hotel Rooms Of Ocean Blue’
  5. ‘Lady Margaret Street’
  6. ‘Bonfires Of Navarino Road’
  7. ‘Days In Winter’
  8. ‘Hearts Forever Changing’
  9. ‘After The Great Betrayal’
  10. ‘Since You’ve Gone’
  11. ‘Lament Of The Sea’
  12. ‘She’s Leaving This Place For Good’

Van Zandt, Clark (and Clark)…Well, those are big shoes to fill, but he does wrap a suitably lived-in voice around some songs that could easily have come out of the US. In places, his vocals even remind me of Johnny Cash’s last work, though pitched in a higher register. On ‘Lady Margaret Street’ the singing recalls the bruised vocals on Cash’s cover of the Nine Inch Nails song ‘Hurt’, though the song is pacier and the lyric less astringent.

I don’t hear anything quite as classic as ‘Desperadoes Waiting For A Train’ or ‘Pancho And Lefty’ here, and a couple of the songs are a shade too reminiscent melodically of songs by other singers. But it’s a decent collection of country-ish songs, with lyrics that sometimes sound quite personal, but have more light and shade than I was expecting from what I’ve heard of his earlier material. The album features tight (and never obtrusive) instrumental work from Miller stalwarts Paul Cuddeford (guitar), Barbara Bartz (violin), Bethany Porter (cello) and Patrick Degenhardt (drums), and a live set by Miller and his band is probably well worth hearing.

David Harley

Artist’s website:

‘Days In Winter’ – official video:

WILDE ROSES – Wilde Roses (Blood & Desire BNDR02CD)

Wilde RosesThe Wilde Roses CD, by the duo of the same name and due for release on January 26th 2018, is a two-dimensional snapshot of the work of two multi-dimensional performers: multi-instrumentalists, singers, composers and dancers Anna Tam and Emily Alice Ovenden. Many of the songs actually folkier than the archaic instrumentation might suggest. But then, both Anna and Emily have a wide range of training and experience. While this CD reflects their interest in medieval and Renaissance music, some of the songs here will certainly be known to long-time folkies, though arrangements like these are not often heard in folk clubs. As well as their vocal work, the duo are featured here on nyckelharpa (a Scandinavian instrument somewhat related to the hurdy gurdy), viola da gamba, hurdy-gurdy, recorders and drum.

Unfortunately the promotional copy and PR sheet I have don’t include a lyric sheet or information about the songs, so, in order to give a better idea of what the album is like, I’ll be a little more discursive than usual on their background.

1          ‘Edi Beo Thu Heven Queene’ is a gymel, a two-part polyphonic composition from the 13th century in praise of the Virgin Mary, ‘Heaven’s Queen’ and may come from Llanthony Priory, in the Vale of Ewyas.

2          ‘Henry Martyn’ is a version of the ballad (250 in the Child collection, but sometimes taken to be related to Child 167, ‘Sir Andrew Barton’) that largely follows the version recorded by Phil Tanner in 1937, though with at least one extra verse (derived, I think, from Sam Larner’s version ‘The Lofty Tall Ship’). While some old folkies will have grown accustomed to the chromatic descending run in the third line favoured by Joan Baez in her ’60s version, this version sticks to the more strictly modal tune used by Tanner. The vocal harmonies here are supported by drum and hurdy-gurdy.

3          ‘Will Yow Walke The Woods Soe Wilde’ features vocals from both, with recorder and nyckelharpa. The cheerful melody is well known from pieces by Byrd, Gibbons and even Dowland, who quoted it in his song ‘Can She Excuse My Wrongs’.

4          The motet ‘Dou Way Robin’ is sung – mostly in Latin – in an unaccompanied, polyphonic arrangement. It’s extraordinary how effectively two voices – well, these two voices – can execute material like this.

5          ‘Cauda’ is an instrumental piece featuring nyckelharpa and recorder.

6          ‘Riddles Wisely Expounded (Inter Diabolus Et Virgo)’ is one of the “riddling” ballads noted by Child (Child 1) – the Latin title derives from an early version where the devil’s evil intentions are foiled by a virgin’s wise answers to his riddles. This version resembles one I remember sung by Peggy Seeger, though melodically more ornate. The same tune is also sometimes heard used for ‘The Cruel Sister’, and usually includes the discreetly suggestive repeated line “lay the bent to the bonny broom“, in keeping with later versions where the riddles are posed by an aspiring suitor. The song is sung in a suitably traditional style with harmonies on the repeated 2nd and 4th lines, and accompanied at times by sparse pizzicato viola da gamba.

7          ‘Cold and Raw’ is a spikier version of a song I always associate with June Tabor, though it goes back to the 17th century. The rhythmically insistent drum and nyckelharpa actually suits the song very well, much as I love Tabor’s smoother interpretation.

8          Charles Wesley’s text to ‘And It Can Be That I Should Gain?’ is usually heard to Thomas Campbell’s melody ‘Sagina’. The tune used here sounds as if it might have been written much earlier, but Discogs and the sleeve notes seem to indicate that it was written by Anna and Emily. A lovely tune anyway, beautifully sung and accompanied.

9          ‘My Lady Greensleeves’ is indeed that ‘Greensleeves’, not the Morris tune. Harmony and solo vocals are augmented by recorder and viola da gamba.

10        The ‘Song of Amhairghin Glungheal’ features an extraordinary vocal performance with only drums for accompaniment. The poet and judge Amhairghin Glύngheal is said to have been one of the leaders of the Gaelic invasion of Ireland.

11        ‘Alas Departynge is Ground of Woo’, a mournful Middle English piece that can be found in the Bodleian’s Ashmole collection, is sung polyphonically and without accompaniment.

12        ‘An Awhesyth’ is a Cornish song closely related to ‘The Lark In The Morning’, and collected several times in the late 19th century by Baring-Gould. The version here is a sprightly minor tune, though I’ve heard the same tune taken slower as an instrumental. The vocals are augmented with drum and hurdy gurdy, complete with additional vocals from Petroc the lark. It’s a great tune that might just creep into my own repertoire.

13        ‘Man Mai Longe Lives Weene’ is a surprisingly cheerful-sounding Middle English meditation on mortality from, I think, the 13th century. The vocals here are augmented by recorder and nyckelharpa.

I guess this instrumentation and choice of material will appeal to some more than others, as will the high-register vocalization and archaic pronunciation. If you like medieval music as much as I do, though, you’ll find much to enjoy here.

Even the more familiar material here comes over as more ‘classical’ (in its loosest sense) than as folk, but is none the worse for that. The instrumental work is excellent and cleverly arranged. Both Anna and Emily seem to focus mostly on the top end of their vocal ranges, and sometimes the sound is a little strained in consequence. At other times it has an ethereal quality that recalls not only early music, but later church music by Victoria or Palestrina. I hope to hear more of their work as a duo, but I think I also need to check out their other work, such as the back catalogue of the Medieval Babes and the band PYTHIA, which originally featured Emily as a vocalist. Who can resist a band described as “symphonic MetaI“? Probably not me…

David Harley

Artist’s website:

‘Edi Beo Thu Heven Queene’ – live:

SARAH McQUAID – If We Dig Any Deeper It Could Get Dangerous (Shovel And A Spade Records SAASCD001)

If We Dig Any Deeper It Could Get DangerousIan Semple, whose radio programme on CoastFM specializes in promoting artists with a connection to Cornwall, describes Sarah McQuaid’s new CD If We Dig Any Deeper It Could Get Dangerous (due for release on February 2nd 2018) as ‘pure brilliance’ and ‘without doubt one of her finest…’. As this is the first of her albums I’ve heard all through, I can’t make that comparison, but on the strength of this CD, I’ll certainly be digging deeper into her previous output myself.

Sarah is known far beyond her adopted home in Cornwall as a fine singer, songwriter and guitarist, with particular expertise in the modal guitar tuning DAGDAD. This CD also sees her work bolstered by a handful of other fine musicians, including veteran singer/songwriter/guitarist Michael Chapman, who also produced it.

  1. The title track ‘If We Dig Any Deeper It Could Get Dangerous’ might be summarized as “fear of fracking”, but that would be to understate the lyrical complexity of the piece. Sarah’s vocals and electric guitar are augmented by Michael Chapman’s slide guitar, Roger Luxton’s drums, and Richard Evans’ trumpet.
  2. ‘Slow Decay’ also has a lyrical complexity that’s unusual, even among the more thoughtful contemporary singer/songwriters, playing as it does on the multiple meanings of ‘decay’ in acoustics, wave functions and mortality.
  3. ‘One Sparrow Down’ has some of the feel of the acapella version of Suzanne Vega’s ‘Tom’s Diner’, being sung unaccompanied apart from some unconventional percussion and sound effects. Vega’s song is essentially a sequence of observations and ‘found’ images. However, Sarah’s lyric, with its echo of Matthew 10.29, extends observation into metaphor. And I rather like the tune.
  4. Unusually, ‘The Silence Above Us’ features Sarah’s piano well forward in the mix, as well as her guitar and Samuel Hollis’s upright bass. A lovely ballad.
  5. ‘Forever Autumn’ is a cover version of the song from the Jeff Wayne project War Of The Worlds. I came across a lovely live version by Sarah on YouTube some time ago, but this version gains from the addition of her own piano work and Joe Pritchard’s cello.
  6. The ‘Dies Irae’, a hymn in medieval Latin, the words very familiar from the Requiem mass (though not all the words are used here). This version is essentially the plainsong melody known since the 13th century or earlier, though in this case Sarah’s vocals are supported by her own guitar, Michael Chapman’s slide, and Joe Pritchard’s cello. Its presence here is particularly appropriate, since the opening line is echoed in the well-known instrumental intro to ‘Forever Autumn’. This setting seems particularly suited to her captivatingly fragile vocals.
  7. The theme of mortality is continued with Sarah’s atmospheric instrumental ‘The Day Of Wrath, That Day’, the title being a literal translation of the first line of the ‘Dies Irae’. Sarah plays electric guitar on this, augmented by Roger Luxton’s percussion and some ambient noise from Michael Chapman’s guitar. Spine-chilling.
  8. Although the lyric to ‘Cot Valley’ takes into account the valley’s place in the history of Cornish mining – and the (mis)use of child labour here and elsewhere in Britain right into the 20th century – it also works as a reminder of the way in which beauty spots in so many places – not only Cornwall, but (for instance) Shropshire, South Wales and the North East – have outgrown their dark industrial past. Unusually, Sarah augments her own acoustic guitar work with high-strung electric guitar – that is, a guitar with the four lower strings replaced (usually) with the octave strings from a 12-string set – while the instrumentation is further filled out with Michael Chapman’s electric guitar, Richard Evans’s trumpet, Georgia Ellery’s fiddle, percussion from Roger Luxton, and Samuel Hollis’s upright bass, to great effect.
  9. ‘New Beginnings’ is a very neat guitar piece, written as a “wedding march” for Zoë Pollock’s wedding. I think this one might just creep into my own repertoire.
  10. ‘Time To Love’ was co-written with Gerry O’Beirne, and features Georgia Ellery and Joe Pritchard double tracking violin and cello as a sort of counterfeit string quartet.
  11. ‘Break Me Down’ is described in the press release as “possibly the cheeriest song ever written about decomposition” – I’m trying desperately not to think of the old joke about composing and decomposing – and that’s a pretty good description of this slightly bluesy piece. Sarah’s vocal, electric guitar and high-strung guitar are reliably supplemented by Michael Chapman’s trusty ES175 and Roger Luxton’s drums and percussion. But I was particularly impressed by Samuel Hollis’s work on both upright and electric bass.
  12. ‘The Tug Of The Moon’ may already be familiar to you, having been released as a single. The song is more than adequately carried by Sarah’s vocals and electric guitar. Much as I love the acoustic guitar, it surprises me that more people don’t see (outside jazz, at any rate) the potential of the solo electric guitar as an instrument for accompaniment. Now there’s a song for New Year’s Eve…

This is an album of fine instrumental work that never detracts from the song or the vocals. And the songs are exceptional: some of the lyrics here would look equally at home in a volume of poetry, though it would be a pity to deprive them of Sarah’s voice and melodic flair.

I suspect that even Sarah’s fans will be pleasantly surprised at how good this album is, and it should make her many more.

David Harley

If you would like to order a copy of an album (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below to be taken to our associated partner Amazon’s website.

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We make no apologies for featuring this video again – ‘The Tug Of The Moon’:

For Sarah’s tour dates, go to:

VARIOUS ARTISTS – The Transports – A Tale Of Exile And Migration (Hudson Records HUD007LP/CD)

TransportsTom Paxton once remarked about one of his songs that it originally sounded as if it had been written a century ago, but that he no longer considered that a virtue. Fortunately, Peter Bellamy had no problem with “telling it like it was”. His ballad opera The Transports was, in the opinion of many, the best example of how effectively he could write songs that sounded as if they had been written around the time of the events they describe, which happened in the late 18th century. The Transports – A Tale Of Exile And Migration, released on January 12th 2018, is not, of course, the first recorded version of the opera.

The first recording was released in 1977, and included some enormously influential artists, including some whose influence has survived long after they themselves left the stage. (For example Bert Lloyd, Cyril Tawney, Dave Swarbrick, and Peter Bellamy himself.) The ‘silver edition’ released in 2004 included not only the (remastered) original recording, but also a collection of newer recordings by other artists, including members of Fairport Convention; Coope, Boyes & Simpson; Steve Tilston; and Damien Barber and John Kirkpatrick. This latest CD, produced by Andy Bell, features a younger generation of singers and musicians, including members of The Young ‘Uns, Bellowhead, Faustus, Waterson: Carthy, Whapweasel, and Belshazzar’s Feast, as well as Nancy Kerr, Matthew Crampton and Greg Russell.

This live CD isn’t just a reproduction of the original recording with different musicians, however: it mirrors the touring revival from 2017 (which at the time of writing is just beginning another 14-date tour that ends in Norwich on the 24th January: see the website linked below for details). While it’s still based on the true story that captured Peter Bellamy’s imagination all those years ago, it uses spoken narrative between songs rather than the four sections of ‘The Ballad Of Henry And Susannah’ from the original recording. The narration, by Matthew Crampton, also draws parallels with the plight of 21st century forced migration. Perhaps the only reservation that I have about the CD is that while the narration is very capable, even a new listener might not want to hear it every time after they’ve become acquainted with the story. But in this age of iGadgets and personal playlists, I suppose people are much less likely to simply put on a CD and play it all the way through.

The production also includes Sean Cooney’s own recent song ‘Dark Water’, about Hesham Modamani, who swam from Turkey to Greece in his bid to escape from Syria. Live performances include stories of migration researched by the Parallel Lives project. While the song doesn’t have the ‘traditional’ quality of Peter Bellamy’s songs, it doesn’t jar – on me, at any rate – and it’s an excellent performance.

For comparison with previous recordings, here’s a listing of the songs: there are 28 tracks altogether, including the spoken tracks.

  1. ‘Us Poor Fellows’
  2. ‘The Robber’s Song’
  3. ‘The Leaves In The Woodland’
  4. ‘The Ballad of Norwich Gaol’
  5. ‘I Once Lived In Service’
  6. ‘Sweet Loving Friendship’
  7. ‘The Black and Bitter Night’
  8. ‘Dark Water’
  9. ‘The Humane Turnkey 1’
  10. ‘The Plymouth Mail’
  11. ‘The Humane Turnkey 2’
  12. ‘The Green Fields of England’
  13. ‘The Still and Silent Ocean’
  14. ‘Roll Down’

For reasons of space, I won’t go through the performances individually: the songs are of a uniform high quality (and, happily, the booklet includes the lyrics). The vocals (both solo and ensemble) and instrumental work are never less than very good, though Nancy Kerr’s bravura performance on ‘The Leaves In The Woodland’ deserves a special mention.

If you already have an earlier version, it’s still worth taking a look at this for its change of focus (and, of course, some excellent performances). If you’re not acquainted with The Transports but like the sound of songs that are very much in a traditional vein and tell a fascinating historical story with 21st century resonances, you should definitely take a look. And if you tend to prefer more contemporary renditions of contemporary material, take a look anyway. You might just surprise yourself.

David Harley

If you would like to order a copy of an album (in CD or Vinyl format), download one or just listen to snippets of selected tracks (track previews are usually on the download page) then click below to be taken to our associated partner Amazon’s website.

Buying through Amazon on 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:

A Taste Of The Transports: