WILL POUND – Through The Seasons (Lulubug LULUBUG004)

Through The SeasonsThe cover tells you most of what you need to know about this album. Will Pound, here devoting more of his energies to melodeon than harmonica, was brought up in the Morris tradition and is a long-time member of Chinewrde Morris. Through The Seasons is a project he has long cherished and has brought together some fine musicians to realise it. Although there are a convenient twelve tracks, this is not a calendar – the Plough Monday tune comes in at number nine – nor is it a user manual. It is, as Will himself says, a celebration.

If you have even a passing interest in Morris many of these tunes will be familiar to you but possibly only the hardiest will have heard ‘The College Hornpipe’ or ‘Papa Stour Sword Dance’ in situ. You will certainly have met ‘Getting Upstairs’, ‘Trunkles’, ‘The Nutting Girl’, ‘Brighton Camp’, ‘Salmon Tails’ and ‘Ampleforth’ not to mention ‘The Liberty Bell’. The selection of tunes covers Cotswold, North-West, Border, Rapper, Molly and Longsword.

At the core of band are fiddler Ross Grant and Benji Kirkpatrick playing bouzouki, banjo and guitar but Will has called in a few favours, notably John Kirkpatrick who leads the melody on the Border tune, ‘Not For Joe’ and Eliza Carthy who lends her fiddle and voice to ‘The Nutting Girl’ – the latter proving that she is a Waterson through and through. Fiddlers Ross Couper and Patsy Reid are drafted in to add authenticity to the Shetland tune that closes the set.

Purists, if any are left, may take exception to one or two liberties taken with the arrangements – Will certainly does odd things to ‘Brighton Camp’ – but the casual listener will enjoy Through The Seasons immensely and I’m sure it will be in every car on the way to a folk festival this summer.

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).

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Artist’s website: www.willpound.com

Through The Seasons:

The Self Preservation Society

Here is something that must have been a lot of fun to do… Released by ECC Records – 19th February 2018 – A really folking brilliant, folk-rocking and beautiful listen, I can tell you – the folkmaster.

‘The Self Preservation Society’, a stunning vinyl-only triple compilation album, three years in the making. Personally curated by Mark Constantine, founder of Lush and a passionate music fan, the album features 34 versions of songs from the late 1960s and early 1970s, bringing together some of the finest progressive, folk and psychedelic moments of that era. Original compositions by artists as diverse as Genesis, Nick Drake, The Doors and Frank Zappa have been reinterpreted by a galaxy of established and rising stars including Teddy Thompson, Eliza Carthy, Jackie Oates, Marry Waterson, Julie Tippetts and Honeyfeet. The album captures a period of time that was rich with experimentation; an era when anything and everything could happen. The result is a magnificently diverse, six-sided jewel of a record.

Mark Constantine on Teddy Thompson’s version of The Zombies classic, She’s Not There, taken from the album…

The track is one of many “from a period of time when my friends and I were experimenting by listening to everything from West Coast bands like The Byrds to classically-inspired groups such as The Nice,” says Mark Constantine. Honoured and thrilled that that some of his favourite artists, many of whom he had worked with before, shared his enthusiasm and passion for these songs, he added, “Each track has had the deluxe treatment from a collection of great individuals, bands and producers. The result means a great deal to me, and I can’t stop listening to it.”

The album will be available from all Lush stores (plus via the amazon link below) bringing this extraordinary collection to a new audience. The record is full of breathtaking moments, many of which sound unlikely on paper but are stunning in reality. The Imagined Village’s take on Led Zeppelin’s “Kashmir”, featuring pounding dhol drums of Johnny Kalsi and Eliza Carthy’s incredible vocal performance, is an undoubted highlight. Barney Morse Brown’s version of Cream’s “Sunshine Of Your Love”, a face-off between layered cellos and pounding drums, adds a sinister, ghostly edge to a rock classic. Beautiful vocal performances by Jackie Oates, Rosie Doonan and Marry Waterson bring nostalgic memories of The Zombies, The Byrds and Leonard Cohen into sharp focus. And two versions of Quincy Jones’s “Get A Bloomin’ Move On” – the theme to the 1969 film The Italian Job – bookend the album.

“They were truly extraordinary times,” says Simon Heyworth, who mastered the record. “I was an avid attendee at the Winterland Ballroom in San Francisco… I would go to every concert I could, including Cream, Blind Faith, The Grateful Dead, Buffalo Springfield. I never saw The Zombies perform, but Teddy Thompson’s rendition of ‘She’s Not There’ is brilliant. I love the way all these recordings sound.”

‘The Self Preservation Society’ is released on heavy-weight triple-vinyl . If you would like to order a copy, then click 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.

‘The Self Preservation Society’ Track list:

Get A Bloomin’ Move On – The Pickled Walnuts
The Thoughts Of Emerlist Davjack – Beagle & Amalthea
Hocus Pocus – Man Diamond
Time Of The Season – Jackie Oates
Fresh Garbage – Julie Tippetts
I Wouldn’t Leave My Wooden Wife – Iamesh and the Secret Collective
Gunga Din – Rosie Doonan & Ben Murray
I Know What I Like (In Your Wardrobe) – Beagle & Amalthea
Lady Eleanor – Ben Murray
As You Said – Doonan, Oates & Manga
Sunshine Of Your Love – Barney Morse-Brown
Hey, That’s No Way To Say Goodbye – Marry Waterson
Hello, I Love You – Beagle & Amalthea
Reasons For Waiting – Honeyfeet
She’s Not There – Teddy Thompson
Riders on the Storm – The Dhol Foundation featuring Charlie Casey
Kashmir – The Imagined Village (feat Eliza Carthy)
White Rabbit – Honeyfeet
America – The Naked King
Utterly Simple – Sheema Mukherjee
For What It’s Worth – Kami Thompson
Don’t Bogart Me – Honeyfeet
Crazy Cajun Cakewalk Band – Iamesh and the Secret Collective
Lullaby – Matt Shaw & James Porter
Graveyard – Jackie Oates & Barney Morse-Brown
Terrapin – James Porter
The River – The Naked King
Montana – Iamesh and the Secret Collective
Get A Bloomin’ Move On – Dream Themes
Nantucket Sleighride – Beagle & Amalthea
Stamping Ground – Iamesh and the Secret Collective
Moonchild – The Naked King
Time Has Told Me – Ben Murray

USB EXTRA – It Happened Today – Wojtek Godzisz

ECC Records Web link: https://www.eccrecords.co.uk/about/

VARIOUS – From Here: English Folk Field Recordings (From Here Sitw005)

From HereThey may be newcomers to the scene, but Stick In The Wheel are certainly making their mark, not just with their own recordings and associated artifacts, but in their involvement with the folk world in general, and the traditional in particular.

Band members Ian Carter and Nicola Kearey serve as curators, collaborators and producers for this collection of new live recordings by both the great and good and some of the lesser known luminaries in the genre. The remit for those involved was to record songs that explored either place or their musical identity, culminating in a gathering of field recordings captured in locations as diverse as a stone cottage in Edale, a bank vault and a garden at Robin Hood’s Bay using just two stereo microphones and with no subsequent overdubs.

As you would imagine, the tracks are stark and raw, first up being ‘Bedfordshire May Carol’, chosen by performer Jack Sharp, leader of psych-folk outfit Wolf People, as it supposedly originated just a few miles from where he grew up. Next up, Eliza Carthy leads a flurry of more familiar names with a self-penned number, ‘The Sea’, a new setting of the broadside ballad found in Manchester’s Chetham Library and featuring on her current album, the initial pizzicato fiddle giving way to more robust playing. She’s followed by one of the veterans of English folk, John Kirkpatrick, applying his accordion to a song from his lengthy repertoire and a folk club staple ‘Here’s Adieu To Old England’, while his sometimes musical partner, Martin Carthy, also chose a number he’s recently reintroduced back into his sets, ‘The Bedmaking’, a familiar tale of the abused and cast aside servant girl. fingerpicked here to a halting rhythm.

Sandwiched in-between is one of the rising stars of the few folk firmament, the Peak District’s Bella Hardy, who went to 19th century collection The Ballads and Songs of Derbyshire for ‘The Ballad of Hugh Stenson’, setting it to a more upbeat tune than the hymnal adapted by Jon Tams, while, another member of folk royalty, Jon Boden puts his squeezebox to work on a contemplative take on 19th century drinking song ‘Fathom The Bowl’.

There’s a couple of spokes from the Wheel, both unaccompanied, Kearey delivering glottal version of the much covered ‘Georgie’ and Fran Foote ‘The Irish Girl’. They’re not the only numbers to be sung naked as it were. BritFolk alumnus Lisa Knapp has a lovely treatment of the tumblingly melodious ‘Lavender Song’, while, also from the female side, Fay Hield tips the hat to Annie Briggs with her choice of ‘Bonny Boy’.

On the other side of a capella gender fence, Geordie folkie Stew Simpson mines his Newcastle roots for ‘Eh Aww Ah Cud Hew’ (which the accompanying booklet helpfully translates as “Oh Yes, I Could Pick At The Coals”), Sam Lee turns the evergreen ‘Wild Rover’ on its head to transform it into a slow, sad lament rather than more familiar rollicking rouser of Dubliners and Pogues note, and, from Wales, a deep-voiced Men Diamler closes the album with ‘1848 (Sunset Beauregard)’, a self-penned political protest ballad about Tory policies. The remaining unaccompanied track is actually a duet, Peta Webb and Ken Hall joining voices for an Irish in London in the 50s marriage of Ewan MacColl’s ‘Just A Note’, about the building of the M1, and Bob Davenport’s account of the dangers of ‘Wild Wild Whiskey’.

The three remaining tracks are all instrumentals. Bristol’s acoustic instrumental quartet Spiro are the only band on the collection and provide their self-penned ‘Lost In Fishponds’, apparently about getting lost en route to a gig, joined here by North Wales violinist Madame Česki, while Sam Sweeney brings his fiddle to bear on two tunes. ‘Bagpipers’, one of the first things he played with his band Leveret, and ‘Mount Hills’, an English dance tune from the 17th century. Which leaves Cumbrian concertina maestro Rob Harbron to provide the third with a pairing of ‘Young Collins’, a Costwolds’ tune learned from Alistair Anderson, and, another from the Morris tradition, ‘Getting Up The Stairs’, which, by way of a pleasing synchronicity, he actually learned by way of John Kirkpatrick on the influential Morris On album.

It more than does the job it set out to achieve, and, likely to loom large in end of year awards, fully warrants a place in any traditional folk fan’s collection.

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.stickinthewheel.com

Stew Simpson – ‘Eh Aww Ah Cud Hew’:

ELIZA CARTHY & THE WAYWARD BAND – Big Machine (Topic TSCD592P)

Big MachineFrom her debut solo album back in 1996, Carthy has never been predictable in her constant determination to both celebrate and reinvent the folk tradition and, while that may not have always endeared her to purists, it has produced a remarkable – and sometimes challenging – back catalogue. Her latest is no exception, here working with the big-band set up on her festival appearances, a 12-piece line –up that includes, among others, Beth Porter on cello, melodeonist Saul Rose, Mawkin’s David Delarre on guitar, bassist Barnaby Stradling from Blowzabella and former Bellowhead fiddler Sam Sweeney.

Aptly titled to reflect the sound, Carthy appearing on the front cover like some kind of folk Boudica leading her tooled-up army into battle, the material follows a similar pattern of self-penned originals, traditional reworks and covers, kicking off with a strident metronomic rhythm arrangement of one of ‘Fade & Fall (Love Not)’ complete with plucked cello and soaring brassy flourishes. It’s one of three Manchester Ballads, the others being equally strident shanty ‘The Sea’ with its martial beat and sweeping fiddle and, introduced with a cosmic keyboards whoosh, stumbling domestic violence number ‘Devil in the Woman’ with its repeated refrain chant ‘charming little woman”.

Staying in the traditional arena, the album’s longest and arguably most striking number sees her joined by Damien Dempsey for the eight-minute ‘I Wish That The Wars Were All Over’ (performed live onstage in the studio), a Roud ballad sung from the perspective of a soldier’s love, stemming from the American Revolution and referencing the Seven Years War, collected by the Reverend Sabine Baring-Gould, from Dartmoor miner Sam Fone. Featuring a tinkling repeated piano pattern, melodeon, fiddle it has Carthy in tender vocal form, counterpointed by Dempsey’s keening longing. Interestingly, it has also been recorded by American folk artist Tim Eriksen with whom she made 2015’s Bottle album.

Ewan MacColl’s cabaret-like lurching shanty ‘The Fitter’s Song’ provides the title source, the melody a variation on ‘When Johnny Comes Marching Home’, with the third cover seeing her joined by the scion of another folk family dynasty, Teddy Thompson lending his voice to a rousing gospel-blues shaded treatment of Rory McLeod’s ‘Hug You Like A Mountain’ providing a showcase fiddle spotlight.

The remaining numbers are all Carthy originals, indeed the whale-themed shanty ‘Great Grey Back’ is a new treatment of a song that originally featured on Wayward Daughter, here with massed vocal backing rather than just one voice. One is an instrumental, the rousing part vocalised but wordless ‘Jack Warrell’s (Exerpt) – Love Lane’, while, another big sound, ‘Mrs. Dyer the Baby Farmer’, with its fiddle lament intro, is essentially a murder ballad concerning Victorian serial killer Amelia Elizabeth Dyer who took in babies that were unwanted or could not be cared for, ostensibly to be adopted, and despatched them to Jesus. ‘Epitaph’ closes the album on another murder ballad, here a cabaret-like tale of death by custard poisoning, Willy Molleson providing the thundering drums. The remaining track again underlines Carthy’s willingness and thirst to experiment and push the folk envelope, ‘You Know Me’ a commentary on hospitality and the refugee crisis (“the door is always open and the fires are blazing, no one ever turned away, the fruit in our garden is always good”) that, with a scratch intro and set against a dub-styled rhythm, features a rap by MC Dizraeli. Arguably her best work since 2008’s Dreams of Breathing Underwater, it further confirms her as one of the fiercest and most striking voices in contemporary folk music.

The album also comes as a deluxe edition that includes ‘Aleppo in the Sun As It Was’ from last year’s English Electric EP as well as the demo of ‘The Fitter’s Song’ and five extra tracks, including both a fiddle and vocal version of ‘Three Day Millionaire’.

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.

Artist website: www.eliza-carthy.com

‘Fade And Fall (Love Not)’ – official video:

 

VARIOUS ARTISTS – Songs of Separation (Navigator NAVIGATOR094P)

Songs of SeparationAn ambitious project, this is the brainchild of double-bassist Jenny Hill who, in the period running up to the Scottish independence referendum in 2014, found herself frequently on the road away from her Scottish home. As such, and being English, she was struck by the different messages being directed at and from the two nations and decided to address the notion of separation through a musical project. Recruiting Eliza Carthy, Hannah James, Hannah Read, Hazel Askew, Jenn Butterworth, Karine Polwart, Kate Young, Mary Macmaster and Rowan Rheingans, a posse of female folkies from both Scotland and England, they holed up on Isle of Eigg last June to write, rehearse and record (in just six days) what would eventually become this album, its theme of separation embracing the personal, political, social and cultural as well as touching on matters of family, gender, communication, supernatural, home, work, identity and the land.

Polwart taking the lead vocal, it opens with a reading of the traditional number, ‘Echo Mocks The Corncrake’, an appropriate choice given that Eigg is one of this migratory bird’s remaining habitats, its distinctive call introducing the track and echoed in the percussive beats, the lyrics about the separation of two lovers serving as a metaphor for the rural depopulation of the Highlands during the 18th and 19th centuries. It’s a robust treatment involving harp, scraping strings bass, double bass and a rousing wordless vocal refrain.

The album continues in traditional mode with Read’s bluegrass-tinged arrangement of Burns’ ‘It Was A’ For Our Rightfu’ King’, a gently yearning melody picked out her acoustic guitar and completed by harp and banjo, followed by the equality and love themed ‘The Poor Man’s Lamentation’ with its urgent rhythm, swirling violins and a capella ending. Further birdsong and the sound of a storm heralds the wholly massed a capella lament ‘Sad The Climbing’ (or, since it’s sung in Gaelic, ‘Trom An Direadh’), recorded live, like the album’s other a capella number, ‘Unst Boat Song’, in Eigg’s acoustically striking Cathedral Cave, itself not far from the site of a 1577 massacre of the MacDonald population by the MacLeods of Harris upon which the lyrics treat.

Driven by choppy percussive arrangement and gathering to a chanted climax, things remain in Scottish Gaelic for the near six-minute ‘Muladach Mi ‘s Mi Air M’aineoil’ (‘Sad Am I And In A Strange Place’), a call-and-response waulking song about a woman and her two daughters being separated from their people and their home.

In contrast to the bulk of the album, ‘Cleaning The Stones’ is an original number (a fish’s love song) penned by Eliza Carthy. Opening with a chamber folk arrangement, it waltzes dreamily on wings of plucked strings and harp arpeggios like something from the music halls. A little more birdsong, and it’s a journey way back in time and to the far reaches of the Shetlands for ‘Unst Boat Song’, a prayer for the safe return of fisherman sung on the original Norn with Polwart taking lead.

Sung by Hazel Askew with the others providing harmonies, the lullabying music hall tune of ‘London Lights’ may be more familiar as ‘Just Before The Battle Mother’, an American Civil War song written by George Root, the lyrics here about the destitution fate of abandoned single mothers. Heading into the final stretch, the harp shimmering ballad ‘Sea King’ is a handclap backed intricate setting by Kate Young of a poem by 19th century Danish poet Adam Oehlenschläger, a variation on the selkie myth about a woman who, years after being transformed into a mermaid, returns to shore, human again, only to find she has now has no home on either land and the sea.

Lady Maisery’s Rowan Rheingans steps up for another original, the strings-swathed ‘Soil And Soul’, a song inspired by both the hills known as The Old Woman of the Moors on the Isle of Lewis and the translation of the Gaelic for Eigg, The Island of the Big Women (a reference to the 7th century female Pict warriors sent to rid the island of Christianity-peddling monks), while the title (and the theme) stems from a book by Scottish environmental campaigner Alastair McIntosh.

Concerned with separation and loss as a result of conflict, personal or otherwise, ‘Over The Border’ weaves together a number of traditional tunes and a collective original, among them ‘The Flowers of Knaresborough Forest’, ‘Blue Bonnets Over the Border’ and pipe lament ‘The Floo’ers of The Forest’, plucked harp and Indian harmonium drone giving way to shared vocals by Polwart and Carthy before the ensemble joins in and violins, guitars and percussion lift the tempo for a rousing dance reel and the optimistic refrain of ‘the gates and the borders will all fade away’.

Finally, Robert Frost’s classic poem ‘The Road Not Taken’ provides the inspiration for’ Rheingans’ ‘Road Less Travelled’, her vocals joined by Polwart and Young (who also lent a lyric hand) on an suitably banjo-dappled accompaniment behind which, recorded in the open air, birds trill and the wind blows as they exhort “lay your cares and troubles down” and “sing your own way home”.

There’s no better way to end this than by quoting Hill’s words in the booklet:

Songs of Separation is an ‘SoS’, reminding us that this connection between people, and between people and place, is the key to overcoming the challenges we face, both in our communities and in this fragile world of which we are temporary custodians.” Come together, right now.

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.

Website: http://www.songsofseparation.co.uk/

Cathedral Cove:

Songs Of Separation – single and new album

Songs Of Separation - single, album and tour dates

Songs Of Separation is a highly significant collaborative recording project which reflects, through song, the issue of “separation” in its many forms. Featuring ten of England and Scotland’s most celebrated female contemporary folk artists, together they explore the similarities and differences in our musical, linguistic and cultural heritage. The ten participants are Eliza Carthy, Karine Polwart, Rowan Rheingans, Mary Macmaster, Hannah Read, Kate Young, Jenn Butterworth, Hazel Askew, Hannah James and Jenny Hill (who conceived the project).

Ahead of the release of the Songs Of Separation album and tour, Navigator Records are pleased to announce the release of a double A-side single release from the forthcoming album; ‘Echo Mocks the Corncrake’, featuring. Karine Polwart, and ‘A’ For Our Rightfu’ King’, featuring Hannah Read.

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.

‘Echo Mocks The Corncrake’ – a sort of video:

The Songs Of Separation ensemble will embark on a short tour early in 2016, culminating at Celtic Connections Festival in Glasgow on 24th January. Songs Of Separation aims to capture a sense of our times, exploring topical social and political issues through powerful music.

Artists’ website: www.songsofseparation.co.uk

Songs-of-Separation-group-s