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

Artists’ website: www.stickinthewheel.com

Stew Simpson – ‘Eh Aww Ah Cud Hew’:

Fay Hield talks to Folking about touring, banjos and working in the shed

Fay Hield
Photograph by Dai Jeffries

Last year Fay Hield took her Hurricane Party on tour to promote her new album, Old Adam. They are on the road again soon so I had to ask if there was anything particularly significant about this tour.

“I’m hoping to bring my banjo along, actually.” I had to ask! “You’re the first person I’ve mentioned this to; not even the band yet. I’m hoping to do one solo, just me and the banjo and I’ll be bringing some older material back. There will be lots of Old Adam but lots of other things as well.”

The Hurricane Party will feature one line-up change. “The drummer will be Andy Tween because my regular drummer [Toby Kearney] is part of the Birmingham Philharmonic Orchestra and he couldn’t get time off. So it’s Sam Sweeney. Rob Harbron, Ben Nicholls, Roger Wilson and Andy. He teaches at Wells Cathedral School and he’s great.”

As well as being an outstanding performer, Fay is also a distinguished academic combining her singing with teaching, writing and research which may explain why she works in a shed at the bottom of the garden away from domestic distractions.

“My Ph.D was about the folk scene and folk-singing communities and how they function – and why they’re brilliant because I was born and brought up into it. My family is the folk scene and I love it and get so much out of it. It’s what I like to do and it’s what I want to bring my kids up in and feel comfortable with. I wanted to understand why it’s so brilliant and yet why is everybody worrying about it dying out; why do people find it difficult to get in; why does it have a reputation for being a bit cliquey and how has that happened?

“My research is certainly not negative in trying to find all the badness in it and why it doesn’t work because it really does work for a lot of people. I’ve been working a bit on how audiences listen to folk music and I’m building that up into a book at the moment.”

Fay lectures in music management and ethno-musicology. “I love teaching. I cover all sorts of genres and parts of the world and it’s more about method and how to study music rather than standing there in front of a score.”

As a life-long devotee of folk music I still find it difficult to explain to someone who doesn’t get it what the appeal is. What does the expert think?

“Something in the songs catches me. Some songs you just think, ‘wow, that’s amazing’ and some songs you just have to sing over half a dozen times until you get inside it and then it doesn’t leave you alone. I find them very powerful, you build a bit of a relationship with them and you understand them – and you understand a bit about yourself because of how you understand them.”

And what about the melodies? To me, they just feel right, somehow. “A lot of people get very excited about modal tunes but a lot of them are straight major and the minor sometimes goes into Dorian. If I write a tune myself – I’m not a classically trained musician so I don’t really think in terms of major and minor – it doesn’t come out straight. It’s often pentatonic in a weird kind of way or there is something there. I do love that colour note stuff or when a melody drops and the bottom note is never the tonic, it goes to something a bit random but it fits.

“In classical music, if you put in a modal note it just feels a bit stuck in there but in this kind of music the tunes are so organic so they settle and fit – colourful but not in a dramatic way. People sing or play the tunes in a way that makes sense to them and rounds off the corners in different ways for different people so, yes, they do feel right.”

I’m not sure if any of that will help me. Perhaps I’ll just stick to ‘wow, that’s amazing’.

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

‘Raggle Taggle Gypsy’ live:

Tour Dates

Friday 31 March                West End Centre, Aldershot
Saturday 1 April                Theatre Chipping Norton
Sunday 2 April                   The Stables, Milton Keynes
Monday 3 April                  Red Lion, Birmingham
Tuesday 4 April                 The Lights, Andover

If you would like to order a copy of the one of the albums (in CD or Vinyl), download them or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the Fay Hield 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.

FAY HIELD – Old Adam (Soundpost Records SOPO 5003)

FAY HIELD - Old Adam (Soundpost Records SOPO 5003)Fay Hield’s third solo album is all traditional except when it isn’t. That is, except when the tune is by Hield herself and/or Jon Boden or the song is written by Rudyard Kipling and Peter Bellamy or Tom Waits. Although not given full billing on the front cover, The Hurricane Party – Sam Sweeney, Rob Harbron, Roger Wilson, Ben Nicholls and Toby Kearney – are back alongside the aforementioned Mr Boden and Martin Simpson. Fay is scrupulous about crediting her sources and I do worry when those sources are singers I grew up listening to.

The opening track, ‘Green Gravel’, is described as a playground song although there is a misery about it that isn’t very childish but that mood is quickly dispelled by the jolly ‘Raggle Taggle Gypsy’ and ‘Katie Catch’. The title track is a non-Biblical account of the life of the first man, told as though the expulsion from Eden didn’t happen – it is said of Eve that “her neighbours she ne’er scandalised” and she is described as “the jewel of woman found”. Yeah, right.

The best version of ‘Queen Eleanor’s Confession’ I ever heard was by Rosemary Hardman and the version by Tim Hart and Maddy Prior, which Fay uses here, ignored the melodrama and inherent comedy of the song. Rosemary recorded the song nearly fifty years ago and perhaps sensibilities have changed but I always found Tim and Maddy a bit po-faced about the story as is Fay. ‘The Hornet And The Beetle’ makes a serious point and ‘Jack Orion’ is a famous tale of what? – not quite cuckolding although we can suppose that the countess is married so it’s probably adultery. Whatever, it’s a ribald tale but with murder in the final verse. Tom Waits’ ‘The Briar And The Rose’ seems an odd choice at first glance coming, as it does, from one his more difficult albums, The Black Rider, but strip away the preconceptions and you can see the traditional themes woven into the story.

Needless to say the arrangements are beautifully judged often casting a new light on a song and ‘Go From My Window’ is a perfect example. It can be a real dirge but the banjo and up-front percussion give it pace and the key changes in ‘Anchor Song’ seem to enable Fay to get through it in record time. Leaving aside personal preferences this is an excellent album by any standards.

Dai Jeffries

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.

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

‘Raggle Taggle Gypsy’ live at well-known north London venue:

Fay Hield Announces Details of New Album

Fay Hield Announces Details of New Album

Following the considerable success of The Full English album and touring band, which she assembled, singer Fay Hield is due to release her 3rd solo album, Old Adam on Soundpost Records on 12th February 2016 and will tour in February and March too. Meanwhile, a digital single, taken from the album, featuring ‘Willow Glen’ and ‘Green Gravel’ is now available.

Old Adam is a fresh and original exploration of how we use stories and music to understand what it means to be human and combines not only Fay’s gift for unearthing striking material but also her distinctive and naturalistic delivery of it. These qualities have won her critical acclaim for her previous solo albums (Looking Glass in 2010 and Orfeo in 2012, both on Topic Records) including several BBC Radio 2 Folk Awards and a nomination for Folk Singer of the Year. Continue reading Fay Hield Announces Details of New Album

Fay Hield Announces New Single

Fay Hield Announces New Single

Taken from her forthcoming album, Old Adam (out 12th February 2016), traditional singer and folklorist Fay Hield has selected the many versions of ‘Green Gravel’ recorded by Alice Bertha Gomme in The Traditional Games of England Scotland and Ireland and woven them together in a moving, atmospheric and affecting way.  The song has links to burial ceremonies, with green gravel representing the newly turned grave, though there is no suggestion this rhyme was performed at burials, more that children took the ideas of life, love and death into their own sphere.

Fay’s third solo album, Old Adam, contains 14 tracks and is a fresh and original exploration of how we use stories and music to understand what it means to be human. Fay’s distinctive and naturalistic singing style has won her critical acclaim for her previous solo albums (Looking Glass and Orfeo both Topic Records) including several BBC Radio 2 Folk Awards and a nomination for Folk Singer of the Year.

Fay is accompanied by her stellar band, The Hurricane Party; Rob Harbron (English Concertina, fiddle, vocals), Sam Sweeney (fiddle, viola, cello, nyckelharpa, vocals), Roger Wilson (fiddle, guitar, mandolin and vocals), expanded to include Ben Nicholls (Bass) and Toby Kearney (Percussion) and special guests (Fay’s partner) Jon Boden and guitar maestro, Martin Simpson. Fay Hield will tour with The Hurricane Party in February and March 2016.

Artist’s website: www.fayhield.com

‘Green Gravel’ – the official video:

Maggie Boyle (1956-2014)

Photograph: Nigel Hillier
Photograph: Nigel Hillier

It is with deep regret we announce that London-Irish singer Maggie Boyle lost her life to cancer on 6th November 2014, aged 57.

Brought up in a vibrant musical family in London during the 1960/70s, Maggie Boyle developed a love and appreciation for traditional music and community. As a youngster, Maggie performed with the local branch of Comhaltas, gaining All-Britain singing titles. In the 1980s she formed a duo with her then husband Steve Tilston, recording several highly acclaimed albums and later, three further solo albums. Over the years, Maggie collaborated with luminaries such as The Chieftains, Incantation, Fairport Convention and Bert Jansch and regularly performed in numerous line-ups, the most significant as a duo with Paul Downes and the all-female trio Grace Notes. Maggie also engaged in cultural works outside the folk scene including the Ballet Rambert’s performance piece Sergeant Early’s Dream and John Renbourn’s Ship of Fools. She also contributed to film soundtracks, notably Patriot Games and Legends of the Fall.

Throughout her musical career, Maggie was dedicated to supporting younger singers and developing the tradition. She was instrumental in establishing artist-run co-operatives Three’s Company and Skinnymalinks through which she helped develop new talent, including The Demon Barbers and The Witches of Elswick. Maggie organised concerts promoting young performers and taught regularly at Breton Hall and Newcastle University. Since 2012 Maggie pioneered a scheme to visit her musical heroes and record intimate exchanges with the support of BBC Radio Leeds. The Kitchen Songs Project gets to the heart of luminaries such as Ralph McTell, and demonstrates Maggie’s innate love, respect and passion for this music and her fellow musicians far beyond the bounds of ‘career’.

Revered for her ability to enchant a room with her ethereal voice, this captivating quality penetrated her very being; Maggie had a pure soul which brought joy and peace to others wherever she went. She was dedicated to her wider family and had a profound impact on many more. After touring the country constantly for the past three decades, Maggie is well known to many throughout the folk scene. Those who met her, even briefly, were greeted with an open warmth and generosity of spirit they haven’t forgotten. Her family are immeasurably grateful for the astounding love, care and generosity shown to Maggie over the past year by countless people in the folk community and beyond.  Maggie leaves behind an exceptional presence; her absence is felt most keenly by her devoted partner, Bill, two children, Molly and Joe, and beloved granddaughter, Betty Sue.

There will be a Memorial Service at 12 noon and a celebration of Maggie’s life and times from 2pm on Monday 17th November, both at Victoria Hall, Keighley. All are welcome, please bring instruments and memories.

Fay Hield

For further details please contact Fay Hield: info@fayhield.com

Maggie, accompanied by Paul Downes, sings Nick Burbridge’s ‘Old Man’s Retreat’. It seems an appropriate choice.