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’:

SAM KELLY talks to Folking’s Su O’Brien

Sam Kelly

Pretty Peggy, the much-anticipated second album from Sam Kelly and the Lost Boys is released on 6th October, so Folking.com caught up with Sam, freshly arrived back at home in Cornwall, to find out more.

“I’ve not been back for about two months”, Sam admits, as The Lost Boys have busy been cementing their award-winning position as a firm festival crowd favourite, gigging every weekend over the summer.

“We’re having loads of fun doing it and having a great time and I think that comes across in the live shows”, says Sam, conceding that it’s not necessarily the healthiest of lifestyles and he’s “always one of the last to quit and go to bed”.

Still, it must be nice to get home and recharge, sit around in your pants, catch a bit of rubbish tv, maybe read a book or play a video game? Well, yes. Except that what was meant to be a brief respite before the album launch will, for Sam, revolve around moving house instead. So much for relaxing. Fortunately, though, Sam sounds as though he’s taking this, and everything else, pretty much in his stride.

Remarkably, it’s already two years since The Lost Boys’ debut album was released. Although an acclaimed album, in retrospect it seems that the band was still finding its feet.

“With the first album it was obvious that we were going to call it The Lost Boys as an introduction to the band.

“I always wanted to get a band together. I always heard songs with a full band arrangement in my head. At first we couldn’t afford to do other than a trio: we could all go in one car – nice and easy! There was always going to be a full band when I could afford it – and when I met the right musicians. I wanted it to be collaborative, not a ‘backing band’”.

Looking back, Sam reflects on the less-than-ideal recording conditions. A piecemeal affair, fitting around the band members’ day jobs and wherever they could set up their equipment, it involved such unglamorous distractions as having to wait for Gatwick planes to pass overhead between takes.

“With the first album, there was no other way of doing it. We were all working full-time. It broke the immersion in the process.

“I was pleased [with the album], but it felt quite rushed compared to this album, and the EP we did at around that same time, Spokes. Listening back, Spokes better represented the band’s sound. I would change lots in terms of the nitty gritty – mixes – and, also, some of the songs didn’t quite reach their potential, as they’d been in my head. It’s all part of the learning process”.

Additionally, as the album was effectively a calling card to attract bookings, it tried to capture something like the band’s live sound, leaving little room for studio ingenuity.

When it came to recording Pretty Peggy, however, the band opted for a dedicated period of studio time, staying there full-time so that they could all concentrate fully on it and be more experimental. Not that getting all seven band members together was a simple business.

“We only had two rehearsals with everyone together, it’s so difficult to get time. It was at Jamie’s parents’ in Cumbria – which is a hefty drive from Cornwall – so there was not much chance to get together and write. We worked on a few of the tracks while chilling at festivals. Stuff happens organically like that, but it can’t always, because you can’t always find the time”.

Just as well, then, that they have an established habit of recording demos as they go along, working on songs, thrashing out the basics of tempo and arrangement. It helps speed up the recording process, which is useful considering the expense of studio time.

“This was all recorded in Cornwall in two weeks. We all had the time booked off and knew most of the songs anyway. We sat down and allowed ourselves to be creative for a couple of weeks. The tracks are presented in a way that suits each track more. We had more time to step back and listen to what each song needed.

“Everyone has been involved in the creative process, in recording, instrumentation-wise, orchestration-wise. We lost our inhibitions of trying to do only what we can do live.

“All my favourite albums are the ones that treated the recorded format as a separate art form. On the folk scene this is perhaps done less often, but that’s ok, too: people want to capture particular kinds of sound. But if the album’s treated as a separate thing, it’s different and exciting when you see it live: it’s a different show, wondering how they are going to do that live”.

From squeaky chairs, reverse voices and a fire extinguisher, to grand piano strings plucked with a plectrum, everyone has had a hand in offering up ideas and suggestions for the final mix. The Lost Boys are keen to emphasise their collaborative efforts and have clearly had fun exploring the studio’s possibilities for “headphone moments”.

“My favourite album is Grace by Jeff Buckley. I still listen to it through studio monitors and notice little things I never noticed before. There are little “Easter eggs” buried in the mix”.

Sam, Graham Coe and Jamie Francis also produced the album, allowing them full control over their sound and their treasure hunt of Easter eggs. Sam says he would prefer an external producer – Gerry Diver’s name comes up – but opted to self-produce this time rather than risk hiring someone who wasn’t quite right, given the short timescales involved. Sam enjoys producing, though, and is proud of his production duties for The Company Of Players, whose album is due for release next year.

Working with The Changing Room’s Tanya Brittain gave Sam the inspiration and confidence to ask for musical contributions from guest artists, including Mike McGoldrick, who, following a spectacularly late-night Costa Del Folk jam session, set his fee at “50p and a can of Red Stripe”. Cara Dillon added beautiful harmonies and vocals to ‘Bonnie Lass Of Fyvie’ (the source of the album’s title) and Damien O’Kane provided hot guitar on ‘If I Were A Blackbird’. Geoff Lakeman, dropping by to hang out as the studio was close to home, ended up supplying virtuoso spoons on ‘Angeline The Baker’.

“I didn’t realise then how willing people are to play on things. I forget that these people are all in it for the love of the music. All the people I’ve met on the folk scene are so supportive of young people and of the next generation coming through. It’s very inspiring. It’s the opposite of ‘never meet your heroes’”.

All these factors lend Pretty Peggy an added richness and depth of sound. It’s a heavier, altogether meatier album than the first one, but it’s evident that ‘Chasing Shadows’, the lead single, is quite different in tone. Consciously attempting to make something with greater mainstream appeal, the band then found that the 4-and-a-half-minute track couldn’t easily be edited for airplay. But with some radio play already, it still stands every chance of opening-up The Lost Boys to a wider audience.

Rooted in personal experience, ‘Chasing Shadows’ steps away from traditional third-person storytelling songs, evoking instead a contemporary, emotional mood.

“I’m not a prolific writer, I have lots of ideas that don’t materialise into full-blooded songs. But that one just came out. I didn’t think ‘I’ll write a song for a friend’. I was just moved by what happened and wrote it. If it helps someone stop doing something silly…” Only after he said this, did we realise it was World Suicide Prevention Day, adding a topicality to Sam’s words.”

It’s that ability to combine personal, contemporary songs with traditional material and have them sit seamlessly together that Sam most admires in his favourite songwriters, such as Chris Wood, Chris Drever and Karine Polwart.

For now, as the band prepares to tour the album in November and December, with a second leg to follow early in 2018, The Lost Boys are already beginning to think ahead to the next album. They know it will take time to come to fruition and they fully intend it to be another step forward in working together as a unit.

“We have big plans for next year to get together and write a whole new album with everyone involved in that process, to see what we come up with”.

So, the band continues to evolve and, despite his protestations that he is bad at planning ahead, there are clearly plenty of longer-term ambitions bubbling in the mind of Sam Kelly. He has the confidence and assurance of one who has come a very long way in a few short, hectic years. This is a young man determined to savour every moment and treat everything as a learning opportunity.

Sam Kelly

“I’m conscious of not looking too far ahead, and enjoying the present. When I first started, I was always looking forward to the next thing, but then I realised that gigs and things were going past too fast.

“I think back to when we first started playing 20-30 minute sets at our first festivals. We were keen to prove ourselves and worked on creating dynamic sets, hoping to blow the crowds away and win the audience onto our side. Now we like to have lots of fun and play up-tempo things to get people dancing. But we’re not really trying to please anyone but ourselves.

“We have more creative freedom because we’re not trying to please anyone. We’re known in the folk scene now and are more comfortable with where we are and what we’re doing. We’ve got a licence to be more experimental and creative with the music. It has been a kind of growth and realisation process.

“There’s always going to be something else I want to do, some other goal: wanting to be the best musician you can be.

“I’ve learned to trust my own ideas more. Even if I make a mistake, it’s my mistake. I would rather make things that are maybe not as successful or popular, but I can be proud of it because it’s mine”.

Having proved his credentials in the folk world, he has nurtured the band he always wanted and achieved goals he once considered unimaginable, let alone attainable. And it feels like he’s only just getting started.

Su O’Brien

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 and 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]

Artist website: http://www.samkelly.org

‘Chasing Shadows’ – official video:

SAM KELLY The Lost Boys

SAM KELLY The Lost BoysThis is the album that the folk world has been awaiting for months, given Sam Kelly’s unique musical history and his seemingly putting his solo career on hold to work with The Changing Room.

The Lost Boys are an expanded Sam Kelly Trio with Ciaran Algar and Graham Coe joining Jamie Francis and Evan Carson and further contributions from fellow Stark Josh Franklin, who also co-produced the album, plus Lukas Drinkwater and Kitty Macfarlane.

The album opens with ‘Jolly Waggoners’, one of the chorus songs we used to roar out in the sixties. Sam takes a more considered approach to it, tweaking the tune a little here and there and revealing that the words are still relevant – “the folks in power pay no heed to the likes of me and you”.

Jamie Francis’ alt-blues affiliations come to the fore in the arrangements of ‘Little Sadie’, ‘Wayfaring Stranger’ and ‘The King’s Shilling’, which is traditional but makes you think it isn’t. His banjo is the dominant instrument on several tracks and, with Carson’s drums going flat out the final track, ‘Dullahan’, is pure folk-rock. At the other end of the spectrum ‘Down By The Salley Gardens’ enjoys a quite conventional pastoral arrangement. Kelly and Francis share the writing and arranging, with Francis contributing ‘Six Miners’ (despite the cover credit I don’t believe he wrote ‘Banish Misfortune’) and Kelly writing ‘Spokes’ while they share the credit for ‘Eyes Of Men’ and ‘Dullahan’.

This is a really good album from start to finish, well programmed with its first peak at ‘Little Sadie’, a “false” climax at ‘Wayfaring Stranger’ and a big finish at the very end. The arrangements are inventive without detracting from the essence of the songs. Their setting of ‘The Golden Vanity’ seems much too jaunty at first but just like everything else here it works. The Lost Boys is going to be huge.

Dai Jeffries

If you would like to download a copy of the track or just listen to snippet of it 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: www.samkelly.org

Sam and Jamie perform ‘Eyes Of Men’ – Songs From The Shed:

Sam Kelly introduces The Lost Boys

Sam Kelly introduces The Lost Boys

The widely anticipated debut full-length album, The Lost Boys, from folk singer and multi-instrumentalist Sam Kelly is due for release on 19th November 2015. The album promises to take the listener to all corners of the British Isles, across the Atlantic, and back again on a musical journey led by Sam’s expert vocals, tasteful arrangements, and high-class instrumental performances. Tender, heart-breaking ballads rub shoulders with dynamic, riff-based folk rock in an exciting mix of traditional and original material.

Touring as The Sam Kelly Trio for the past three years Sam is omnipresent amongst the folk music scene. The trio includes Jamie Francis on banjo and Evan Carson on percussion. Two new band members, Ciaran Algar on fiddle and Graham Coe on cello join the fold to create a full, authentic roots vibe for the album.

“I’ve been lucky enough to be involved with the amazing folk scene we have in this country for the past three years. Huge festival bands, young musicians like myself, and people singing floor spots in tiny folk clubs have all inspired me in equal measure, and this album is a musical montage of all my favourite memories and experiences so far,” explains Sam.

Sam has also honed his skills as a producer under the watchful eyes of Sam and Sean Lakeman, and this album is produced and recorded by himself, Joshua Franklin, and Jamie Francis. It also also features the mixing and mastering talents of Stu Hanna (Megson), and guest musicians Lukas Drinkwater and Kitty Macfarlane.

The Lost Boys has been widely anticipated by both his peers and a dedicated fan base and is the culmination of what has been an incredibly successful year for Sam. Nominated Best Singer 2015 Spiral Earth Awards, numerous plays on Radio 2 and 3 including a live session and interview on the Mark Radcliffe show, features in R2, fRoots, Living Tradition and Fatea magazines, and much more. It’s easy to see why he has already been tipped for greatness by the likes of Mike Harding and Cara Dillon.

Billed as Sam Kelly & The Lost Boys, the five piece will be taking the album on tour in 2016 and cementing Sam’s place as one of the most exciting young prospects on the British folk scene.

Artist’s website: www.samkelly.org

‘Jolly Waggoners/Banish Misfortune’ – Sam Kelly & The Lost Boys:

THE JELLYMAN’S DAUGHTER – The Jellyman’s Daughter (own label)

JellymanThe Jellyman’s Daughter is a duo comprised of Emily Kelly on guitar and vocals and Graham Coe on cello and vocals. Jenny Hill (double bass), Gerry Kelly (banjo) and Natalie Brown (fiddle) occasionally provide additional accompaniment on the tracks presented on this album.

Coe’s versatile cello playing provides the percussive elements of the songs; as well as the driving rhythms. Both Kelly and Coe have voices that combine excellently together. Kelly’s voice, in particular is suited to this style of music. The opener ‘Blue Lullaby’ is a strong opener with a catchy chorus. This is followed by a train-chugging rhythm for ‘The One You’re Leaving’. The addition of banjo gives a bluegrass feel to the song. The steam train beat, albeit with greater urgency, is employed again in ‘Carolina’, my favourite track on the album.

The songs vary from upbeat to mournful and all moods in between. There is even a unique take on The Beatles song, ‘Can’t Buy Me Love.’ A staccato rendition, offset with the soft singing of Emily Kelly.

The album is smooth and the track selection and order is well thought out. All in all, a very enjoyable listen. If I have any reservation, it is the lack of real percussion. Graham Coe does an admirable job filling in the sound with the cello, but there are one or two tracks where I believe the addition of drums would have raised them to the next level.

That personal gripe aside, I heartily recommend you give this talented duo a try.

Ron D Bowes

Artist’s website: thejellymansdaughter.com

The Jellyman’s Daughter – ‘Honey’: