Based 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.
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.
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.
“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.
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.
Geoff Lakeman isn’t quite as famous as his sons but he is a much regarded singer and songwriter, particularly in the West Country. At 69 Geoff has finally succumbed to the temptation to record an album, After All These Years, produced by son Sean. Geoff usually performs solo with concertina but with friends and family like his it must have been impossible to resist getting them on board, although the contributions of Jim Causley, Cara Dillon, Kathryn Roberts, Sam Kelly, Ben Nicholls, Jamie Francis, Seth Lakeman and Nic Jones are commendably restrained except when it comes to choruses. Geoff himself has the voice of, if not a young man, then a young man who has seen a bit of life – strong and characterful.
If you were a folk club regular in the sixties and seventies you will be entirely at home with this set. Not that Geoff is locked in the past as his cover of Reg Meuross’ ‘England Green & England Grey’ proves but the mix of material is such that if you don’t care for a particular song you’ll like the next one.
The set opens with ‘The Farmer’s Song’. It was written by Roger Bryant but easily could be one of Geoff’s as he demonstrates with the next track, ‘Tie ’Em Up’. Both are about the decline of traditional rural industries and while both writers were preoccupied with the plight of Devon and Cornwall the same stories are true all around the country. ‘Rule And Rant’ is a bit of obscure Cornish history involving an ingenious mine rescue. The traditional songs include ‘Ye Lovers All’, a song of romantic teasing from Ulster, the well-known ‘Jim Jones’ and ‘The Green Cockade’ a Cornish version of the song that may have arrived from Ireland and ‘Bonny Irish Maid’ – there’s a pattern developing here.
There are a couple of oddities. The first is the original version of ‘Galway Bay’ – not that song and certainly not the celebrated parody (I confess that I was rather hoping for that) – and the closing ‘Doggie Song’. This is the sort of encore that you’ll still find in folk clubs and probably means a lot more in Cornwall but is best not recorded. That aside, this is a splendid album to unwind with, think about and sing along to.
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 GEOFF LAKEMAN – After All These Years 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.
A fluid Cornish collective built around the constant foundation of Sam Kelly and Tanya Brittain who share vocals and play guitar/bass/piano and accordion, respectively, Picking Up The Pieces, their second album sees them joined by Jamie Francis on banjo, percussionist Evan Carson and Morrigan Palmer Brown on harp with various contributions from Kevin McGuire (upright bass), John McCusker (fiddle) and Belinda O’Hooley (piano).
As with their debut, it’s firmly rooted in Cornish soil, something underlined from the start with traditional-sounding album opener ‘Caradon Hill’, a portrait of life above and below ground for the miners and their families in what was once the UK’s biggest copper mine, it’s decline presaged in the lyrics as, McCusker’s fiddle providing the spine, it builds to the a cappela coda.
Moving to Polperro, the sprightly’ Zephaniah Job’, the pair alternating vocals, tells of the 18th century Cornish entrepreneur who, though always mindful of making a profit, served as benefactor to the local fishermen, smugglers and schoolchildren alike. Talking of smugglers, ‘The Grayhound’, sung by Kelly with McCusker on fiddle and whistle and Francis’s banjo bolstering the arrangement, is an account of the three-master privateer charged by the government with chasing down smugglers’ ships, though the chorus line about pillaging and raiding the south Cornish coast suggests its crew may well have exceeded their mandate.
Co-penned by Brittain and Boo Hewardine, just as Louise Jordan’s latest turns the spotlight on the role of women during WWI, ‘Bal Maiden’s Waltz’ details the generally overlooked contribution of women and girls to the Cornish mining industry, Kelly adding cittern to his guitar parts with Brittain taking lilting lead on a song about how the so-called ‘bal maidens’ would crush, grind and break down the ore sent up from the mine before going home to feed the families, go dancing and break hearts.
Penned by Brittain, but sung by Kelly, featuring harp, harmonium, fiddle and upright bass, ‘Gwrello Glaw (Let It Rain)’ is the first of two numbers in Cornish, a reflective song about living life to the full regardless of what storms come your way. This is followed by the more musically energetic ‘The Cinder Track’, a driving banjo and guitar led stomp forming a sort of tarmac shanty in tribute to the men who build the roads. One of two numbers not penned by band members, ‘Koh-I-Noor’ is, simply arranged for guitar, banjo and accordion, a waltzing Hewardine composition, a musing on mortality drawing comparison between the lengthy existence of the titular diamond and the brief lives of those who coveted and killed for it.
Kelly provides the music for the second of the Cornish numbers, a gently rippling and tumbling airy treatment of the traditional ‘Delyow Sevi’ (winner of Best Traditional Song in a Celtic Language at the 2015 International Pan Celtic Song Contest), the duo sharing vocal duties, Carson tapping out percussion while harp shimmers throughout.
The running order reversed on the sleeve and lyric sheet, ‘Tie ‘Em Up’ is Geoff Lakeman’s rhythmically itchy protest against successive governments’ imposition of EU-agreed fishing quotas and the cost to Cornish fishermen and their families, followed by the sombre and sober anti-war ‘We Will Remember Them’, a track which also appears on their forthcoming Armistice Day commemorative EP, The Names on the Wall, O’Hooley accompanying Kelly on piano.
The album ends with another duo composition, ‘It’s All Downhill From Here’, a lively banjo bouncing singalong romp (again referencing the copper mines of Caradon) celebrating the men who built the railroads, even if the title hints that this was the peak of the Industrial Revolution.
If Seth Lakeman was the vanguard of the revival of Cornwall as a bastion of the contemporary folk scene, The Changing Room are leading the pincer movement.
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 THE CHANGING ROOM – Picking Up The Pieces 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.
This 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.
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.
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.