THE COMPANY OF PLAYERS – Shakespeare Songs (own label)

Shakespeare SongsThe Company of Players is an assemblage of young musicians brought together at the behest of Jess Distill of Said The Maiden, in order to celebrate the 400th anniversary of Shakespeare’s death in 2016 by putting together some songs related to his life and work. And one of the fruits of that collaboration is the CD Shakespeare Songs. Participants are Jess Distill (vocals, flute, Shruti box – a drone instrument somewhat like a harmonium), Hannah Elizabeth (vocals, violin), Kathy Pilkinton (vocals, clarinet, spoons, mandolin), Sam Kelly (vocals, acoustic guitar, mandolin, percussion), Kelly Oliver (vocals, acoustic guitar, harmonica), Lukas Drinkwater (vocals, electric guitar, double bass), Chris Cleverley (vocals, acoustic guitar, banjo), Kim Lowings (vocals, dulcimer, piano), Minnie Birch (vocals, acoustic guitar) and Daria Kulesh (vocals).

And a very interesting set it is, too. Knowing nothing of the project, I was, I suppose, expecting performances of songs that actually feature in Shakespeare plays (‘The Willow Song’, for example) or settings of his words, possibly accompanied by instruments from the period – which would have been fine by me! – but there are no lutes or viols here, and the range of material is both wider and in many cases more modern than I expected.

Track listing:

  1. ‘Black Spirits’, by Kathy Pilkinton, takes its title and lyrical content from Macbeth: specifically, Act I Scene I, and Act IV Scene I, taken verbatim from speeches by the Three Witches. It starts with minor-key, dirge-like close harmonies from Said The Maiden over an instrumental drone, then picks up the pace with percussion from Sam Kelly, while the harmonies of Jess, Hannah and Kathy are augmented by the voices of Sam, Chris, Kelly and Minnie.
  2. Minnie Birch’s ‘Up And Down’ borrows ideas and imagery from Midsummer’s Night Dream, and even the chorus is based (though not verbatim) on the words of Puck:
    Up and down, up and down,
    I will lead them up and down
    .’
    The sound, however, is very ‘modern folk’. In fact, it reminded me a little of Megan Henwood, which is certainly not a complaint. A very pretty tune.
  3. ‘Gather Round’, by Kim Lowings, draws on ideas and imagery from The Tempest. However, the expression is unashamedly modern, and would not sound out of place on Radio 2. (Hey, that’s not a criticism: I often listen to Radio 2!)
  4. While the title of Chris Cleverley’s ‘But Thinking Makes It So’ comes from Hamlet, Prince of Denmark – “for there is nothing either good or bad, but thinking makes it so” the song seems to be a more general musing on the human condition and psychological frailty, no doubt influenced by the well-known soliloquy. Very attractive.
  5. In contrast, ‘Method In The Madness’, by Jess Distill and Kim Lowings, is clearly based on Hamlet (perhaps somewhat influenced by the Icelandic Amlóði or the Amleth of Saxo Grammaticus, somewhat less conflicted precursors of Shakespeare’s Prince of Denmark). It’s curious that such a dark, corpse-strewn play should attract such light music. While this doesn’t have the levity of Adam McNaughtan’s ‘Oor Hamlet’ (chanted or sung to ‘The Mason’s Apron’), its sprightly tune, married to instrumentation that would not be out of place at a bluegrass festival, could certainly be described as toe-tapping. In fact, the tune would fit nicely into that group of American songs including ‘The Roving Gambler’, ‘Poor Ellen Smith’, and ‘Going Across The Mountain’. I’m almost tempted to describe it as fun.
  6. ‘Song Of The Philomel’ is a gentle song by Kim Lowings: the slightly archaic expression in the lyrics recalls Titania’s lullaby in A Midsummer Night’s Dream. (Philomel is both an old name for the nightingale and a 19th-century instrument somewhat related to the violin, though Hannah’s fiddle here doesn’t have the philomel’s shrill tone.) I particularly like this track.
  7. ‘Interval’ is a brief instrumental track, not listed in the sleeve notes or lyric booklet, but its mournful, slightly dissonant tone serves very appropriately as an introduction to the next track, ‘Lady Macbeth Of Mtensk’. Amusingly, the press release ascribes its inclusion to Midsummer’s Eve mischief-making by the Fairy Queen and her followers. However, there’s nothing light-hearted about either track.
  8. Daria Kulesh’s ‘Lady Macbeth Of Mtensk’ draws its story, as the title suggests, from the novella Lady Macbeth Of The Mtsensk District by Nikolai Leskov (and the source of an opera by Shostakovich), rather than directly from Shakespeare. Darla’s dramatic delivery of a melody fittingly reminiscent of Russian folk music is almost operatic in its intensity.
    By the way, the Russian word прощай, which appears several times in the lyric, generally means something like ‘farewell’ or ‘goodbye forever’, but can also mean something like ‘forgive’, which perhaps echoes the more sympathetic portrayal of Katerina in Shostakovich’s opera. Just a thought.
  9. ‘You Needs Must Be Strangers’ takes verses from Sir Thomas More. The authorship of this play is, to say the least, complicated. But it is generally accepted that 147 lines added to the play in 1603 were contributed by Shakespeare in his own handwriting. Its meditation on the plight of the exile has an all-too-apposite resonance in the 21st century, reminding me a little of Martin Thomas’s ‘The Exile’.
  10. ‘It Was A Lover And His Lass’, by Hannah Elizabeth, sets the song from As You Like It described by Touchstone as “untuneable”, though Hannah’s setting (like Thomas Morley’s long before it) disproves that description. A great tune, though the extended playout is a little overlong for my taste.
  11. The lyric to ‘Jessica’s Sonnet’ is actually not quite a sonnet, but then it isn’t by Shakespeare either, being credited to Kelly Davis, Kim Lowings and Sam Kelly. It does, however, represent the thoughts of Jessica, the daughter of The Merchant Of Venice, just before she elopes with Lorenzo. The vocals are credited to Sam and Chris, but there’s a strong female vocal there, too, plus other harmonies that seem to be from the whole Company.

This certainly isn’t the sort of music I was expecting, but I certainly can’t say I was in the least disappointed by what I heard. Good solo and harmony vocals, excellent instrumental work where technique serves the interests of the songs but never overshadow them, and some very attractive tunes. If you’re among the many people who were completely put off The Bard by unimaginative English lessons, don’t let that put you off this take on his life and work. And if you love Shakespeare but are open to alternative ‘takes’ like West Side Story you may well like this.

It’s certainly staying on my iPod.

David Harley

Artist’s website: www.facebook.com/TheCompanyofPlayers

‘Method In The Madness’ – live:

VARIOUS ARTISTS Downtown Compilation (Folkstock FSR 22)

VARIOUS ARTISTS Downtown Compilation (Folkstock FSR 22)Downtown is a compilation released to coincide with two concerts curated by Folkstock Records at the London Folk & Blues Festival. It’s a limited edition with several tracks recorded specifically for the project so you may want to make your purchase with due alacrity.

The set opens with ‘Miles To Tralee’, about to be a single for Kelly Oliver and slated for her second album. It was produced by Stu Hanna and just exudes style and confidence. Kelly has come a long way in a very short time and deservedly so. Next come Fred’s House and their digital single ‘Shut Up And Dance’. On first hearing I thought that they’d discovered it on some obscure album of Americana but, no, it’s all their own work and a thumping good track. Minnie Birch’s ‘Dustbowl’ is taken from her debut album and ‘Little Black Cloud’ is a taster for Marina Florence’s forthcoming album and is already receiving radio plays. Mariana has a smoky, sultry voice that demands your attention, possibly on pain of a cane across the knuckles.

There is something of middle-period Joan Baez about Zoe Wren’s singing and ‘Nothing To See’ is a particularly powerful performance and one of the collection’s unique tracks as is Kaity Rae’s ‘When You Go’. ‘The Moon And The Pilot’ can only be by Daria Kulesh. Kate Rouse’s hammered dulcimer is an obvious clue and the allegorical lyrics and a hint of the 1940s about the vocal delivery remove any doubt – the mention of Stalin seals it. This is another original recording for this compilation.

‘Nashville’ is the second selection from Minnie Birch’s debut album, Floundering, and then comes Ben Smith with ‘Let Me Down Easy’. Ben is a superb guitarist and the song has the feel of the sixties troubadours with a laid-back band and little electric fills that build up as the track progresses. Finally, we return to Kelly Oliver and ‘Rio’, a song co-written with Nigel Stonier and her most recent single. It’s a happy, uplifting song with which to end an excellent set. “Thanks for having me” indeed.

Dai Jeffries

Label website: www.folkstockrecords.com

Fred’s House – ‘Shut Up And Dance’:

The F Spot Femmes Fatales

Femmes

Strong, sensuous, fascinating and feminine, this compilation of ten compelling self penned songs from women is being released on Folkstock Records on International Womens’ Day on March 8th. Performed by some of the talented female singers we have had the pleasure of working with in the past year and spanning four generations, this distinctive selection hopes to enlighten and inspire with its diversity and be distinguishable from other compilations by its raw honesty and emotion. We thank all the singers for laying bare their soul in this stripped back showcase of their undeniable talent.
This is not just any album full to the brim with female singer songwriting talent.

The F Spot Femmes Fatales has been lovingly conceived, curated and produced to show many different aspects of the feminine psyche.

Lose yourself in the songs and let this album challenge your assumptions about women, whether as musicians, producers of music or consumers of music.

Have you considered how sultry a singer in her 80th year can sound ? track one on this stunning selection will make your jaw drop. Delivered with panache and humour this track was the one which stood out for us on Peggy Seeger’s recent album Everything Changes, and it was our mission to entice Peggy to let us use it to open this compilation ! so you can imagine how thrilled we are to have ‘You Don’t Know How Lucky You Are’ as the first track on the album. Lyrics such as “I am not just any woman, looking for any man, and I don’t intend to change me to fit into your plans. I’m a hell of an angel and you’d better give a damn, you don’t know how lucky you are

Have you ever heard the story of the Mississippi woman ? this strong and wryly observed alternative creation story by Maz O’Connor is the penultimate track on the album and delivered with purity which belies the message, Maz’s beautiful voice captures your heart and lyrics such as these capture your mind.

“She made clothes from the rushes and a bed down by the willow
And when darkness came the riverbank made for her a pillow
Then the angel of the lord came down and said “now you are free”
And she said “lord, make a man out of me, lord, make a man out of me”.

Continue reading The F Spot Femmes Fatales