THE CARRIVICK SISTERS – FROM THE FIELDS

The Carrivick Sisters are twins Laura and Charlotte Carrivick from South Devon. Both are skilled multi-instrumentalists and between them they play a variety of bluegrass-associated instruments – guitar, mandolin, banjo, dobro and fiddle. Though just 21 years old, Laura and Charlotte are already accomplished songwriters, fine individual singers, and they harmonise hauntingly, as often only siblings can, their beguiling voices blending together irresistibly. Although their principle influence is bluegrass, their music also has a strong folk influence, with many of their original songs inspired by their local landscape and stories.

The Carrivick Sisters are experienced performers, having played all over the UK, in Europe, and in Canada. They have released three previous CDs – My Own Two Feet (2006), Better Than 6 Cakes (2007) and Jupiter’s Corner (2009) and have just completed their fourth album, From The Fields.

Produced and recorded by Joe Rusby (brother of Kate) at Pure Records Studio, From the Fields comprises eleven originals; ten songs and one instrumental, and one traditional song ‘Early, Early In The Spring’ and features contributions from guest musicians: John Breese (Banjo), BJ Cole (Pedal Steel), Eleanor Cross (Double Bass), Matt Crum (Melodeon) and David Kosky (Guitar),

The Carrivick Sisters first started performing as a duo in 2006, originally as buskers before starting to play more and more proper gigs, turning professional when they left school in 2007. As well as performing as ‘The Carrivick Sisters’, Laura and Charlotte have also played with a number of other bands – Blue South, Miles Apart, Banjo Accelerator; Kick Up the Grass and currently ‘Andsome and Some.

In 2007 they won the South West Busker’s and Street Entertainer’s Competition, gaining themselves their first spot at Glastonbury Festival. In 2008 Laura achieved 2nd place at the RockyGrass Fiddle Contest in America. More recently, The Carrivick Sisters were finalists in the prestigious BBC Radio 2 Young Folk Awards 2010.

I am very impressed by The Carrivick Sisters, one of the best young duos I’ve heard. The girls sing and play as one and their work is characterised by great musicality. They are not only very talented instrumentalists and singers but they write really good songs as well.” Ralph McTell

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Artist Web link: http://thecarrivicksisters.wordpress.com/

RETURN OF THE CROPREDY EXILE – By Dai Jeffries

Whisper this, but I hadn’t been to for twenty years. I had felt it was getting too big for my personal comfort – when I first went there was one campsite, now there are seven – but an insistent invitation drew me back this year. In fact what are bigger are the camper vans, the folding chairs and, dare I say, the waistlines. We older and …er…more substantial punters do like our comforts. Some aspects of the festival are more technological and sophisticated. The bar is a marvel of mobile opulence although initially no more efficient than in the days when there was one Wadsworth’s lorry, lots of barrels and one choice of beer. That’s no reflection on the brilliant bar-staff, by the way, but logistics do sometimes let the side down.

An innovation during my absence is the big screen which, in between displaying safety information, “televises” the show. It can be a boon for those at the top of the field although it’s often obscured by a forest of flagpoles. The interesting thing is that even down the hill at the front, unless you’re actually leaning on the pit barrier, you find yourself watching the screen, not the performers. Sure, you get 10 foot high images of John Tams’ face and Graeme Taylor’s plectrum technique but it feels wrong. If they could just pipe it into the cable TV network we wouldn’t actually have to go there. Er…maybe not.

Everything else is pretty much the same. The stewards are unobtrusive, laid-back and helpful and with road closures around the site their help was invaluable. The familiar spirit of the festival remains. Two examples that I heard about: one couple left their car keys in the door when they went to bed and woke to find the car locked and the keys safely guarded and a purse containing credit cards and a good deal of money was lost overnight and returned intact the following day. I’m not sure where else that would happen. T-shirts remain the badges of identification and mutual recognition although in general clothes are less outré – that goes with the Aldi and Tesco carrier bags. There are still more food concessions than can you eat from without the aid of a tapeworm, lots of silly hats to buy and, increasingly important as one gets older, civilised toilets. Don’t laugh, it’s important. And despite promising myself that I wouldn’t visit the CD store, I failed to keep my promise.

The rain loitered with intent on Thursday afternoon but stayed away as Fairport Convention opened the proceedings with a short and none too serious acoustic set followed by Katriona Gilmore & Jamie Roberts and Blair Dunlop. Hearing ‘Walk Awhile’ as the second song really sets you up for the weekend. Bob Harris introduced Home Service as the evening’s compère, John Tams, was too modest to introduce himself. It is so good to have the band back together although it has to be said that their failure to invite Bill Caddick to return raises awkward questions. Their set was familiar material – new boy Paul Archibald had to learn another back catalogue after all – and, in the current climate, it was impossible to listen to ‘Alright Jack’ and ‘Sorrow’ without reflecting on how little things have changed.

Hayseed Dixie might be considered a one trick pony but they perform the trick very well, although I have my reservations about their interpretations of ‘Bohemian Rhapsody’ and ‘Strawberry Fields Forever’. A couple of serious moments were hidden in the rockgrass but I’m not sure if anybody noticed. They had a lot of fans at the festival, particularly among those who found Home Service too intellectually challenging to actually bother listening to. UB40 closed the day – slick, professional and, I have to admit, not my thing at all.

Before it actually opens to the public the arena is rather eerie. I watched Seasick Steve sound-checking with his pounding drums reverberating around the empty site. Steve was Friday’s headliner and I still can’t make up my mind whether he’s the great original everyone reckons he is or a charming old fraud. Don’t get me wrong, I love his music, but I don’t buy into his story. If I’m right he’s only following in the tradition of Bob Dylan who, in his early days, fed interviewers the most outrageous lies and watched them lap up everything he said. Listen to Folksinger’s Choice for prima facie evidence.

Moore Moss Rutter provided a suitably relaxed start to Friday, another day when the weather couldn’t make its mind up. The Travelling Band began with a Blind Lemon Jefferson tune which felt like a smart move. They moved on to their own material variously augmented by viola, cello and brass and played an exciting set which was also VERY loud. I rather liked them despite that but the contrast in approach was hard on Steve Tilston who had to follow them. I also like Steve and his partnership with The Durbevilles feels like a very natural match on a song like ‘Jackaranda’. This was a good set and The Oxenhope EP was one of my purchases. Charlie Dore provided yet more country-style music – the theme of the day, it seems. I found her set rather relaxing which was good for the late afternoon slot but I confess that I was waiting for The Dylan Project.

Like his hero, Steve Gibbons is seventy this year. How did that happen? Everything about him is unique from his look to his guitar style and the way he used to make Keith Richards appear the picture of robust good health. They played a tight set with none of Steve’s extemporising as they mixed the downbeat – ‘Dark Eyes’, ‘Sweetheart Like You’ and ‘Cold Irons Bound’ – with the simpler sentiments of ‘Tonight I’ll Be Staying Here With You’ and ‘Rainy Day Women #12 & 35’. ‘Gotta Serve Somebody’ seemed a most appropriate choice given the events of the preceding week.

The Urban Folk Quartet was another band who benefited from my visit to the record stall but they had released a live album at a special Cropredy price and I wasn’t about to pass that up. UFQ are another band who have found a new approach to traditional music. Frank Moon’s oud features heavily, Joe Broughton seems to play more guitar than fiddle but who’s counting, Paloma Trigas is a bundle of energy and Tom Chapman joins a small roster of singing percussionists. If you haven’t heard them yet, you really should.

The Coral: ahead of their time or brilliantly retro? They included ‘Ticket To Ride’ in a spectacular show of their 21st century rock and would have made a better final act. It was unfortunate that there was a delay before Seasick Steve took to the stage. There was none of the redneck southerner schtick you get on TV and he seemed rather low key. I chose to watch him from the top of the field to see how he would work with such a big crowd and sad to say people around me were drifting away into the cold night long before the end of his set. I’d like to see him live in a smaller, more intimate, venue but so meteoric has been his rise to fame that he doesn’t play small gigs any more.

Richard Digance is a fixture as Saturday’s opener. Part comic, part social commentator and all warm-up man he did a superb job, getting the crowd on its feet doing silly things and listening to some serious songs – ‘Jobs’ is absolutely brilliant. It’s a combination that pulled the audience together and pointed it in the right direction. Next up, it was lovely finally to see The Shee on stage: fiddles, flute, mandolin, accordion, harp and voices performing their mixture of Scottish and American music and songs. I like the way they wear their posh frocks on stage, too.

Blockheads without Ian Dury: does it work? Well, the sun came out and England won a test match while they were on stage so I guess it does. The band isn’t exactly the same, inevitably, but in Derek “The Draw” Hussey they have a suitably eccentric lead vocalist who doesn’t attempt to imitate Dury but manages to channel his attitude. Songs like ‘Inbetweenies’ and ‘What A Waste!’ have been part of the band’s DNA for so long that they can’t fail to sound good.

My live experience of Lau suggested that they could be even louder than The Blockheads but the festival sound crew just about kept them in check. Martin Green seems to have more equipment every time I see the band – now he has a keyboard to go with his accordion and pedals adding new textures to Lau’s sound palette. The accordion was frequently used as a bass instrument with Martin playing a melody on the keyboard.

A decade ago Jim Lockhart introduced me to the art of ligging Dublin-style. This involved more pints of stout than I care to remember, being invited to a couple’s engagement party and being told by a lady with the reddest hair I’ve ever seen that my destiny was linked with the sea. As the ferry back from Rosslare didn’t sink I haven’t taken her too seriously. At the time Jim was head of production at RTÉ 2fm but in his previous life he played keyboards and flute with Horslips. Sadly they broke up before I had chance to hear them live which made their performance at Cropredy something of a milestone for me. Yes, Horslips are back, although Johnny Fean’s brother Ray now sits in for drummer Eamonn Carr. The outrageous stage clothes are gone and the band is rather more soberly dressed now but can still play those hits: ‘Dearg Doom’, ‘Trouble With A Capital T’, ‘Charolais’ and ‘Mad Pat’ as well as the soaring instrumentals from The Book Of Invasions.  It was a moment of magic.

I’ve tried listening to Badly Drawn Boy several times and it hasn’t worked. He has one great song, ‘Born In The UK’, but that’s not enough to hold my interest. My opinion was not helped by the fact that Horslips were cut short while Bad milked a smattering of applause for two encores. Look, this is personal recollection and I’ll be as partisan as I like, OK?

A typical Saturday set by Fairport Convention consists of some compulsory songs, explorations of the byways of their back catalogue and a succession of alumni and friends doing their thing. This wasn’t typical. Its centrepiece was a complete “Babbacombe” Lee which occupied a third of the programme and, of course, there’s a new album to promote which doesn’t leave a lot of time. They opened with ‘Walk Awhile’ and closed with ‘Who Knows Where The Time Goes’, ‘Matty Groves’ and ‘Meet On The Ledge’. ‘Crazy Man Michael’, ‘Honour And Praise’, ‘Mr Lacey’ and ‘The Hiring Fair’ were the other oldies. Ralph McTell dropped in for a couple of songs and PJ Wright and Phil Bond augmented Fairport when lead guitar and keyboards were required but otherwise the band stood up to be counted. I’m glad I heard “Babbacombe” Lee having managed to miss it on the spring tour and the use of films on the big screen added an extra something to the show. ‘Matty Groves’ was illustrated by a video featuring Barbie and Ken and what appeared to be a meerkat in a submarine – it was late, I’d had a beer or two: who knows what I saw?

So, has Cropredy grown too big? Yes, I think it has but I’ll qualify that by saying that the infrastructure is quite capable of coping with the 20,000 people who turn up each year. But on Saturday afternoon it was almost impossible to move around the field without kicking, jostling or stepping on someone and it was impossible to sit quietly and mind one’s own business without being kicked, jostled or stepped on. Thursday has now grown into an official day and the fringe occupies two pubs in the village. It may be time to consider a second stage. I would have been more than happy to see some of the acts play a second set in a smaller venue or some of the fringe artists accommodated there. It would take the pressure off the main area and restore the relaxed atmosphere that existed back in the eighties. I missed that. 

Dai Jeffries

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For more information on Fairport Convention visit: http://www.fairportconvention.com/

Dai has also created a Flickr photo set from the festival which you can view by clicking on the following link:  http://www.flickr.com/photos/daijeffries/sets/72157627345454269/

REG MEUROSS – The Dreamed And The Drowned (Own Label)

I must have been in a stupor (not drunk…just a stupor) for not having been more aware of Reg Meuross most of my ‘folk’ music life. Here a collection of unreleased material between 2006-2011 illustrates just how vivid a picture he can create with the aid of a pen. If Mr Meuross was an Olympic competitor he’d be awarded ‘gold’ as his brilliantly structured stories…many of which are based on real events from history…really make you think. The opening title track ably demonstrates this relating the harrowing tale of a pregnant girl banished to the moors with her name besmirched by a community who should have known better. It isn’t just the story that would have done justice to anything written by Catherine Cookson but the plaintive way Reg breathes life into the characters captured so dramatically that by its very nature appears at times to be almost voyeuristic. There isn’t a duff track on the entire album and as ever his choice of musicians including Barney Morse-Brown, Sarah Allen and Roy Dodds contribute a touch of class to a glittering CD brimming with musical gems if you’ll excuse the cliché. Masterfully crafted lyrics of this calibre I’m pleased to report are abundant in the ‘folk’ world…I’m thinking Jez Lowe, Steve Tilston and Ralph McTell etc…and Reg should feel justifiably proud to be part of such an exclusive echelon. A recording of this quality should be heard (and enjoyed) by millions but if you really don’t want to miss out get in quick because there are only 1,000 signed and numbered copies being pressed – miss purchasing a copy at your peril.

PETE FYFE

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Artist Web link: www.regmeuross.com

Folking.com’s favourite Radio 2 moment…

The Radio 2 Folk Awards are chosen and voted for by a panel of professionals (broadcasters, promoters, festival organisers and record companies) who all work in the world of folk, acoustic and roots music. These people (now in their hundreds) are asked to nominate and vote for the people that they consider to have produced and performed the most outstanding work during the past 12 months.

For folking.com the 2002 Folk Awards was a haven for such music. It not only celebrated the pioneers of the genre but also gave birth to something very special, a new energised passion for the music and a new set of ambassadors for the tradition.

Many of the artists that pioneered the folk-culture movement in the early “noughties” were in the room on the night of 11 February 2002. There were performances from Eliza Carthy and Cerys Matthews. “The Barnsley Nightingale,” Kate Rusby, performed “Who Will Sing Me Lullabies” which she had written for the late, great singer-songwriter Davy Steel. Martin Simpson’sThe Bramble Briar”, (in my opinion one of the greatest folk albums of all time), was awarded “Best Album”. Arguably the greatest ambassador of the tradition, Martin Carthy, was awarded “Folk Singer of the Year” and the icing on the cake was having him accompany Martin Simpson on his live version of the much-missed Cyril Tawney’s classic “Sammy’s Bar”. The award for Best Group was such a close run thing that year, that either Show of Hands, Old Blind Dogs or Tarras could have pipped Cherish the Ladies to the number-one spot post. The “Guv’nor,” Ashley Hutchings, presented Nettlebed Folk Club with the “Good Tradition Award and Ian Anderson from Jethro Tull presented the “fabulous, fruity, funky, fecund, Fairport 5Fairport Convention, with a “Lifetime Achievement Award”. Best Live Act went to the rambling, constantly-touring inspiration that is Rory McLeod.

Willy Russell presented Ralph McTell, (in my view, one of the finest singer-song writer of all time), with the second of the night’s “Lifetime Achievement Award”. Jim Moir, the man that cared enough to put the money and passion behind the Folk Awards idea in the first place and the man that presided over the format and programming of Radio 2 at the turn of the century to make it the most listened to Radio Show in the country, awarded The ChieftainsIrelands Musical Ambassadors” with, the third of the night’s  “Lifetime Achievement Award”. I clearly remember the first words Jim said when he came out on stage “What an evening”. It certainly was Jim!

Out of all of the live acts mentioned above, any of them could have been chosen as a classic performance. However, I have chosen Cara Dillon’s “Black is the Colour” as my favourite of the night.

For folking.com, this performance represented the beginning of this exciting new change in folk music, as it was the first time in years that a folk artist and a traditional folk song were taking pride of place on the Radio 2 playlist. Johnny Walker, who presented Cara with the award for “Best Traditional Track”, summed it up perfectly by saying that “Cara had the courage to resist corporate pressure to commercialise her music and change it to try and get it to a wider audience and instead the audience has come to her”. This was an important point which could be cited as one of the fundamental reasons why the music is so strong today. A certain pre-Mercury Music prize nominee, Seth Lakemen (now truly an ambassador in his own right), accompanied Cara on backing vocals. The whole piece was woven together beautifully by the piano arrangements written and performed by Seth’s brother, Sam Lakeman. Darren Beech – June 2011

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RALPH McTELL – Somewhere Down The Road (Leola Music TPGCD31)

Ralph is obviously as proud of London as any man can be (with the possible exception of Peter Ackroyd) and in his opening track sums up his love of the city with the light-hearted “London Apprentice” and by adding Chris Parkinson on accordion conjures memories of a bygone era as opposed to the stark realities of life conveyed in ‘that’ more famous London ballad. Evoking memories of early recordings where he showed how creative he could be capturing instrumentally his love of rag-time guitar picking and featured in the “Reverend Thunder (Blind Faith)” with a cheeky homage to the reverend Gary Davis and “Hesitation Blues” Ralph buoyantly proves he is no slouch when it comes to his own digital dexterity whilst the song “Around The Wild Cape Horn” with its allusions of an American based Irish Rover (there’s even mention of a dog in the lyrics) will undoubtedly prove popular with those looking for a more perceptive side to his song-writing talents. Now, I know the term ‘pedestrian’ has been levelled accusingly at McTell’s music presentation (wrongly in my opinion) but if indeed that is a characteristic it has run throughout his recordings but to me personally proves the point that often less is more. An example of this is the delightful “Girl On The Jersey Ferry” where the gentle string arrangement by Gareth Churcher and the Kernow String Quartet create a laid-back, summer strolling by the river effect. “Somewhere Down The Road” is a welcome return after a ten year sabbatical from studio recordings and with fourteen tracks to choose from there should be something for everyone.

PETE FYFE

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Ralph McTell – Right Side Up

Ralph McTell - Right Side UpHere’s another superb offering to swell the ever-extending Ralph McTell back catalogue. His songs fit so comfortably – like a well-settled pair of slippers.

‘Naomi’, ‘Tequila Sunset’, ‘Weather The Storm’ and his cover of John Martyn’s ‘May You Never’ are all here. It brings a smile to my face just listening to how well structured the arrangements were.

Nothing too cluttered, from the simple guitar picking and backing vocals on ‘Weather…’ to the beautiful vibraphone, sleazy saxophone and wonderful Danny Thompson on double bass accompaniment on the smokey ‘River Rising Moon High’. Possibly the best known track ‘From Clare To Here’ surprises with the line ‘…perhaps I hear a fiddler play…’ for instead of the fiddle (as you’d expect) recorders are used.

A nice touch as fiddle is utilised throughout the rest of the track performed by Graham Preskett. For the completists among you there is the addition of ‘Song for Ireland’ originally recorded for his Irish audience. As I said, classic McTell.

Original Posting date – 4-June-2001
Reviewers Name – Pete Fyfe

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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