The second crop of fruit from the joint project between Sam Carter and Jim Moray brings in Stuart Provan on drums and adds Archie Churchill-Moss’s melodeon to Tom Moore’s violin with Barnaby Stradling on bass.
As with their Salvor debut, it’s rooted in traditional folk songs given a contemporary and often off-kilter treatment with contemporary resonance, case in point being album opener ‘Babylon’ which, opening with a radio broadcast sample, takes the shapenote hymn by the scruff of its neck and lurches into a driving rock drum beat bulked up with electric guitars and brass, the “Babylon’s falling” chorus refrain chiming with its described reaction to current British and US politics.
The drums and guitar solo may lean to the heavier side of folk rock, but there remains a definite traditional air to the 19th century transportation ballad, ‘Black Velvet Band’, set to a new, moody and slow-paced six minute plus tune by Moray that’s a far cry from the familiar rousing Dubliners’ version, the verse melody leeching off the similarly-themed ‘The Whitby Lad’.
The Roud collection also provides the source for ‘William Glenn’, Carter taking nasally lead on a nautical tale of mutiny, superstition and the crew casting overboard the captain they deemed responsible for the storms, a rousing, urgent shanty-founded interpretation learned from Nic Jones with the addition of new lines based on Tony Rose’s version as ‘Sir William Gower’.
Written by Moore, ‘The Ombudsman’ provides an instrumental break, violin naturally to the fore over a dampened bass drum thump, the initial nervy African-textured guitar work giving way to fierce, almost prog-folk riffs, the fury subsiding for the leaving song ‘Far In Distant Lands’, another shapenote hymnal, taken from The Southern Harmony 1854 as ‘328 Missionary Farewell’, it’s timely echoes of the migrant crisis delivered over a wheezing drone and a tinkling repeated keys pattern, building to a climax with wind effects before its final ebbing way.
It’s back to sea for the album’s lengthiest number, ‘Captain Kidd’, the Roud broadside about the legendary alleged pirate who was executed in politically controversial circumstances in 1701, the tune based on ‘159 Wondrous Love’ from The Sacred Harp, starting out in acoustic mode with Moray’s vocals accompanied by fiddle and drone before erupting around the two minute mark into steady-paced but full-blooded electric folk rock.
Another folk standard ballad, ‘Murder In The Red Barn’, the Suffolk-set true story of how Maria Marten was shot dead by her lover William Corder who was subsequently tracked down, found guilty and hung in 1828, events also giving rise to a popular melodrama and something of a local tourist industry, with even part of Corder’s scalp, ear attached, being displayed in Oxford Street. Unusually sung from Corder’s viewpoint, it’s set to a folk rock combination of ‘129 Heavenly Amor’ and ‘146 Hallelujah’, two tunes by shapenote composer William Walker that appear in The Sacred Harp, and featuring an almost Byrdsian jangling guitar solo. A fine companion piece to ‘The Murder Of Maria Marten’ recorded in 1971 by Shirley Collins and The Albion Band.
Featuring in both the Child and Roud collections, ‘Serving Man Become A Queen’ gets a sweeping rework, barreling along on both a newly written Moray tune and a borrowing from The New York Trader as it moves from high velocity drums-driven urgency to a slower passages with a brief touch of almost Bach organ.
The penultimate track and another nautical tale, here about one of three Scottish brothers who turned to piracy to support himself and his siblings, ‘Henry Martin’ begins with clattering African-styled percussion from Laurence Hung before Provan’s drums and glowering electric guitar take control, the number venturing into almost improvisational jazz rock territory towards the end. It ends in suitably jaunty form with melodeon akimbo and fiddle surging for ‘Drink Old England Dry’, a song originally written in response to Napoleon’s boastful threats to invade and drink the country dry, the French subsequently variously substituted by the Germans and Russians, but here reworked to tone down any pro-Brexit sentiments with Moray and Carter trading the new verses and joining together on the suitably rowdy, glasses raised chorus.
Invented in 1844 by Scottish mathematician Hugh Blackburn, a harmonograph is a mechanical device that uses two balanced swinging pendulums to draw geometric pictures, two different but equal forces working in perfect harmony to create a complex whole. What better metaphor for the musical symbiosis of False Lights could you ask!
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‘William Glenn’ – official video: