A round-up of recent EPs and singles
Having released their latest album, Good Times Will Come Again last year, MEGSON now lift the lead track, ‘Generation Rent’ (EDJ), as a single. A punchy protest against how today’s young generation find it impossible to get on to the property ladder, it comes as both album version and radio mix. Sandwiched in-between, there’s Morning Mist, a traditional-flavoured ballad that spotlights Debbie Hanna’s vocals, Stu providing harmony, set to a minimal acoustic guitar, and a live recording of Stu’s near six minute The Longshot, a football-themed song that celebrates striving against the odds rather than giving up, because when. there’s no hope, “ a longshot is better than none”.
As a prelude to her spring tour with Troy Donockley BARBARA DICKSON releases an EP of Five Songs. The opening track is the traditional ‘Palace Grand’ – although it goes by several titles – accompanied initially by piano and acoustic guitar until the strings sweep in. Next is ‘Farewell To Fiunary’ starts with bodhran and drone building via multi-tracked vocals to a magnificent finish in which you can almost hear the creaking of oars on the Sound Of Mull. ‘The Hill’ is a Dickson/Donockley original with another lush arrangement while ‘The Laird Of The Dainty Dounby’ is an all-too familiar tale of the villainy of the aristocracy. Finally we have Robin Williamson’s ‘October Song’, a nicely thoughtful setting that honours the original and boasts a pipe solo from Donockley.
Born in Hampshire but based in East London, THOM ASHWORTH deals in the British folk tradition, his a stripped down approach played on bass. His self-released debut EP, Everyone’s Gone To The Rapture (available as a download from his website or as a limited edition CD) offers four examples of his work. Two traditional numbers load the front end with a sonorous reading of ‘Tyne Of Harrow’ and a moody drone-like treatment of familiar folk chestnut ‘Lord Bateman’. Not strictly traditional, the EP ends in striking style with a dark, minimal and spooked version of Sidney Carter’s ominous anti-war protest song ‘Crow On The Cradle’, the percussive heavy self-penned title track initially striking a kindred note, Named after a computer game apparently, it started out with a left over verse from a track on Interregum, the Marillion-like swansong album by Ashworth’s former band, Our Lost Infantry, and grew into a comment on how technology is taking away today’s livelihoods, as it did the weavers and miners before. A name to watch.
WHITNEY ROSE may come from Canada, but her South Texas Suite (Six Shooter) EP celebrates her recent two month residency at Austin’s Continental Club with six songs of a Lone Star persuasion. It opens south of the border with the gorgeous Three Minute Love Affair, the sort of timeless Texicana ballad you could imagine either Marty Robbins or the Mavericks (Raul Malo produced 2016’s Heartbreak Of The Year album) doing. Four of the other tracks are also self-penned, ‘My Boots’ a playful twangy guitar Loretta Lynn-like tribute to her footwear, the steel-streaked ‘Bluebonnets For My Baby’ harking more to 60s doowop balladry, the reflective mid-tempo swayer ‘Looking Back On Luckenbach’ sounding pretty much as you might imagine from the title (Waylon’s spirit presumably hovering over the recording session) and the brief – and a touch pointless – guitars, steel, fiddle and honky tonk piano instrumental closer ‘How ‘Bout A Hand For The Band’,. The remaining number finds her in a laid back swing mood for a cover of Brennen Leigh’s ode to good old retro technology, ‘Analog’. She’s touring here in May and, on the evidence here, will be well worth catching.
And while we’re musically in Austin, RUNAWAY HORSE are a trio from the same fronted by the breathily voiced Mari Tirsa, accompanied by guitarist Daniel Barrett with Rick Richards on drums. Their self-released five-track EP, Beautiful Blue, harks to cosmic Americana with songs rooted in the landscape her New Mexico raising. It’s all fairly sedate and dreamy (though closer ‘Arrive’ has a persistent percussive one foot marching beat underpinning its tinkling starry skies feel), with both opener Holy Water and the title having a gentle, hymnal quality. They’re a little bluesier on the five minute plus ‘The Well’ (the Fleetwood Mac to the Cowboy Junkies elsewhere) while the ticking rhythm of the slowly swelling ‘Once’ sees Tirsa stretching her keyboard wings to fine effect.
VARIOUS GUISES are the duo of Blanche Ellis and Maya McCourt and Tide Take Him marks their recording debut. They mix acapella vocals with guitar and cello and a little assistance from Tom Hyatt’s piano and vocalist Dana Immanuel. The title track is a reworking of ‘What Shall We Do With The Drunken Sailor’ so that it’s no longer a shanty and instead is sung with a syncopated rhythm or slowed to a funereal pace. Tackling a song as hackneyed as this is always a risk but Various Guises really do something with it. With one more exception the songs are original ending with ‘The Sound And The Fury’ and the traditional ‘Bedlam Boys’ both of which are nicely nuts.
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