Leviathan! by BLACKBEARD’S TEA PARTY is an energetic and accomplished recording by these York-based folk-rockers that did strike some nostalgic (power) chords, with electric guitar, bass and two drummers driving the folkier fiddle and melodeon. There are versions of two traditional songs – ‘The Bonny Ship The Diamond’ and ‘The Weary Whaling Grounds’ – that you may remember from Bert Lloyd’s similarly entitled whaling song collection from 1967, but the tone here is very different. Also featured are two home-brewed instrumentals – ‘DFLN’ and ‘The Lost Triangle/The Lone Pancake’, both highly reminiscent of 60s-70s folk rock – and the very effective song ‘Leviathan’, based on the story of albino sperm whale Mocha Dick that partly inspired Moby Dick. Not for purists, but well worth a listen.
GNOSS, once a duo, is now a four-piece hailing from Glasgow’s fertile hotbed of fine musicians, the Royal Conservatoire of Scotland. Their four-track EP, Brother Wind, provides a pleasingly versatile balance of two songs and two tunes. The title track hits with an immediate Disney-soundtrack catchiness before opening up its folky heart with some terrific harmonies. From the snaking groove of ‘The Closet Bodhrán’ to the vigorous reels of ‘Moul Head’ via the sensitive rendering of ‘My Ship’, it’s very easy to understand why this band is being so hotly tipped as one to watch.
A self-released EP of songs connected to mining, at the heart of Welsh singer-songwriter AMY GODDARD’s Green Is The Colour lies her six-minute Remembering Aberfan, a charity single released in 2016 to mark the 50th anniversary of the disaster when a slag heap in the Merythr valley slid killing 116 children and 28 adults in the nearby school and neighbouring buildings. A stark, acoustic number with a mournful backing choir, it’s a haunting listen.
However, the tracks that surround it are no less strong. Initially sung unaccompanied, the title track was inspired by the arsenic mines of Devon and Cornwall, the biggest of which was owned by the family of William Morris, its poisonous green pigment used in his iconic wallpapers. There’s a brace of well-known covers, the first being ‘North Country Blues’, an early Dylan number about the closure of the iron ore mines and the effect on the mining community, a history repeated in Wales in the 1980s, the other a chiming acoustic guitar waltz through Merle Travis’ ‘Dark As A Dungeon’.
The perils of working underground inform the sprightly self-penned folksy strum ‘Underground Road’ which, featuring Hannah Fisher on fiddle, charts the life of a mining community. Sharing a poisoning theme with the opening number, sung with just hand percussion accompaniment, the final track has Goddard has duetting with Andy Adams on ‘Blue Murder’, an Alistair Hulett song about asbestos mining.
Now backed with The Delahayes, Edinburgh-based troubadour, AL SHIELDS returns with a new collection of freshly squeezed Americana, in the form of the Fire On Holy Ground EP, due for release on Shields’ own label, Al Shields Music (ASM004), on April 30th.
The band-backed electric sound is a slight deviation from Shields previous all-acoustic efforts, but with the same old glimmers and shades of Ryan Adams and co. it is a most enjoyable listen. From the disc’s half-dozen numbers, ‘Counting the Hours’, ‘Kick Your Feet Up’ and ‘The Boys in the Band’ are among the stand outs, but then, there is very little to dislike about this record.
Rag’N’Bone (And The Coal Rippers Daughter) is an upcoming EP from singer-songwriter NEIL BROPHY. So far only a single comprising two versions of the title track has been released. The song is set in 19th century London: Rag’N’Bone is obvious and apparently a coal ripper is or was a man who dug out the rock above a coal seam and shored up the walls and roof. Who knew? The story is of a love story set among the squalor – “my dog died, too, and you can have his bones” – as two young people set out for a life among the mudlarks at Blackfriars. The acoustic version features Neil on guitar, harmonica and kick-drum while the radio edit is a full band version with a Levellers feel about it.
KIM LOWINGS & THE GREENWOOD have a new single in the form of the five-minute plus ‘New Moon’, a track that doesn’t feature on the recent Wild & Wicked Youth album,. Driven by a persistent repeated drum pattern from Tim Rogers and Dave Sutherland’s throbbing upright bass with a hypnotic circling guitar line by Andrew Lowings and Kim on dulcimer, it’s a nod towards late 60s/early 70s progressive folk rock of outfits like The Trees, Bread Love and Dreams and the pre-epic Renaissance rather than the more traditional inclinations of her other material.
That’s a great cover picture. ‘Give Me Your Horse’ is the new single from genre-bending guitarist JAKE AARON. The guitar is somewhat submerged here with Steve Lodder’s Hammond and Steve Waterman’s trumpet taking the lead over the bass and drums of Guy Pratt and Marc Parnell. You’re forever expecting a vocal line to appear but for all that it remains resolutely instrumental.
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