For those who are unaware, Bedford is the personal and professional partner of Paul Simmonds from The Men they Couldn’t Hang, so it’s not too surprising to find a similar political vein to her work. Plus, of course, she has a history of political activity, having been, for example, the Artists Liaison for Artists Against The Poll Tax. This is her third album and, as the title suggests, isn’t overflowing with stories of lover’s trysts and break-ups, although nor is it a hectoring collection of unfurled protest banners.
The template’s set with the opening track, ‘Davidson/Wilder Blues’, a traditional Tennessean union song about strikebreaking written by miners in the 30s and learned from Hedy West, one of Bedford’s seminal influences. With Dan Stewart on banjo and Bedford singing in an Appalachian twang, you’d not think she was born in Putney. She remains in traditional territory, but closer to home for ‘Gypsy Davy’, although, having said that, her approach is very much on the other side of the Atlantic, drawing on Jean Ritchie and Woody Guthrie, adding a chorus and inviting Justin Currie along for harmonies. Currie also shares vocal duties and plays piano on his own contribution, ‘We Are Not The People’, a stirring, fiddle accompanied ballad about those in power from the perspective of those who will never have it and don’t want it.
Other than the two traditional arrangements, Bedford only contributes one writing credit, a collaboration with Simmonds on ‘The Wild And Charming Energy’, a nervy folk blues number about machismo with handclaps, itchy percussion and a mariachi feel, other than that the bulk of the material is courtesy of Simmonds: ‘The Spider & The Wolf’’s fable about debt with Bedford again channelling West and Jackie Oates on fiddle, ‘Overseas’, a banjo dappled song about religious intolerance that centres on the Crusades; ‘Raise These Sails’, a clopalong duet between him and Bedford spun around the provisions taken aboard the Mayflower; ‘Junktown’, a loose loping blues duet that sounds like a nod to Johnny and June about corporate culture, market forces and the powerbrokers ghettoising the common herd and featuring the defiant line “a hand up is not a hand out”; ‘Fields Of Clover’, about the rise and fall of the baby boomers and on which she sounds like Baez circa ‘The Night They Drove Old Dixie Down’. The last of the Simmonds’ tracks, ‘The Old Abandoned Road’, offers a view of the pointlessness of the English Civil War through the eyes of a soldier in the Quaker army, set to acoustic strum, military drum beat and a Gaelic skirl of fiddle and mandolin.
The final cut returns to the traditional archives for ‘The Watches Of the Night’, the words taken from an optimistic poem about the rise of socialism by Tom Maguire, a British Trade Unionist, sourced and set to music by Alasdair Roberts, who sings and plays guitar, with Bedford on harmony, Ellie Wyatt on violin and Helena Ashworth on psaltery. Naomi’s name may not be as well known as others in the folk field, but, justly championed by the likes of Shirley Collins and Peter Buck, she most certainly deserves your listening attention. It would be impertinent not to.
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