Singer, songwriter and guitar virtuoso Martin Simpson releases brand new studio album Rooted on August 30 on Topic Records. Produced by Andy Bell and recorded in Sheffield and Oxfordshire, Rooted will be available on CD, LP and digital with the deluxe 2CD and deluxe digital versions including a bonus disc of instrumentals, Seeded.
Summing up the themes of his new album, Martin says:
“The music and songs embrace nature and travel, mental health, real life stories, loss, politics and history… and the threads that bind all this together can be followed back a long way, to 1965 when I got my first guitar and started to soak up material and ideas at a very rapid rate.”
Rooted features an array of stellar guest musicians, including Nancy Kerr (fiddle and viola), Andy Cutting (melodeon and diatonic accordion), Liz Hanks (cello), John Smith (electric guitar and vocals), Ben Nicholls (string bass and electric bass guitar), Julie Matthews (vocals), Alan Barnes (clarinet), Max Simpson (vocals), Amy Smith (vocals), Chris While (vocals) and Tom A Wright (drums and percussion). Richard Hawley and Dom Flemons contribute backing vocals and bones respectively to first single ‘Neo’ (out 21st June). As well as vocals, Martin himself plays banjola, 5-string banjo, 6-string fretless banjo, electric bass guitar and electric and resonator guitars!
Hand in hand with his long and storied solo career, Martin has been central to seminal collaborations like The Full English, The Elizabethan Sessions and Simpson Cutting Kerr. He has worked with a dazzling range of artists from across the musical spectrum: Jackson Browne, Martin Taylor, June Tabor, Richard Hawley, Bonnie Raitt, Danny Thompson, David Hidalgo, Danú, Richard Thompson and Dom Flemons, to mention a few. He is consistently named as one of the very finest acoustic, fingerstyle and slide guitar players in the world and is the most nominated musician in the history of the BBC Folk Awards, with a remarkable thirty-one nods. A true master of his art.
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Reunited after a 21 year gap in 2017, Daphne’s Flight brings together the talents of five highly acclaimed singer-songwriters: Julie Matthews, Chris While, Melanie Harrold, Helen Watson and Christine Collister for a veritable rootsy flavoured supergroup!
Last year’s Knows Time, Knows Change, the surprise (and belated) sequel to 1996’s eponymous debut, was accompanied by a successful UK tour which has now resulted in a third album from the quintet. The soon to be released Daphne’s Flight Live features a collection of songs from both their studio albums, along with several new choices, and arrives with a series of live appearances beginning at Oxfordshire’s Towersey Festival (24-27 Aug 2018).
“We all bring two songs to the table that we think will work as a group,” explains Chris While, of the group’s way of working. “These [songs] can be original new songs or covers, they can be old songs too that we think are worth re-working.
“If one or two of us don’t think a song will work, out it goes – obviously it can only work if the whole group loves the song. As everyone is very versatile and has vast vocal ranges, dynamics and experiences, the decision of who will sing what is really easy, and it just falls into place.”
Despite their long period of silence, everyone in Daphne’s Flight has remained close, often performing with each other in various combinations. As a result, they work well together, dividing roles between them.
“We are all very old friends now,” says Chris, who is also one half of a firmly established duo with Julie. “I have known Christine since the ’80s and Mel, Julie and Helen since the early ’90s. We want what’s best for each other and are a very supportive and diplomatic group.
“Of course, as we all live so far apart, really far – Essex, London, Sheffield and The Isle of Man – a lot gets decided on the phone, email and FaceTime regarding the managing of the group, but when we rehearse we spend up to a week together, which is really bonding and amazing, and the songs really flow.
“In between, I do the website, Julie and Christine take care of social media, and this year Mel and Christine have been doing lots of interviews and media stuff.
“Helen Watson grows marvellous vegetables and makes us laugh,” she adds with a smile.
The live album sums up the group’s approach perfectly, and finds them calling on a variety of influences from traditional and country (Susanna Clark and Richard Leigh’s ‘From The Heart’), to gospel and soul (Percy Sledge’s ‘Out of Left Field’).
“Daphne’s Flight is steeped in the heritage of contemporary and traditional music,” says Melanie. “Our repertoire ranges from the fantastical of myth and fairy tale to songs of land and plough, of growth and renewal. In our set there are tales of seas and safe harbours and anthems of political social and economic change.
“We unify these influences through beautiful layers of blended harmony, inspired arrangements and ‘stop you in your tracks’ singing,” she says. “We are a very British band of women with a world of experience, embracing the land of the Celts and the Saxons, the mountains of Appalachia and the basin of the Mississippi.”
Although Daphne’s Flight are very much active, all members continue to juggle the group with their own projects.
Says Chris: “Well Julie and I never seem to stop. We are performing in BBC Radio 2’s Friday Night is Music Night on the 9 November  with the BBC Philharmonic Orchestra. It’s a life-long ambition of mine to sing with a great orchestra. The theme is Radio 2’s Ballads of the Great War. A lot of the songs were written by the brilliant Julie, and I got to sing many of them.
“Then we have the Ballads Of Child Migration UK tour (November), which is very exciting. The awesome line-up is Barbara Dickson, narrating, singer songwriters, me and Julie, Jew Lowe, Belinda O’Hooley and Heidi Tidow, Boo Hewerdine and John Doyle. And the band, as always will be John McCusker, Michael McGoldrick, Andy Cutting and Andy Seward … wow! The show is a very levelling and emotional experience and the music is beautiful with a large screen featuring testimonies from former Child Migrants.”
And then there’s a certain significant birthday looming …
“2019 is the 25th anniversary of the duo,” Chris confirms. “Julie and I will be recording a new album in the spring followed by a busy festival season in the summer all leading up to a big autumn tour to celebrate our silver jubilee!
“As well as all the wondrous things that Chris has mentioned we have coming up, I’m also excited to have been asked to be part of another songwriting project in 2019 that commemorates the 100th anniversary of the peace celebrations after WW1 along with Greg Russell, Findlay Napier and Bella Hardy,” interjects Julie.
The others are just as busy.
Helen: “I have been working with Snake Davis (horns) and Dave Bowie Jnr (double bass) for several years now, and we have gigs coming along into next year. No plans for any solo stuff now. Happy in collaboration!”
Christine: “I’ve been blessed with numerous collaborations over the intervening years and there was a ten year period where I was a predominantly solo performer. More recently I’ve been working with a brilliant Australian guitarist – Michael Fix – and have worked in Australia for a number of years, and we’re now branching out into the UK performing scene, with a handful of shows this November, and a three week tour in October 2019. We have one studio album, Shadows and Light, and a second one in the making ready for next year’s UK tour.
“I also have a delightful but intermittent musical partnership with Dave Kelly (of Blues Band fame) … we have a live CD with our band The Traveling Gentlemen from 2006, but only a few weeks ago performed as an acoustic duo at the Vancouver Island Music Festival. We enjoyed it so much we’re planning a duo tour for next May,” says Christine, whose first two studio albums, Blue Aconite and The Dark Gift of Time, have been re-released “as a double CD package with a foreword from myself talking about my thoughts on then and now. Quite a ride!”
Melanie: “I am working a new CD of original songs with Harvey Summers at Broadoak Studios in Bexhill. I also develop, write and arrange for performing amateur a cappella choirs. In June, Vocal Chords Choir launched Songs of Protest in aid of Praxis at The Conway Hall in London. In the autumn of 2019 we will be presenting our project on Home and Homelessness. Trade Winds is a multi-access European women’s choir that develops collaborative cultural exchanges with choirs throughout the community.”
So where does that leave Daphne’s Flight?
“We plan to do more,” says Christine, suggesting new material for a 2019 studio album will be aired for the first time at Towersey.
It seems Daphne’s still in flight…
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If you’ve ever been to a Cropredy Festival you’ll know exactly what they do on Saturday. They gather together a bunch of former band-mates and old friends and play a mammoth set long into the darkness (subject to health and safety restrictions, of course). These days, Fairport Convention don’t need an excuse to mount a celebration but 2017 marked the band’s fiftieth anniversary and so this was the perfect opportunity to tell the band’s story in music – although not strictly in the right order. Thus we have What We Did On Our Saturday, packaged in an homage to their second album.
The album begins with their first album and (almost) their first line-up. For younger readers that was Ashley Hutchings, Simon Nicol, Richard Thompson, Iain Matthews and Judy Dyble now with Dave Mattacks on drums. They kick off with ‘Time Will Show The Wiser’ and ‘Reno Nevada’ and I was impressed at the way Richard played the sort of guitar lead appropriate to 1967. He couldn’t help himself, of course, and went off on one but I don’t suppose that anyone complained.
Chris While took over on lead vocals for ‘Suzanne’, a slightly less off-the-wall arrangement than the original. Chris does a very good Sandy Denny particularly on the rockier numbers but she’s her own woman and the grace notes and decorations are all her own. Judy and Iain get time off and the others take it in turns so the current line-up doesn’t actually appear until ‘Crazy Man Michael’ when Gerry Conway briefly wrestles the drum stool away from DM. The remainder of the first disc is taken up with selections from Liege & Lief and Full House and they keep ‘Sloth’ to under ten minutes.
The second disc opens with ‘Now Be Thankful’, a song which Chris Leslie is rapidly making his own, even though Richard elbows him off the mic on this occasion. It’s worth noting that Chris doesn’t get a break after the third track until the Fotheringay homage of ‘Ned Kelly’ and ‘Rising For The Moon’ which feature Sally Barker and PJ Wright and introduce Maartin Allcock to the stage. The latter is a feature of the revamped Fotheringay’s set but sadly, of course, Jerry Donahue isn’t available. I have to say, in passing, that Simon does a wonderful job with ‘Fotheringay’. Maart gets to lead ‘A Surfeit Of Lampreys’ and Ralph McTell takes centre stage for ‘White Dress’ but Simon keeps ‘The Hiring Fair’ for himself.
There is only one song that originates with the current line-up and that’s Chris Leslie’s ‘Our Bus Rolls On’ and now we’re on the downhill run. You know how it ends: ‘Matty Groves’ – with both drummers – and ‘Meet On The Ledge’ with everyone back on stage.
As you might imagine, I own a lot of Cropredy recordings and all have their own attractions. For me the 25th anniversary set stands out while the earlier ones: A.T.2 and The Boot have the particular ramshackle charm that we used to associate with Fairport Convention thirty-odd years ago. What We Did On Our Saturday is tight and slick without much in the way of stage chatter – an appropriately serious set to go with such a milestone in Fairport’s history. Exemplary performances as we’ve come to expect, of course, but sometimes I do miss Simon playing rhythm viola!
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Last year I was a Cropredy virgin, but this year on THAT field in August, I knew what the score was. Well, until I tried to do the camping and putting up the tent thing! Every year will bring new things I guess!
Arriving at the Folkmaster’s abode on Wednesday 9th August, things were in full swing for the journey to meet the other Folkingdotcommers in Tesco car park, on the outskirts of Banbury, early the following morning. The kitchen sink was being loaded into the Folkmaster’s car in an orderly fashion, and it was suggested that if I hadn’t bought wellies with me, that I should go out and buy some. Talk about the 11th hour, I found a store and paid for them at 5.29pm when the store closed at 5.30! I was a bit anxious at this point as surely it wasn’t going to rain? I don’t do wet camping, I don’t do camping generally!
Sparrow spit early Thursday morning came, and off we went to Banbury. Not a bad journey, although I slept most of it! (NO – I wasn’t driving)! We all arrived at mostly the same time, Paul, Jonny Mac, No Chance and ourselves were too early for breakfast, so spent some money in Tesco, before we had breakfast. Full English were ordered by all but 2 of us, and then off we set, into the midst of Cropredy bound Festival goers. All wanting to get the best fields and parking. Last year I remember the queues, but this year was plain sailing. We soon found out why, because loads of others had started out before us, so we should have forgone breakfast! We were shepherded in to Field 7B, ended up right in the middle of the field, miles away from the few loos and the even fewer showers. I was panicking already!
Tent time. Paul was in his van, so all he had to do was connect his awning. Few minutes and he was ready. No Chance had a smaller tent and he knew what he was doing, Folkmaster had a new tent which was an air based one, so he got his instructions out and sorted his out, Johnny Mac was ably putting his tent up, and there was little old me, with a new tent. Poles and all.
I tried, dear readers, I really did. The lads were brilliant though, and thank them all for it. It was suggested I wore my new wellies, as mud could well be present, due to the onslaught of rain in the days leading up to the Festival. Visions of Glastonbury encroached in my mind……
We were a bit early when finished, as we couldn’t get into the arena field until 2pm, so were twiddling our thumbs for a while. The usual banter flowed. We were expecting another member of the Folking team – Paul Johnson – but he was nowhere to be seen or heard, so we did the Chariots Of Fire walk with our chairs and bags and waited for the gates to open. On the way there, we were serenaded by medieval musicians, Myal Pyper, who were a delight to listen to.
We finally got in, and headed for our usual spot. Looking at the Stage we headed left, near Leon’s food stall, always a lovely experience to savour their food. The queue for Fairport merchandise was already growing rapidly and that did not stop all day and evening. The staff in that tent were heroes! It was the same the following day!
4pm finally arrived and Fairport Acoustic opened the Festival. Riotous applause from the crowd, a full packed arena, for the Thursday is not what usually happens apparently. A mostly cracking line up and one that I didn’t want to miss. Feast Of Fiddles came next featuring an array of the best fiddle musicians this country has produced, such as Peter Knight of Gigspanner, Hugh Crabtree – melodeon player with attitude, Garry Blakeley, Tom Leary, Ian Cutler, Brian O’Neill and Fairport’s own superb fiddler – Chris Leslie. Phil Beer, Marion Fleetwood and Sophie Crabtree came on later on in the set to enhance the line-up, totalling nine fiddle players! Legendary drummer Dave Mattocks was over from America, Martin Vincent and Dave Harding on guitars and Alan Whetton on sax and keyboards. Awesome!
Show of Hands next – favourites of mine, they played an absolutely blinding set. Highlight was their rendition of Don Henley’s classic – ‘Boys Of Summer’. The whole field was talking about how fab it was.
Chris While guested for ‘Dark Fields’ and it was indeed a lovely occasion to witness her singing on this again. Phil told us that he will be virtually taking next summer off to revive his Folkboat activities, which is why this year they have so many festivals booked and Steve will be doing solo work next summer. Really enjoyed the whole set.
Eventually we met up with our lost team mate – Paul Johnson – who had had a nightmare putting up his tent apparently, and his mobility scooter had a flat battery. Could only happen to Paul!
Next up – The Trevor Horn Band – consisting of three producers – Trevor Horn, Steve Lipson and Lol Crème (of Godley & Crème) who had played and or produced songs for other artists. A kind of covers set but all perfectly connected to these three fine producers. They sounded good too. They got the crowd going and singing along to numbers we all knew, such as ‘Two Tribes’, ‘Relax,’ ‘Video Killed The Radio Star’, ‘Rubber Bullets’ etc. They have over 200 hit singles and albums to choose from and it was very pleasant and lively set. Nice mix.
Headliners for Thursday evening were The Divine Comedy. Frontman Neil Hannon came on and his first sentence had the ‘f’ word in it. He seemed star struck initially about the big crowd and following Trevor Horn and Lol Crème. He didn’t do it for me but I hear that they went down well with some people.
Friday came and rain was forecast. Oh no!! Kick off was at midday after the gates being opened at 11am for the festival goers.
Paul Johnson tests the folking digital interview recorder on Paul Miles, the original co-founder of folking.com – its quite funny so we have kept it in…
Josie Duncan & Pablo LaFuente (2017 BBC Radio 2 Young Folk Award Winners) opened up the proceedings and I could see why they had won this accolade. Scottish traditional, Gaelic, and other influences, songs from the mines and cotton mills. They have played some well-known festivals including Cambridge and in their short time together, are certainly making a mark for themselves.
Another favourite of mine – Gerry Colvin Band – delighted the crowd, for those that were aware of his music and for those that didn’t. A cracking set from Gerry and the Band. Gerry is a delight to watch and although is so hyper, can sing, play and write a fab song. Particularly ‘Watching Feathers Fall’ from his Colvin/Quarmby days. Nick Quarmby, Gerry’s sidekick who left us last year, would have been so proud of Gerry taking centre stage at Cropredy. Gerry gained a lot of fans during that set.
A Cropredy moment for me was asking Gerry later, as I came across him backstage, how he felt and could obviously tell he was ecstatically happy, he said he had met Pet Clark. She spoke to him and said get out of her dressing room. I’m sure he was joking, he usually is!!
Quill were a new name to me. Quite Gothic and I thought the lead singer Joy had a little Kate Bush about her. They have been going since the 70’s, have loyal audiences, and are amazing story-tellers. Really enjoyed them.
Darren Beech and Paul Johnson caught up with Joy from Quill shortly after the set. The Elephant in the Room EP that Joy discusses in the interview will be released on the 23rd of August.
Next up Gigspanner, who a lot of folks were waiting to see (especially the folkmaster, the editor Dai Jeffries and Paul Johnson who are huge fans). While I admire their immense talent, I am not a huge fan myself, but respect that Peter Knight and the Big Band are all superb musicians. They are a little too trad for me.
CC Smugglers were another new one on me, and were superb, in my eyes. The effervescence of the lead singer was palpable and infectious. His shirt was wet through by the time he finished. The rain had arrived by this time but didn’t dampen theirs or the audience’s spirits. CC Smugglers are a band of buskers, who had come together, to form this band. They have even performed at Glastonbury! Definitely ones to watch.
Darren Beech and Paul Johnson caught up with Chris on the Friday.
The annual Chris Leslie Cropredy interview has become a bit of a tradition for us at folking.com and Chris tells us that he looks forward to it as much as we do.
Click the play button below to take a listen.
The absolutely brilliant Pierce Brothers twins came on to a stunning welcome. They were so happy to be there and in tears of happiness! Great guys, great musicians, great energy and great stage presence. So glad the organisers brought them back after last year’s success. Something that is rarely done two years on the trot. I hope they make it third time lucky.
The amazing event of having Petula Clark attend her first festival ever at Cropredy was certainly a scoop. A favourite of my mothers, she would have loved it. Pet at 84 years of age looked and danced as though she was in her 50’s. She sounded great. She performed her hits pitch perfect and aired some numbers from her new album – From Now On, Awesome. She had the crowd eating out of her hand, and they all sang along. A very special moment. Pet did say at the end of her set that she had enjoyed it immensely, and she certainly seemed to have done so, from the audience’s point of view.
Headliner for Friday evening was the Folk Rock Legend Richard Thompson OBE. A co-founder of Fairport in the 60’s he helped pioneer British Folk Rock. He is known as one of the world’s most critically acclaimed and prolific songwriters. He didn’t disappoint. Just amazing. You would have thought four guitarists were on the stage and it was only him, doing it all. His fingers were a blur as he worked so fast. I had the pleasure of meeting Richard at the signing his new album – Acoustic Classic 2, and he was very quiet and unassuming, and lovely to talk to. No ego at all.
I will say at this point that compere for the weekend was Anthony John Clarke, who did a marvellous job of introducing artists and keeping dedications flowing and read them out to the audience. Excellent choice for an MC.
Richard Digance was missed from his usual spot on kicking off proceedings on the Saturday, but he sent a message to say he was busy touring and not to forget his album and books in the merchandise tent. When he came on to the big screens, the audience applauded him, even though it was a pre-recorded message. Lovely.
Richard’s slot was taken by the Ashley Hutchings Morris On Band, who did a marvellous job of performing some classics from the Morris On album, and we had Morris Dancers dancing on stage to complete the scene. Hankies were at the ready and the audience took part in what is usually Richard Digance’s attempt at getting the whole crowd to wave hankies Morris style! A superb sight to see.
Next up ex-Fairport member Judy Dyble and the Band Of Perfect Strangers who took us on a musical journey, ending with her promoting her autobiography – An Accidental Musician – published last year.
Plainsong included another ex-Fairport Member – Iain Matthews and was formed 45 years ago. A very pleasant set, and Iain obviously has his fans.
I then went to try and find a shower, hopefully no queues at this time, so sadly I missed most of the Cats In Space set. I could hear them from afar, but they were visual, and glad I could see even a short bit. Surprisingly only formed last year, they were a tight knit of pop rock genre. All six of them. I enjoyed what I saw. Blew a few cobwebs away!
Marillion followed. Not my cup of tea, but they clearly had their fans there, and were enjoyed by them.
Scottish multi award winning singer-songwriter Dougie McLean OBE followed. He has a global following. I hadn’t seen him before, and certainly did enjoy his set. Full of stories and song, and lots of audience participation. Particularly on his ‘Caledonia’, which has a high regard in Scotland. He also has a Lifetime Achievement Award from the BBC Radio 2 Folk Awards. Superb.
Now was the time for the BIG set!!! Three hours of Fairport and friends. And what a gift to us!!
Difficult to put this all into words as to how the atmosphere of what it was. You just had to be there. Fairport’s Golden Anniversary and an extremely emotional crowd.
Their guests came on during the course of the evening. The wonderful Chris While who picked up the vocal batton for Come All Ye, The Deserter, Tam Lin and Who Knows Where the Time Goes. Richard Thompson came back into the set after the early years stint for Walk Awhile, Poor Will and the Jolly Hangman, Sloth, Now Be Thankful and Sir Patrick Spens. As did Judy Dyble for I Don’t Know Where I Stand andIain Matthews for Time Will Show The Wiser, Reno Nevada and Suzanne in the early years opening piece. Ralph McTell sang us a version of ‘White Dress’ which was the song Dave Swarbrick wrote for Sandy Denny. That was Ralph’s only contribution, which was a shame as he is a great favourite of the Cropredy crowd. All the Folking Team gave a big cheer and Paul Miles kept saying I love him, I love him I don’t know how many times, bless him! Don’t we all!
Former Fairport member Maartin Allcock dazzled us with A Surfeit of Lampreys and Jewel in the Crown with his playing and that electric blue suit . He looked very dapper. We had Sally Barker who also sang ‘Rising For The Moon’, Ashley Hutchings, Dave Mattacks joining Gerry Conway on drums and percussion. Such a wealth of talent, emotion and music was enjoyed by all. The finale of ‘Meet On The Ledge’ had the audience spilling tears all over the now dry grass.
You came, we saw, and you conquered Fairport and all. Congratulations on your Golden Anniversary can’t wait for next year for the start of a new decade.
Dave Burland may have recorded one of the definitive folk albums of the seventies but he’s always been a rocker at heart as anyone who has been in the same room as Shagpile will testify. Alongside him in The Awkward Squad are two members of that band, Dave Fisher and Bryan Ledgard and their first album, Okkard, is a perfect example of having fun with the music they love.
The big noise here is Fisher on keyboards and steel guitars and I’m guessing that he takes the lead on ‘Lay Down Your Weary Tune’ which is built on piano with three voices on the chorus. The Awkward Squad take it a little faster than is usual with odd little twists in the phrasing that makes it much brighter than the dirge it can become. It’s electric piano that introduces the opening track, ‘Reynardine’ with solid guitar and drums from Ledgard. Burland’s distinctive laid-back delivery adds to the gentle rolling feel of the arrangement. He switches to mandolin for Terry Allen’s ‘New Delhi Freight Train’ over Fisher working the left hand end of the keyboard.
What they do to ‘Country Life’ is quite amazing. A not-quite honky-tonk piano is matched with a sort-of syncopated vocal line and Willie Nelson’s ‘Crazy’ is given a full-blown nightclub feeling with backing vocals courtesy of Chris While and Julie Matthews. It’s not all fun, though. ‘Kitchener’s Finger’, written by Burland, is paired with ‘The Bloody Fields Of Flanders’ and ‘Lamkin’ is as dark a version as you could wish to hear, fleshing out the “mason” storyline.
‘Long Distance Love’ and Steve Goodman’s wonderful ‘City Of New Orleans’ are more familiar territory – this is possibly the best version of the latter that I’ve heard – and I was convinced that the final track, ‘Spencer The Rover’, appeared on Dave’s first album, but of course it doesn’t. As far as I can tell this is the first time he’s recorded it. No matter; it’s a perfect Dave Burland song to bring Okkard to a close.
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It’s been 14-plus years since Fairport Convention’s chief songwriter, co-lead singer and multi-instrumentalist Chris Leslie, songwriter-musician and all-around renaissance man David Hughes, and Chris While and Julie Matthews (the renowned folk duo While and Matthews) joined together for a holiday side project called St. Agnes Fountain, fondly dubbed the Aggies by loyalists.
The quartet and its fans will tell you their musical magic is only fully unleashed during their as-soon-as-they-are-announced sell out concerts across England. That is further reason to celebrate the artistry of their albums. Christmas Is Not Far Away, the Aggies’ just released ninth album, is now available online and at upcoming shows.
The album features the Aggies at their best – both individually and as a group. Chris Leslie’s bewitching musicianship (don’t miss ‘Old Time Christmas on the Front Porch’), Ms. While’s and Ms. Matthews’ enchanting harmonies (‘Shadows of the Past’) and Mr. Hughes’ amusingly irreverent word play (‘Immortal Irreverent’) combine to make this a stand out offering.
At first, I was disappointed by a few songs on this album including ‘The Heart of Christmas Day’ by Ms. Matthews.
Perhaps that’s because a disproportionate number of artists who released holiday albums this season have included several songs aimed toward the despondent. Over the Rhine’s Blood Oranges in the Snow, comes immediately to mind. But Over the Rhine acknowledges their holiday music is for those who struggle with the season.
When I originally heard the song penned by Ms. Matthews, I thought it was a bit of an outlier in an otherwise joyful album. I was wrong. The more I listened, the more I found that and other atypical Aggies’ songs intriguing, especially as they are sequenced.
Christmas is Not Far Away is a charming respite from the too jolly and too sorrowful holiday music that is readily available. Like the Aggies’ tour, expect this album to become a part of your holiday tradition.