Having left school with not much more than a GCSE in Astronomy, Saskia went into alternative therapy and established a practice on Harley Street, London.
She then quit it all to travel and write music; to learn her craft on the streets while busking, gigging, crowdfunding and touring, gaining regular BBC radio play, festival performances, and arts council supported national tours.
Night And Day, featuring multi award winning musicians, Ciaran Algar, Lukas Drinkwater, Jack Cookson and Evan Carson, is Saskia’s third studio album, which she describes as Anglicana – a roots inspired alt-folk fusion of acoustic meets pop. It was produced by Gareth Young at Cube Recordings in Cornwall.
The whole album explores themes of light and dark, love and loss, and joy in defeat, and revolves around her title track, ‘Night And Day’, which expresses Saskia’s vision of unity between people through love.
This album was crowdfunded by Saskia’s fans, raising £8000 in total and achieving her goal of £3000 within 10 hours of launching. She has also teamed up with Word Forest to make this album carbon neutral by offsetting through planting trees.
Based in Bristol, but born in Norfolk, Kelly stakes a claim for a Best Album nomination in next year’s Radio 2 Folk Awards to add to this year’s Horizon win. Backed by his six-piece live band, comprising Jamie Francis on banjo, fiddler/guitarist Ciaran Algar, percussionist Evan Carson, Graham Coe on cello with Toby Shaer and Archie Churchill-Moss providing woodwind and melodeon, respectively, Pretty Peggy their first album together, also features contributions from folk stalwarts Cara Dillon, Damien O’Kane, Mike McGoldrick and Geoff Lakeman.
Save for three numbers, all the material is traditional, refashioned and refurbished, opening with a rousing haul away tempo take of the whaling shanty ‘Greenland Whale’ that can’t help but bring Seth Lakeman to mind. Dillon and McGoldrick’s Uillean pipes complement ‘Bonnie Lass Of Fyvie’, the pretty Peggy-o of the title, a jaunty Celtic-hued version that successfully avoids sounding like any of the many previous recordings.
A tale of lost childhood love regret, the equally lively, thigh-slapping, fiddle-driven ‘Angeline The Baker’ has Appalachian roots and then comes the first of the original numbers, ‘When The Rievers Call’, a Jamie Francis song about the raids on the Scottish borders during the middle ages featuring, unsurprisingly, some fiery banjo work and again recalling that Seth Lakeman sound.
Returning to the traditional repertoire and featuring O’Kane on electric tenor guitar with a melodeon solo, ‘If I Were A Blackbird’ is a lovely, lilting and gently ripping take on the Irish love song, reversing the lyric’s genders and set to a tune based around Chris Wood’s ‘Ville De Quebec’. This is followed by the darkly menacing ‘The Shining Ship’, a suitably spooked and nervy six minute tale, sung in low, at times whispery tones with swirling sonics, of a woman lured aboard a ghost ship by her long lost lover and based on the 17th century Scottish ballad ‘Demon Lover’.
Featuring himself on piano and Shaer on fiddle, the only Kelly original is ‘Chasing Shadows’, another lively tune about understanding that “the deepest dark comes just before the dawn”, and one of the more contemporary sounding tracks. Then comes the comic relief, ‘The Close Shave’ being New Zealand singer Bob Bickerton’s variation of the traditional romp, ‘Barrack Street’, about a gold miner relieved of his treasure by a man posing as a woman.
The obligatory instrumental track comes with ‘Shy Guy’s Serve’, a jaunty fiddle medley of Shaer’s ‘Josh’s Slip’ and Algar’s ‘Rookery Lane’, before they dig into the more obscure pages of the Dylan songbook and turn up the volume for ‘Crash On The Levee’, a punchy and driving version of ‘Down In The Flood’ off The Basement Tapes. The penultimate number is another traditional English folk song, drums, fiddles and flutes pumping along sexually euphemistic ‘The Keeper’ with its call and response derry derry down chorus, the album ending with the intitially subdued but gradually gatheringly strident strains of The Rose, Kelly’s translation of the French song ‘Le Beau Rosier’, originally by Belgian outfit Naragonia with whom he played mandolin last year.
Having practised his art as a youngster singing to the family’s cows, in 2012 Kelly was a finalist for Britain’s Got Talent (the one won by Pudsey), at which time he said “I don’t want to make a mediocre album of covers just to sell as many as possible on the back of BGT…musical integrity is really important to me.” He’s clearly lived up to his words.
Paul Johnson and Darren Beech caught up with Sam backstage at Cropredy 2018. It was the last interview of the weekend and a lot of fun! Have a listen below:
If you would like to order a copy of the album (in CD or Vinyl), download it or just listen to snippets of selected tracks (track previews are usually on the download page) then click on the SAM KELLY & THE LOST BOYS – Pretty Peggy link to be taken to our associated partner Amazon’s website. Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us.
Welcome to the 2017 Folking Awards. Last year’s inaugural poll was such a success that we had to do it again. The nominations, in eight categories, come from our ever-expanding team of writers and were wrangled into shape with sweat, tears and not a little blood by the Folkmeister and the Editor.
There are five nominees in each category, all of whom have been featured in the pages of folking.com in 2016.
As with the format last year, all are winners in our eyes. However, its not just down to what we think, so again, there will be a public vote to decide the overall winner of each category.
Soloist Of The Year
Cathryn Craig & Brian Willoughby
Ange Hardy & Lukas Drinkwater
O’Hooley & Tidow
Show Of Hands
Afro Celt Sound System
Harp And A Monkey
Nancy Kerr and The Sweet Visitor Band
Best Live Act
The James Brothers
Robb Johnson and the My Best Regards Band
Sam Kelly & The Lost Boys
Mad Dog Mcrea
Tall Tales & Rumours – Luke Jackson Ballads Of The Broken Few – Seth Lakeman/Wildwood Kin Preternatural – Moulettes Somewhere Between – Steve Pledger Dodgy Bastards – Steeleye Span
Rising Star Act
The Brewer’s Daughter
Said The Maiden
Emily Mae Winters
Best International Act
The public vote closed Midday Saturday 22 April 2017 and the winners have now been announced HERE
If you would like to consider ordering a copy of an album for any of our award winners (in CD or Vinyl), download an album or track or just listen to snippets of selected songs (track previews are usually on the download page) then type what you are looking for in the search bar above.
Buying through Amazon on folking.com helps us to recover a small part of our running costs, so please order anything you need as every little purchase helps us
I can’t decide if I’m more impressed by the quantity or the quality of Ange Hardy’s work. The ink is barely dry on Esteesee, her 2015 exploration of Samuel Taylor Coleridge and she’s back with her fourth album formalising her work in partnership with Lukas Drinkwater. Findings is a term for the linking pieces in jewellery that join the settings and stones together – Ange knows about this stuff – and provides the theme of this album. And I do find it refreshing to find a themed album that sticks to its central idea all the way through without forcing it down your throat. For that alone Findings is a wonderful record.
In the opening track, ‘The Call/Daughters Of Watchet/Caturn’s Night’, the link is the railway that linked Watchet to the mines of the Brendon Hills but it is also four love stories. The final track, ‘Fall Away’ returns to Watchet and the four daughters of the town now that the mines and the railway and the fishing are gone. Findings mixes original and traditional material, often in one song. So ‘The Pleading Sister’ builds a song around the single verse of ‘Little Boy Blue’ and ‘Bonny Lighter-Boy’ sets a new tune to a traditional set of words.
The (more or less) traditional pieces are ‘The Trees They Do Grow High’, ‘The Berkshire Tragedy’ and ‘The Parting Lullaby’ and I can tell that you’re working out the findings each of these songs. The original songs cover a multitude of relationships but I will single out ‘Invisible Child’ as a masterful example of Ange and Lukas’ songwriting – simple and direct but powerful and moving.
Sometimes Ange and Lukas perform alone but there is a small band of Archie Churchill-Moss, Ciaran Algar and Evan Carson with additional vocals from Nancy Kerr, Kathryn Roberts and Steve Pledger. Even so, the accompaniments are restrained and the songs are out front where they should be. Not to belittle its predecessors but Findings could be Ange’s best album.
Some copies of Findings carry a sticker which can be matched with another to win a (possibly) fabulous prize. Mine reads PHMOI. If you have the matching half, please let me know and we can split the loot.
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The Final Waltz is Ciaran Algar’s debut solo album – something to do in his gap year, allegedly – and it’s sort of what you’d expect but, then again, not really. We know Ciaran as a particularly fine multi-instrumentalist and he has added to his band another in shape of Toby Shaer with Eden Longson on drums, Giles Deacon on keyboards and Sam Kelly, who shares the vocal duties with Kitty Macfarlane. There are four songs in the set, three of them written by Ciaran but he sings only one. Quite why he decided this I can’t tell –he has a very characterful voice, albeit not as polished as Sam’s, but well suited to the material.
The songs give Ciaran a chance to stretch his arranging talents – and those of his band – away from the traditional tunes for which he is better known. All the subtlety of which he is capable comes out in ‘The Final Waltz’ and the downbeat sentiment of ‘Our Home Now’ but then we are immediately whisked away into the gaiety of a set like ‘The Luck Penny’ before ‘Until We Meet Again’ takes the mood down again.
Having set an emotional pattern on the album, Ciaran reverses it with a relatively upbeat song, ‘Locks’, followed by the desolate beauty of ‘The Wild Geese’. I like everything on this album and I’ve spent time thinking about how I would sequence it to balance the highs and lows – and of course, I couldn’t do any better. You just have to climb aboard and go with it.
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This is the album that the folk world has been awaiting for months, given Sam Kelly’s unique musical history and his seemingly putting his solo career on hold to work with The Changing Room.
The Lost Boys are an expanded Sam Kelly Trio with Ciaran Algar and Graham Coe joining Jamie Francis and Evan Carson and further contributions from fellow Stark Josh Franklin, who also co-produced the album, plus Lukas Drinkwater and Kitty Macfarlane.
The album opens with ‘Jolly Waggoners’, one of the chorus songs we used to roar out in the sixties. Sam takes a more considered approach to it, tweaking the tune a little here and there and revealing that the words are still relevant – “the folks in power pay no heed to the likes of me and you”.
Jamie Francis’ alt-blues affiliations come to the fore in the arrangements of ‘Little Sadie’, ‘Wayfaring Stranger’ and ‘The King’s Shilling’, which is traditional but makes you think it isn’t. His banjo is the dominant instrument on several tracks and, with Carson’s drums going flat out the final track, ‘Dullahan’, is pure folk-rock. At the other end of the spectrum ‘Down By The Salley Gardens’ enjoys a quite conventional pastoral arrangement. Kelly and Francis share the writing and arranging, with Francis contributing ‘Six Miners’ (despite the cover credit I don’t believe he wrote ‘Banish Misfortune’) and Kelly writing ‘Spokes’ while they share the credit for ‘Eyes Of Men’ and ‘Dullahan’.
This is a really good album from start to finish, well programmed with its first peak at ‘Little Sadie’, a “false” climax at ‘Wayfaring Stranger’ and a big finish at the very end. The arrangements are inventive without detracting from the essence of the songs. Their setting of ‘The Golden Vanity’ seems much too jaunty at first but just like everything else here it works. The Lost Boys is going to be huge.
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