NAOMI BEDFORD & PAUL SIMMONDS – Singing It All Back Home (Dusty Willow Records DWR005)

Singing It All Back HomeIt has been my experience that any record with Naomi Bedford’s name on it is worth listening to and adding Paul Simmonds to the mix practically makes it mandatory. With Singing It All Back Home they turn their back on their customary songwriting and present a set of Appalachian songs with roots in English and Scottish traditional songs. Despite their southern English backgrounds, Naomi and Paul sound authentically American particularly when they hit their harmonies.

Alone, they are just two voices and acoustic guitar but here they’ve assembled a cast of musicians who work together seamlessly well. Dan Stewart and Ben Walker, who co-produced the album, play banjo because you can’t have an Appalachian album without banjo and Ben also plays guitar and mandolin. Ben Paley plays fiddle, Rory McLeod adds harmonica and Lisa Knapp supplies hammered dulcimer. All of this comes over the engine room of Rhys Lovell’s bass and Billy Abbot’s drums and percussion.

The first few titles are the less familiar ones – Naomi and Paul have delved deep into the archives – but from the first notes you know what these songs are and where they are from. The first, ‘I Must And I Will Be Married’, begins in a Celtic style but when Walker’s slide guitar comes in you know that you’ve crossed the Atlantic. The melody of ‘The Fateful Blow’ sounds vaguely like ‘Johnny Todd’ but not quite and ‘A Rich Irish Lady’ surfaced later as the better-known ‘Pretty Saro’.

The first well-known track is a raucous ‘Hangman’ (‘Prickle-Eye Bush’ or ‘Gallows Pole’ if you prefer) and ‘Matty Groves’ needs no introduction but here there are rarely sung verses and variations I haven’t heard before. ‘The Sheffield Apprentice’ isn’t a song I expected to find here but I should have known that Hedy West recorded back in the 60s. Finally we have ‘The Foggy Dew’, a song well-known on both sides of the water.

If I must be critical, I would have liked notes about the origins of these versions. Not only is Singing It All Back Home a very enjoyable album, and it can be listened to on that basis, but also an important collection, particularly for someone like me – by no means a scholar but with a more than passing interest in the history of the songs.

Dai Jeffries

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link to the US Storehttps://folking.com/folking-us-storefront/


Artists’ website: www.naomibedfordandpaulsimmonds.bandcamp.com/

‘Who’s That Knocking’:

RATTLE ON THE STOVEPIPE – Poor Ellen Smith (WildGoose Records WGS419CD)

Poor Ellen SmithRattle On The Stovepipe are Dave Arthur, Pete Cooper and Dan Stewart who play American old-timey music with the classic guitar, fiddle and banjo set-up, added harmonica and mandolin and a couple of excursions on melodeon. Poor Ellen Smith is their sixth album for Doug Bailey’s label.

Most of the material here is traditional, or as traditional as it can be having knocked around America for anything up to a century and a half and the band squeeze seventeen tracks into the set. Only one, ‘Bonaparte’s Retreat’ can be counted as a vignette so Rattle On The Stovepipe combine the pace of square dance tunes with a laid-back feel particularly in the songs. The set opens with ‘Dead-Heads And Suckers’, somewhat adapted to make sense of the text and put it the context of the early twentieth century. It’s still traditional, though, that’s just the folk process.

The title track is a classic murder ballad from Winston-Salem – a sort of American equivalent of Midsomer where Omie Wise also came to a bad end. ‘Stackolee’ came from further north in St.Louis, committing his crime on a particularly blood-soaked Christmas Day. More modern, and certainly less violent, is Bob McDill’s ‘Rodeo Man’, a pure country song with a touch of melodeon to remind us that we’re close to the Mexican border. I think I’d like to have heard Dave Arthur’s melodeon fills higher up in the mix but it’s a fine line with such a romantic song.

Arthur wrote two songs here. The first is ‘Southern Soldier’ which sounds very English and that’s the point being made. At the time of the American Civil War the country was full of immigrants, few of whom were ideologues but were fighting for their own patch of ground. The second is ‘Blood Red Roses’, not the familiar shanty but inspired by Bert Lloyd’s version from Moby Dick.

The top instrumentals include the well-known ‘Waiting For The Federals’, the twin fiddle attack of ‘Walk Along John To Kansas’ and the bouncy ‘Little Billy Wilson’. The harmonica player front and centre of the cover picture, by the way, is the celebrated painter Jackson Pollock, pupil and band-mate of the artist, Thomas Hart Benton.

Dai Jeffries

Search Amazon Store below for Artist’s Music.
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.

‘Little Billy Wilson’ live:

NAOMI BEDFORD – A History of Insolence: Songs of Freedom, Dissent & Strife (Dusty Willow)

naomiFor 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.

Mike Davies

Please support us and order via our UK or US Storefront 


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link for the UK Store is: https://folking.com/folking-store/


Click banner above to order featured CD/ Vinyl/ Download/ Book/ DVD

Physical link to the US Storehttps://folking.com/folking-us-storefront/


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. Can’t find what you are looking for? Search Amazon Store below.

Artist’s website: https://naomibedford.com/