It’s been a few months since we posted a selection of videos so let’s see what’s lurking in the inbox. First is Liverpool band VILE ASSEMBLY and ‘Last Century Man’, released as a single in April.

In case you missed it, here’s a live performance of ‘Thou Shalt Not Kill’ from the War And Peace project featuring BELLA HARDY, FINDLAY NAPIER and GREG RUSSELL.

Next is AMY LAWTON with a single, ‘Don’t Bring Louise’. This is really nice.

HANNAH SANDERS & BEN SAVAGE will release a trilogy of singles during 2019. This was the first – ‘Hidden Things’.

Here’s the video for the foot-stomping ‘Pink Lemonade’ by New Yorkers DADDY LONGLEGS.

Read Su O’Brien’s review of their album Lowdown Ways here.

From their upcoming album, Lust And Learn, THE SLOW SHOW released ‘Hard To Hide’ as a single.

Pep Talks, the new album by JUDAH & THE LION will be released in a day or two. Here’s the single, ‘Why Did You Run?’

‘Girls’ is the new single by Manchester singer, HARRIET CURRY.

DANNY PEDLER   GREG RUSSELL – Field And Dyke (Danny Pedler PEDL0012)

Field And DykeI heard the title track of Field And Dyke on-line and at first I was convinced that it was traditional and probably Scottish in origin. That shows how much I know but also indicates how authentic the record sounds. It is, in fact, derived from an oral history project conducted in the South Holland region of Lincolnshire by Danny Pedler, who wrote most of the material in the manner of the Radio Ballads, using interviews with locals as the basis of the songs. South Holland is an agricultural area in the fenlands and as we know agriculture means migrant labour.

The album opens with ‘Down And Deeper’, a consideration of immigration topped and tailed with vox pops with Greg reaching the very bottom of his register. Pedler and Russell have built the songs around the rhythm of machinery and often use those machines as percussion. The second song is ‘Poverty Knock Retold’, modernised and recast. The background is the sound of an engine built by the Lincoln firm of Ruston & Hornsby and after about four minutes the sound is enough to drive you mad – imagine hearing it for ten or twelve hours a day, day after day.

‘S.K.Y.’ celebrates the flat landscape but also laments the changes that have occurred. The song incorporates the sound of a Lister engine, the type which was used to generate electricity in the middle of the fens. ‘Pigeon End’ also looks at changes as witnessed by a man who left the area to join the Navy and came back to unrecognisable scenes. Russell’s song ‘Ready Hands’ returns to the theme of immigration and his ‘Seas End’ looks to the locals’ desires for their futures.

There are two instrumentals. The first, ‘Knock On Wood’, is a love story without words but the title of the second, ‘Delta 3000 LD SB XY Plastic Presser’ grabs the attention. The sound of this piece of kit, used in food packaging, has replaced that of the steam and diesel engines in the ears of the workers. It’s not quite as bizarre as the machine used for the background of the title track – that sprays tomato sauce on unbaked pizza bases!

South Holland is rich is folklore but no songs were collected here and ‘The Boggart And The Farmer’ is an attempt to correct that oversight. Finally Pedler and Russell turn to the element that has shaped the landscape – water. As one interviewee remarks, they never had any problem with lack of water but sometimes there was too much of it. As ‘Water Makes This Land’ points out, that problem is, in part, man-made.

Field And Dyke will be launched in Spalding next month and will tour next January.

Dai Jeffries

Project website:

‘Field And Dyke’ – official video:

VARIOUS ARTISTS – The Transports – A Tale Of Exile And Migration (Hudson Records HUD007LP/CD)

TransportsTom Paxton once remarked about one of his songs that it originally sounded as if it had been written a century ago, but that he no longer considered that a virtue. Fortunately, Peter Bellamy had no problem with “telling it like it was”. His ballad opera The Transports was, in the opinion of many, the best example of how effectively he could write songs that sounded as if they had been written around the time of the events they describe, which happened in the late 18th century. The Transports – A Tale Of Exile And Migration, released on January 12th 2018, is not, of course, the first recorded version of the opera.

The first recording was released in 1977, and included some enormously influential artists, including some whose influence has survived long after they themselves left the stage. (For example Bert Lloyd, Cyril Tawney, Dave Swarbrick, and Peter Bellamy himself.) The ‘silver edition’ released in 2004 included not only the (remastered) original recording, but also a collection of newer recordings by other artists, including members of Fairport Convention; Coope, Boyes & Simpson; Steve Tilston; and Damien Barber and John Kirkpatrick. This latest CD, produced by Andy Bell, features a younger generation of singers and musicians, including members of The Young ‘Uns, Bellowhead, Faustus, Waterson: Carthy, Whapweasel, and Belshazzar’s Feast, as well as Nancy Kerr, Matthew Crampton and Greg Russell.

This live CD isn’t just a reproduction of the original recording with different musicians, however: it mirrors the touring revival from 2017 (which at the time of writing is just beginning another 14-date tour that ends in Norwich on the 24th January: see the website linked below for details). While it’s still based on the true story that captured Peter Bellamy’s imagination all those years ago, it uses spoken narrative between songs rather than the four sections of ‘The Ballad Of Henry And Susannah’ from the original recording. The narration, by Matthew Crampton, also draws parallels with the plight of 21st century forced migration. Perhaps the only reservation that I have about the CD is that while the narration is very capable, even a new listener might not want to hear it every time after they’ve become acquainted with the story. But in this age of iGadgets and personal playlists, I suppose people are much less likely to simply put on a CD and play it all the way through.

The production also includes Sean Cooney’s own recent song ‘Dark Water’, about Hesham Modamani, who swam from Turkey to Greece in his bid to escape from Syria. Live performances include stories of migration researched by the Parallel Lives project. While the song doesn’t have the ‘traditional’ quality of Peter Bellamy’s songs, it doesn’t jar – on me, at any rate – and it’s an excellent performance.

For comparison with previous recordings, here’s a listing of the songs: there are 28 tracks altogether, including the spoken tracks.

  1. ‘Us Poor Fellows’
  2. ‘The Robber’s Song’
  3. ‘The Leaves In The Woodland’
  4. ‘The Ballad of Norwich Gaol’
  5. ‘I Once Lived In Service’
  6. ‘Sweet Loving Friendship’
  7. ‘The Black and Bitter Night’
  8. ‘Dark Water’
  9. ‘The Humane Turnkey 1’
  10. ‘The Plymouth Mail’
  11. ‘The Humane Turnkey 2’
  12. ‘The Green Fields of England’
  13. ‘The Still and Silent Ocean’
  14. ‘Roll Down’

For reasons of space, I won’t go through the performances individually: the songs are of a uniform high quality (and, happily, the booklet includes the lyrics). The vocals (both solo and ensemble) and instrumental work are never less than very good, though Nancy Kerr’s bravura performance on ‘The Leaves In The Woodland’ deserves a special mention.

If you already have an earlier version, it’s still worth taking a look at this for its change of focus (and, of course, some excellent performances). If you’re not acquainted with The Transports but like the sound of songs that are very much in a traditional vein and tell a fascinating historical story with 21st century resonances, you should definitely take a look. And if you tend to prefer more contemporary renditions of contemporary material, take a look anyway. You might just surprise yourself.

David Harley

Artist’s website:

A Taste Of The Transports:

SHAKE THE CHAINS – Shake The Chains (Quercus Records QRCD003)

Shake The ChainsEven supposing you knew nothing about this album, a quick glance down the track listing would instantly identify Shake The Chains as a politically conscious project. A new generation of protest songs sit comfortably alongside some old standards.

Despite Edwyn Collins’ complaint in ‘A Girl Like Youabout “too many protest singers, not enough protest songs”, it can sometimes be hard to imagine what it would take, in these trying times, to generate enough protest to effect real change. But here is a delightful set of songs, nonetheless.

Hannah Martin contributes songs of poetic allegory and metaphor. ‘Yarl’s Wood’ evokes the horror of a refugee ending up in a detention centre. The refugee’s flight, “the choice that is no choice” is starkly laid out and overwhelmingly powerful. ‘Song Of The Jay’ uses certain bird behaviours to draw unflattering parallels with some human ones. Similar, but viewed from another angle, is Tim Yates’s song ‘Side By Side’ which delivers a darkly moody lament on social division.

Nancy Kerr delivers a brilliantly tender pairing of poems about Victor Jara, the Chilean musician executed under Pinochet’s regime. This lengthy piece allows the purity of the art form simply to shine.

Naturally, these serious subjects deserve gravity, but there is room for humour, too. Greg Russell’s country-flavoured ‘Bunch Next Door’ is a domestic scale witty deconstruction of political villains, while ‘Ding Dong Dollar’ has a drily sardonic air of resignation.

By contrast, Findlay Napier’s songs are much harder-hitting, with a raw passion. ‘Building Ships’ is a poignant song about his father’s experience of the death of that industry. The album’s title track – as well as a rallying call to action – ‘Shake The Chains’ is punchy, feisty and totally heartfelt. Its central chorus is adapted from Shelley’s poem Masque Of Anarchy, about the Peterloo massacre in Manchester, and a much-quoted work of those standing up for the poor and oppressed.

Of the stalwarts, ‘If I Had A Hammer’ has a simplicity, sincerity and even an undercurrent of anger. Likewise ‘We Shall Overcome’ – stripped back, sung a capella (with delicious harmonies) is revealed afresh as a sorrowful yet hopeful anthem.

The live recording gives an immediacy to the songs: the joy of hearing an audience respond suits the nature of the works. It provides a confirmation bias, a reassurance that the listener is not alone, as well as a desperately necessary response to the current madness in the world.

Whilst we can see how much we’ve moved on from the treatment of Alan Turing, as detailed in Kerr’s touching ‘Poison Apples’, it’s also a reminder against complacency. Rights hard-won may be all too insidiously and easily eroded.

It’s a hard album to review without clambering onto the soapbox, so tightly enmeshed are subject and medium. It is a superb album in its own right, with strong songs, gorgeously arranged and performed. It is also deeply moving: keep the tissues handy, there will definitely be something in your eye. Now, get out there and change something.

Su O’Brien

‘If I Had A Hammer’ – live:

GREG RUSSELL – Inclined To Be Red (Fellside FECD281)

Inclined To Be RedMore commonly seen in partnership with Ciaran Algar, Greg Russell now also embarks on a solo career with an album the title of which refers more to his politics than the colour of his hair. That said, accompanied just by banjo, he does include a cover of the American traditional tune, ‘Joe Bowers’, the true story of a man whose fiancée married another while he was off gold prospecting, giving birth to a baby whose hair, in Russell’s variation of the last line, “was inclined to be red.”

There is, as you might surmise, a strong socio-politics element of in its collection of self-penned, traditional songs and covers, Russell coming across as a cocktail of Martyn Joseph, Don McLean and Billy Bragg, opening the album with ‘E.G.A’, a rousing accordion-accompanied number he wrote for the Shake the Chains project involving songs of community resistance and protest, his being a tribute to Elizabeth Garrett Anderson who, in 1865, became the first woman in the UK to qualify as a physician also going on, in 1908, to become the country’s first female mayor.

Taken at slower pace ‘Farewell’ is better known as the 19th century traditional ‘Faithful Sailor Boy’, a familiar tale of lovers parted by the call of duty, never to be reunited, although Russell gives it different spin by substituting “wars raging high” as opposed to the original’s storms. Although written by Graham Moore and Mick Ryan and featuring on the former’s 1995 album Tom Paine’s Bones, the strummed ‘The Road To Dorchester; sounds every bit a traditional ballad, recounting the story of the Tolpuddle Martyrs, six Dorset farmers transported to Australia for forming a union.

Workers rights are also at the heart of another powerfully sung number, ‘Crooked Jack’, a song based on the hardships endured by Irish and Scottish labourers working on the hydro electric plant at Inverary, Argyll, Scotland (the title a reference to spinal deformity caused by working underground),  Dominic Behan’s lyrics set to the tune of ‘Star of the County Down’ .Protest of an environmental nature is to be found on the self-penned ‘Race To Burn’, a fingerpicked number concerning the cost of progress to the earth and its wildlife.

It’s not all about protest, however. Set to a rolling and tumbling melody with a jigging accordion, ‘Travelling Onwards’ is an autobiographical reflection on letting go of fanciful teenage dreams and moving forward with more realistic ambition, and enjoying the roads down which they take you, here making music. Likewise, although written by Christine Lavin, the resonatingly strummed troubadour folk of ‘Tomorrow You’re Gone’ (shades of the young Harvey Andrews) with its lyric about the life of a gigging musician, could be equally from personal experience.

The many permutations of the Child ballad ‘Lady Isabel And The Elf Knight’, involving a maiden and a knight and a tale of seduction, are a staple of many a folk artists repertoire, and, featuring guitar and a buzzy accordion, Russell’s no different, ‘Bold Knight’ opting for version 4E, the one in which she drowns him and involves a prattling parrot.

A West Yorkshire song about class snobbery (dad rejects his daughter’s choice of man because he works in the ‘wrong’ end of the mill and comes from the slum part of Morley) written by the late Keith Marsden (from Morley), ‘Willy-Ole Lad’ follows the original in being sung unaccompanied with a depth that belies Russell’s 24 years.

Of the final two songs, one’s a cover, the other an original. The former, the 60s Greenwich Village protest era-echoing ‘What You Do With What You’ve Got’, was written in 1985 by American singer and activist Si Khan, its line “What’s the use of the finest voice if you’ve nothing good to say” something Russell clearly takes to heart. The album ends with the rustic hymnal-like ‘Storylines’, an affirmation of “the togetherness they’ll try to breach/A unity they cannot teach” written after hearing some club folk singer declare politics had no place in music and that he only sang English songs. “We all sing now”, declares Russell. Get a copy of this fine album and lend your voice.

Mike Davies

Artist’s website:

GREG RUSSELL – Inclined To Be Red (Fellside FECD281)

Inclined To Be RedWhen he isn’t partnering Ciaran Algar or working with Nancy Kerr’s Sweet Visitor Band and half a dozen other projects, Greg Russell follows another path. Inclined To Be Red would seem to be his first completely solo album even though he seems to have been around for ever…and he’s still only 24. The album’s title has a double meaning, I think. The line comes from ‘Joe Bowers’, a song that dates back to the California gold rush, but many of the songs concern the lives of the working classes suggesting a certain political leaning. Of course it could just be that Greg is of the ginger persuasion.

Greg has written four of the songs here, adapted four more from traditional roots and shrewdly borrowed four others. The opener is one of his own songs, ‘E.G.A’, written for the Shake The Chains project. Its subject is Elizabeth Garrett Anderson and her fight to become a doctor, the first woman in the country to do so. It’s a masterful piece of writing encompassing Anderson’s life and struggle in under three minutes. ‘Road To Dorchester’ is Graham Moore and Mick Ryan’s song about the Tolpuddle Martyrs and one of the best tracks on the album. Greg returns again to the plight of the working man with Dominic Behan’s ‘Crooked Jack’, a song that I hadn’t encountered before, and Keith Marsden’s ‘Willy-Ole Lad’. I can’t tell you how pleased I am that someone is covering Keith’s songs and Greg’s voice suits this one perfectly.

Three songs concern the life of the itinerant musician. The first, ‘Travelling Onwards’ is autobiographical and Greg suggests that the second, Christine Lavin’s ‘Tomorrow You’re Gone’, is the perfect answer to people who ask him what he does. Her description of a life lived in hotels one night at a time is perfectly judged. The final track, ‘Storylines’, is about the songs that people perform and the attitudes behind them.

Greg is supported, sparingly, by Archie Churchill-Moss on accordion and Tim Yates’ double bass and although they both add colour and shade to the songs I think I prefer Greg’s solo performances. Some of these songs are quite hard-hitting but he doesn’t hit you with them – he just suggests that you might care to listen.

Dai Jeffries

Artist’s website: