If you thought Home Service had gone a bit quiet of late here’s some good news – the band is back with some great gigs in the diary and the major news is that John Tams has re-enlisted alongside John Kirkpatrick as joint front man and lead vocalist. This is very exciting for us all and furthermore there are rumours of new material, which could mean we might see the boys back in the studio before long. A series of EPs is a possibility this time.
Main thing is, just don’t miss this rare opportunity to be blown away by the sheer might, grace and grandeur of the one and only Home Service when they come your way.
We have very sad news regarding dear and wonderful bass player, Rory McFarlane. Rory has had to stand down from the position of bassist owing to a currently incurable neurological illness, which renders it impossible for him to play. This is such a blow after most of a lifetime as a musician and our deepest sympathies are with Rory. We shall miss him terrnbly. Because of the terrible news that Rory can no longer play bass for us, we are enlisting the talents of another old friend, Rob Levy to supply the low notes. Welcome to the fold Rob!
The new line-up of Home Service played their first gig in Nettlebed on September 31st.
After quite a hiatus in band history Home Service march on with their terrific new album A New Ground. Losing three band members in a short space of time might have meant calling time on their 25 year history but no, Home Service are back, refreshed and folk rocking like never before.
It has taken a while to fit the band jigsaw back together but the result was worth waiting for with a vibrant set of songs fronted by the well-travelled John Kirkpatrick whose precise delivery of lyrics resonates with feeling throughout the album.
Home Service recognises the writing of A New Ground as a team effort. Such collaborations can result in disaster by committee but not here; each track is as strong as the next and each has the individual characteristics of a bunch of highly talented experienced writers challenging each other.
‘Kellingley’ opens the album with hints of a medieval riff, a philosophical tribute to miner’s strength and bravery but recognising the need for a cleaner planet; a familiar eco-ode but delivered with the passion only folk folk can do. Another familiar theme shines through in the moving ‘The Last Tommy’ written by a lady of many talents, Issy Emeney. Many a song and complete works have questioned the futility of war but this is something different, simple and powerful. “Three million young men marched away to war, a generation later, three million more”. Why? “I’m Free” is the refrain.
After such a thought provoking start the album moves on in a lighter tone with a great version of ‘Papa Joe’s Polka’ that allows the band to flex themselves; this is followed by a more traditional tone set with ‘Arthur McBride’.
We then turn to 1683 with the album’s title track ‘A New Ground’ being based upon Henry Purcell’s ‘Here The Deities Approve’, a simple arrangement of keys and tenor saxophone hold the track together behind Fitzpatrick’s great delivery. John’s son Benji, freshly released from his own Bellowhead big band duties has penned ‘Wallbreaker’ expertly arranged by the Home Service team.
Our band of writers draw inspiration from diverse sources; ‘Dirt, Dust, Lorries and Noise’ was written by John Kirkpatrick for the 1990 anti-British Coal protest play The Dirty Hill which is followed by ‘The Kings Hunt’ a rousing 17th Century work given the full Home Service treatment with the band displaying their individual talents as the track builds; this will sit well with a festival crowd.
On it goes, each song a gem sitting beautifully in this wonderfully constructed album. Things mellow a little with ‘Melting’ which could have been picked from many a West End play but was actually written by Derek Pearce for his solo album Paradox. A fine piece follows with an uplifting arrangement by John Kirkpatrick of ‘Ten Pound Lass’ that seamlessly flows into ‘The Skies Turned Grey’; more cracking lyrics from Issy Emeney handled with tender care and affection by the Home Service arrangement.
The album exits on another high with ‘Cheeky Capers’; hints of Ska and early Specials – surely not! But this is what you get with A New Ground; it really is a delight at every turn.
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John Tams has announced his retirement from Home Service – we thank him mightily for all his work with us and wish him well!
“A combination of circumstance not least and most recently an 8-part television drama series has drawn me reluctantly to leave Home Service effective from September 13th 2015”, said John. “This decision, whilst difficult, aims to avoid compromising the future for Home Service at a time when my restricted diary would make forward planning impossible. There are no issues beyond this and I leave my friends and colleagues, some of almost 40 years standing, in the certain knowledge that they are ‘The best damn band in the land.’ I send them my fondest thoughts and support for their continuing success. I’ll miss you lads!”
We are excited to announce that we have now regrouped with two new members and a revamped brass section.
Replacing Tam would never be an easy task, but with John Kirkpatrick joining our ranks we have found exactly the calibre of character and musicianship required. John will take over the lead vocal role and add his inimitably masterful accordion.
Also, we must announce the emigration of Jonathan Davie to Thailand. Huge gratitude and best wishes are due to Jon, whose replacement has also taken a lot of consideration. However, we can heartily welcome the wonderful Rory McFarlane (ex Richard Thompson band) to join us on bass.
Furthermore, now we have John K on board, Steve King will be not only be gracing the keyboard, but freed to stand tall amongst the brass section and exhibit his skills on tenor saxophone, helping to create an even more dynamic sound. The new line-up has already begun recording a new album at Morden Shoals Studio – watch this space to follow its development!
We shall miss you both greatly Tam and Jon, but know that you both wish the band all good fortune in its future voyage of discovery…
Our very own Dai Jeffries caught up with Graeme Taylor last month to talk about his pivotal role in Home Service, the bands history, his accident and his other theater and musical projects.
The band has had quite a journey since the highly successful festival season in the summer of 2011 which put them back at the epicenter of the folk rock map, Home Service was then nominated in two categories for Radio 2’s Annual Folk and Roots Awards, where they secured ‘Best Live Act’ at The Lowry, Manchester in February 2012.
The reunion of this classic band came about after the discovery, in early 2011, of some previously unheard live recordings made by their faithful sound engineer on a couple of cassette tapes that had languished in the back of his wardrobe for the last 25 years. These recordings, made at the Cambridge Folk Festival in 1986, exhibited a power and commitment that was never fully captured in the studio, so a live album release immediately became inevitable.
Home Service was originally formed from the creative nucleus of the Albion Band line-up that produced the classic “Rise Up Like the Sun” album, singer-songwriter John Tams feeling the need to explore more contemporary themes in his writing and its musical interpretation. Songs like “Walk my Way”, “Alright Jack” and ”Sorrow” were anthemic observations on the unfairness of Thatcherite Britain and its social inequalities. The crushing irony is that they sound as potent now as they did then, thereby making this band’s work as relevant as ever.
Listen to Part 1 of the Graeme Taylor interview below:
Listen to Part 2 of the Graeme Taylor interview below:
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This recording should be a required purchase by every music consumer who considers themselves tuned in. My formative years of the folk-rock scene in the UK were amazing in that I was lucky enough to witness in their full glory acts such as Steeleye Span and Fairport Convention, the Celtic styled JSD Band and Five Hand Reel and the quintessential English sound of the Albion Dance Band and later The Home Service. Of course, it was pretty selfish of us to feel that the band should be exclusively the preserve of the ‘folk’ world and that we, in a way would smother the band’s very existence by classifying it ‘folk’ music.
Still, we’re lucky enough that from the vaults comes this more than welcome release lovingly restored by the band’s lead guitarist Graeme Taylor and released on David Suff’s excellent Fledg’ling Records. This time I hope that the band are given the air to breath and flourish without the stigma of pigeon-holing. In some ways this octuplet (I’ve always wanted to use that term) come across as a traditional imbued Jools Holland Orchestra with first rate vocals (courtesy of the legendary John Tams) and a wind/brass section to die for. Every song and tune on the CD strike the right note with not one track out of place and (all too rarely) leaves you clamouring for more. This is an album that will make you proud to be British without the feeling the music’s been hijacked by some football team or other for their own nefarious purposes so let’s just wallow in the grandiose performances of “Alright Jack”, “Battle Pavanne/Peat Bog Soldiers” and the mellow “Rose Of Allendale”. Still, enough talking…I’m off for a serious dose of nostalgia and hopefully there’ll be many more who will join me in saluting the return of one of this country’s greatest musical ambassadors.
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Whisper this, but I hadn’t been to for twenty years. I had felt it was getting too big for my personal comfort – when I first went there was one campsite, now there are seven – but an insistent invitation drew me back this year. In fact what are bigger are the camper vans, the folding chairs and, dare I say, the waistlines. We older and …er…more substantial punters do like our comforts. Some aspects of the festival are more technological and sophisticated. The bar is a marvel of mobile opulence although initially no more efficient than in the days when there was one Wadsworth’s lorry, lots of barrels and one choice of beer. That’s no reflection on the brilliant bar-staff, by the way, but logistics do sometimes let the side down.
An innovation during my absence is the big screen which, in between displaying safety information, “televises” the show. It can be a boon for those at the top of the field although it’s often obscured by a forest of flagpoles. The interesting thing is that even down the hill at the front, unless you’re actually leaning on the pit barrier, you find yourself watching the screen, not the performers. Sure, you get 10 foot high images of John Tams’ face and Graeme Taylor’s plectrum technique but it feels wrong. If they could just pipe it into the cable TV network we wouldn’t actually have to go there. Er…maybe not.
Everything else is pretty much the same. The stewards are unobtrusive, laid-back and helpful and with road closures around the site their help was invaluable. The familiar spirit of the festival remains. Two examples that I heard about: one couple left their car keys in the door when they went to bed and woke to find the car locked and the keys safely guarded and a purse containing credit cards and a good deal of money was lost overnight and returned intact the following day. I’m not sure where else that would happen. T-shirts remain the badges of identification and mutual recognition although in general clothes are less outré – that goes with the Aldi and Tesco carrier bags. There are still more food concessions than can you eat from without the aid of a tapeworm, lots of silly hats to buy and, increasingly important as one gets older, civilised toilets. Don’t laugh, it’s important. And despite promising myself that I wouldn’t visit the CD store, I failed to keep my promise.
The rain loitered with intent on Thursday afternoon but stayed away as Fairport Convention opened the proceedings with a short and none too serious acoustic set followed by Katriona Gilmore & Jamie Roberts and Blair Dunlop. Hearing ‘Walk Awhile’ as the second song really sets you up for the weekend. Bob Harris introduced Home Service as the evening’s compère, John Tams, was too modest to introduce himself. It is so good to have the band back together although it has to be said that their failure to invite Bill Caddick to return raises awkward questions. Their set was familiar material – new boy Paul Archibald had to learn another back catalogue after all – and, in the current climate, it was impossible to listen to ‘Alright Jack’ and ‘Sorrow’ without reflecting on how little things have changed.
Hayseed Dixie might be considered a one trick pony but they perform the trick very well, although I have my reservations about their interpretations of ‘Bohemian Rhapsody’ and ‘Strawberry Fields Forever’. A couple of serious moments were hidden in the rockgrass but I’m not sure if anybody noticed. They had a lot of fans at the festival, particularly among those who found Home Service too intellectually challenging to actually bother listening to. UB40 closed the day – slick, professional and, I have to admit, not my thing at all.
Before it actually opens to the public the arena is rather eerie. I watched Seasick Steve sound-checking with his pounding drums reverberating around the empty site. Steve was Friday’s headliner and I still can’t make up my mind whether he’s the great original everyone reckons he is or a charming old fraud. Don’t get me wrong, I love his music, but I don’t buy into his story. If I’m right he’s only following in the tradition of Bob Dylan who, in his early days, fed interviewers the most outrageous lies and watched them lap up everything he said. Listen to Folksinger’s Choice for prima facie evidence.
Moore Moss Rutter provided a suitably relaxed start to Friday, another day when the weather couldn’t make its mind up. The Travelling Band began with a Blind Lemon Jefferson tune which felt like a smart move. They moved on to their own material variously augmented by viola, cello and brass and played an exciting set which was also VERY loud. I rather liked them despite that but the contrast in approach was hard on Steve Tilston who had to follow them. I also like Steve and his partnership with The Durbevilles feels like a very natural match on a song like ‘Jackaranda’. This was a good set and The Oxenhope EP was one of my purchases. Charlie Dore provided yet more country-style music – the theme of the day, it seems. I found her set rather relaxing which was good for the late afternoon slot but I confess that I was waiting for The Dylan Project.
Like his hero, Steve Gibbons is seventy this year. How did that happen? Everything about him is unique from his look to his guitar style and the way he used to make Keith Richards appear the picture of robust good health. They played a tight set with none of Steve’s extemporising as they mixed the downbeat – ‘Dark Eyes’, ‘Sweetheart Like You’ and ‘Cold Irons Bound’ – with the simpler sentiments of ‘Tonight I’ll Be Staying Here With You’ and ‘Rainy Day Women #12 & 35’. ‘Gotta Serve Somebody’ seemed a most appropriate choice given the events of the preceding week.
The Urban Folk Quartet was another band who benefited from my visit to the record stall but they had released a live album at a special Cropredy price and I wasn’t about to pass that up. UFQ are another band who have found a new approach to traditional music. Frank Moon’s oud features heavily, Joe Broughton seems to play more guitar than fiddle but who’s counting, Paloma Trigas is a bundle of energy and Tom Chapman joins a small roster of singing percussionists. If you haven’t heard them yet, you really should.
The Coral: ahead of their time or brilliantly retro? They included ‘Ticket To Ride’ in a spectacular show of their 21st century rock and would have made a better final act. It was unfortunate that there was a delay before Seasick Steve took to the stage. There was none of the redneck southerner schtick you get on TV and he seemed rather low key. I chose to watch him from the top of the field to see how he would work with such a big crowd and sad to say people around me were drifting away into the cold night long before the end of his set. I’d like to see him live in a smaller, more intimate, venue but so meteoric has been his rise to fame that he doesn’t play small gigs any more.
Richard Digance is a fixture as Saturday’s opener. Part comic, part social commentator and all warm-up man he did a superb job, getting the crowd on its feet doing silly things and listening to some serious songs – ‘Jobs’ is absolutely brilliant. It’s a combination that pulled the audience together and pointed it in the right direction. Next up, it was lovely finally to see The Shee on stage: fiddles, flute, mandolin, accordion, harp and voices performing their mixture of Scottish and American music and songs. I like the way they wear their posh frocks on stage, too.
Blockheads without Ian Dury: does it work? Well, the sun came out and England won a test match while they were on stage so I guess it does. The band isn’t exactly the same, inevitably, but in Derek “The Draw” Hussey they have a suitably eccentric lead vocalist who doesn’t attempt to imitate Dury but manages to channel his attitude. Songs like ‘Inbetweenies’ and ‘What A Waste!’ have been part of the band’s DNA for so long that they can’t fail to sound good.
My live experience of Lau suggested that they could be even louder than The Blockheads but the festival sound crew just about kept them in check. Martin Green seems to have more equipment every time I see the band – now he has a keyboard to go with his accordion and pedals adding new textures to Lau’s sound palette. The accordion was frequently used as a bass instrument with Martin playing a melody on the keyboard.
A decade ago Jim Lockhart introduced me to the art of ligging Dublin-style. This involved more pints of stout than I care to remember, being invited to a couple’s engagement party and being told by a lady with the reddest hair I’ve ever seen that my destiny was linked with the sea. As the ferry back from Rosslare didn’t sink I haven’t taken her too seriously. At the time Jim was head of production at RTÉ 2fm but in his previous life he played keyboards and flute with Horslips. Sadly they broke up before I had chance to hear them live which made their performance at Cropredy something of a milestone for me. Yes, Horslips are back, although Johnny Fean’s brother Ray now sits in for drummer Eamonn Carr. The outrageous stage clothes are gone and the band is rather more soberly dressed now but can still play those hits: ‘Dearg Doom’, ‘Trouble With A Capital T’, ‘Charolais’ and ‘Mad Pat’ as well as the soaring instrumentals from The Book Of Invasions. It was a moment of magic.
I’ve tried listening to Badly Drawn Boy several times and it hasn’t worked. He has one great song, ‘Born In The UK’, but that’s not enough to hold my interest. My opinion was not helped by the fact that Horslips were cut short while Bad milked a smattering of applause for two encores. Look, this is personal recollection and I’ll be as partisan as I like, OK?
A typical Saturday set by Fairport Convention consists of some compulsory songs, explorations of the byways of their back catalogue and a succession of alumni and friends doing their thing. This wasn’t typical. Its centrepiece was a complete “Babbacombe” Lee which occupied a third of the programme and, of course, there’s a new album to promote which doesn’t leave a lot of time. They opened with ‘Walk Awhile’ and closed with ‘Who Knows Where The Time Goes’, ‘Matty Groves’ and ‘Meet On The Ledge’. ‘Crazy Man Michael’, ‘Honour And Praise’, ‘Mr Lacey’ and ‘The Hiring Fair’ were the other oldies. Ralph McTell dropped in for a couple of songs and PJ Wright and Phil Bond augmented Fairport when lead guitar and keyboards were required but otherwise the band stood up to be counted. I’m glad I heard “Babbacombe” Lee having managed to miss it on the spring tour and the use of films on the big screen added an extra something to the show. ‘Matty Groves’ was illustrated by a video featuring Barbie and Ken and what appeared to be a meerkat in a submarine – it was late, I’d had a beer or two: who knows what I saw?
So, has Cropredy grown too big? Yes, I think it has but I’ll qualify that by saying that the infrastructure is quite capable of coping with the 20,000 people who turn up each year. But on Saturday afternoon it was almost impossible to move around the field without kicking, jostling or stepping on someone and it was impossible to sit quietly and mind one’s own business without being kicked, jostled or stepped on. Thursday has now grown into an official day and the fringe occupies two pubs in the village. It may be time to consider a second stage. I would have been more than happy to see some of the acts play a second set in a smaller venue or some of the fringe artists accommodated there. It would take the pressure off the main area and restore the relaxed atmosphere that existed back in the eighties. I missed that.
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