SINEAG MACINTYRE – Lòn Bàn (Greentrax CDTRAX396)

Lòn BànSineag MacIntyre is from Kilphedar in South Uist; a town steeped in Gaelic singing tradition. With this raw material alone, it is not surprising that she inevitably forged her own musical path. Her career began in 2004 with the album Laithen Sgoile on the Lionacleit School’s in – house label, before going on to establish herself on the Scottish folk scene…and picking up her fair share of musical and academic awards on the way. Lòn Bàn is her most recent offering, and her debut on the illustrious Greentrax label. Even as a ‘layperson’ to the Gaelic tongue, this album feels well curated and thoroughly balanced, in an environment in which unaccompanied traditions intermingle with fully backed, and comparatively contemporary writings.

‘O, Thoir a-nall am Botal’ ; a flute-laden drinking song, composed in the wake of a particularly bleak winter which killed hundreds of cattle, kicks off the album, followed by two love songs; one from a male perspective and one from a women’s vantage point. ‘Laoidh ‘Statue’ Ruaidheabhal’ is a hymn praising the protection which the statue of Our Lady of the Isles (located on Rueval Hill) brings to the South Uist community. At times it is haunting and a bit unsettling, an impact made by the drone of the pipes which carry much of the song.

‘Allt an t-Siucair’ comes from the pen of poet Alexander MacDonald, and in many ways, it is another song of praise, this time, however, one which praises the natural beauty of ‘Sugar Brook’; a small stream which ran between MacDonald’s own home and that of a neighbour. This pretty melody is next followed by ‘Cuireamaid Dandaidh/ Puirt-a-Beul’; an initially unaccompanied piece, described as “a song a mother might sing”, before the bodhran ushers in a set of reels, accompanied by fiddle and guitar.

The latter part of the album again manages to go between the polarities of life, encompassing both beauty and sorrow from one song to the next; ‘’S ann Diluain Ro’ La Fheill Micheil’ for example, is an unaccompanied waulking song, told from the female perspective, in which the protagonist laments the drowning of her husband, father and three brothers. This is followed by ‘Sean’s a’ Bhriogais Leathair’; a comedic song, with an upbeat melody, where our male protagonist recalls the romantic conquests of his youth…all thanks to his (presumably irresistible) leather breeches.

With the bonus string of cameos from the Scottish scene, (including Kathleen MacInnes and Luke Daniels) this well-presented recording must be commended as nothing less than a noteworthy milestone , at an important point of an already impressive career.

Christopher James Sheridan

Label website:

Sineag MacIntyre and Kathleen MacInnes:

RAB NOAKES – Welcome To Anniversaryville (Neon Records NEONCD021)

AnniversaryvilleI was delighted to receive a review copy of the new Rab Noakes CD Welcome To Anniversaryville – scheduled for release on the 13th July 2018 – especially as I had previously reviewed and enjoyed his EP The Treatment Tapes. I mention the earlier EP because it was released in the wake of his recovery from tonsillar cancer. It’s good to hear him again sounding so comfortable with his own voice performing an outstanding collection of songs, in the company of a fine assortment of players and singers. The recording session followed his 70/50 in 2017 concert in Glasgow, using the songs and the band from that concert as the jumping-off point for the album.

  1. Rab’s ‘Let The Show Begin’, with its line “there’s no stoppin’ now“, is described as “a remnant reference” to the previous CD: I have to agree that it makes a perfect start to the CD.
  2. ‘It All Joins Up (In The End)’ is appropriately described in the booklet as “a celebration of a ‘Rock ‘n’ Roll lifespan’“, despite having its origins in that slightly dizzying moment when you realize that you’re older than your father was when he died. (Yes, I know that one…) A fine example of Rab’s ability to generate a positive experience from what in other hands might be steeped in sadness.
  3. This new recording of ‘Together Forever’ may bring back happy memories of Lindisfarne, champions of Rab’s songs in the 70s. But if you don’t remember the song from that era, you have a treat in store.
  4. ‘Gently Does It’ is Rab’s song from 1985, a tribute to Alex Campbell, by then a “shadow of his former, formidable self“, urging him to slow down. (Sadly, Alex died a couple of years later.)
  5. ‘Oh Me, Oh My’ recalls (perhaps deliberately) the folk/country crossover feel of later Rick Nelson.
  6. Though a prolific and talented songwriter in his own right, Rab has never been reluctant to cast his nets wider than his own work. In the first few tracks, we see this in the references to ‘We Can Work It Out’ in the second track or to Alex Campbell’s ‘Been On The Road’ in the fourth track, but there are also a few cover versions in this set. ‘Just One Look’ was a 60s hit for co-writer and well-known session singer Doris Troy, though UK readers may remember it better as a hit for the Hollies, among others. Nice backup harmonies here.
  7. ‘TCB (Working Man And Working Woman’ takes a sideswipe at class-ridden British society, recalling the theme of the last verse of his 1970s song ‘Turn A Deaf Ear’ (not included here): “Every peg into its own hole was what he seemed to say/And that no one should go looking for a better place to stay“.
  8. ‘The Handwash Feein’ Market’ also essays a little social content, inspired by the resemblance of the hiring process at his local carwash to the agricultural feeing markets of yesteryear.
  9. ‘Long Black Veil’ is the country ballad first recorded by Lefty Frizzell in the 50s and subsequently recorded by Joan Baez, Johnny Cash and many others.
  10. ‘The Twa Corbies/An Dà Fheammaog’ is a fascinating meld of an ancient and chilling Scots ballad – with Rab singing lead – and a version translated into Scots Gaelic by Seonaidh MacIlleathain, sung by Kathleen MacInnes.
  11. ‘Tramps And Immigrants’ is also performed as a medley of ‘Tramps And Hawkers’ and Dylan’s melodically very similar ‘I Pity The Poor Immigrant’. It works rather well.
  12. ‘Still In Town’ is a classic country song recorded at least twice by Johnny Cash.
  13. ‘A Voice Over My Shoulder’ is another of Rab’s own songs, apparently in remembrance of long-time musical associate Robin McKidd.
  14. ‘Jackson Greyhound’ is a bluesy reminiscence of a 2013 road-trip in the US.
  15. Rab’s song ‘London Town’ rings quite a few bells with me, having lived in and enjoyed a love/hate relationship with the city for some 25 years. However, for me it’s better revisited in song than in person at this point…
  16. ‘Anniversary Song’ is the song by Al Jolson and Saul Chaplin you may know better from its first line, “Oh how we danced on the night we were wed“.
  17. Kathleen MacInnes takes lead vocals on the country classic ‘Tennessee Waltz’: this was the encore at the concert, and is, as Rab notes, “the ideal way to close this album.

While his vocals here are not as strong as I remember from the 70s, this is an excellent album. After all, any album that includes Rab Noakes songs is fine by me, and the covers have their usual idiosyncratic charm. And the band is very good indeed: not in terms of show-stopping ‘look-at-me’ solos, but exactly the right vocal and instrumental support for a fine and varied selection of songs.

David Harley

Artist’s website:

‘Together Forever’ – live but not too long ago:

Rab Noakes announces new album

Welcome to Anniversaryville released on Friday 13th July 2018

Rab Noakes
Photograph by Brian Aris

In February of 2017 Rab Noakes performed a well-attended, highly-acclaimed concert, with his ‘70/50 in 2017’ band of musicians at Glasgow’s Old Fruitmarket, as part of that year’s Celtic Connections festival. That concert, its songs and its players form the backbone of this record. The songs are mostly by Rab and span nearly 50 years of songwriting from ‘Together Forever’ [1969] to ‘It All Joins Up (In The End)’ [2017]. They form a sequence which contains interpretations of songs from a diverse range of sources from Scots traditional to Scots Gaelic to Al Jolson to Doris Troy to Pee Wee King to Marijohn Wilkins.

The band members are a rich mixture of people, some of whom Rab has worked with before and some he hadn’t. Some of them had played together before and some hadn’t. They are Stuart Brown – drums; Christine Hanson – cello; Jill Jackson – guitar, singing; Kathleen MacInness – singing; Una McGlone – double-bass; Lisbee Stainton – 8-string guitar, banjo, singing; Innes Watson – fiddle, guitar, singing. A broad range of songs was chosen, and rehearsed, for the concert. It was an easy decision to reach to arrange to visit the recording studio on the weekend immediately following it. Over those three days, the backbone of this record was laid. Some of the songs were performed live in the studio.

Some were laid as backing tracks. New tunes, awaiting lyrics, were laid and Welcome To Anniversaryville  was well underway. In no hurry, so not using up a large amount of days, John Cavanagh, Stephy Pordage and I were in John’s upstairs room, in Muirend, with musicians coming to complete this work. Sometimes they were alone, at other times there were two, even three, of them at a time. Guest musicians appeared such as Davie Craig – fiddle, singing; Alex Gascoine – violin; Sue McKenzie – baritone plus soprano sax and Emily Tse – bass trombone. In time the seventeen tracks were worked on to a satisfactory conclusion.

Rab says, “It’s all too easy for artists to believe their latest is their best work. It’s seldom true and, in any case, it takes time for that to be proved. In this case though, for me, it may well be true. The quality of the contributions from all involved, the attitude and sound achieved alongside the subject matters of the songs and their provenance does seem to add up to something. I always strive to make a record only I can make. I leave it to you to put that to the test”.

Artist’s website:

‘Jackson Greyhound’ – live with Jill Jackson:

DÀIMH – The Rough Bounds (Goat Island Music, GIMCD005)

The Rough BoundsTwenty years to the day since their first gig, Dàimh release their seventh album, The Rough Bounds. While the title might aptly describe the burly chap gracing the cover, it actually relates to the area around West Lochaber where the band originates, “Na Garbh Chrìochan” in Gaelic.

Dàimh (meaning “kinship”) are now a six-piece, with the addition of fiddler Alasdair White to complement Gabe McVarish. The album also features Duncan Lyall (double bass), Martin O’Neill (bodhran) alongside ex-band member Calum Alex MaxMillan, Ewen Henderson and Kathleen MacInnes (backing vocals).

A lively puirt à beul trio (about chickens, Owen’s boat and picking cockles), ‘‘S Trusaidh mi na Coilleagan’ fairly bubbles along like a clear mountain stream. Followed up by ‘12th Of June’, a strong, driving pipe-led set of jigs, these two tracks make an immediately engaging opening to the album.

Sorrowful òran, ‘Tha Fadachd orm Fhìn’ features a delicate metallic sheen of percussion courtesy of guest artist Signy Jakobsdottir, well-partnered with Ellen MacDonald’s expressive vocal. MacDonald’s crystal clear voice is edged with a subtle smokiness and, aside from the liveliness of puirt à beul, the songs of love, loss and longing featured here allow her melancholy lyricism to the fore. (A witty set of icons printed alongside the song titles provides helpful clues about the subject matter: those accompanying ‘Bodach Innse Chrò’ are particularly brilliant).

The tunes mix the band’s arrangements of traditional material with their original compositions, all of which sit together extremely comfortably. New and old interweave unobtrusively. A pair of Donald MacLeod reels, an homage to one of the band’s favourite composers, makes for an interesting diversion. Here, beaty guitar and assertive fiddle provide the framework for a deftly twisting, turning interplay of pipes and whistles.

Arrangements are rich but not overloaded, with the band’s skilful, energetic playing breathing fresh vitality into the tunes. The album culminates with a haunting and lamenting instrumental version of the murderous, ‘Chì mi’n Toman’, with its eerie, lingering final pipe notes.

The Rough Bounds makes a most welcome and assured addition to the Scottish traditional music canon. From here, Dàimh are looking strong and confident as they embark on their next twenty years.
Su O’Brien

Artist website:

‘Dhannsamaid Le Ailean’ – live: