DOUGIE MacLEAN – New Tomorrow (Dunkeld Records DUNCD039)

New TomorrowThere they are: the familiar ringing guitar, the unmistakeable melodic cadences. The last Dougie MacLean album I got was his 40th anniversary concert set, Till Tomorrow, and I wonder if that day has arrived in the form of his latest CD. Perhaps not: the songs are a mixture of great optimism and almost apocalyptic pessimism. Recorded at the Butterstone studio, New Tomorrow features guest appearances by Davie Duncan and Matheu Watson but the bulk of the backing is provided by producer and multi-instrumentalist Jamie MacLean who also co-wrote several tracks and happens to be Dougie’s son.

The opening title track paints the happiest picture. It’s dedicated to Dougie’s grandsons and basically says: “Hello. I hope I’ll get to watch you grow and teach you a few things” but that depends on times to come. The second track, ‘Garden Wall’ takes an opposite view; looking back with regret at the dashed hopes of youth and seeking that utopia over the wall. I particularly like ‘Shadow Of The Mountain’. It has a certain “sod it” motif – the world may have gone to pot but I’m still here and I can afford to get drunk.

In the middle of the set are three songs: ‘Demetrius’, ‘Thunderbolt’ (a country-tinged rocker) and ‘Wild And Windy Night’ which are rather more elusive but then we’re back to the gloom with ‘Never Enough’ which, along with ‘Wisp Of A Whisper’, is full of disappointments. The recurring images of storms, of mountains, of being lost but also of hope for a better future, run through the record.

If I’ve made New Tomorrow sound terribly dour that wasn’t my intention. It’s the curse of the reviewer to always pick at the meanings of songs. The album is a very good listen from start to finish and the arrangements are excellent and varied, while always keeping Dougie’s voice and guitar front and centre.

Dai Jeffries

Artist’s website:

‘Wild And Windy Night’ –  live:

TUNEBOOK – Melody Lab (SHEEM02)

Melody Lab is a CD created by a group of fabulous Scottish musicians, Ross Ainslie, Simon Bradley and Mairearad Green joined by Mhairi Hall on piano, Matheu Watson on guitar and James Macintosh on percussion to “present an exploration of contemporary tune writing in the Scottish traditional context”.

There are nine tracks, seven with three tunes and two with only two tunes. All of the tunes are written by one or other of the musicians with Jamie MacLean and Anna-Wendy Stevenson gaining shared credits on a tune apiece. There can be no doubt that all of the musicians on this CD are superbly talented. Throughout the CD this is proven over and over again. As well as their instrumental ability, their writing skills are now highlighted.

For lovers of Scots music and musicians looking for new material, this CD is a must. I am impressed.

Fraser Bruce

EMILY SMITH – Songs For Christmas (White Fall Records WFRCD015)

Songs For ChristmasThe clocks have gone back, the days are shortening, so it must be time to settle down and look towards the festive season. And what better to line up on the CD player than Scottish singer/songwriter Emily Smith’s unambiguously titled Songs For Christmas album? It’s a smart, quietly eclectic mix of songs with all-round appeal that should ensure it becomes a solid seasonal favourite for years to come. Whether it’s traditional Celtic airs, well-known hymns and songs, old spirituals or the kitsch of a pop song, there’s something here to suit nearly every taste.

Carol service favourites ‘Silent Night’ and ‘God Rest Ye Merry Gentlemen’ are here stripped back with subtle arrangements. The latter in particular, is kept very intimate, intriguingly punctuated by a softly distant martial percussion. ‘Silent Night’ is softened out until it’s almost a waltzing, slightly jazz-tinged lullaby. In contrast, Michael Head’s carol ‘Little Road To Bethlehem’ rocks out in lively fashion, with a skittering fiddle accompaniment.

North American influences, traditional and modern, feature strongly on the album. ‘Heard From Heaven Today’ gives a pared-back Appalachian feel to this spiritual, and ‘The Blessings Of Mary’ is swept along by sinuous fiddle and snappy guitar. Coming more up to date are Mindy Smith’s maddeningly catchy and charming ‘Santa Will Find You’, and the album closer, ‘A Life That’s Good’ (from the Nashville TV series) is a fittingly count-your-blessings wrap-up.

Naturally, the album wouldn’t be complete without a couple of traditional Scottish songs. ‘Christ Has My Hairt, Ay’ is bright and clean whilst broadside ‘The Parting Glass’ (a favourite show closer of Smith’s) is kept poignant and bittersweet, not maudlin. There’s another fine Celtic touch with the inclusion of John Doyle’s ‘Merry Christmas To All And Goodnight’.

The two songs on the album written by Smith herself are absolute (Christmas) crackers. ‘Find Hope’ sets the album off on the right foot. All the essentials of a Christmas song are here, typical seasonal landmarks picked out against the real message of hope and joy, all reflected in wistful fiddle/viola cadences. Her other song on this album, ‘Winter Song’, is similarly well-crafted, lyrically and musically. Here are all the signs of winter drawing in, the sense of the natural world shutting down and waiting for those little signs that herald the coming of spring. We hunker down with mixed feelings, we “endure” the winter and wait for it to pass..

Each song is beautifully played and sung. Jamie McClennan (fiddle, guitar, vocals), Matheu Watson (guitars, vioa) and Ross Hamilton (bass, drums, vocals) provide tight, yet relaxed accompaniments that are sympathetic and harmonious. Smith’s gloriously smooth and clear vocals effortlessly crest the band’s delicate arrangements.

This is no big whoop-it-up party album, this is the one to put on in the quiet downtimes, those reflective moments spent thinking about family, friends and those who are absent. One for the end of the night, when you say goodbyes once more. Yes, it’s sentimental – but then this is the perfect time for a bit of sentiment. It’s also soothing and calming, full of gentle hope and optimism. And we could all do with some of that.
Su O’Brien

Artist’s website:

‘Heard From Heaven Today’:

Emily Smith announces Christmas album

Emily Smith

Multi-award winning Scottish folksinger Emily Smith has been a leading voice of the Scottish and UK folk scene for over a decade.  2016 sees the release of her sixth solo album Songs For Christmas. (Produced by Jamie McClennan & Brandon Bell)

Emily’s career began in 2002 when she became BBC Radio Scotland’s Young Traditional Musician of the Year.  Subsequent accolades include Scots Singer of the Year 2008 & 2014 and two nominations at the BBC Radio 2 Folk Awards in 2012 (Folksinger of the Year & Best Traditional Track).

On Songs For Christmas Emily presents a beautifully crafted album of original and traditional material drawn from her folk background.  The material has been written and collected over the last few years in response to the popularity of her annual Christmas show held in Emily’s home region of Dumfries & Galloway.  The result is an album of songs that inspire, comfort and celebrate Christmas and the winter season.  Forgotten gems such as the ancient Scots ‘Christ Has My Hairt, Ay’ and soulful American ballad ‘Heard From Heaven Today’ feature alongside contemporary covers and favourite carols.  Smith’s songwriting also features two originals ‘Winter Song’ and the single ‘Find Hope’.

Joining Emily on Songs For Christmas are multi-instrumentalists Jamie McClennan (fiddle, guitar, vocals), Matheu Watson (guitars, viola) and Ross Hamilton (bass, drums, vocals).

Emily will be touring the UK throughout December. Full details at

‘Heard From Heaven Today’:

FIONA HUNTER – Fiona Hunter (Rusty Squash Horn Records RSH004CD)

Fiona Hunter-300x300I had a clever introduction about another young singer falling into good company to make her debut but, of course, as lead vocalist with Malinky for ten years, Fiona Hunter has put in the miles already.

However this is her solo debut and the company is indeed good. There’s former band-mate Mike Vass who also produced the record and wrote a couple of the tunes that are woven into the songs; Matheu Watson who is everyone’s favourite Scottish guitarist at the moment; Euan Watson on double bass and Gillian Frame as second vocalist. Fiona’s source material is the wider Scots tradition, including Roberts Tannahill and Burns, which we can extend to Ewan McVicar’s ‘Shift And Spin’, which sounds more traditional than some traditional songs, and Andy Hunter’s ‘Ye Hielan Chiels’. Hey, it’s forty years old now!

Fiona’s skill is that she is equally convincing when singing a piece of nonsense like ‘The Weary Pund O’ Tow’ as when delivering a big ballad such as ‘The Cruel Mother’ or ‘Young Emsley’ – a variant of the young sailor murdered by his girl-friend’s parents story. There’s a favourite of mine here, ‘The Bleacher Lass O’ Kelvinhaugh’, and another piece of silliness to finish with in the shape of ‘Jock Hawk’s Adventures In Glasgow’ complete with the most tuneful chorus of drunks you’ll ever hear bashing out ‘Barrett’s Privateers’. The band is restrained in accompaniment and provides Fiona a platform for her cello while having free rein to stretch out in the instrumental passages. This is destined to be another of my albums of the year.

Dai Jeffries

 *** Although Fiona Hunter is officially released on March 3rd you can buy an advance copy from her website now. ***

 Artist’s website:

Q&A. Dai Jeffries talks to Emily Smith

Emily Smith’s fifth solo album, Echoes, will be released on 24th February followed by a spring tour. While we wait, what else has been going on?

It’s pretty much all about the new album. To start off we have three dates at Celtic Connections and because they are before the album is officially released we’ll be launching an EP with two tracks from the album and two even newer tracks that people can’t get anywhere else. We recorded that at the end of December but I have an eight month old baby boy and he’s taking up most of my time!

The new record is more traditional than Traiveller’s Joy which featured your own song-writing. What prompted that move, if move it is?

We started recording this album in November and December 2012 so it’s been a long time and I just had lots of traditional songs that kept popping into my head – songs that I’d forgotten about – and I was thinking ‘I want to do something with that’. I seemed that my heart was leaning towards making a more traditional album. Traiveller’s Joy and the two before that were a 50:50 split of traditional and newly-written songs – my songs or other people’s songs. I’d written a few songs but I’ve never written every week or every day or every month – if I feel like writing a song it comes and I move on. But when I was starting to think about Echoes I had lots of traditional songs coming to the surface but I didn’t want to follow the stereotypical template in terms of instruments and arrangements. I still wanted to do something new and fresh.

Indeed. The record has a very rich sound produced by relatively few, albeit very talented, musicians. Is that down to the production, the arrangements, the playing?

I think it’s all of those. Jamie [McClennan] and I always start together. I choose the songs and have a rough idea of where we want to go and we’ll work on it a bit and gradually bring in other people. The first person to be brought in on this album was Matheu Watson, who mainly plays guitar but also fiddle and whistle. We took a lot more time to rehearse this album before we went into the studio so we rehearsed a lot with Matheu and also Signy Jakobsdottir, who we’ve worked with for several years, and the bass player Ross Hamilton.

So that’s the core band and we spent a fair bit of time playing together, going through the songs and recording live together as much as we could. In previous years we’ve had to layer things. There is still a bit of that and obviously the folks who have recorded over in the States were added on but the groundwork was done altogether.

Does working through the material before recording make a significant difference?

I think it does. The first album I made was done with a band I’d gigged with quite a lot and that came together quite quickly. You take time to settle into it and it gave time to change things. If you book someone to come in and record on a particular day and then go away that’s the part they’ve laid down. If you’ve played together you’ve got the time to change and adapt and the songs really did change. At the start I was thinking that it was going to be a more stripped-back album – I love the way it’s turned out but it’s so funny to think back to how I thought it was going to be.

There are non-Scottish instruments, like lap steel, on the album but they don’t detract from the essential Scottish feel.

That’s something I really wanted to hold on to. I do listen to a lot of American music and I’m influenced by a lot of American artists and the bluegrass scene – the Transatlantic Sessions guys; Darrell Scott, Tim O’Brien and Aoife O’Donovan, who sings on the album – she’s one of my favourite singers – but I certainly didn’t want to make an album that sounded American. I wanted it to be a Scottish album with its own sound.

There is a kinship between Scottish music and some of the music of the Americas, simply because the Scots took their music with them, isn’t there?

Definitely. That’s really apparent in the songs that Aoife used to sing in Crooked Still. I could hear the Scottish versions in them. There’s a strong thread and it’s nice to be able to collaborate and we’re living in an age where you don’t even have to be on the same continent to be able to perform together.

Of the three covers on the album, Archie Fisher’s ‘The Final Trawl’ seems a natural choice but how did you come across Darrell Scott’s song, ‘The Open Door’?

It’s on an album of his called The Crooked Road and we bought that the year it came out. Jamie and I have always been big Darrell Scott fans. We came across him because we knew of Tim O’Brien and they did a duo album. After that Darrell was playing in Glasgow – that must be about seven years ago – we went to see him and were totally blown away by his voice and his songs.

And ‘John O’ Dreams’?

It wasn’t Bill’s version I heard first. It was a young Irish singer called Daoirí Farrell. It was on an album he put out a couple of years ago and it just reached out and touched me – I thought it was a really beautiful song. Then you go on to find other versions. When I come across a song I like to learn it and then go and listen to other people singing it, once I’ve made my own version. Then I don’t feel like I’ve been influenced in the way I sing it.

The covers seem to fit in with the other songs that I was choosing. Jamie and I have been gigging ‘The Open Door’ for a good few years and likewise ‘John O’ Dreams’.

Who will be with you on the tour?

The bulk of the tour will be myself, Jamie and Matheu playing as a trio with the exception of the Queen’s Hall date in Edinburgh and the London show at Cecil Sharp House where we’ll also have Signy and Ross – percussion and bass. At Celtic Connections, the first gig on 28th January will also have Jerry Douglas and Aoife O’Donovan and another backing vocalist, Rory Butler.

Emily’s tour opens in Inverness on March 6th. For more details visit

Artist’s website: