An album by unquestionably my favourite female voice in contemporary folk (it’s those homely, but somehow also sexy Barnsley vowels) and a version of ‘Martin Said’, the song that first introduced me to folk music – Christmas has definitely come early.
Working, as ever, with guitarist husband Damien O’Kane and variously joined by Michael McGoldrick on whistles and flute, double bassist Duncan Lyall, bouzouki player Steven Byrnes, accordionists Nick Cooke and Julian Sutton, electric guitarist Steven Iveson and Rex Preston on mandolin with Union Station’s Ron Block providing banjo, not to mention the occasional string quartet, Rusby’s 12th studio recording is also her first all new material in four years, Unlike Make The Light, however, there’s only three self-penned tracks here, the rest being arrangements of traditional numbers.
One such opens proceedings in the shape of her take on the familiar Child Ballad, ‘The Outlandish Knight’, the unease in the lyrics about a maiden getting the better of her murderous suitor underscored by guitar drone and haunting diatonic accordion. It’s traditional again for the second track, ‘The Youthful Boy’, another false heart tale as, her lover having gone off to sea, the abandoned woman declares she’ll not mourn his death, Block’s banjo dappling notes around Rusby’s airy tones.
Buoyed up by accordion, the first original is ‘We Will Sing’, a sprightly contribution to the canon of songs celebrating May and spring’s renewal while its two companions are the liltingly lovely, melody cascading ‘After This’ with its affirmation of the healing power of song and the rather darker title track album closer, a somewhat gothic tale of a departed lover’s brief haunting visits (reflected in the booklets artwork) played out with just voice and piano.
It’s a theme mirrored to implied or overt extent in two of the album’s traditional numbers, the gently wistful ‘Night Visit’, set to a tune by Tony Cuffe, where a man braves the ‘roaring tempest’ for a night of passion with his lover, and the suitably subdued air of ‘The Bonnie Bairns’, where a lady encounters two mysterious children who lead her deep into the woods to deliver new of her lover’s fate.
Heartbreak weighs heavy too on ‘I Am Sad’’s acoustic melancholic lament of blighted love, but you’ll be pleased to know that it’s not all doom and gloom, with the remaining traditional contributions including a spiritedly upbeat ‘Three Jolly Fishermen’, the electric guitar (courtesy of Doyle) and accordion refrain friendly swayalong ‘The Magic Penny’ and, with McGoldrick on whistles, ‘Silly Old Man’, another tale of coming good financially as the titular protagonist turns the tables on the thief who tries to rob him. As R. Dean Taylor once said, there’s a Ghost in my house. There really should be one in yours, too.
Artist’s website: www.katerusby.com
A behind-the-scenes look at Ghost: