The Unbearable Lightness of Brian

So as mentioned in the last post, I am reviewing two of the latest albums that I've bought; two that I've been waiting for a long time to hear and two that are at opposites in terms of style but equally brilliant.

Let me start by saying that ' The Ravishing Genius of Bones' is a terrific album, pushing boundaries whilst staying within a defined feel of Irish trad. Brian Finnegan shows his capability as a modern tune writer and arranger bringing a definite feel to the proceedings that is unmistakably his.

When I look at the modern day composers to whom he might be compared, I instantly think of Michael McGoldrick and Aiden O'Rourke: heavyweight company indeed. There are, of course, clear differences, McGoldrick's style routes itself in the trad style but, especially on his latest album 'Aurora', arranges larger group work with strong funk overtones with mixed results; the main drawback being how the rhythm was recorded which, although making the sound bigger doesn't fill the space like it should. On the other hand, O'Rourke's arrangements on 'Sirius' are a masterclass on how to work the space for maximum results though his tune writing is less conventional than those that McGoldrick pens.

So where does this album fit in? To start off with, from just looking at the artwork, the album starts to set itself apart by creating a fantasy, dreamlike world with a melancholic/ contemplative figure sat cradling a ball of light whilst large dandelion fairies float past, a fish swims through the air past a distant mountain backdrop and tall tree stems stretching up beyond the inlay's edge. If ever the cover art represented an album's intention and setting, this is it! The music ranges from the fast and furious (night ride to Armagh) to the delicate (Marga's moment) and on to the sublime (last of the stars) and shows BF as a tune writer who wants to present you with his visions and experiences though they are not necessarily of this world.

The list of musicians playing on this album is essentially a role call of who is hot on the circuit right now, notable mentions being Rex Preston, Ed Boyd, Aiden O'Rourke and Ian Stephenson (with whom BF formed KAN who are on tour this spring and summer and well worth catching), all of which present the music in perfect fashion.

In my last post I referred to June Tabor's album 'Ashore' as being real in every sense of the word, this, however, is the reverse. It is a flight, a journey through BF's imagination and memories that stays with you as if they were your own.

Listening to right now:

Various artists: 'Come let us buy the licence: songs of courtship and marriage'. topic records

Jim Causley: 'Dumnonia'. wild goose records

Martin Green: 'The Martin Green machine'. navigator records

New reviews

I got hold of two new releases over the last week, June Tabor's 'Ashore' and Brian Finnegan's 'The Ravishing Genius of Bones' distributed on Topic and The Singing Tree respectively and will be reviewing them over the next couple of posts.

June Tabor: Ashore

Topic has a high reputation within the folk community for providing top quality releases from within the folk genre, indeed it is now rare that they take on another artist the most notable exception being Fay Hield (The Looking Glass) and that same reputation precedes any release by JT, her albums carrying a sense of poise and dignity to each song that she delivers with care and this album does not disappoint the expectations of either party with each song arriving as a masterclass on how to tell a story, emote each character and draw the listener into the world that surrounds the sea: for the sea is at the heart of this album. When introducing the CD in he sleevenotes, she writes how she was born and brought up about as far from salt water as it is possible in these isles and this is reflected by both the album title and the delivery of the songs; a sense of wistfulness, of wonderment at the tales told and the ever present mystery that the sea has held for so many over the history of man. This is someone looking out at the sea from land, not the other way around.

As for the tracks, there are eleven songs and two tunes, some of which JT has recorded before but reworks to dramatic effect. I don't think I've ever heard her voice as clear, soft and full as on this album and used so well, in addition her beautiful deep tones she adds in passages of speech to accentuate two of the tracks, giving them extra lift and presence to the listening ear but it is her treatment of Les Barker's brilliant 'Across the wide ocean', a song written for the folk opera 'The stones of callanish' and one that I have been waiting to appear on record since I heard her perform it live seven years ago where she excels; it becomes more than a song, it is an experience. Let it not be said however that this album is just about June Tabor; her musicians, whom she has worked with over many years, show their knowledge of her style and each other's parts, flowing seamlessly in harmony with each other to the rising highs and the diminutive shallows; this becomes not just about a singer with her musicians but a group playing as one and bringing a collective feeling that swirls around your ears, pulling you ever further down into the music. Trying to find words for this album, this experience, is so hard as superlatives seem to only stretch so far or do not demonstrate the fullness that it exhibits... it's just real. The playing, the stories, the tunes, the world in which they inhabit and the worlds that they extend into are so real that you want to be a part of them, and I think the feeling is mutual.

This is a must have.

2011, or why I am not Laura Marling and sons...

Well, here we are: second month of a new year already... I have some catching up to do!

The first month passed me by pretty readily as I was preparing for a gig to launch my e.p (previous blog posts). The night was as long as it was incredible, thank you so much to Ali George, John Wilson, Rob Winder, Katie Stone-Lonergan for the music as well as all the people who came and supported the night!

Recently I have been musing on the idea of folk music; what it is, isn't and what it is that really bugs me when the term is thrown every which way at the current wave of acoustic singer-signwriters that pop up around the shelves of HMV.

I guess I could write a thousand word rant on what boils down to semantics and definitions, citing examples that can be broken down seconds later... I will try not to! This is because the term folk music originally had a very clear definition, it was an extension of the term folk lore, coined by William Thoms, meaning: "the traditions, customs, and superstitions of the uncultured classes."

I also like the further definition: "The folk song is one of the most functional, portable, adaptable and accessible arts of human history."

Highlighting the word adaptable is key as it helps us to address what has happened. From the original definition, another sprung up in the 19th-20th centuries, folk music became not just the music of a people but it also became music of the people. These I relate to as very different ideas, the latter being more linked into the music that came out of the (generally Northern) working populace through the 19th century. These are people in a different generation, a world away in terms of social and economic structure and relating their experiences accordingly, uniting themselves through song. In the changing political climate it is unsurprising that folk music and those who performed it went hand in hand with the socialist and communist parties as well as the unions, humans are sociable by nature but that nature was being broken down bit-by-bit by industry. The term subsequently got connected to several other genres: -rock, -adelia, -metal etc the overarching idea being that these genres were being linked back to and influenced by the former definition, the dichotomy made clear.

The development has continued, as has the need for people to find more and farther reaching definitions for each form, some wanting to stop at the collections produced during and before the early 20th century, collections that have come under (I feel unjust) criticism because of the material that had been selected, rewritten, written down at all. Others embrace the idea of folk music continuing to develop and be amalgamated into different styles and so on... everyone draws their lines and borders at some point now, hence the difficulty of definitions.

Chris Wood expressed his feeling on the term as "Folk music needs no definition. It emerges from the un-schooled to articulate the wonder and richness of the ordinary..."

My brother recently went to see Frank Turner perform in London where he said (paraphrased) "when did folk music stop?"

Does this debate get us anywhere? Does it really get me anywhere? This has filled my mind recently but I think I'm getting somewhere, personally at least.

After many debates between my friends and (patient) partner, I realised the songs that I choose to sing are good songs, they are songs that shouldn't die out nor be endangered as they are a living link that we hold to our history as a people, our national identity: something that we should be proud of.

I am English. I am proud of that and as such my belief is that our traditions and cultural history should be respected, taught and spread in the same way that other cultures have done with theirs, not through xenophobia and the closing up of borders (not always literal) but through respect of what people had to say about their lives and the methods that they used to achieve this. This isn't an argument purely about the music that is performed by others and how they choose to define it (though I have mistakenly centred it in such a way previously) but whether, when it comes to the performance of a song, it is a story that I wish to tell, that I wish to continue in the world.

and breathe

so, what does this mean in terms of my direction this year? Well over the last month I've started putting together a selection of songs and tunes for a new album, arranging them and planning a larger band to play with. These tracks will be focussing on my pondering and my clearer perception of what I personally want to achieve through my music, keep an eye on the myspace for the developments.

On a further note, June Tabor's new album is out on the 21st this month and is something I've been waiting a long time for!

Other singers I've been enjoying recently (old and new):

Alasdair Roberts

Pilgrims Way

Trembling Bells

Ali George

Davy Graham and Shirley Collins

Andy Cutting

6. Prickly Bush

Tuning: DADGAD, Capo: 5th

This tune (Child ballad 95) has appeared in many different guises around different countries, 50 different versions alone being found in Finland! The plot is based around someone (originally a maid) awaiting execution at the gallows pole and trying to buy herself time and release through her family. There is a basic pattern to each verse:

Hangman stay your hand

stay it for a while

I think I see my mother come

over yonder stile

Mother have you brought me gold

silver to set me free?

For to save my body from the cold, cold ground

and my neck from the gallows tree

No I have not brought you gold

nor silver to set you free

for to save your body from the cold, cold ground

or your neck from the gallows tree.

The verses repeat for sister, brother, father (extended as desired) before the true love comes and provides the fee for releasing the accused.

As I wrote, the original narrator was a maid though the change in gender could well have happened when the song was in America, the execution of women being less common there.

The version that I first heard was Spiers and Boden's on their album 'Bellow' and subsequently (as is the way when you actually start looking for something) I found Nic Jones singing it on 'Unearthed'. My version was created one afternoon when I realised I needed something more upbeat in my set and so worked out the basic melody and noodled around until the arrangement fell into place... I now want to work it into a nice set of tunes (possibly Playford) as the song's pretty quickly over but I don't want to extend the family who wander past!

http://en.wikipedia.org/wiki/The_Maid_Freed_from_the_Gallows

http://www.mudcat.org/thread.cfm?threadid=122664

Well, that's the e.p! A massive thank you to Doug for recording it, Captain Wizard for mixing and taking the photos and anon, may we meet soon...

5. Geordie

Child ballad #209, this song is another with countless versions though mine was from the penguin book of English folk songs, a seminal collection by Lloyd and Vaughan Williams. This song has been found all over England and Scotland and so if it relates to actual events, it is unclear who is 'Geordie' though most versions have him as one of 'royal blood' a close relation to the monarchy is invariably implied: http://en.wikipedia.org/wiki/Geordie_(ballad)#Geography.

The words that I use mention London bridge but, more cryptically 'he sold them in Boheny'. At first I took this for a corruption of the word 'Bohemia' inferring that Geordie sold the royal deer to travellers however this definition of the term bohemian did not occur until the 19th century and so is not applicable to the lyrics. There is, on the other hand, a town in Scotland called Bohenie so possibly the setting got partly changed as the song was passed around...

As far as the imagery of the song, the judge looking over his left shoulder is not literal, though one could imagine that the lady has arrived just as he was leaving the court, but relates to the belief that the right and left hands were good and evil (think about the superstition of throwing spilled salt over your left shoulder to blind the devil).

There are many brilliant threads on mudcat that relate to this song, have a look through the related threads here :http://www.mudcat.org/thread.cfm?threadid=29130.

4. Sammy's Bar

Tuning: EGCGCE, Capo: 7th

They talk about writing what you know and with the late Cyril Tawney's words, that's exactly what you get.

I first heard this song through Martin Simpson when I saw him in the Dorchester Arts Centre on his 'Bramble Briar' tour in 2001, a sensitive performance of the song encapsulating the depth of the lyrics, something I have worked on recreating since... I think that I am settled on this one, even though I have subsequently learned that a verse is missing from the lyrics!

The song itself and its history should be best explained by the man himself, see: http://www.cyriltawney.co.uk/depth.htm#sammy but in brief; this song is set in Malta, the places are real and the people and plot represent different occasions in Tawney's life whilst stationed there.

To clarify, word 'di-so' in the second refrain is the the phonetic pronunciation of the Maltese 'dghaisa' which is a hired craft that took sailors back to their ship after a night on the shore.

As far as drunken laments go, this is a keeper!

3. Seven Yellow Gypsies

Tuning: EACGBE, Capo: 3rd

Child ballad #200. I've known this song for a long time in the back of my mind without really knowing it and when I started playing around with the chords, it seemed to fall into place without any trouble. The simple unresolved chord structure paired with the warmth that I find the dropped-C tuning and the slightly blue-noted melody brings a certain soft feel to the song that had a definite impact as I rewrote the final stanza, a twist that makes the story more realistic, though real it most certainly isn't!

http://en.wikipedia.org/wiki/The_Gypsy_Laddie

http://www.traditionalmusic.co.uk/child-ballads/ch200.htm

http://www.informatik.uni-hamburg.de/~zierke/shirley.collins/songs/sevenyellowgipsies.html

2. Rights of Man

Tuning: DADGAD, Capo: 5th

This hornpipe, most commonly associated with the Irish session may have been written by a Scottish piper called James Hill. Hill lived in Northumberland for most of his short life (1811-1853) and left a large body of work behind him. This tune is thought to refer to the book of the same name written by Thomas Paine which is a political work supporting the use of political uprising if the government does not safegurad the natural rights and national interests of its people (please read: http://en.wikipedia.org/wiki/Rights_of_Man).

For more reading, look at this thread from mudcat: http://www.mudcat.org/thread.cfm?threadid=5530 as it includes information about a set of lyrics not from the same tune but with the same name.

1. Handsome Dark Lover

Tuning: DADGBE, Capo: 5th

A nice little ditty to start the CD off, a story of a young lady poisoning her former lover's drinks around the country!

I heard this track on Tim Van Eyken and Rob Harbron's 2001 release "One Sunday Afternoon" (BEJOCD-34) and was instantly struck by the beauty of the tune called "orange in bloom" and the playful nature of the lyrics, it was a song that instantly brought that most wonderous of thoughts: 'I have to learn this' to my mind... alas the push of my university work was not so kind to my desires and the song was pushed to the back of my mind until playing with my melodeon friend one day when he started up the tune. After a couple of times around I had it firmly in my head and asked for the CD to be posted up from my homeland of Dorset to Bath to learn the words, the folk process had then begun...

Looking for the tune, it appeared in two guises: the original is a jig used for morris

but the timing has also been altered to create "The Sherborne Waltz".

The change to the original was made by Rod Stradling, then with the Old Swan Band, he wrote in 1995 of the change: "I put the 'Sherborne Waltz' together while failing to get to grips with 'Orange in Bloom' - it has been so widely played in the intervening years that I feel rather sorry for the original!"

The latter is used for the song which I subsequently swung and jazzed up upon the original, such is the aural process!

more information at:

Tune of the month: http://forum.melodeon.net/index.php?PHPSESSID=5cd4e2e80de72edcb95aa57cbf4de5b7&topic=3405.0

The Old Swan Band: http://en.wikipedia.org/wiki/Old_Swan_Band

The Sherborne Waltz (despite what the website says!): http://abcnotation.com/tunePage?a=www.lesession.co.uk/music/lgsdmweb/0078&p=y

P.S: Sherborne is lovely... I'm pretty sure that nothing that happens in this song could possibly have happened there.

The CD

It's been a while since I've updated this blog, this is mainly to do with an invitation to tour Europe for the latter half of the year which has been an eye-opening experience; the people I've met, the places I've been, the stories I've heard and the music I've played from the sets of the band to an Irish/ Sicilian session at the North-most point of Denmark, from busking in front of a massive statue of monkeys in Germany to jamming on stage at the Montreux jazz festival, the range of experiences have certainly changed the way I play and what shapes the music I perform.

Coming back from the voyage also presented me with a new mindset on how to push my music out into the wider world. I came back to six tracks that I had already laid down in what must have been the most relaxed session ever (or that's how it was described by the guy in the studio) and I thought "what's the best way to get these tunes out to people whilst showing the work that's gone into them before hand?". One night I came up with the solution; get the tracks on to CD with a link to this blog where I could spend time writing up the history, sources and inspirations that have led to the heard product.

So with the launch night looming on the 5th Feb, I've got just over a month to write up and post the sleeve notes to my E.P... here we go!

Poverty Knock

Up in the morning at five, it's a wonder that we stay alive

To greet the cold morning it sets me a-yawning

and off on the dreary old drive

Oh dear I'm gonna be late, the gaffer is standing at the gate

His hands in his pockets, our wage he'll dock it

and we'll have to buy grub on the slate.

And it's poverty poverty knock, my loom it is saying it all day

poverty poverty knock, and the gaffer's too skinny to pay us

poverty poverty knock, always one eye on the clock

I know I can guttle when I hear my shuttle

go poverty poverty knock, poverty poverty knock

*We have to wet our own yarn, by dipping it in yonder tarn

It gets our threads soggy and makes me feel groggy

and there's rats in the dirty old barn*

Sometimes a shuttle flies out, gives some poor woman a clout

She lies there bleeding but nobody's heeding

oh who's going to carry her out?

ch.

The tuner should come fix my loom, but he just sits there on his bum

He's always too busy, a-courting our Lizzie

and I just can't get him to come

Oh Lizzie's so easily led, I reckon he's had her to bed

She used to be skinny now look at her pinny

it's just about time they were wed

ch.

And oh how my poor head it rings, I should have woven three strings

The threads they keep breaking, my poor head is aching

oh god how I wish I had wings.

ch.

This song depicting life working looms in the early 1900s comes from the singing of Tom Daniel. According to sources, it is't fully known whether it was written by Daniel or pieced together from different songs around him but Pete Coe says that:

"The story he (Daniel) apparently told was that he'd remembered bits of the song from his early years. However, the song bears striking resemblance to many of the poems that he did write. The collector of the song, Tony Green, reckons he wrote it too. I'm told there's no surviving relatives to claim royalties so as it's been designated a 'traditional' song for so long, that's how it's usually referred to"

This version of the song was collected by Green in 1965 but it has also appeared in "Songs of the Ridings" (2001) which is a collection of songs from around Yorkshire, put together "over the years" by Mary and Nigel Hudleston. There are no date for any of the songs included and this may provide a different history to Poverty Knock:

"I would imagine that the collecting began sometime during the 1950s. For the main part this scarcely matters, but occasionally it is important. For example, there is a good version of the song. 'Poverty, Poverty Knock' (p. 27), sung by an 'unknown singer' from Leeds. If this version predates 1965, when Tony Green collected the song from the Batley weaver Tom Daniel, then this is a considerably important find. If, however, the version was collected post-1965, then it may well be that the Hudleston's version stems directly, or indirectly, from Tom Daniel's version which soon became popular in the local folk clubs." Folk Music Journal 2004.

I personally would be inclined to guess that it was Daniel's interpretation of the songs he heard, borrowing words and melodies to create a song he was happy with.

Another interesting point about the song is the first section of the second verse (highlighted in the humble shift-8). This verse always has me slightly bothered because the rhyme of "soggy " and "groggy" just feels a bit clumsy when singing; this has also been mentioned to me by others hearing the song and from closer inspection into the history, there is another example of possible mismatched facts. The wetting of yarn in "yonder tarn" is really a misnomer, a tarn being a mountain or glacial lake, this is probably for the sake of rhyming but in either case, threads were stored in a steaming room to loosen them, not dipped... and where the barn came from is anyone guess!

Still, it is the song that is most important; the way it's sung and what the words tell us. Wherever the original came from, it unlocks a feeling and reveals the social hierarchy that people lived in during this time; the poor girl Lizzie who is coerced by the tuner, one can only imagine the (lack of) choices and chances that someone in that position would have and alongside that the narrator's dreams of escaping the life that has caught them mixed with their indifference at the seemingly normal sight of a woman injured and bleeding on the floor is heart-wrenching due to its futility.

What I find odd is that the song was originally an upbeat hearty tune which poked fun at those above the weavers, the words "poverty poverty knock" (with a couple of thumps on the table after) represented the rhythm of the loom as it worked... rather schadenfreude I feel.

However my take on it was much more inspired by Jim Moray's haunting arrangement which brings these tensions to the forefront of the song. As I have discussed in an earlier post, Moray has a way of looking into the core of a song and pulling out the sentiments that lie in the words that really appeals to me and no more so than on this occasion.

Here are the two versions, Jim Moray's (I hope the quality doesn't affect your enjoyment) and Chumbawumba's... you heard me:

Whichever you prefer, this is still a remarkable song and one that hopefully will stay with us all for a long time to come.

The Banks of Green Willow

Go and get your father's good will,
and get your mother's money,
and sail right o'er the ocean
along with your Johnny

She had been not been a-sailing
been sailing many days, O,
before she want some woman's help
and could not get any

Oh fetch me a silk napkin
to tie her head up so easy,
and I'll throw her overboard
both she and her baby

Oh they fetched him a napkin
and they bound her head so easy,
and overboard he threw his love,
both she and her baby

See how my love do tumble,
see how my love to taver,
see how my love do try to swim,
that makes my heart quaver

Oh, make my love a coffin
of the gold that shines yellow,
and she shall be buried
by the banks of green willow (sung by Mrs Overd; Langport, Somerset)

Take some time to read these words over and explain to yourself (or those around you) what is happening in the story. Until recently it has never fully made sense to me, my original thoughts being; The lady in the song is obviously pregnant which is why she asks for a woman's help but the sailor's subsequent reactions after and incongruous to say the least, first tying up her head with a tissue, then throwing her overboard and finally lamenting her death and building her a solid gold coffin: inconsistency just doesn't cover this guy!

Collected in this format in 1904, The banks of green willow was originally recorded in 1882 as Child ballad no.24 "Bonnie Annie" or "The High Banks O Yarrow". The original versions go into far more depth about the circumstances that surround the woman's untimely death and reveal a Jonah-esque tale of tragedy and nautical superstition where the ship cannot continue its journey due to having a wrongdoer on board; indeed, in his notes in "English Folk Songs", Vaughn Williams comments that these superstitions actually predate the story of Jonah however, this meaning has somewhat been lost with the distortion of twentieth century versions. This post will look more closely at the story that is missing from the later version.

First off: what has this woman done wrong? Well for a start she's a woman at sea (but not a naked one); second she's pregnant without being married (inferring an act of a christian god) and third she has stolen her parents gold to fund the trip, reason enough it seems!

I mention the second reason with a certain level of scepticism partly because of Vaughn Williams' notes above but also because of a point that appears in Child's research on the song Bonny Annie: In this song, which Child suggests may be the original, it is the casting of "black bullets" (ballots?) that dictates the lady's death and as Child points out, this "strikes us as having more semblance of the 'corrupted currents of the world' than of a pure judgement of god". If this is the case then the whole message of the song is quite radically changed from a superstitious warning to a comment on the very superstitions that influence the sailor's actions, leading to questions of rigging.

The next gap in the story that has a notable effect on the way that the songs scan is the way that the captain (or rich squire) reacts to the choice of his sweetheart as the sacrifice. He offers the crew great sums of money to keep trying through the storm but to no avail, they tell him that they will not help him at risk of their crew. As a side note, when the paramour throws the lady overboard (or she jumps), she is said to taver; this could well be made up word which just rhymes with quaver but I feel still induces enough meaning that I'm going to start using it in everyday language (I'm taking it to mean flail and tumble)

So it appears that our story is coming together with loose threads being tied up; the reason for the woman being tipped over board is more clearly explained and thus the sailor's subsequent lamentation is more inkeeping with events. This is a song full of passion and despair that time and corruption has almost masked from sight.

One final thing to note about the song is that the most common tune that the words are sung to is a composition by Butterworth entitled The Banks of Green Willow written in 1913 and there seem to be no tunes to any of the versions of the song that come earlier than the twentieth century.

Notable versions of the song can be found on these abums:

Jackie Oates: Jackie Oates (2006)
Spiers & Boden: Through and Through (2001)
Nic Jones: Nic Jones (1971)

For my version of the song, I have written a tune called "Just one more minute" which I will upload just as soon as I have notated it down!

Jim Moray: In Modern History. A first review

So an exciting day today as Jim Moray's new album has been pre-released through Songlines magazine. This is a slightly shorter offering than that which will be released this summer but I thought it would be a good chance to have a look through it to give my first impressions.

Bristol Harbour: Contains a similar theme, tune and feel (in the beginning) to the start of Low culture and lays out his vision of the album's theme with the marimba creating a lovely texture to the music through the verse... and then the guitar kicks in and destroys it. The mystique, the atmosphere built up so carefully through the start of the song is wiped away without a second glance, it just doesn't click for me and it's because that the piece, despite getting louder, just doesn't "fill out" with the noise so all your left with is drums and guitar playing an uninteresting chord sequence (the bass just following the chords) with the vocals straining to be heard over the top, I don't know if the other instruments keep playing because it's impossible to hear them. There's a nice break toward the end but all it does is show you what the previous chorus' haven't managed to do, a bit of a poor start.

Jenny of the Moor: This gets back to what Jim does really well which is create the 'feeling' of the song with his arrangements that allow the story to come over, this one being performed wonderfully with Hannah Peel. The story is a classic "broken token ballad" with the sailor returning to his true love and showing here the ring they snapped in two. Despite not having much variation in the tune, the little intricacies that flit about in the background keep the song very much alive.

Hard: At first I was worried that this was going to be a cover of Chris Wood's song (something that should never be attempted)! At first listening, the song just seems a very-slightly above standard folk-indie-love-kinda song (my new genre) with a few clever lyrics and a few dropped catches shall we say... but on repeated listening I've found that it definitely is! The lyrics "it's hard to land on your feet when your falling, and you don't know which way is down" are sort of nice but just don't ride.

William Taylor: Cross dressing- Finally! and a strong song to boot with Saul Rose and Eliza Carthy creating a scratchy tune to set the scene before the orchestra comes in perfectly arranged (if a little James Bond) but, again, this is the sort of song that I really associate Jim's playing with, a bit off the cuff, a bit dramatic and really quite a lot of fun.

Actually, it's super James Bond, I wonder if that's the image he was going for: the disguised female hunting down her slighting lover?

The Lowlands of Holland: Very nice middle to the album, relaxing the whole feel and a really nice melody chosen. I've often felt that despite being a popular song, it's come across a bit soulless due to it's very "modal" feel but there's such warmth to this track that you can't help but feel that your watching the pivotal scene in a romance (a good one that is)

Silver Dagger: I love this... at first I was confused as I didn't recognise the lyric structure (the Joan Baez/ Show of Hands versions I've never fully got on with) but with a bit of reading into the background I can see the Romeo and Juliet imagery. The addition of modern lyrics puts me very much in mind of his second, self-titled (and possibly deepest and darkest) album and even reminds me of AFI's "End Transmission" (this is a good thing)! Modern History seems to be really hitting its stride now...

Cold Stone: A breathless and clever song about three brothers desiring their fathers gold with the narrator coming out on top, a well-worked twist on the original. I'm sure that I've heard the tune before, I think it was Bella Hardy.

Long Lankin: I agree wholeheartedly with Jim's statement on this song in the magazine, "I've always liked the idea of Long Lankin but not the actual song". A creeping and nasty song about probably the darkest character in English folklore and a reminder to children to always close the windows when you sleep. Originally La(m)kin was a stonemason who was refused payment by a Lord for his services and so exacts the most extreme sort of revenge but he has become very much a bogeyman figure creeping and stalking through the night. The arrangement is, again, Moray through and through drawing a definite Early English feel out through the melody right to the very end.

So overall, another great album by Jim Moray only hampered by a couple of tracks towards the beginning which keep it from possibly becoming my favourite of his works.

As stated before, this is just a preview of the full album coming out 7th June which will include bonus tracks. There is also Jim Moray: A beginners guide which is a collection of his work up to date including the rare 'I am Jim Moray' E.P which I've certainly been hankering after for a while now!

23rd April

Happy St George's day to you all
and to you all a good knight.

so what do I do?

Good eve one and all,

so thus starts another space of opinion and information... opinimation if you will (or informapinion). The idea for this was given to me by a friend during one of my rants about traditional/ folk music and how I have found that more and more recently that I have become rather pernickety about the people I will and will not listen to and the reasons, specific and spurious, by which I make those decisions. I assume that she felt strongly that my wise words needed to be heard by a wider audience...

More about me; I have been listening to folk all my life courtesy of keen parents, attending folk gigs since the age of four, singing and playing folk since my early teens and despite enjoying an eclectic array of genres, always find myself drawn back to the folk idiom like the pull of a favourite jumper or the pseudo-nostalgic comfort of a good Fred Astaire musical. I am currently based in Bath where I am playing some gigs, getting involved in the sessions and generally enjoying the scene which is young but it's daily growing http://en.wikipedia.org/wiki/The_Trees_They_Grow_So_High_(folk_song))

In this blog I will not be out to insight mass revolution or start arguments about which version of "seven yellow gypsies" is the best, where it came from, the verses that are historically accurate and who shot first (Han), this is a place for me to have my say about what I hear out there in a world embracing a nu-folk "revival" (a word that I say with dread). There is a lot of good music, passionate people and wonderful interpretations on our aural history out there and I hope that you, dear reader, will discover bands, songs and tunes that you didn't know even existed.

As a vague plan that I am making up right now, I will look at different tunes and songs and some of the versions and history around them, review new releases and specific albums that I really love or have problems with (Show of Hands and Martin Carthy, you will be mentioned).

This blog will not cater particularly to one specific country in terms of music although my background is heavily English with an Irish inflection, it will not be covering country 'n' western (we got both kinds) unless deemed absolutely necessary.

Also, there will be no mention of N****n F***kner

So I hope you enjoy this and I'll see you soon...