Showing posts with label cd. Show all posts
Showing posts with label cd. Show all posts

Tuesday, 1 March 2011

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.

Wednesday, 2 February 2011

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!

Monday, 31 January 2011

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!



Sunday, 2 January 2011

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:


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.