translates as being familiar with a place or a person; it all adds up
to a magical relationship between celtic harper Delyth Jenkins, her
fiddle-playing daughter Angharad and their home at Caswell in Gower.
This debut album is redolent with memories, pictures of a young mother
and her baby daughter growing up, creating a bond which later on
forged the DnA partnership; it’s a magnificent and lovely set,
generating a warm feeling of affectionate familiarity between the
harp, the violin and well-loved Welsh culture.
Angharad divides her busy time between being a Trac development
officer, the supercool frenzy of the wonderful band Calan and playing
delicate, proud airs with DnA. I could watch her at any time, fiddling
up a storm Calan-style or gently rising to the heights with Delyth,
the harp and the fiddle catching the ears of the audience with their
wild and beautiful sound. Angharad is no slouch at composing, too,
with her bright ‘Gan Bwyll Jol’ and ‘Dolig Abertawe’ (Swansea
Christmas) paving the way – and ‘Brandy Cove’ is an utter delight, as
she conjures up the hidden treasures of a tiny beach where no tourist
Delyth is a fine composer, too; her tribute, ‘Cassie En Lorient’,
paints a picture of a best friend and soulmate. The last time that
Delyth saw her was in the Festival Interceltique in Lorient in 2007;
she died in April 2008.
This remarkable album is both thoroughly exciting and utterly peaceful
as well. It was recorded in the musical retreat of Plas Rhosygilwen in
North Pembrokeshire; the high spot comes as Lleuwen Steffan voices a
breathtaking harmony in ‘Y Glomen’ with Breton bass player Vincent
Guerin pounding the strings; it’s a fitting end to some fine playing,
with two of the most adept Welsh musicians going. Four stars indeed.
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Bella Hardy truly deserves a five-star triumph for her sixth album;
it’s a crowning of a career which has watched the teenager being
dragged unwillingly by her folkie mother to a fiddle session to the
assured, alluring temptress who deconstructs traditional songs for the
discerning pleasure of a swiftly growing listening population.
Battleplan sees her collaborating and playing fiddle with The Midnight
Watch (Anna Massie on guitar and banjo, Angus Lyon on keyboard and
accordion, James Lindsay on bass and Mattie Foulds, who produced this
album, on drums.) It’s a corker of a CD, which opens with a
deliciously annoying plucked fiddle riff; just the sort of thing
earworms are made for! The first track, ‘Good Man’s Wife’, throws down
the gauntlet and dares you to listen. From there on, Bella takes no
prisoners; this, surely, is one hell of an album.
Bella has matured as a very fine singer and as an incisive writer,
too; ‘Whisky You’re The Devil’, with the deliciously out-of-tune
keyboard, and the slinky, menacing ‘Three Pieces Of My Heart’ come
from her pen, while she gently shapes ‘True Hearted Girl’ and ‘Flash
Company’, proud old folk songs that stand up, shake themselves and
come alive once she has finished grooming and polishing them. ‘Through
Lonesome Woods’ and ‘The Seventh Girl’ are a wild romp, but Bella
suddenly hits on the brakes and is simply magnificent for the
heartbreaking ‘Maybe You Might’ (with the suspect keys again!)
‘Drifting Away’ is a punchy lament of love gone wrong, and Bella wraps
it up with a typical female flourish with a demurring tribute to that
hard-bitten shanty ‘One More Day’; she wraps the salty, tough-as-nails
work song in fine velvet and turns it into a gentle, beautiful
lullaby. Is there no end to this woman’s brilliance?
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Blues From Elsewhere
Once in while a
record comes along, smacks you one upside the head and challenges
everything you thought you understood about how music should be.
Blues From Elsewhere is one such album.
Koby Israelite is
a composer and multi-instrumentalist and also a multi-culturalist,
crossing borders, confusing national identities and generally mixing
things up. He also has an odd sense of humour – the penultimate track,
‘Just Cliches’, is delightfully silly, ‘East Of Nashville’ is
somewhere in the Balkans and ‘Bulgarian Boogie’ has big drums and
snarling electric guitar in a very western style before the accordion
gains ascendancy. That’s a favourite trick: start a piece out in one
style before abruptly changing it into something else, so
‘Subterranean Homesick Blues’, with vocals by Annique, begins sweetly
and quietly and you might think “that’s different”. No, he was just
kidding and for the second verse Annique reveals the voice of a
full-throated soul shouter.
But put aside the
tricks and the jokey titles and there is some excellent and enjoyable
music here. The title track is the first section of a four part suite
that opens with acoustic guitar and it could introduce a grizzled old
blues voice but instead in comes accordion and hand percussion, then
drums, bass and electric guitar – a perfect fusion. The final bonus
track is an instrumental version of Led Zeppelin’s ‘Kashmir’, giving
the other-worldly feel of “elsewhere” before returning to a slightly
more conventional reading albeit with a clarinet solo.
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Norwegian songbird Anne Marie Almedal returns with her third solo
album accompanied by a superb group of musicians that includes
legendary double bassist Danny Thompson, Norwegian-Grammy awarded
electric guitarist Kjetil Grande, folk-tronic pioneer Merz (aka Conrad
Lambert), a string section from Kristiansand Symphony Orchestra, her
British pianist husband Nicholas Sillitoe (who also co-writes and
Rolf Kristensen who contributes tenor ukulele, sarod, guitar and
Recorded by Keith Grant and mixed by John Wood, both veterans of the
UK music scene, Memory Lane, an album of hauntingly atmospheric folk
pop that more than rewards repeated hearings, and which perfectly
captures Almedal’s crystal clear vocals, set against exquisite musical
accompaniments that never threaten to overwhelm.
Taking her cues from ‘60’s and 70’s British folk and American
songwriting of the Laurel Canyon persuasion, Almedal’s distinctive and
attractive voice immediately grabs the attention on a set of largely
low-key compositions inspired by nostalgia, the Norwegian landscape
and the passing of time. Those inspirational elements come beautifully
together on the melancholic, autumnal ‘Scars’ where piano and bass
echo the rumble of the thunderstorm that sets the scene, and the
yearning of ‘Winter Song’ which builds layer upon layer, beginning
with a sparse piano and adds strings, guitar and bass over which
Almedal floats a spare, evocative vocal.
With the vocals for each song recorded in a single take, there’s a
spontaneity that adds greatly to the overall feel of the album, which
also includes a couple of cover versions; namely a pretty straight
take on John Martyn’s ‘May You Never’ and a sparse, emotionally
charged version of David Gates’ ‘If’.
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WILKINS & CLAIRE WHITE
Frances and Claire were talking excitedly about this Shetland-inspired
album when they came to South Wales to see how the land lay and to dip
their toes in the Welsh water, figuratively speaking. How the
long-awaited CD is here, and it’s an absolute cracker – and while
Claire plays the superb Shetland fiddle, Frances is a wizz on the
English concertina, very rare in the farthest Northern isles.
Shetland-born Claire has played fiddle from the age of eight, and she
learned everything she knows from the late Dr Tom Anderson, whom she
calls “awe-inspiring.” She’s based in the mainland now, working as a
TV producer in Aberdeen. Frances fell in love with Shetland music when
she lived there in the 1990s, and joined Solan, her first Shetland
band. She now works as an ethnomusicologist in Aberdeen University.
Blyde Lasses means Glad Girls in Shetland dialect, and the album gets
off to a fine start with the set of reels, ‘Hadd Dee Tongue Boannie
Lass’ (translated: Be Quiet, Pretty Girl). It’s the delightful
combination of a strong and strident fiddle and ‘tina that wins out
here; and Claire easily proves her worth with her written songs in
dialect, including ‘Eagle Bairn’ (about a baby plucked by a bird from
the island of Unst) and her confident, hypnotic voice.
My favourites are Tom Anderson’s beautiful ‘Maas’, ‘Spencie’s Tunes’
(four tunes composed by fantastic Unst fiddler Steven Spence), ‘Da
Lasses’ (‘Fashion O’ Da Delting Lasses’, ‘Da Lerwick Lasses’ and ‘Da
Scallowa Lasses’) and ‘Antarctic Life’, a traditional air which
suggests origins in the South Georgia whaling days when Shetlanders
travelled to the region and often worked there for many months at a
time. I’ll be playing Blyde Lasses for many a long day.
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REDMOND & DAVE TOWNSEND
New Road To Alston
The utterly thrilling combination of ‘cello and English concertina is
encapsulated on the debut album by Redmond and Townsend, who have been
playing together for some years now. Dave’s formidable technique and a
unique style in playing both traditional and classical music on the
concertina forms only part of his activities, including music for
television, film and theatre, the creator of The Mellstock Band and
founder and director of Hands On Music Weekends. Gill studied ‘cello
at the Royal Manchester College of Music, and has developed her
individual style of playing for traditional music, combining a
beautiful tone with amazing versatility and inventiveness; their
brilliant interpretation is strongly reminiscent of the
Scottish-American fiddle and ‘cello pair, Alasdair Fraser and Natalie
Haas, although I would beat a path to any festival who had the
programming ingenuity to stage these great duos.
Gill and Dave’s mission is to carry English music into new realms,
taking in Scandinavian, American and Welsh tradition along the way.
The title track and ‘Trip To Cartmel’ blend in deliciously to give the
album a flying start, while Dave’s voice lights the story of ‘The
Lousy Tailor’ like a fuse, sparkling Shaker tunes and the ‘Banks Of
The Sweet Primroses’ set and memorable Swedish schottis and Engelska.
Interestingly, they play a Welsh hornpipe without realising it; their
version of ‘The Washington Hornpipe’ is so similar to ‘Y Fasged Wyau’
(The Basket Of Eggs), which Calennig recorded years back – and their
reading of the beautiful ‘Ffarwel Marian’ and the tripping, dancing
‘Aberdaugleddau’ is just inspirational.
‘The Banks Of The Nile’, from Suffolk singer Jumbo Brightwell, is
destined to become very popular again, with tuneful versions from
Keith Kendrick and Sylvia Needham, Faustus and now Gill and Dave. If
their debut is this good, I’m certainly looking forward to the
appearance of their second.
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The opening song on Gren Bartley’s second solo album, ‘I Am Home’, a
gently evocative telling of a travellers return is so low key it
sounds like the end of something rather than the beginning. It does,
however serve as the perfect introduction to Bartley’s talents as a
great songwriter, a passionate vocalist and a fine instrumentalist,
the latter reinforced as the song segues into an atmospheric banjo led
His songwriting credentials are further enhanced with the following
song, ‘Porcelain Hand’ a country-tinged tale of a missing child that
succinctly tells the story without recourse to melodrama. It’s that
storyteller’s skill that raises Bartley above the average singer
songwriter fare, and it’s a skill that really shines on the minor epic
‘Waters Run Dry’ a contemporary that’s so laden with imagery that it’s
With sympathetic accompaniment from violinist Julia Disney, drummer
Richard Adams, singers Linda Adams and Robert Hallard and
percussionist Dan Wilkins, Bartley takes his listeners on a musical
journey that also includes a quietly impressive ‘Wayward Stars’ which
provides the opportunity to show off his considerable guitar skills
and also his musical adventurousness, introducing a kora (expertly
played by Wilkins) as the accompanying instrument that gently takes
the lead as the song segues into the traditional Mandinka tune ‘Kelefaba’.
There’s even more variation via the title track, a heartfelt, blues
based love song; the jazzy syncopation of ‘Brick’, and album closer
‘The Sun Is Over The Yardarm’, a song destined to become a firm folk
club favourite with it’s irresistible sing-a-long-ability.
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I had the good fortune to catch
Cardiff duo Paul Zervas and Kathryn Pepper when they supported The
Webb Sisters at the Muni Arts Centre a while ago; the audience warmed
to their sparkling, crystal-clear West Coast harmonies, accompanied by
two acoustic instruments. However, their debut album, Somewhere In The
City, had drums and electric guitars throughout, which I thought had
disappointingly watered down the vocals and the lyrics. On this, their
second album, they rock it up in style, with Paul and Llion Robertson
as recording engineers and Andrew Brown on bass, Jake Ecclestone on
drums, Simon Kingman on lead guitar, Jon ‘Catfish’ Thomas on pedal and
lap steel, Lee Goodall on flute, Niamh Aine Ferris on violin and Rob
Pugh on keys.
It’s pleasant commercial stuff and, like all wallpaper music, it
didn’t imprint on my memory at all. Both Paul and Kathryn have still
got the same breathtaking voices, but they seem to be veering away
from acoustic material and heading into light pop with a vengeance.
That’s where the money is, and we wish them good luck and good
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Chris is the son of folk stalwarts Derek Sargeant and the late Hazel
King - and it’s these songs, five of them learned from his father and
mother, that are the inspiration for the title on Chris’s debut CD.
Folk songs are like heirlooms, and those learned from parents must be
really special - rather like the magic mixture in Waterson:Carthy, or
our own DnA. In quite a short time, Chris has built a strong
reputation as a live performer, as part of leading music charity Live
Music Now. He’s in high demand as a teacher, most recently tutoring in
folk performance at London’s Goldsmith’s College.
Chris is one of a growing horde of classically-trained musicians who
have been absorbed and influenced by folk traditions, with a delicious
melange of musical cooking pot flavours just waiting to explode… and
what a mouth-watering album this is. His guitar has magical qualities
that really enhance Chris’s impeccable choice of songs and tunes. A
host of pedigree musicians (Jonny Dyer on accordion, Vicki Swan on
nyckelharpa and double bass, Issy Emeney on melodeon, Jackie Oates on
five-string viola and vocals, Pete Flood on percussion, Benedict
Taylor on strings and Keith Kendrick on concertina) beautifully and
simply fill out his accompaniment, the technical skill and the ‘wow’
factor coming on by leaps and bounds. Chris instinctively knows how to
communicate; having been brought up in the folk club scene, and the
whole album is a joy throughout.
High points are the opener 'Bonny Labouring Boy', the rippling guitar
setting the scene for the story; 'Once I Loved A Maiden Fair'; the
lively, skipping Chilbridge Fair; Kathryn Tickell’s brilliantly
entertaining 'The AB Hornpipe/Mrs Bolowski’s' and Chris’s tribute to Nic
Jones, 'The Wanton Seed'. However, his interpretation of 'Coal Not Dole',
with miner’s wife Key Sutcliffe’s heartfelt simple verses, hasn’t worked
here; its complicated ‘folkie’ style seems rather out-of-place.
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I was unfamiliar with any of Barcelona-based La Pegotina's previous
three albums, but hopeful that perhaps they might be potential
successors to the much-missed Ojos de Brujo. However there's none of
the latter's innovative Flamenco/Hip-Hop/Dance fusion; instead they
mix Roots and Ska, sounding at times like their mentor, Manu Chao.
Billed as a "party band", their lively feelgood music is likely to
prove popular at festivals - indeed they're playing WOMAD this summer,
and picking up quite a lot of airplay from Mary Ann Kennedy on World
On 3. Overall I could have done with a little more variety and light
and shade, and a bit less laughter and shouting, but their brass and
accordion-led sound is relentlessly upbeat.
The final song, in English, 'Sweet Culito' sounded less successful to
me, with its disco cliché - "I want to touch your booty"; or perhaps
the songs in Spanish are all full of similar sentiments..? I suspect
that the band really come into their own in the context of live
performance, but this CD is a lot of fun nevertheless.
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My Dearest Dear
From the town of Dingle in County Kerry, singers Éilís Kennedy and
Pauline Scanlon came together as Lumiere four years ago and this,
their second release is another beautifully performed set that
reinforces their growing reputation as among the finest singers
Drawing on a shared musical heritage with songs in the Irish language,
these accomplished singers also look further afield for their material
with versions of some well known traditional and contemporary songs
all given their distinctive treatment.
Individually capable of sending shivers down the spine, together
Scanlon and Kennedy stop you dead in your tracks, a quality that’s
apparent from the first notes of the opening title track where the
beautifully constructed instrumental backing provides the perfect
setting for their shimmering harmonies.
The choice of material throughout provides the perfect showcase for
their talents, whether it’s the Irish language songs ‘Cailín Deas
Crúite na mBó’ (The Pretty Maid Milking the Cows), ‘Samhradh’ and ‘Bó
na Leathairce’ (The One Horned Cow); history based songs such as ‘The
Wind That Shakes the Barley’, ‘The Silver Tassie”, ‘Ye Jacobites’ and
‘The Streets of Derry’ or contemporary material with versions of ‘The
Queen And The Soldier’ and ‘Who Knows Where The Time Goes’.
The former, a version of Suzanne Vega’s image laden tale, is a master
class in interpretation that uses a restrained sense of menace to
stress the conflict between the story’s protagonists. The latter, a
take on Sandy Denny’s classic, is less successful, largely due to the
overwrought and misjudged vocal contributions of Sinead O’Connor.
It’s a measure of their considerable skills that, with My Dearest
Dear Lumiere have achieved the difficult feat of producing an
album that will appeal to the mainstream while also bringing a smile
to the faces of traditionalists, which is no bad thing.
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I've been a big fan of music from Asturias in Northern Spain ever
since I reviewed a Llan de Cubel album back in the 1990s; so I was
interested in this third album from Oviedo-based group Xera. The
traditional sounds of bagpipes, fiddle and hurdy-gurdy are augmented
by some rather prog-rock sounding keyboards, and on one track a bit of
didgeridoo for good measure. It appears to be some sort of "concept"
album, though my Spanish/Asturian is unfortunately not up to fathoming
out what it's all about, and the sleeve notes (also in Spanish) give
few clues. At least one other reviewer has assumed, as I initially
did, that the operatic vocalist on the first two tracks 'Alo' and 'Vientos'
was some Asturian diva, but in fact it's apparently bouzouki player
Carlos Diaz. Produced by Afro-Celts' Martin Russell, it's an album
that seems to be epic in its vision, but a bit overblown and
melodramatic in its delivery.
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Thoughts In The Dark
Irregular Records IRR084
Tracey’s first album If The Moon Could Talk released in 2005
catapulted her “to leading agit-prop songwriter in twelve gloriously
concise songs ... “Anyone with a social conscience will love this
album" as Taplas put it. Her second, Picture Postcards (2006),
cemented this reputation. She then went quiet until 2011 when a
re-recorded compilation from the previous two albums was released. It
is therefore welcome to have a new album available. Her voice
accompanied by a single guitar is always refreshing.
Tracey has not been inactive: ‘Sasha’s Song’ was written for the
bicentenary of the abolition of slavery in 2007 and ‘Don’t Sit
Silently’ for a short film on the NHS released in 2011. Both are as
relevant today as then and it is good to have them available on this
album but it does evidence a small output over seven years.
Perhaps this album should be seen as a personal retrospective. Most of
the songs concern her family interests over the period since Picture
Postcards: ‘Raising Girls And Boys’, ‘Violet’, ‘The Head Louse Song’
about her own and children in general; ‘How Do They Do The Things They
Do’ and ‘Another Tescotown’ about the political and physical
environment faced by today’s children; ‘Love Birds’ and the Newport
County anthem ‘A Hundred Years Of Football’ for her partner.
I miss her passion and commentary on current issues and would welcome
more of her crafted political songs. Consequently I look forward to
another album release in shorter order than this.
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Dutch artist Nynke Laverman is a brilliant singer, her magnificent
voice wringing every drop of emotion out of her written songs. She
grew up in Freisland in the North Netherlands and sings in Frisian as
well, that little-known language that numbers about 120,000 speakers
in Freisland and extends to the Dutch and German coastal islands.
Freisland officially changed its name to Fryslân in 1997, and Frisian
(Fryske) is an official language there.
When she was 15, Nynke heard Portuguese fado for the first time. For a
number of years, Nynke has been passionate about all forms of
Mediterranean and Latin music, from fado and flamenco to various Latin
American traditions. She created her own "Mediterranean-Frisian"
style, a “Frisian fado” inspired by these musical forms she has
studied intensively and sung in her mother tongue. She recorded three
albums which became very successful in The Netherlands and earned her
both a gold disc, an Edison (the Dutch Music Awards) and a literary
Her vocal talents attracted the attention of multiple award-winning
Spanish producer Javier Limón. He became fascinated by her take on
Mediterranean music, and wanted to produce an album with him as the
flamenco guitarist. The result is a fabulous mix of northern European
and Iberian forces; ‘Foarjiersfers’ (Spring Poem) is a mix of
startlingly beautiful Nynke harmonies and acoustic guitar; ‘Balts’
(Courtship) stirs ancient Spanish and modern Frisian voices together;
‘Awaiting’ is Nynke’s English-language song, desperate heart-on-sleeve
emotion, enhanced by piano; ‘Eftereach’ (Mind-Eye) is pure alluring
bossanova with flamenco guitar blending in; and Nynke’s solo voice
slots incredibly well into Limón’s solo guitar for the final ‘De
Brulloft’ (The Wedding). Traditional Spanish instruments stand out
proud and strong in the Limón mix, enhancing Nynke’s passionate voice
and making this one to really watch.
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Abuab Al Andalus - Live in München 2011
Galileo Music (CD and DVD)
Al Andalus was the medieval Islamic state which was governed by Moors
at various times between 711 and 1492, and which comprised the Iberian
peninsula and part of France. The state was known for tolerance and
scholarship, wealth, trade, architecture and flourishing arts. People
of Muslim, Jewish and Christian religions lived together for centuries
and influenced each other. Wars with various Christian kingdoms meant
that the boundaries changed constantly, but Al Andalus left a strong
influence on Spanish culture. The Al Andaluz Project has brought
together nine musicians from Germany, Spain and Morocco to explore
Moorish, Sephardic and Spanish medieval music; the live result,
recorded in the Reithalle in Munich, is spellbinding and amazing.
The Project is directed by multi-instrumentalist Michael Popp, a
specialist in medieval music and a member of Estampie, VocaMe and
medieval avant-garde pop band QNTAL. It comprises three women singers
(Mara Aranda, folk-singing sefardita from Valencia, Sigi Hausen
from Germany, also a member of QNTAL, and the graceful Iman Kandoussi,
from Morocco); Ernst Schwindl, co-founder of the Estampie project, who
plays hurdy-gurdy, nyckelharpa and Indian harmonium; Aziz Samsaoui (quanun,
a form of Arabic table-harp, resembling a hammered dulcimer), Jota
Martinez (hurdy-gurdy and other instruments, focusing on Sephardic
music), and percussionists Johann Bengen and Jürgen Schneider.
The concert fires off with solo quanun opening the way for the
spine-shivering traditional Sephardic ‘Morena’, with Mara’s stupendous
voice, shrill whistle, percussion, hurdy-gurdy and, finally, thrilling
harmonies joining in to make a jaw-dropping climax. The band mix 13th-century
songs and tunes, medieval Spanish religious material with ancient Arab
and Andalusian traditional pieces; the quanun leads Iman’s strong
voice through ‘Al Garnati’, while weaving, snake-like hurdy-gurdy is a
perfect platform for Mara’s entrancing vocals on the traditional ‘El
Regateo De Las Consuegras’. Medieval instruments represent so much
power, so much beauty – enjoy!
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Mr H, he of the cigars and whisky voice, was performing in the
Ardent Gallery at the Brecon Jazz/Fringe Festival when this busker, in
his seventies, drowned out the gig on his sax and annoyed the
audience. Mr H invited the saxophonist to come and play with him, and
the saxman said: “What we gonna play, man?” Then started an amazing
session which resulted in a standing ovation. Nik Turner, ex-Hawkwind,
had arrived. Mr H took him into the studio, and you can hear him on
The Bourbon Street Blues EP (Barium Villa Records BV004), five
searing tracks, all written by Mr H – it’s truly great.
The Webb Sisters entranced and enraptured the audience at the
Muni Arts Centre at Pontypridd last year, and they’re bound to do the
same with their EP When Will You Come Home? (TWSR PRPEP 002).
Hattie and Charlie weave a harmonic spell with their alluring voices,
saluting Leonard Cohen with Show Me The Place, and they totally
transform the Elvis/Pet Shop Boys hit Always On My Mind into a
beautiful work of art - four stars.
American singer, storyteller and songwriter Linda Bandelier and
author and tale-teller David Campbell, from North-East
Scotland, deliver a delightful musical presentation on the poetry of
Robert Burns in Ae Fond Kiss (no catalogue number). Harper
Katie Harrigan, musician and composer Mairi Campbell and performer and
pipe-maker Hamish Moore put a fine touch to the verses.
Pitman poet and playwright Joe Corrie (1894-1968), described by TS
Eliot as “the greatest Scots poet since Burns”, started work in the
Fife coalfield pits in 1908. Fife poet and songwriter William Henshaw
obtained permission from Morag Corrie to record the poems of her
father, and the whole session was made into an album The Joe Corrie
Project: Cage Load Of Men by The Bowhill Players (JCOR001),
consisting of producer and musician Erik Knussen, legendary folk
singers Davey Stewart and Fiona Forbes, Jenn Knussen on clarsach and
Fife’s acoustic band, The Dandylions.
There’s a strong influence of Astor Piazzolla and the tango in
Presente (Masterworks 88765 43211 1), the latest CD released by
Bajafondo, nine Argentinian and Uruguayan musicians from the Rio
De La Plata who specialise in electronica tango (although they’re not
keen on the term.) Violins sound a promising and exciting start, but
the album degenerates all too soon into rock. But the band are ones to
Lennon is three years old and suffers from Cerebral Palsy Spastic
Quadriplegia, a most severe type of cerebral palsy which targets all
four limbs, has a physical and mental effect, and he is also partially
sighted. Dundee singer/songwriter Charlotte, inspired by the
courage and love by his family, raised £550 for a charity concert and
has released Lennon’s Song (CBCD2012) which will pay for a soft
play room, advanced equipment and a life-changing operation in
Nick Caffrey and Ed McGurk come from the North-West of England and are
members of Bandersnatch, and, as Caffrey/McGurk, they sing a
list of well-known harmonious folk chestnuts in Transition (no
catalogue number). If you’re a fan, you’ll be bound to have one.
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