GIRO "Galway International Retro Orchestra"
Own label, 2014
Listening to the first set of tunes on this album, this could have been a “normal” Irish folk album, with lively good quality Irish folk. Listening on though, the album shows many more dimensions: venturing also into other traditions particularly Scandinavian and Eastern European, GIRO play traditional music of the early 20th century. Twelfth Day "The devil makes three"
A young Scottish female duo, of Catriona Price (fiddle, vocals) and Esther Swift (pedal harp, clarsach, vocals). The album has a strong focus on harmony arrangements, sometimes more of harmony soundscapes, of the two voices. While I appreciate the vocal talent of the girls, it is some of the instrumental arrangements of harp and fiddle which I really enjoy.
El Naan "Codigo de Barros"
This album is subtitled an “Iberian Roots Project”, and describes itself as “not a fusion but musical archaeology”, thus playing authentic historic music of the different traditions found in Spain. There is some great material on this album – for example a traditional Spanish bread making song, with male and female interacting singing, accompanied barely by table percussion and clapping. Or “Los Negros de Castilla”, a paso doble rhythm that transports the listener to sunny Cuban and African shores. Some songs have Arabic or Flamenco influences, and some of the music may sound quite raw and archaic, while others sounds more contemporary. The last track on the album I found plainly odd – for the first 6 minutes the track features not much more than a quiet hum, before reciting a Persian poem. Overall though an interesting album with some great material.
Siobhan Miller "Flight of Time"
Siobhan Miller has established herself a name on the Scottish folk scene, most notably as a duo with Orkney fiddler Jeana Leslie. Unlike the duo albums with a strong focus on traditional song material, Siobhan’s new solo album presents contemporary folk singer/songwriter material. About half of the material has been penned by the talented young singer herself, featuring high quality lyrics. The other songs come from singer/songwriter James Grant, who also produced this album, as well as the late Davy Steele, Ewan MacPherson and Dave Goulder. The Moving Violations "Elasticity"
An uplifting and lively CD from this New England quartet, featuring fiddles, mandolin, piano, bass/guitar/dumbek. They play instrumental music influenced from a range of folk music traditions, including New England, Irish, French-Canadian and Cape Breton and Scandinavian. Add to that a fair dose of jazzy improvisation, with driving piano and fiddle playing, and free style arrangements, and you have a good first measure of this band. This fully instrumental album, with more than 70 minutes of music, is great fun to listen to and brightens up even the darkest of moods. Good stuff.
Kila "Suas Sios"
An outstanding album from this well establish progressive Irish folk outfit. It is the superb arrangements around Eoin Dillon’s uilleann pipes that make for me the music on this album particularly distinctive and memorable. The songs, mostly in Gaelic, sung as usual by Ronan O Snodaigh, do have a contemporary feel yet remain on this album firmly embedded in the Irish folk idiom. While the songs are great, my favourites on the album are the powerful and driving instrumental sets where uillean pipes, guitars, fiddle, flute, bodhran, drums and occasional saxophone bring together a unique and extraordinarily wonderful sound. I only know a few of Kila’s albums, but this one is just superb and is the best one I have come across to date.
Reg Meuross "England Green & England Grey"
This is apparently already the 10th album of brilliant singer/songwriter Reg Meuross – and amazingly this is the first time I have heard of this Englishman. The self-penned songs on this album are about big topics – be it about the tragic nature of dementia, Tony Benn’s secretly erected plaque to commemorate the suffragette Emily Davison, the lifes of inmates of a mental asylum in the 1950s, an account of the only Englishwoman to engage in active combat in WW1, or, in the title track, an observation of traditional English values and today’s society and politics. The Young’uns "Another Man’s Ground"
Recently crowned Best Group in the BBC Radio 2 Folk Awards, this English trio is quickly becoming a household name on the English folk scene. Their speciality is three-way a capella singing, and their songwriting talent is impressive. Picking topics that matter to them, they tell their stories in songs that sound as if they were traditional English – and who knows they may well enter the English tradition in due course. Tackling topics related to war, their working class background or a brutal “honour killing” in Pakistan, the lyrics are well crafted and will grip the listener. Most of the tracks are a capella, with occasional backing of piano and, in the last track, accordion. Tritonus "urbanus"
Even I, German born and bred, have to admit that I would not really know what to expect from Swiss traditional music – other than maybe the cliché yodelling. No yodelling on this album though – but rather an attractive and charming album of folk music in sophisticated arrangements. Subtitled “old folk music from Swiss towns”, Tritonus have on this album uncovered songs and tunes of the 16th century that would have been heard then in Swiss towns. The ensemble brings together old traditional instruments, such as bagpipes, shawm (predecessor of the modern oboe), hurdy gurdy and hammered dulcimer, instruments associated with baroque music such as violone, viola d’amore and chalumeau (predecessor to today’s clarinet), plus a few more modern ones such as soprano sax and bass clarinet. Damien Clarke "Paths of desire"
As with the album of Tritonus above, Damien Clarke’s music has a strong Early Music feel to it. Damien is a singer, instrumentalist and painting artist, and likes to combine music and art ideas. Kraja "Hur långt som helst"
This is the fourth album of this Swedish a capella quartet, featuring Linnea Nilsson, Eva and Lisa Lestander and Frida Johansson. For this collection, the four young ladies have put musical vocal arrangements to Swedish poems, as well as to Swedish translations of poems from American Indian and Cuban tribes and of Malaysian, Danish and Faroese songs – plus a few self-penned and traditional songs. All this gives a coherent whole of calm Swedish songs, presented with choral style harmonies, with only very little if any instrumentation.
Dreamers’ Circus "Second Movement"
One of those albums that is really hard to pigeonhole. What is very clear is that this music is great, instrumental and acoustic. Dreamers’ Circus is a trio of talented multi-instrumentalists, playing violin, viola, piano, harmonium, vibraphone, accordion, cittern, guitar, ukulele, double bass and more. The music skilfully blends elements of folk and classical music, with influences from Celtic and Danish / Scandinavian music traditions, and a good dose of improvisation. The trio brings together two Danes – Rune Tonsgaard Sørensen and Nikolaj Busk – and one Swede – Ale Carr. Newpoli "Nun te Vuta"
This US based Southern Italian folk outfit is now already in its twelfth year. Compared to their previous albums, this one features more original material .It is crafted around the topic of emigration – a topic close to heart to several of Newpoli’s band members who have themselves emigrated from Italy to the States. Sharon Shannon & Alan Connor "In Galway" [CD/DVD]
After her many successful albums with a wide range of celebrity guests and in a band context, here is the album that many of us have been waiting for: “In Galway” has been paired down to Sharon’s virtuous accordion combined with genius pianist (and electric guitar etc. player) Alan Connor. The tracks feature a number of old favourites of the Sharon Shannon and Woodchopper repertoire, and are heavily focussed on instrumentals. Sharon and Allan make up the perfect duo, playing in close unison – with extremely tightly playing together even in the fastest numbers. While the focus is on traditional, or traditionally inspired, tunes, there are a couple of attractive songs in the mix, sung by Alan O Connor – “The Midnight Special” and “Galway Girl”. “Music for a fond harmonium” is an example of their energetic fast and perfect inter-playing. There’s also an impressive solo piano tune “The Shining”, showcasing the extraordinary talent of Allan as a solo player. The Demon Barbers "Disco at the Tavern"
This has to be one of the most exciting picks of this issue’s CD reviews. “Disco at the Tavern” shows the Demon Barbers at the height of their skills, creating their unique, fresh and modern take on traditional English music and song. Brian McNeill & Friends "The Falkirk Music Pot"
A musical project that celebrates the history and cultural links of the Scottish town of Falkirk, funded as part of the Scottish “Creative Place” initiative. “The Falkirk Music Pot” is named after the three legged iron cooking pots produced and exported in the 19th century by two foundries in the town. Skippinish "Western Ocean"
Even though they have been around for more than 15 years, this is the first album of this Scottish band reviewed in FolkWorld – and FolkWorld and its readers seem to have missed a treat! Dan Walsh "Incidents & Accidents"
Ian Carmichael "Ten years on"
Now can I first admit – I am not a great fan of the banjo, particularly not as a solo instrument. Yet here we have two masters of the banjo, whose albums I cannot but fully appreciate for their quality. Treacherous Orchestra "Grind"
Each member of the Scottish Treacherous Orchestra[48]
has a musical career besides. I just like to mention young pipers Ali Hutton
and Ross Ainslie, accordion player John Somerville,
fiddlers Adam Sutherland and Innes Watson,
and - from beyond the Irish Sea - banjo player Éamonn Coyne.
Previous bands that come to mind include the Peatbog Faeries,
as well as Salsa Celtica, Shooglenifty and Wolfstone.
Together this 11-piece folk big band form a hard-hitting force of Highland warriors that take Scottish music, its rhythms and tunes,
break it apart and built it up from its bones for something terribly beautiful.
Terrible if you like to dance at a ceilidh or listen to a crossroads fiddler,
beautiful if you love new soundscapes and you're not shy to stay away from headbanging.
But no, it's no treachery, the Treacherous Orchestra and its second album "Grind"
belong to an old Scottish tradition of experimenting and exploring new ways.
All tunes - with just one exception from Brian Finnegan - have been composed by the band members. 20 years going, traditional Irish music group Danú was originally hailing from County Waterford,
the scope has widened with new band members from Kerry and Donegal.[42]
These days Danú is made up of Muireann Nic Amhlaoibh (vocals, flute),
Benny McCarthy (accordion), Oisín McAuley (4- and 5-string-fiddle),
Éamon Doorley (bouzouki) and Dónal Clancy (guitar, vocals),
with guest appearences of ex members Donnchadh Gough (pipes, bodhrán)
and Tom Doorley (flute). "Buan," which means lasting,
is a statement of still being there, and passion and fervour haven't left them.
The instrumental sets are dazzling performances,
blending decades and centuries old Irish tunes with recently composed melodies by
Paddy O'Brien, Liz Carroll and Danú's Oisín and Dónal.
The album kicks off nicely with some Kerry slides skidding into Donegal reels.
Another beautiful track is Oisín's "Caisleán Rathanáin" waltz followed by Dónal's "Mairseáil na Conrach" march.
The songs, however, excel the tune sets 6 to 5. Muireann Nic Amhlaoibh[32]
puts all her heart and soul into big songs such as
the Child ballad "Lord Gregory" (Lass of Loch Royal) and the Gaelic "Beir Mo Dhúthracht," praising her
native West Kerry. From the same area comes "Pósadh Do b’Fhearr Liom Ná Bacfainn É / Muirisín Deas Is Nóra"
on more slender feet. Muireann's selection is completed by recent songs from John Spillane and Padraigin Ni Uallachain.
Last but not least, Dónal Clancy[54]
takes off vocals on his cousin Robbie O’Connell's song
about 18th century Waterford outlaw "Willie Crotty".
Yeah, 20 years going ... going strong and healthy!
Rónán Regan & Irene Guckian "Drumshanbows"
Fiddlers Rónán Regan and Irene Guckian met each other while teaching at the annual
Joe Mooney Summer School
in Drumshanbo, Co. Leitrim (18-25 July 2015).
Rónán lives in Galway, but is a devotee of the both lyrical and percussive North Leitrim style of
traditional Irish music (Ben Lennon[37] and others), which appeals to him as a dancer and choreographer.
Irene Guckian then is interested in the punchy music of her native Conmhaicne,
which incorporates South Leitrim and Longford, and which music shares many features with the neighbouring Co. Sligo and Roscommon.
Their "Drumshanbows" project is a blend of their musical styles and kind of a virtual space in the Irish landscape.
The pace is perfect for dancers, as is the rhythmical and graceful execution. The two fiddles are twin siblings,
in harmony and unison, respectively. The tunes and sets have been carefully selected, kicking off with Rónán's
splendid "Drumshanbows" reel; one of five original compositions (printed as stave notes in the CD booklet),
including the jig "Ben Lennon's Bow Hand" celebrating Ben's particular bowing style, and the fling "Is Feidir Linn"
(engl. Yes, We Can) reminiscing the Barack Obama visit to Ireland in 2011.
The majority of tunes, however, are traditional tunes, mostly associated with the Leitrim area.
Besides the customary jigs and reels, there are Jamsie Gannon's barndances, two polka sets and a pair of schottische.
To give the feet a rest, there is a rather stately than rustic "O'Carolan's Cottage" (transposed here to D minor)
and the ancient slow air "An Coolin" put to a recitation, "A Touch of the Master's Hand,"
which almost serves as a beautiful motto for the recording.
Mick Blake plays piano throughout the album, Altan's Ciaran Curran adds his bouzouki and Paddy Ryan a third fiddle on several tracks.
Thanks to Rónán and Irene, FolkWorld is able to raffle off several "Drumshanbows" CDs.
Just send an email
to raffle@folkworld.eu
with the subject Win Drumshanbows CD!
We will draw the lot and notify the winners in late September 2015.
Skyhook "At the Stringsmith’s Forge"
Skyhook's[38]
band members come from South Scotland and South East England, but made the industrial town of Sheffield their base.
Quite fittingly, the album and one its original tunes were named after the workers in the medieval iron forges who
operated a water-powered hammer, the Stringsmith. Here we have twin fiddles, often in harmony
(Cath James and Martin Harwood), plus guitar and bouzouki (Eoin Teather).
The backbone form a selection of traditional Scottish and some newly-written (Cath) reels,
with the occasional excursus to Nova Scotia (Jerry Holland, Brenda Stubbert).
The pace is relaxed, though the instrumental sets are grooving and swinging.
Eoin has a bright and strong voice and delivers a beautiful
"Bonny Light Horseman" (quite fittingly to the Battle of Waterloo anniversary),[57]
Martin Simpson's take on the Aesop fable "The Turtle and the Asp," and,
last but not least, Bill Staines' joyful country song "Roseville Fair," Skyhook's show-stopper at their concerts.
Jimmy Aldridge & Sid Goldsmith "Let the Wind Blow High or Low"
The album is kicking off with a freak of sorts - an English prison song ("Gaol Song") is followed by an
Irish polka ("Tralee Gaol") and an Appalachian fiddle tune ("Clinch Mountain"). Musically these three pieces
have nothing in common, but somehow it works. At least, East Anglia's Jimmy Aldridge (banjo) and Sid Goldsmith (guitar) have much fun with it.
From traditional songs ("The Bonnie Ship The Diamond"), a Frank Mansell poem put to music by Chris Wood ("The Cottager's Reply")
and Ron Angel's "Chemical Worker's Song"
to Jean Ritchie's "The L&N Don't Stop Here Any More" and Si Kahn's "What You Do With What You've Got,"
the duo traverses from the Britain Isles to the Americas. Though the
songs are from both sides of the pond, their interpretation with banjo, guitar and close harmonies
lies more on the American side. Jimmy and Sid both work as environmental campaigners, and many of these songs
have a political and social edge - from a traditional folk song
complaining about working conditions to a straight modern-day protest song.
Their debut album though is no sad and melancholic affair, but a bundle of joy.
Gillian Head "Spirit"
Starting as a stepdancer, Gillian Head took up the fiddle at the age of 9, then studying for
years under the direction of the late master fiddler Jerry Holland.
Eventually she has released her debut album, "Spirit". Ah, the title says it so well.
Gillian has absorped the roots music of her native Cape Breton Island, which itself sprung up from
traditional Scottish and Irish music. She has paid close attention to the styles of contemporary fiddlers
to devise a particular style of her own. Her fiddling is powerful and passionate; her
backing consists of Jason Roach on piano, David MacIsaac on guitar, Ryan J. MacNeil on whistle and Steven Wilton on drums.
"Spirit" features a mix of both old and new songs, from both the old and the new world:
A Cape Breton tune, a Scottish tune, and an Irish Tune walk into a bar ...
Canadian's John Morris Rankin and Jerry Holland rub shoulders with contemporary Irish-American fidddler/composer Liz Carroll and
Scottish fiddle patriarchs William Marshall and Scott Skinner.
Jerry Holland tunes are prominantly featured on this disc, as is Rannie MacLellan's tribute to Jerry's VW Truck.
Robyn Stapleton "Fickle Fortune"
BBC Radio Scotland’s Young Traditional Musician of 2014 Robyn Stapleton has eventually launched her debut album, supported by
Blazin' Fiddles' Kristan Harvey (fiddle), Alistair Iain Paterson (piano & harmonium) and David McNee (guitar).
"Fickle Fortune" is a classic folk song album; Robyn immersed herself into English, Scots and Gaelic traditions.
"Willie o' Winsbury" (Child Ballad #100) is a traditional Scottish lyric dating back to the 18th century
(with a tune devised by Andy Irvine in the 1960s);
"MacCrimmon's Lament" is a Jacobite song lamenting the loss of a piper during the rebellion of 1745,
here attributed to Sir Walter Scott;
"The Shuttle Rins" is a weaving song written by Henry Syme in 1849.
Robyn comes from Stranraer in South West Scotland and the Irish coast lies just a stone's throw away. So
she selected the Clannad version of the old murder ballad "Two Sisters"
and the Kerry love song "Bruach Na Carraige Báine" (The Brink Of The White Rock).
"What a Voice" then is not only a piece that Jeannie Robertson sang and recorded more than 50 years ago
(with connections to the British/Irish "I Wish, I Wish" and the Appalachian "Careless Love"),
it is also the deep-drawn sigh escaping from my lips: what a well-honed and smooth-running singing apparatus we have here!
Barrule "Manannan's Cloak"
Manannán mac Lir is a Celtic sea god who throws a magical cloak of mist from the summit of Baarool Jiass to
protect the Isle of Man from its enemies. These days the traditional music trio Barrule is lifting the fog
to bring their native music to worldwide attention.[51]
Accordionist Jamie Smith (of Mabon fame),[44]
fiddler Tomas Callister and bouzouki player Adam Rhodes
have recorded their second album in the historic St. Bridget’s Chapel.
The roots music at the island between Ireland and Britain has inherited from both traditions
to form a particular kind of Manxness. Barrule did some subtle and gutsy arrangements according to modern standards.
Tunes selected here are from Manx and Ireland,
plus a couple of original compositions by Jamie and Tomas and prominent Manx flutist Peddyr Cubberley.
Jamie, who was born in Wales but got involved with the Manx folk scene because of marrying Manx fiddler and singer Gráinne Joughin,
renders the traditional song "Illiam Boght" (Poor William), which tells the familiar story of the Child ballad "The Outlandish Knight".
On the other vocal tracks, Barrule employs Scotsman Paul McKenna (J.F. Gill's "The King of the Sea" on the important herring fishing)
and Jamie's father-in-law Gregory Joughin, on the almost-traditional "Yn Ven-Ainshter Dewil" (The Cruel Mistress)
from the 1830s and Chris Sheard's "Fir-Hammag Yioogh" (High Net Worth Individuals), scoffing at those settling
on the Isle of Man because of tax benefits. The CD booklet gives English translations of the Manx Gaelic lyrics.
Tom Kitching "Interloper"
Young Cheshire fiddler Tom Kitching has collaborated in particular with
singer/songwriter Gren Bartley[48]
and traditional music group Pilgrim’s Way.[46]
Simply put, his debut solo album "Interloper" features old and newly-written English tunes explored by musicians from outside
the English tradition. Tom himself describes it as an outward facing, forward looking English Music album.
Several tunes have been taken from 17th century Playford’s Dancing Master,
there's a morris tune and a 3/2 hornpipe. The medieval "La Rotta" is originally from Italy,
but has been absorbed into the English tradition a long time ago. Tom's fiddling can almost be described
as a pure English style. Foreigners here are presented by Scottish flutist and clarinetist Freya Rae,
who doubles on playing melody lines while her interest in Balkan music is evident from Sean Heeley’s
Ukrainian-influenced "Sue and Adi’s Fast Dance", and Norwegian mandola player Marit Fält who provides
the rhythmic backup which is a bit more exotic than the standard guitar.
Marit's låtmandola is an octave mandola with a fifth pair of strings to give it a deeper bass sound.
Occasionally you can also hear Andy Cutting's melodeon, and some cello, hurdy gurdy and throat singing.
Colin Farrell "Make A Note"
Fiddler Colin Farrell[45]
came from Manchester City’s vibrant traditional Irish music scene, but made his base in Florida a decade ago.
He performed with Irish music group Gráda,[33]
but can be found playing all over the place,
recently replacing Lúnasa's[42]
Seán Smyth.
"Make A Note" does not only feature Lúnasa flutist Kevin Crawford and bassist Trevor Hutchinson,
their trademark sound is kind of a beacon throughout the album. More than a dozen helping hands,
just to mention flutists Michael McGoldrick and Alan Doherty,
augment Colin's masterly fiddle (and occasional tin whistle).
Colin did not only Make A Note, but composed every single tune on this album,
30 melodies in 11 sets. It would be useless to single out individual tracks and tunes,
there's a lot of strong and awesome moments.
I'm quite sure that one tune or the other will soon find its way into the Irish music sessions,
held from South East Lancashire to the Sunshine State,
and onto other artist's recordings as well.
Various Artists "The Burren Backroom Series, Volume 1"
Tommy McCarthy & Louise Costello "Grace Bay"
The Burren is a rocky outcrop in Co. Clare, West Ireland; an area that looks bleak and bare,
but has a long and rich history of traditional Irish music. So it is quite fitting that it also
became the name of an Irish Pub and Restaurant in Somerville's Davis Square, Boston, Mass.,
founded in 1996 by two young Irish musicians, Tommy McCarthy and Louise Costello.
Both had been playing the pub circuit themselves and were hopping mad from
maybe 17 televisions on showing different sports games. They decided to open a
traditional pub with no televisions at all and a venue room
where acts from Ireland and all over the world could play. Indeed,
they succeeded to establish The Burren as one of the premier venues for traditional Irish music on the East Coast.
The Burren Backroom Series Volume 1, recorded live at The Burren from 2011 to 2014, is a beautiful collection of 14 tracks,
including old Sliabh Luachra polkas and newly-written Irish folk songs. Featuring bands such as
Dervish,[51]
Sliabh Notes,[29]
Teada,[53]
Lunasa,[42]
singers Sean Keane,[29]
Andy Irvine,[55]
Robbie O'Connell,[44]
fiddlers Liz Carroll,[52]
Martin Hayes,[35]
accordion/harp duo Dermot Byrne and Florianne Blancke,[49]
...
The proprietors did always look beyond Irish and Irish-American artists, here represented by
the Scottish Battlefield Band[51]
and Galician piper Carlos Nunez[46]
(supported by US fiddlers Hanneke Cassel[43]
and Katie McNally).[52]
This is just a glimpse at who have been played and recorded at The Burren over the years.
However, the title "Volume 1" suggests that it is just the start of more things to come.
Landlords Tommy McCarthy (fiddle and mandolin) and Louise Costello (banjo and accordion) are featured at
"The Burren Backroom Series, Volume 1" jamming with accordionist Sharon Shannon[48]
and guitarist Jim Murray. They have more to offer on their debut duo album "Grace Bay".
Tommy grew up in London, but had been stylistically influenced by his West Clare heritage
(as a child he would listen to his father and Bobby Casey playing in the kitchen).
Louise was raised in Co. Galway where she became part of the session scene.
Playing together for decades, they developed a mutual understanding and created a consummate and palatable mélange
of their respective regional styles. The pace is relaxed, the jigs are sweet and swinging,
the reels tight and firm. Airs and waltzes are thrown in for good measure, the "Drunken Gauger"
setdance introduces their daughter Rose McCarthy on the fiddle. Further support comes from
Martin O'Malley on guitar, Noel O'Grady on bouzouki and Johnny 'Ringo' McDonagh on the bodhrán.
The Burren has traditional Irish and bluegrass music sessions almost daily in the front bar.
Irish Step-dancing and open mic nights are held in the backroom,
with the Burren Backroom Series every Wednesday at 7:30 pm.
Upcoming shows: The Jeremy Kittel Band, Frances Black, Lunasa, Molloy/Carty/McGlynn,
Finbar Furey, David Munnelly & Phil Masure, The Fretless, Archie Fisher & Garnet Rogers,
Martin Hayes & Dennis Cahill, Máire Ní Chathasaigh & Chris Newman, ...
Native Irish this quartet ain’t really be – based in Ireland, GIRO’s members come from Denmark, Canada, Japan and New Zealand. They play on accordions, flute, piccolo, fiddle and clarinets/sax/banjo, as well as adding the occasional song to the mix. This is a varied album with a great sound, played with a lot of passion for the music.
Own label, 2014
Arc Music, 2014
Vertical Records, 2014
The album has a fresh contemporary feel about it, venturing into folk pop, Americana and possibly slightly into the realms of easy listening. The album features guitars, percussion, double bass, piano, a string section, but first and foremost Siobhan’s beautiful voice with its gentle and warm Scottish dialect.
Own label, 2014
Kila Records, 2015
Own label, 2014
Despite focussed on difficult societal issues, Reg’s songs never sound dogmatic; they have a warmth in the way they observe the world, and Reg’s singing voice emphasises this warmth further. The lyrics are superb in the way that they tell stories that evoke emotions, yet the songs still can make enjoyable and light hearted listening. Backed by guitar/banjo, accordion, drums/percussion, dobro and fiddle, the music has a contemporary yet folky and definitely English feel to it. The press notes do not exaggerate with their statement that “Reg is one of this country’s greatest songwriters at the very top of his game”, and I feel glad that, after nine albums, I have finally discovered him.
Own label, 2015
Apparently the Young’uns (so called because at their first performance as teenagers in Stockton folk club they were the youngest people at the club by over 40 years!) are also a top live act, according to BBC Radio 2 presented Mark Radcliffe they are “very very funny”.
Zytclogge, 2015
With a mix of instrumentals and songs from that period, Tritonus’ sound is a blend of traditional and classical Early Music.
Vox Pop Records, 2012
“Paths of Desire” is a gentle album of traditional or traditionally themed songs, mostly from English or Irish traditions, some of them well known e.g. “Sally Gardens”, “Eleanor Plnkett”, “Ned of the Hill”, “She moves through the fair”. Mixed in is also a German and a Frisian song, as well as a Breton translation of “Ned of the Hill” which is sung by Breton singer Dom Duff.
Damien plays hurdy gurdy, Celtic harp and dulcimer, and for me the dulcimer accompanied songs have the most agreeable arrangements and are the highlights of the album. The attractive artwork by Damien on the album sleeves proves that Damien’s talent is not only in the performing art.
Westpark, 2015
GO’ Danish Folk Music, 2015
Dreamers’ Circus is an apt name for this ensemble, as their beautiful music is indeed wonderful for a relaxed hour of day dreaming. Lovely.
Own label, 2015
I like their instrumental arrangements quite a lot, featuring accordion, tambourine, violin, lira, recorders and more. I do find the singing though very intense – primarily by female singer Angela Rossi, in a quite highly pitched voice. Throughout the album, listeners get only very few breaks from this voice – on one great instrumental track, the questionable delight of a tambourine solo, and the occasional singing contribution by a male singer (though his singing is intense too).
Own label, 2015
It is wonderful that this music CD comes in a double pack with a DVD, which shows the duo playing the same titles that are featured on the music CD (two less tracks on the DVD than on the CD). Filmed in the intimate setting of O Connors Pub in Galway, the DVD literally takes this duo to play live in your living room. The wonderful smiles and passion that Sharon’s live perfomances are known for are of course something that a music CD cannot show – so it feels a bit like the addition of the DVD is kind of a “must” for this project. Yet when watching Allan and his infamous playing of “Cavan Potholes” on the DVD, seeing is indeed believing – as here you find him initially accompanying Sharon on piano, then electric guitar, then piano – until he eventually plays piano and e guitar in a wild duo with himself; the DVD shows also the audience in the pub looking stunned by this amazing performance.
This is a superb CD/DVD combo which is not to be missed by any serious fan of Irish or Celtic music. Top marks!
Own label, 2015
Centre stage are driving fiddle and melodeon/accordion, which is combined with guitar, percussion and drums, soprano sax and bass – and the occasional guest appearances of DJ scratching and samples, beatbox, clogs and more. Last seen on DVD with their celebrated Hip-hop and Folk Dance show “The Lock-in”, the new album does take some inspiration from this collaboration. Featuring mostly English traditional songs, clog and morris, shanties etc., the music has a strong English trad feel throughout the album - yet it is taken into a unique direction by successfully blending the traditional with hip-hop, ska, rock or a style reminding me of dark Swedish folk-rock. The album has quite a focus on songs, featuring the charismatic voices of Damien Barber and Bryony Griffiths (plus guest appearances of the Wilson Family).
“Disco at the Tavern” is full of pleasant musical surprises, with a contemporary feel while staying true to traditional English roots. Between beautiful and wild, traditional and very modern, energetic and calm – this music is breathtakingly well done.
Greentrax, 2015
Legendary singer, songwriter, fiddler, concertina and bouzouki player, Brian Mc Neil, born and bred in Falkirk, has been the driving force of the project. For Brian’s fans, this album is already a “must”, as it features some new Brian McNeill songs, including the title track, as well as new recordings of some of Brian’s favourite songs, such as “Best o the Barley,” “The lads o the fair”.
But this CD goes much, much wider than that, taking in a wide range of local talent, and exploring a wide range of music styles. There’s two tracks recorded by the local brass band, there’s a solo piper and the local pipe band. A suite written by Brian and performed by the orchestra of a local school, merging folk/trad with classical music. A folk pop song written and performed by Andrew Howie. A beautiful contemporary balled by 17 year old Ellie Williams. Plus there’s also three songs by the Bandawe Girls Secondary School in Malawi – these songs do sound out of place on this album but aim to celebrate the links between Africa and Scotland, and remind of the “Falkirk pot” having been sent throughout the British Empire, making a difference to African villagers’ lives.
This is a somewhat eclectic mix of 22 newly recorded tracks, put together with love and an eye for quality and good arrangements – as we would expect from that genius Brian McNeill. It’s another album confirming Greentrax’s reputation and passion for ambitious musical projects and compilations on interesting topics.
Own label, 2015
The sound of this album took my immediate full attention, with its fresh young sound skilfully combining traditional Scottish and contemporary sounds. Skippinish are an energetic six piece folk rock/pop band from Scotland’s West coast. The line-up includes accordion, highland and small pipes, fiddle, piano, bass and drums/percussion, so a big Scottish sound is guaranteed. The instrumentals on “Western Ocean” are top class, and may take the listener to a wild Scottish ceilidh night, or gently waltzing around the room. Yet it’s the songs – two in Gaelic and four in English -that are, on this album, at the heart of Skippinish. They are sung by gifted young singer Robert Robertson who is apparently one of the more recent additions to the band’s line-up. The band have created their very own distinctive sound of firmly Scottish rooted folk rock/pop, yet if you ask for a comparison, there is something in Skippinish’s sound that reminds me of the earlier days of Runrig – they certainly display a similar energy and passion for the music from Scotland’s West Coast.
A very strong album of a superb band – I am looking forward to hear more from them, now (better late than never!) that I have found out about them.
Rooksmere Records, 2015
Splitrock Music, 2014
Ian Carmichael’s album is fully and purely dedicated to the 5-string banjo. The Scot plays on this album many tunes which are not usually associated with a banjo as a lead instrument – Scottish and Irish (and some American) reels, hornpipes, pipe and fiddle tunes. Having used to back with his banjo traditional music, Ian has only recently started to use the instrument to lead on melodies – and he truly has mastered it. On a few tunes Ian is backed by bouzouki, guitar, percussion and/or double bass, but even on those tunes the banjo is always and fully in the centre of the music.
An as impressive banjo player is Englishman Dan Walsh. He plays the banjo clawhammer style, and not only is he a great player, he is also a good singer and songwriter. His latest album is mostly solo, with a few guest appearances on fiddle, mandolin and percussion. There are seven songs and five instrumentals – and, for me, it’s the songs that are the highlights on the album. They are all self-penned, telling of personal experiences, and have a folk pop feel, featuring Dan’s pleasant vocals. For the instrumentals, the banjo solos are certainly innovative and well played but get a bit much for me; yet for me personally, Dan is best in a band context - on this album when he is joined by Patsy Reid on fiddle, but even more so in his other project the wonderful Urban Folk Quartet (watch out for a review soon).
Reveal Records, 2015
"Masters and Apprentices" is the title of one of Ali Hutton's tunes, and doesn't it describe
the whole concept of traditional music and its perpetual circle of bearing, nurturing, fostering,
passing on and giving birth again and again.
© Walkin' T:-)M
© Walkin' T:-)M
Own label, 2014
© Walkin' T:-)M
Own label, 2014
© Walkin' T:-)M
Fellside Recordings, 2014
© Walkin' T:-)M
Own label, 2014
© Walkin' T:-)M
Laverock Records, 2015
© Walkin' T:-)M
Wardfell Records, 2015
Tax benefits were not among Jamie's reasons to make the Isle of Man his home, but even if so, he would have repaid it culturally
penny for penny for penny. Thanks, Barrule, for introducing us to the music and culture of this small and often ignored habitat.
© Walkin' T:-)M
Fellside Recordings, 2015
This is traditional English music that is cosmopolitan as is Britain's modern society.
"Interloper" as such is not breaking new grounds - Eliza Carthy and others have already paved the way -,
but as the solo debut of a young artist it is not only a promising start, but a bold statement.
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
Own label, 2014
Own label, 2013
© Walkin' T:-)M