A to Z Album and Gig Reviews
It's back to the alpha-rich "apple-ations" (sic!) for June with this magnificent new collection, and straight to my year's A-list it goes too. There should by now be no questioning June's stature as simply one of the finest singers ever, one who transcends genre and whose approach to songs and their communication is a benchmark for any and every aspiring singer.
Here, on what is unquestionably one of her most intensely satisfying collections, she shares her love of songs that move her and for our delectation plucks some most exquisite fruits from the tree of tradition - which of course encompasses both ancient and modern writings. With typical thoughtfulness, June's choice of song-apples, like the very fruits themselves, invoke a myriad of associations ranging from sweet tastes and aromas, childhood innocence, cosy times, through to the rosy exterior concealing the worm burrowing within and the ripest fruit becoming soonest rotten; all metaphors for love and life, win and lose, subjects which June is famous for penetrating to their core.
We know that June is all too often (and totally unfairly!) accused of undue severity, so let me snuff that candle immediately by proclaiming that this new album is very much a healthy tapestry of light and shade, with a good share of more uptempo (dare I say fleet-footed?) material too. Indeed, it starts out not with doom and gloom but actually quite happily (or should I say 'apple-ly?!) with the sound of Andy Cutting's sprightly box playing introducing The Dancing (by Andy Shanks & Jim Russell), a wonderful composition piquantly conveying the excitement of the lady's prospect of romance at the Saturday night dance (sharing that lyric's theme with Stan Rogers' Lies and Bill Staines' Roseville Fair). And by heavens (you might say!), there's almost a moment of barely-concealed jollity (yes!) with June's light-tripping rendition of Child 279 (The Auld Beggarman), so enticingly contrasting with her matchless treatment of the traditional Scottish love song The Rigs Of Rye that follows in the well-considered sequence.
Back to the land of antidotes, and you can almost visualise June swirling Maddy-like round the stage on the Kalenda Maya dance that forms a delicious appendage to the archetypal trouvère chanson Ce Fu En Mai. Another standout performance comes with the spellbinding quality of expressive eloquence, and the sense of pace and structure akin to a classical Lied, that she brings to Burns' stern credo Speak Easy (and I marvel at Mark's really special piano accompaniment here, a model of subtlety and unobtrusive reflection of the sung part). The latter is rivalled, nay eclipsed, by June's unsurpassable interpretation of Lester Simpson's Standing In Line; here, with deceptively understated passion, she so unerringly conveys amidst its potent evocation of sepia-soaked imagery all the associated complex cocktail of emotions: all the bitterness, despair, barely controlled anger amidst that sense of brain-numbing routine and ... by jingo, if this doesn't get nominated for track of the year in the next Folk Awards there's no justice man! The album closer, Christopher Somerville's beautiful, gentle-waves-rocked sailors' prayer Send Us A Quiet Night, is just perfect. June's singing is peerless: precise yet not precious, and careful yet never in any way unresponsive.
I've said before that the controlled power and inherent poise of June's singing is breathtaking (pun intended), but she's definitely excelled herself in the company of the musicians she uses on Apples - the trio Andy Cutting, Mark Emerson and Tim Harries (also known collectively, and cryptically, as 1651). Needless to say June continues to be on splendid vocal form, and here she's come together with her accompanists to produce a uniformly mesmerising and utterly coherent album.
www.junetabor.co.uk
www.topicrecords.co.uk
David Kidman April 2007
June Tabor - At The Wood's Heart (Topic)
The curious thing is that even though you know that with a recorded artefact you'll get to hear exactly the same performance on each and every replay, you really do feel that June's responding to the song texts afresh each time rather than just wheeling out a predetermined response with exactly the same inflections and emphases. And another factor which makes this new CD so special is undoubtedly the close rapport that June achieves with the members of her backing crew; in a manner of speaking, June enjoys the best of both worlds with her collaborators, with gifted exponents of both what you might call "art-song folk" (pianist Huw Warren and violinist Mark Emerson) and (for want of a better term) "strummed folk" (ace guitarist Martin Simpson), all three being musicians with whom June's worked extensively in the past. And as if that weren't enough, on some tracks there are well-judged contributions from Andy Cutting (accordion) and Mark Lockheart and Iain Ballamy (saxes), and it's all reliably underpinned by Tim Harries' sensitively-moulded double-bass work.
June's careful adoption of specific instrumental timbres and combinations for voicing the mood and tenor of each song is remarkable and unerringly perceptive. For instance, there's a distinctly Schubertian air to the piano's short prelude to Ah! The Sighs (a 16th century song of courtly love), giving the piece more of a Romantic resonance than the basic acknowledgement of its source might normally call forth. Interestingly, this contrast is turned on its head when Martin Simpson's poised guitar accompaniment to Heart Like A Wheel invests that song with something of the character of a courtly troubadour ballad, allowing us to concentrate on June's heartbreaking (sorry, there's no other word for it!) interpretation of the lyric.
These are but two acute examples of the sheer intelligence within June's new interpretations of the songs presented on this CD. Just over half of the twelve songs are genuinely traditional in origin, and their selection was galvanised by the inspiration June gained from a series of concerts she undertook with this particular group of musicians including an In Session broadcast for BBC4. The repertoire June's chosen contains contrasts aplenty, too, with standout interpretations of Robert Burns' Lie Near Me (the album's final, extended track), Bill Caddick's powerful The Cloud Factory (June's always had a striking empathy with Bill's writing, as you know) and Duke Ellington's Do Nothing 'Til You Hear From Me (to name but three) interpolated with some slightly more uptempo fare such as Oh! Alas I Am In Love and The Broomfield Wager. Then, on classic folk standards like The Banks Of The Sweet Primroses, June's incredible innate talent for storytelling transcends the occasionally rarefied, quasi-classical nature of the song's arrangement and presentation (that description's a statement of fact, not a criticism, I hasten to add!).
So let's force those doubters who habitually think of June as a cool, unemotional singer to take a close listen to this CD, and prepare for the backlash - the sound of words being hastily eaten! So, without qualification, this often profoundly moving CD forms another dark and bitter masterpiece from June, and right up there on the 'A-List' in both the obvious and the oblique senses of the term.
David Kidman
This latest box-set to come our way from Topic celebrates the intense artistry of arguably the finest British female singer currently operating within what might loosely be termed the folk scene (her province is normally viewed as such by dint of convenience, purely because she has long operated primarily in acoustic music contexts).
June had been singing (and gigging) ever since her college days at Oxford (the booklet includes a page-stealing photo of "Tabor" captaining the St. Hugh's team on a late-1968 edition of University Challenge!), but her true recording career didn't begin until rather later, in 1976, and even then not as a solo artist but with Maddy Prior on the Silly Sisters LP.
The tiny handful of pre-'76 performances unearthed for inclusion on this box-set prove invaluable mementoes of June's early accomplishment as an unaccompanied singer of traditional song. The earliest recording featured here is A Week Before Easter (captured in 1971 by Andrew Cronshaw), and this gives a potent indication of her individual approach to pace and metre that even then was idiosyncratic, albeit encompassing both a mature approach to decoration and a quality of considered understanding that was rare for someone of her relative youth.
June's first solo album proper, Airs And Graces, initiated the Tabor Template by serving up what in appropriate restaurateur-speak might be dubbed "a traditional repertoire garnished with a few choice contemporary morsels". It also initiated - whether consciously or not - the enigmatic Tabor practice of beginning her album titles with the letter A (a device which, disappointingly, remains obstinately unexplained in the booklet, which otherwise contains more than a fair share of enticingly revealing snippets of background information).
It's probably somewhat of an over-simplification to observe that over and during the course of her career thus far, June has moved from being a classy interpreter and transmitter of songs mostly traditional, if accompanied then mostly by guitar (for an extended period of time her principal accompanist was Martin Simpson, indeed until he moved to the States in the late 80s), to being an equally superlative interpreter and transmitter of modern, composed song in tandem with her expertise in traditional repertoire, and accompanied most often by piano-based or, latterly, chamber-textured instrumental arrangements.
Folk song to art-song? Well no, not exactly, but it's a tempting analogy - at least until you begin to dig deeper into June's all-embracing talent for rediscovering folk as art. June's performing style mirrors her approach, in its precise diction, careful attention to detail and exemplary control and poise, whereby every syllable and nuance is weighed and measured yet never sounds coldly calculated. Her choosiness with regard to performing repertoire reflects her view that in contrast to a traditional song, a modern song, being "the creation of one person rather than an ongoing process", is presented to the performer as a finished article, and so she opines "if it isn't right for me" in that form, "then I don't touch it", an admirable policy; it works for her, though it may not suit all! In this way, June is enabled as the personification of the singer and the song; she conveys each and every song she sings as a personal experience. Martin Simpson provides a telling quote in this context: "The reason that June is such a good singer is that she can be moved and then get to the heart of the material that's moved her and chuck it right back out. She can really, really transmit pain, hurt, unfairness, anger. … (she) is capable of singing something very small indeed and making it appear big." So this deluxe box-set celebrates June as a consummate performer.
Tracks on the four CDs are not arranged in any sense chronologically, nor thematically, but the sequencing is intelligent and satisfying, with contrasts of dark and light and texture well managed. The set kicks off with a superb version of The Seeds Of Love - specially recorded for the project last year, the rationale for making it a lead track is clear, for as June says: "It's the sort of song that cries, 'Look at me again!' It's very easy to dismiss songs that you've known for a long time or you think are too commonplace." This track sets the pattern for what is to follow over the next five hours of listening. First, there's a goodly selection of classic and representative cuts, many of which - like The King Of Rome, Strange Affair, The Band Played Waltzing Matilda, A Proper Sort Of Gardener and A Place Called England (this latter track suffering, I felt, from over-exposure on the "Mr Harding sort of programme", if you don't mind my mixing my references!) - you couldn't imagine missing out of any June Tabor anthology.These acknowledged classics are sensibly interspersed with lots of tantalising previously unreleased selections (the latter category comprises 32 out of the 67 tracks, while a further five are taken from currently-and/or long-unavailable album releases). A number of these turn out to be live renditions of existing album tracks, often utilising different backing musicians or arrangements and invariably casting new light on the interpretations; Lal Waterson's Fine Horseman, the traditional Young Johnstone and Will Ye Go To Flanders, Richard Thompson's Pharaoh (a stunning 1989 performance with Filarfolket) and Mrs Rita - all these are really illuminating. There's one track from the relatively obscure We Died In Hell - They Called It Passchendaele album, a tremendously affecting "performance-piece" combining the testimony of auxiliary nurse Dorothy Nicol (spoken) with the songs Long Long Trail and (Bill Caddick's) The Reaper. Then there's a handful of top-notch outtakes or leftovers from album sessions, like The Royal Oak (an outtake from the exceedingly rare 1972 Stagfolk Live LP) and Roseville Fair (the priceless Les Barker variant, a Yelp! outtake), while still others - and herein are contained some of the finest examples of June's artistry - comprise rare performances of songs which June never got round to recording for album release.
The brightest jewel in this final crown, amongst many shining diadems, is undoubtedly a 1998 Purcell Room performance (with musicians from the Creative Jazz Orchestra) of Kris Kristofferson's Casey's Last Ride, which just stopped me in my tracks and literally reduced me to tears ("it's one of those songs", "a song of such heart-wrenching desolation", that had the very same effect on Martin Simpson too, we learn from June in the booklet). Other highlights include Virginia's Bloody Soil (a lone survivor from an aborted American Civil War-themed programme) and an extraordinary performance of Tracy Chapman's Behind The Wall, which further spotlights June's eclecticity of repertoire. She always used to pair that song with Bill Caddick's barmaid's song She Moves Among Men; the latter is itself probably the most surprising omission from this set, although Les Barker's priceless January June parody should have earnt a pride of place - while as compensation I'm glad to find that Les's variant on the Cutty Wren saga has been included here, demonstrating that June's reputation as a primarily "miserable, serious" artiste is ill-conceived as she so evidently relishes and rejoices in the genuinely humorous repertoire.
June's sense of timing and phrasing is as important in lighter material as in the more earnest fare, in the classic ballads and the torch-jazz standards alike, and there are plenty of examples of each to delight us anew here. The performances on these four CDs effortlessly demonstrates June's versatility and consistency of integrity, all without a trace of contrivance. Several times while playing through the set I was thinking "oh, I'd almost forgotten she did that so well too"! The hallmarks of a Tabor interpretation are there in abundance, and the tonal quality of her voice is unimpaired whatever challenges the song throws her way. Exquisitely stylish, June always dazzles with a quiet beauty and subtle shadings and expressively stamps her personality on the song with an intense but never overwrought passion and true feeling for the text in every case, whether it be a dramatic narrative or "a mere pop song" like Lou Reed's All Tomorrow's Parties. Then again, she'd recorded the acid classic White Rabbit for a Peel session, and there are moments (as in Pharaoh) where there's a Grace Slick-like quality of potent menace in her voice too. Indeed, part of the special stature of June's singing arises from the fact that she now sings exclusively in her low register (having abandoned her high register several years back), giving her voice a unique, cool depth. Interestingly, the set also includes, at the perfectly reasonable insistence of compiler David Suff, one purely instrumental track (Hug Pine) emphasising the importance to June of her current accompanists Mark and Huw.
Finally, mention must be made of the high-art standard of the presentation of this box, whereby the booklet not only excels in its particularly well-balanced overview of June's career thus far (by Ken Hunt), including some fascinating interview extracts, but also contains some stunningly beautiful and highly artistic photographs by John Haxby that provide the binding framework for the text and ancillary archive photos. So, how to sum up? Well, in the true spirit of Tabordom, I'll just say, as in the words of the "A" Team, that Always, as an ambitious anthology, absolutely astounds!
David Kidman
Any Anglophile appreciating acappella artistes also accompanied (and allowing accordions aboard), adds articled accomplishments aplenty as acquired amongst Always' assorted antecedents and alumni. Arias and arabesques, also airs, ashes, abyssinians, aqaba, Antipodean antebellum attitude and Ackroydian anguish all arise accordingly and attend an actress's audacious, aristocratic aquiline aspect astride an actual artisan, an angel aleyn. Apposite amalgamation assuages any alliteration-angst amidst assertive alternatives and applauds apparently accidental accessories and accoutrements. Artful ambiences are allocated alternately across an attractively ambidextrous assemblage, abiding an aura acutely avoiding any alphabetical alienation and apprehensive arbitrariness around and about all artistic arenas and ambitions - any antagonistic antonyms, august aspersions and awkwardly austere, antiseptic aridness aside. Always additionally admires adrenalin and another acknowledged ascendancy, although apparently apocryphal as appended. As an armoury, admirably able and assiduous, assuming an accommodating aptitude and abandoning apathetic acronyms amongst ancient (although arguably ambiguous) assets. As an analgesic antidote, amazingly addictive, albeit always arty, and – as all aptly agree – an appropriate and aimable aggregation and an articulate, auspicious and all-embracing achievement. Always - aye, approval! Avowedly, album's assuredly an axiomatic (and automatic) April acquisition, anyone assumes, after assimilating an admiring (admittedly abbreviated and abridged) aficianado's appraisal allegedly as absurdly alliterative as analytical. Always, as an ambitious anthology, absolutely astounds!… AdamKindvid (aka) (anag.)} (NB: The above analysis approximates an alternative, "A-fever", and allegedly "A-level" antidote to the full non-alphabetically-challenged review currently available on this site!)
David Kidman
June follows her last CD (the thematic concept Rosa Mundi) with an album full of classic traditional ballads given the quintessential Tabor treatment. It's a territory that June's not really visited much of late, although it must be said that most of her solo albums have featured a ballad somewhere in their tracklisting. Her own first encounter with the ballad corpus, which provided her own revelation and inspiration, was a record she borrowed from the library (but never returned!) called The Jupiter Book Of Ballads. Here, on An Echo Of Hooves, a whole 56-minute sequence of ballads proves to be anything but a dour and doomy listen, despite the predominance of dark subject matter (murders, violence, child deaths, apparitions and the suchlike). June manages to provide plenty of contrast in tone and pace over the course of this album; given her supreme expressive and interpretative capabilities, of course, that's not at all surprising. In combining urgency with deliberation, and with a control of internal dynamics that's second to none, June has the gift of conveying high drama with commendable restraint and clarity, calmly and unerringly penetrating to the essence of each ballad while imparting due emphasis to key events, images and emotional reference points within the framework of the story that's being told. Frame by frame, this can be viewed as a cinematic approach, sure, but indicative of the intimate art-movie rather than the commercial wide-screen; even so, it does not exclude the possibility of tonal or expressionistic expansion in moments of revelation or where the emotional or physical landscape demands. Among the eleven tracks, I thought June's version of the chilling Cruel Mother particularly fine, while the somewhat briefer (but no less vital) Rare Willie, performed unaccompanied, is exquisitely poised and in its own special way equally unforgettable. The precision of attack of June's matchless diction, whether soft-toned or hard-edged as the unfolding of each tale demands, is absolutely exemplary. Any early impressions of austerity gained by the album's opener, Bonny George Campbell, are soon dispelled by the richness of the musical settings for the remainder of the collection, which are both elegant and cultured, with a distinctly classical purity of both tone and attack yet having the ability to subtly create a distinctive atmosphere by means of sparse textures. June's regular, long-time accompanists Huw Warren and Mark Emerson are joined by Tim Harries (double-bass) and guests (on two tracks apiece) Kathryn Tickell (Northumbrian pipes) and Martin Simpson (guitar). The presence of the latter top-class musician (a former "musical accomplice" of June's, you will recall) prompts me to remark that with this really special new release June's still proving herself to be a significant "cut above" the average modern-day interpreter of this ballad repertoire.
David Kidman
A new CD from June is always an important occurrence, especially for me and all fans of our greatest living folk singer. This recording contains eleven songs, all in celebration of the rose. Six are traditional, the others being the standard 'Roses of Picardy' two Les Barker offerings, one by Robert Burns and one by Plechtceev with music by Tchaikovsky.
June is joined by her 'stripped down' band - Huw Warren on piano, Mark Emmerson on violin and viola, and Richard Bolton on 'cello - and their playing is as perfect and sympathetic as ever.
First up is a moody version of 'Roses of Picardy', followed by the jaunty 'Belle Rose', a traditional song from Jersey. Next is 'Deep in Love', a variant of 'The Water is Wide' and 'Must I be Bound'. This is really beautiful.
Burns's 'My Luve's Like a Red Red Rose' follows, and again this is a simple, sparse performance, in keeping with the tone and feel of the album. A song from Herefordshire 'Rose in June', is proceeded by for me, the track of the album, Les Barker's 'Paint me, Redouté'. This is really a 'hair standing on end' moment.
The traditional German 'Winter Rose' is twinned with a Welsh tune 'Rhosyn Wyn' beautifully, and the up tempo 'The Rose is White, The Rose is Red' lifts the mood a bit, before the dark and emotional, 'The Crown of Roses'. Wonderful, classic Tabor, June at her best.
The penultimate track is the well known 'Barbry Ellen', which gives way to that all time tear jerker - Les Barker's 'Maybe then I'll be a Rose'. Fantastic!
Not as busy or complicated as June's last CD 'A Quiet Eye', but still a classic work. More recommended than I can ever recommend...
Jon Hall
Taiko to Tabla @ Ocean, Hackney - 5th April, 2001
'Taiko to Tabla' is two world-class percussionists, 40 drums on stage and a skin-tingling, mind-blowing and brilliant fusion of Indian, African and Japanese drumming. This is expressive and musical drumming at its aural and visually thrilling best.
I'll paint you a picture. Pete Lockett (tattooed arms, plaster-protected thumbs and forefinger, fair hair flying and shoeless) attacks his drums with passion and purpose alternating with sensitive singing drum patterns from fingers (the tiny tambourine-like Kanjira from south India, pitch bending with one hand whilst drumming with the other) or voice accompaniment to finger drumming on a frame drum (reminiscent of scat singing. There is a name for this and I know someone will enlighten me).
Joji Hirota conjurs up the spirit of Buddhist temples with bowed brass gong, bamboo flute and resonating prayer bell. He is intensely in control of the elements: you 'hear' the birdsong, water falling on stone, the sound of distant thunder as bongos and taiko take you to a stormy crescendo.
Together they weave, oppose and compliment one anothers techniques. Their Heartbeat finale, playing the huge Japanese Taiko drums with sticks, is like a display of martial arts or an army at war. The two of them drum in powerful unison until every atom of the venue is vibrating in a huge technicolour soundscape. Outstanding!
Pete Lockett's exploration of rhythm and texture by way of skin, wood, brush and vocals has taken him to several continents and many collaborations, including Network of Sparks with Bill Bruford, with DJ Luke Vibert & pedal steel master BJ Cole, and with Sin E's Steafan Hannigan. There's much more to know and appreciate about this master magician and the rhythms he conjurs. I recommend the following albums, a visit to his website and to get out there and see him 'live':
Network of Sparks featuring Bill Bruford: One (MELT2000) and Taiko to Tabla recorded live at the Bruges Festival (Zoka-EMI)
Sue Cavendish
Henry St. Claire Fredericks - aka Taj Mahal - is a long-time icon of the blues and roots scene, who rose to prominence in the late-1960s largely through his work with Ry Cooder and a series of widely acclaimed and influential solo albums. His Massachusetts upbringing exposed him to a veritable gumbo of musical influences, which he carried through into his own eclectic brand of blues, folk and gospel that took in indigenous musics from Afro-America to the West Indies along the way. The Real Thing is the 1971 album that was recorded live at the Fillmore East , which places Taj in the role of charismatic band-leader and soulful front-man on a generous hour-long set that takes in the occasional solo country-blues offering (Fishin' Blues) amongst the deliciously brassy bigger-band outings where Dixieland and swamp meets stewball R&B and including a couple of significantly extended jams which showcase a good-time vibe alongside the expressive versatility that was (and still is) such a hallmark of Taj's musical personality. Passionate and driven, yet at the same time relaxed, this set is a paragon of its type, with universally excellent performances from all ten musos involved. This timely new reissue of the album (licensed from Sony) is well presented, with notes which maintain a sensible perspective and give just enough detail to satisfy. If you don't have it already, then don't pass it up this time round.
David Kidman June 2008
Brought up in Co. Kildare, Heidi moved to New York with her brother at age 18, then in 2002 she had a lucky break when she was invited to join Cherish The Ladies when their then lead singer Deirdre Connolly left the band. Since which time, she's subsequently relocated, initially to Ireland and then to Edinburgh, and herself finally left the band last year. In Love And Light turns out to be Heidi's third solo record, and on this showing I can't imagine why the previous two never reached me for review.
This latest is an impressively assured collection, with the focus this time in the main falling on songs by contemporary writers (Tom Waits and Boo Hewerdine being the best-known) and drawing from a diverse spectrum of influences. Heidi also gives us sparkling renditions of three traditional songs, of which Bedlam Boys is especially vibrant in its reel-rich setting. While the primary purpose of the album is naturally to showcase Heidi's typically "awestruck and tender" vocal timbre, her thunder is almost stolen (albeit quite subtly!) at times by her "core backing band" comprising Boo Hewerdine, Neill MacColl, Roy Dodds, Ewen Vernal, John McCusker, Michael McGoldrick, Donald Shaw and Andy Seward, with guests on specific tracks including John Doyle, Eddi Reader, Rosalie Deighton and Ivan Drever (the latter duetting with Heidi on The Blackest Crow).
Heidi's voice has been described as "impossibly lovely"; her phrasing is smooth and largely intuitive, much like you'd imagine an Irish Kate Rusby might sound (that's meant as a compliment to both ladies!) - this is specially apparent on her treatment of Glenlogie (the "Dick Gaughan version"). There's also a distinctly Rusby-like soft-focus air to the musical arrangements on the majority of the tracks, with light and airy textures skilfully managed, though the additional string section on If You Stay is perhaps a tad obtrusive. The best of the songs suit Heidi's approach down to the ground and need no special pleading: J.B. Goodenough's fond Parting Song and Tom Waits' tender Time work especially well, as do the pair of Boo Hewerdine songs (Invisible and Everything), and the Tim O'Brien/Darrell Scott song Music Tree. Less successful to my mind are Whispering Grass (no contest with the celebrated Sandy Denny version!) and the disc's rather cloying finale When They Ring The Golden Bells. The arty design and presentation of the digipack housing the CD are intended to be a selling-point I'm sure, but I find it less appealing simply because the typeface used is rather fussy and cramped and not at all easily readable, and the booklet reprints lyrics for only seven out of the 12 songs (presumably for copyright reasons?).
www.myspace.com/heiditalbotmusic
www.heiditalbot.com
David Kidman February 2008
Record companies have had a field day releasing 'remastered' CDs of classic albums but the value provided to the listener can, sometimes, be questioned. In this first batch of Talking Heads releases, some benefits are immediately obvious as 'Talking Heads: 77', 'More Songs About Buildings And Food', 'Fear Of Music' and 'Remain In Light' arrive in a CD/DVD format. The CDs all contain additional tracks and the DVDs have 5.1. Surround Sound for those suitably equipped as well as some added videos.
I'm sure that I don't have to spell out their legendary status. They are a band without comparison because nobody sounds at all like them. Though they have influenced many others from their contemporaries such as Gang Of Four to the modern day Franz Ferdinand. Taking each of these in turn, let's look at the detail.
'Talking Heads: 77' arrived at the start of the punk era with a staccato style and a true classic in 'Psycho Killer'. As a debut album, it was staggering and is found here in all its splendour. To complete the picture, there are the singles or b-sides 'Love = Building On Fire', 'I Wish You Wouldn't Say That', and 'Psycho Killer (Acoustic Version)'. Add to this, the hitherto unreleased 'I Fell It In My Heart' and 'Sugar On My Tongue' heard for the first time on an earlier compilation. Great additions to the original record.
'More Songs About Buildings And Food' is less rewarding in terms of the additions with alternative versions of 'Stay Hungry', 'I'm Not In Love', 'The Big Country' and 'Thank You For Sending Me An Angel' that are interesting but not essential.
'Fear Of Music' was the record that loosened any links to recognisable musical influences and set them apart from the pack. Here, the additions provide tastier alternatives with growling guitar being layered over versions of 'Life During Wartime', 'Cities' and 'Mind' sat alongside the intriguing, unfinished 'Dancing For Money'. These are worthy alternatives that might have been preferred at other points in their career.
'Remain In Light' threw funk and world music into a musical pot that was already rich and distinctive. Unfortunately, the four additions are all unfinished outtakes with 'Fela's Riff' flagging up where their influences were coming from at this point.
So, as you'd expect, the additional tracks are variable though they all offer interest to the Talking Heads fan. If there is a disappointing element to this first batch, it is the rather dull videos that are all from live appearances. However, bleating at this is pretty churlish given that these double discs are currently available for under ten quid. Roll on the next set of reissues from them.
www.rhino.com/artists/talkingheads
Steve Henderson
Talking Heads fans have, hopefully, perused my trawl across the first batch of CD/DVD issues - if not, take a look there because I don't want to repeat myself here! You can check out formats and chat of their legendary status in that Netrhythms review. Let's get down to the nitty gritty here.
The first one in this second batch is 'Speaking In Tongues'. It was their last release for WEA Records and a point in their career where rumour suggested that the band started to fall out. Certainly, some of the material is fairly lightweight and hardly at the cutting edge of earlier records. It was the dawn of the drum machine and the disco beat in their music. It sparked bemused comment from some disconcerted fans. However, it does contain the mighty 'Burning Down The House'. There are remixes of this track on the CD and DVD as well as a video on the latter but it seems to be one for the completist.
Their first record for EMI, 'True Stories', seemed to suggest some slight recovery with the drum machine despatched for use with offshoot The Tom Tom Club. However, the album still had some filler material and the extra tracks - yes, even the Pop Staples version of Papa Legba - are pretty disposable. The main plus is that the DVD contains the promo videos as opposed to live versions of the songs.
With their next record, 'Naked', there was something of a return to form with Mr Byrne's interest in South American music seemingly introducing a funk that had been lost amongst the studio gadgets. Unfortunately, the extras here are pretty limited with interest only added by some more music video promos.
With the last release here, 'Little Creatures', that return to form was sustained and provided one of their best-known songs, 'Road To Nowhere'. This CD/DVD includes an early version of the latter as well as an early 'And She Was'. If you're a big fan of the song, the DVD contains the music video, too.
So, all in all, the second batch isn't as enthralling as the first batch and might suggest that the Talking Heads fan pulls down the 'Storytelling Giant' video from their shelves with all their promo videos on it - what price this available on DVD soon? On the other hand, if you wish to explore their back catalogue further, why not start here with these cheap CD/DVD combinations.
Steve Henderson
James Talley - Got No Bread, No Milk, No Money, But We Sure Got A Lot Of Love (Cimarron Records)
"30th Anniversary Edition" of the original 1975 issue, this cd comes with a bonus cd of a radio interview recorded at the time that lends an insight to the background of James Talley and his music. Apparently the record made quite a splash at the time, it's simple directness contrasting hugely with most other Nashville product of the time. Sadly, perhaps, for James Talley, it didn't lead to a lasting career as a musician; though still writing, he's had to earn his living in other ways. He takes a deep pride, though, in being a working man, working alongside ordinary folk, so maybe he's happy enough that that was how life turned out for him.
Described in contempotary reviews as country-folk, these songs straddle those fields of music as much, and as well, as any other record you might care to name. The album opens with a swinging tune motored along by Johnny Gimble's fiddle that celebrates Talley's Oklahoma childhood and the Saturday nights when they would dance to "W.Lee O'Daniel and the Light Crust Doughboys". Lyrically, that about sets the tone for the rest of the album: celebrating the simple rhythms of working people's lives, people living on dreams and the love of family, Saturday nights and finding the good gal who'll make your life complete. So far, so sentimental, and the sweetness of the singing and the arrangements re-enforces that sentimental sound. Thirty years on when we've embraced the darker moods of alt. country this might seem a bit cloying for modern tastes, too close to John Denver for comfort. There is, however, a rugged spine to these songs, a rootedness in real lives that means they deserve their place of honour in the line that leads from Woody Guthrie to where we are today. "Give Him Another Bottle", for example, is a simple expression of fellow feeling for an ex-railroad man begging dimes on the street corner after an accident cost him his livelihood and his happiness. So, "Give him another bottle, let him ease his mind". And whilst the Nashville mainstream would have given this a slow sickly over-sweet arrangement, Talley and his fiddler turn it into a fast-chugging railroad song, a celebration of the drunk's earlier life.
Elsewhere, he gives us his take on "Red River Valley", beautifully played and with an added verse of his own in the middle; the famous tune is abandoned for a sparse dreamy sequence at that point in a songwriting experiment that reminds me of stuff Don Maclean was doing at the time, all of which makes it about as "folk" as you can get in an American context. Not content with that , "Sing Song Kitty", which I only knew from Doc Watson's version, turns up with different words - nonsense and otherwise- as "Daddy's Song", and sounds just great. It seems there are as many versions of that song as there are households that sang it.
Throughout, the playing is warm, lively and sensitive and Johnny Gimble's fiddle is a particular delight; recording back in 1973 was a protracted and informal affair and the core musicians were augmented by more than a dozen others who "happened by", including a young John Hiatt who contributes the lead acoustic guitar on one track. All in all, a quiet delight.
www.jamestalley.comJohn Davey
For his latest release, Jeff Talmadge has gathered some of Nashville and Austin's top musicians and produced an album that is as gentle as it is deep. Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer. He opens this, his second album for CoraZong, with Never Saw It Go. This is Alt. Country and very easy going. Let Her Go showcases Talmadge's velvet voice and is some more easy going Country. Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album. This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland. He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination. Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy. Bob Dylan's Girl Of The North Country is played as a lonesome cowboy song with obligatory wailing harmonica. Talmadge says that this is one of his favourite Dylan songs and that he'd always wanted to record it. He should be pleased with the result as the band plays as one.
Because Of You gets him out of first gear - almost. Like the others, this skirts the area between folk, Americana and Country. Train From Amsterdam slows things back down again and is just so easy to listen to. This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands. White Cross remains firmly in the slow lane and mixes Americana with Country. In the US it is common practice for people to place small white crosses at the scene of road accidents and it was spooky that both Talmadge and his friend, Claudia Russell, were both working on a song on this topic at the same time. They thought it would be best if they collaborated and the result is here. So The Blues Would Stay is Americana and very slick. Scrapbook is an almost seamless transition from its predecessor and keeps up the gentle theme. This idea came from Talmadge thinking that every place he visits is like turning the page of a scrapbook. The slightly jazzy Chet Baker Street closes the album and Talmadge doesn't crank it up, even for the last song. This album is perfect for when you have a few friends around and don't want the music to completely drown out the conversation but still want to raise a few talking points.
David Blue August 2007
Texan singer-songwriter Jeff writes strongly and powerfully, much in the tradition of Townes Van Zandt and Guy Clark (those especially called to mind) - well at least that's on the evidence of Blissville, which would seem to be Jeff's fifth CD release. I was very much taken with the warmth of Jeff's idiomatic, honest, intimate, sometimes half-spoken vocal style, and by his plain-speaking and simply evocative lyrics. He cloaks his stories of regret and oblique reminiscences in attractively homespun and often decidedly ironic philosophy, a fetching combination that yields as much intellectual as pure listening pleasure. Examining the liner notes, though, Blissville would also seem to be, at least in part, an anthology of sorts, for it's stated that of the album's thirteen tracks, three had originally appeared on Jeff's 2001 album Bad Tattoo, whereas a further two are from 1999's Secret Anniversaries and two others from 2000's The Spinning Of The World (the versions here differing in that they benefit from remixed vocals, it says). That leaves just six tracks having been newly recorded in 2004. But whatever the provenance or vintage of the songs here, Jeff's output is heard to be mightily consistent and always better than likeable, with the more recent tracks in particular really characterful in a soft-edged alt-country mode that's often reminiscent as much of the rootsy mid-period Band albums as anything else. Backing musicians never let Jeff down either - no worries when they're of the calibre of Larry Seyer, Gene Elders, Bradley Kopp, Tim Thompson and Chip Dolan. Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before.
David Kidman
Jeff Talmadge - The Spinning World (Bozart Records)
Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: own label, no distribution, no PR company, no UK tour and no national radio play. We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about. Who is Jeff Talmadge? His website gives a little background information about the man, 'Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer... Jeff Talmadge is a man of multiple talents and many hats.' The musical 'hat' he wears is the one you guess he likes to be recognised in - and so he should!
The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from. Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship (with the assistance of Stephen Bruton on slide guitar, mandolin and mandola) is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy. Throughout the collection of eleven songs the professional production (by Bradley Kopp) is bright, full and warm with acoustic guitars, gentle bass and percussion, strings (cello and violin) and touches of accordion and harmonica.
His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus (and she's always a 'plus') Annie Gallup on backup vocals. Want to hear more? You may download soundclips from his website before clicking on to Amazon.com for the real thing. We may live in a spinning world but Jeff Talmadge's albums are for those important 'time out' moments - lay back and enjoy!
Sue Cavendish
John Tams - The Reckoning (Topic)
David Kidman
John Tams rocks - oh, yes he does! You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil? Think again, my friend. Just as it was surprising to realize that Unity, the album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker.
And, as might be expected, he's learned a thing or two with all those years under his belt. One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience. Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering. The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark. But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor.
In stark contrast to the (superficial) happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill. It's called Another grey & grim old grimy day - he'd be hard-pushed to find a more forlorn title - and I love it. Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own. His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours. The song has a bleak beauty that's hard to ignore.
In The ballroom, Tams slips into his pumps for the first of two songs marking the lure of the dance. Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope. Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song. Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break. Unlike The ballroom, the lyric is filled with the excitement and expectation of an evening's fun: "Throw away your troubles, lose them one by one and come on put your dancing shoes on".
But it's historical ballads at which Tams excels and Home has a belter right at its heart. Track five (of ten) Hugh Stenson & Molly Green, tells how a love-struck soldier of King George becomes a deserter to be again with his girl, Molly Green: "She is a beauty I do declare, she come from Highchurch in Shropshire. She was an angel all in my eye, which made me from my colours to fly". He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love. Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff.
It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here. In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout. Home is an album that reveals new treasures with each play. It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this. JT call Home (sorry!).
Fred Hall
John Tams, Graeme Taylor, Chris Coe et al. - NO. 47: Music Of The Good Hope (T2)
The recent National Theatre production of the play The Good Hope, relocating the tale in Whitby, provided the vehicle for a new musical collaboration between Messrs Tams and Taylor (reunited in an echo of former Home Service and Albion Band glories), providing a telling 17 minutes' worth of soundtrack that's recorded here. They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging! Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based. (Distributed by ADA)
David Kidman
You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show.
As welcome as the endorsements are , New York band Tandy – the brainchild of singer-songwriter Mike Ferrio - will never need to rely on others, the sheer effortless brilliance of To A Friend and Did You Think I Was Gone will surely be enough to sustain a long and deservedly critically acclaimed career. Rarely has a set of songs contained such an impact and achieved it so deftly.
Both albums - initially a limited release on Yellow Slipper records - refuse to take the easy route of wave after wave of trite, clichéd lyric and catchy melody, the effects are much more subtle. Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant.
Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible.
Listening to the emotion charged but decidedly non theatrical To A Friend/Did You Think I Was Gone is akin to studying an oil painting, like a skilled painter Ferrio only reveals his songs bit by bit and it takes time and effort to fully uncover what lies within each one.
Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. The trio combine to deliver what can only be inadequately described as – at least in the case of Home – a restrained and refined brand of folk.
While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights.
To A Friend/Did You Think I Was Gone are songwriter's albums, each track is fashioned and crafted until it's the best it could possibly be, it's then delivered with a sympathy and intelligence that is all too rare. Tandy may not shout from the rooftops but its music is deafening in what it has to say. Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album.
Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents. What they do on To A Friend/Did You Think I Was Gone is throw open the windows to the souls of some wonderful songs
www.yellowslipper.com
www.myspace.com/abandcalledtandy
Michael Mee June 2008
(Ed: To A Friend/Did You Think I Was Gone?Two for the price of one - with a bonus track on each! Tandy's new label (2 Minutes 59 Records) has re-released both 2006's Did You Think I Was Gone?, and To A Friend, both previously sold out.]
Tandy - Did You Think I Was Gone (AAD)
There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce.
The songs are written and sung by Brooklyn based, upstate New Yorker Mike Ferrio. The other members of the band are: Drew Glackin, Bruce Martin, Larry Campbell, Sibel, Malcolm Holcombe and Lucy Hollier.
Whatever the detail (or lack of it), the important thing is that the effects of Did You Think I Was Gone? will last for a very long time. Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train. A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear.
If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to. Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.
Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor.
Much of the force of Did You Think I Was Gone? is generated by the power of Ferrio's songwriting, On A Hill for one gathers momentum until becomes almost unstoppable.
Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong. After the maelstrom to hear a heart being poured out is a startling moment.
It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole.
Tandy and in particular Mike Ferrio will just have to endure the comparisons but 'Did You Think I Was Gone' is quite wonderfully unique.
Michael Mee
Tandy - To A Friend (Yellow Slipper)
Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who! Incidentally, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged. The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies. This would, of course, matter not a jot were the music not so captivating. To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.
John Lonergan
Tandy - The Lowdown 1997-2002 (Gammon)
Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way. With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure. The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.
Their 1999 Lichtenstein's Oriole album pricked up ears when they played the UK a few years back, and it's good to revisit their lollopping bluesy collaboration with the late Dave Von Ronk on Lorna and be reminded of the Steve Earley I Signed A Circle and the simple but complex storytelling childhood reminiscences of Pictures of China. Equally, discovering such gems as The Band sounding Facing Winter (Alone Again), the heartfelt Ship To Shore and the excellent acoustic Prine-like strummer New Candy Necklace for the first time is like having Christmas and your birthday come at once.
www.gammonrecords.com
www.yellowslipper.com/abandcalledtandy
Tandy - Lichtenstein's Oriole (Yellow Slipper 2000)
Tandy's latest album 'Lichtenstein's Oriole' is an ornithologist's delight: the sleeve notes fold out to make a nice poster for your wall!
Artwork out of the way, the music is pure joy: rootsy, rocking alt. country fare from Mike Ferrio's band. It's tight and it's got a groove, laid down by singing drummer, Irish Tom McCrum and George Rush, bass. The album drives along with acoustic and electric guitars from Ferrio and Jay Sherman-Godfrey, aided by Dobro and lap steel from session man David Hamburger, fiddle from Miss Darlene, Sibel Firat's cello, cajun accordion from Charlie Giardano and Ferrio's harmonica. It's a fine, fine album with hidden depths and secrets beneath the instant pop appeal.
'Live', Tandy is a wonderful surprise. At the 12-Bar Club and a pub gig, Rosie O'Grady's in Camden, in May, they produced as perfect a sound as a band can make, even with a slightly changed line-up, without losing any of the vitality or magic of the album. Maybe it's the other way round - the album perfectly captures the 'live' Tandy. How? Well, the album was mostly recorded 'live' in the studio and they have at least three elements working perfectly together in both album and 'live': Tom McCrum's acoustic sticks drumming (on tour he used just brushes and acoustic sticks on snare and never missed a beat). Virginian Miss Darlene's fiddle was a smoothly mellifluous constant. Mike Ferrio controlled the whole with his songs: poetry which is sharp, literate, quirky and funny. Language can be percussive in its own right; here the words roll rhythmically along, as much an instrument as his harmonica. And there were no jokes or wisecracks between songs - just straight into one great song after another. Unforgettable. An album to hug to death and buy for special friends.
Mike Ferrio's Tandy (named after a character in Sherwood Anderson's 'Winesburg, Ohio') formed in 1996 and are New York-based. I hope they come back to the UK soon.
Sue Cavendish
Rochdale's Will Tang hasn't exactly taken the conventional route to gaining UK recognition. He made his name in Hong Kong by starting off in the burgeoning blues and jazz scene before going on to be a highly rated session harmonica player playing for, amongst others, Jackie Chan. From there he went on to his first record deal and paling 10,000 seater stadiums. After a further four albums he decided to come home to the UK, settle in Manchester and release his debut UK album.
Opening with the eponymous title track, Will sets about realising the boast of the album's title. There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album. The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray. Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar. On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues. This shows a level of sensitivity and vulnerability. He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica. This gritty, blues influenced rocker is a welcome addition. Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker. Something Special is a new one and although it is upbeat, it is unmemorable.
Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this. He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini. The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul. There are two bonus tracks, remixes of Travellin' Man (the normal mix of which is not on the album) and Love Bites. The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues.
They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition.
David Blue January 2008
William Tang - Out Of The Blue (Blue Wail Records)
A Hong Kong harp player, you've got to be kidding? Well, I'm not and William Tang has as much right as anyone to express his love of the blues. This album, about 50/50 on covers and self-penned songs, goes a long way to showing how much talent the man has.
The opener, Walkin' Round is excellent and a song that any U.S. blues artist would have been proud to produce. It is a very good introduction to the playing of William and he has surrounded himself with good musicians. This is a 'live' studio album and gives us a feeling of how the band would sound in an intimate club - fantastic. Mercy Blues is full of wailing, top level harmonica and is a slow & moody song, written by Tang himself. Next up is a funky version of Nick Gravenites Born In Chicago where Patrick Murdoch gets to let rip on guitar.
Gonna Make My Way, written by Tang and Murdoch is classic Chicago style blues and the band finds a groove on Sugar Sweet with the funky bass of John French and Tang's lungs of steel. It's Alrite rocks - it's another Tang song and guitarist Murdoch produces some good slide guitar before William goes almost apoplectic at the end. Sweet Little Angel is a B.B. King song and he has done the right thing by not trying to sound like the great man and there is some more strong guitar work from Murdoch.
The Thrill Is Gone is the song made famous by B.B. King but William's voice is not really suited to this but the interesting use of harmonica redeems it. The closing track is Go Foo Guy and guitarist Patrick Murdoch wrote this. It is an instrumental finish to a good album and, like the other tracks, is held together by the tight drumming of Mark Menezes.
This is a serious blues band and don't let anyone tell you otherwise.
www.williamtang.com
www.bluewail.com
David Blue
Canada's Tanglefoot have become one of that country's most popular exports, with a loyal following in the UK largely due to their storming, swashbuckling appearances at festivals. In the flesh they've an almost overwhelming, distinctly larger-than-life presence which draws you into their stirring and passionate music: intriguing and powerful stories drawn from episodes in Canadian history are couched in universally well-crafted settings. One special thing about Tanglefoot is that even though the band's always had a strong "corporate identity" as a performing unit, each of its members is a more than capable front-person when taking the lead role on a song. Another of the band's strengths is that they are fortunate to have within their ranks a number of gifted songwriters each with a style all his/her own yet when their songs are collected together they complement each other superbly. Tanglefoot's latest studio offering, Dance Like Flames, proves no exception to that rule, comprising a varied collection that ranges stylistically from the boisterous lumberjack tale The Whiskey Trick and Al Parrish's feisty acappella Hard Work (done in the mode of a gang-worksong) to the gentler, appealing story of The Songwriter (co-written by pianist Bryan Weirmier and ex-band-member Joe Grant) and mando/banjo virtuoso Terry Young's nostalgic Lunenberg Skies. There's a wide gamut of emotions on display, from Al's deliciously menacing theatrical portrait of the Bishop on Boot Soup and guitarist Steve Ritchie's charming swing-idiom retelling of When Dad And Uncle Archie Lost The Farm, both of which contrast nicely with Tanglefoot's tremendous, lively take on the traditional Paddle Like Hell (done in authentic French-Canadian dialect, naturally!). The band's newest recruit, flamboyant fiddle player Sandra Swannell, contributes loads more than just a pretty face and some spirited musicianship, and not just in the vocal-harmony department but in the shape of a fine song, the story of Maggie, which fits in really well with the rest of the group compositions. Steve's anthem For The Day (another well-harmonised acappella item) forms an ideal closer. Maybe you'll feel that the brief sequence of slightly silly extraneous outtakes tacked on at the end should have been left on the cutting-room floor, but at least you can exit before they start. Any mild sense of underplay at moments during the set is only apparent while memories of the band's massive live presence remain in your mind; what's important is that Tanglefoot still make a suitably big sound even on disc and they're on splendid form both vocally and instrumentally here.
David Kidman February 2007
After five studio albums and even more UK tours, the big hairy ones have finally got round to releasing a live CD. Captured Alive brings right into your living-room (or bedroom, car or privy!) the full-throated abandon of this energetic Canadian sextet (careful!!). Recorded in Toronto over three nights in May last year, and following hard on the heels of the release of their successful Agnes On The Cowcatcher CD, this 74-minute selection of definitively passionate, full-frontal Tanglefoot performances marks a watershed in the band's development. It acts as both a swansong for the retirement of original member Joe Grant from performing with the band (although he continues to write for them) and as an introduction to new recruit, fiddler Terry Snider (they appear together on the set's finale La V'la M'Amie).. If you don't already know Tanglefoot from their many riotous UK festival appearances thus far, take heart: I need to come clean myself, for during the early years of their career I was wondering what all the fuss was about. I couldn't deny their energy, passion, musicianship and artistry, but somehow their larger-than-life presence, at least on CD, seemed overly concerned with maximising the impact with over-the-top delivery and a certain amount of posturing, which, although designed to impress, left me somewhat cold in the end. But more recently I've been a bit of a convert (even though it's still the case that not all of their material totally convinces me), and not only because experiencing the band live is a whole different kettle of fish. Quite simply, Tanglefoot are a top-flight live act, working hard, giving value aplenty with their supercharged, upfront performances of folk-tales that veer credibly from the good-natured and cheekily witty to the tragic and highly poignant, counterpointed by a true instrumental versatility and a hell of a stage presence. Tanglefoot are true showmen, who know how best to present their uniformly strong material and how to please an audience and keep their interest throughout a set. There are no longueurs, and every song's a winner, whether rollicking or thoughtful. Vocally as well as instrumentally, Tanglefoot invariably come up trumps too – each of them is an excellent singer, and on a-capella numbers like Secord's Warning they come at you seriously lusty (almost like Canadian cousins of the Wilsons, it's been said, but on songs like There's A Bit O' That Goes On they're more akin to a crack barbershop ensemble). With 14 songs ranging far and wide through the band's healthy back-catalogue, together with five intros, and all encased in a handsome, heavy-duty digipack with photos, lyrics and notes, Captured Alive is as essential for the Fan as for those who still need convincing of Tanglefoot's already legendary status.
David Kidman
David Kidman
Tarbox Ramblers - A Fix Back East (Rounder)
David Kidman
Tarbox Ramblers (Rounder Records)
"Sounds like they crawled out of the Delta with their instruments in tow after being frozen for 100 years!! Their honest vocals and sweet grooves propel this CD from track to track" (Ken Coomer - Wilco). This is Boston's The Tarbox Ramblers recently-released debut album - a wonderful delta folk/blues collection of mostly traditional songs which leave you grinning from ear to ear.
A sure-fire chart hit? We'd be happy, shiny people, tapping our toes, embracing our fellow man/woman, but it's unlikely it will even get into the racks here, let alone get a sniff of a DJ's turntable. What's new? That's the way it's always been for those of us who have found our music in the margins; the 'word' passed by a friend, a great review in an American magazine, a link on the internet. We find our music under the radar.
Michael Tarbox's unpretentious foursome, with himself on guitars and vocals, Jon Cohan on drums and percussion, Daniel Keller on violin and vocals and Johnny Sciascia on bass fiddle and vocals, strut their raw, rootsy rockers with a genuine feel for the soul of the South. There's a wonderful dirty arrangement of Down South Blues, a gospel acappella and tambourine Stewball, a sliding, rocking, Bukka White's Shake 'Em On Down and a jolly fiddle-swinger of a St James Infirmary and much more. It's unpasteurised and so real you can taste it. Fresh arrangements guarantee you're not left with that 'jeez, there goes another blues standard again' feeling.
Look out for those Tarbox guys, they're wonderful.
Sue Cavendish
Tarras - Walking Down Mainstreet (Topic)
Tarras are a five piece that hail from the Border area that links England to Scotland. The core of the band started with Joss Clapp(acoustic bass) and Rob Armstrong (cittern). Having worked together intermittently as a duo, they were soon joined by Ben Murray (accordion) and Jon Redfern (drums) and ultimately Emma Hancock (fiddle). This is their second album, and although it does not feature Emma, still gives a good impression of the band as they are today. Not folkrock red in tooth and claw, but a much more subtle variation. There are tinges of Bert Jansch, celtic, cajun, jazz, and other influences (even Pink Floyd) on a pot puree of memorable tunes and songs.
The rather down beat title track kicks off the album - actually it's a bit of a grower - followed by a splendid instrumental, Russian in feel with Celtic overlays. Next up is the sprightly song 'Fires', featuring some nice accordion and acoustic guitar. 'Los Troyas' is another instrumental track - a slow and stately tune with some excellent bass playing from Joss Clapp.
'Only One' reminds me of Pink Floyd in 'Wish You Were Here', with a distinctive vocal performance by John Redfern, plus massed female backing voices. 'The Siege' is another instrumental that builds nicely and includes an exciting percussion break and some great soprano sax from Luke Murray. 'Ye Mariners/Cajun Malaysian' could easily come from a Jansch album, and works perfectly. 'Calico' starts with an Eastern swirl and then develops into a Bothy Band sounding, but loose, and subtle, exploration of the trad tune. Next up is a real gem - 'Dark Eyed Sailor'. The well known trad song given a drop dead gorgeous acoustic arrangement. The CD is worth buying for this track alone. Finally, is 'Bagels', another well played and enjoyable tune set. All in all, a real gem of an album, and one to add to anyone's CD pile.
Jon Hall
This handsome double CD was specially compiled for the Celebrating Cyril day held at Cecil Sharp House on 14 April this year, and in no way is it just an ephemeral memorial issue. Cyril's legacy, like his music, reaches far and wide, and this is evidenced by a realisation of the extent of his impact on the folk scene, an impact which in turn we can gauge not only by the sheer number of performers performing his songs (itself a hefty tally), but also by the strength and depth of the tribute anthem from which this compilation takes its title: a brilliant composition by Mick Ryan which (in the words of the liner note) celebrates "the living tradition which keeps alive the songs of all those who have gone before - something (we) are all encouraged to do with every song in this collection". Exactly!... The Song Goes On here receives a splendid roof-raising rendition in a recording made at the Sidmouth Festival Tribute Concert of 2005 (led by Mick Ryan, this also features Pete Harris, Keith Kendrick, Sylvia Needham and Doug Bailey); that says it all! But before that closing anthem, we're treated to 31 songs performed by Cyril himself, taken from existing available recordings made over a wide timespan. These either derive from the Cyril Tawney Archives or are (expertly) re-mastered recordings of gems of his repertoire both traditional and self-penned. The actual selection is both canny and salutary, and is actually (contrary to what you might expect) weighted heavily towards traditional song, for Cyril's talent for reinterpreting traditional song can easily get overlooked during the course of one's enthusiastic appreciation (albeit well-founded) of his original songwriting. Cyril's versions of such staples as Ball Of Yarn and A Jug Of This could easily find a natural place on a future Voice Of The People collection, I feel, while his tender, lyrical rendition of the usually-pub-thumping Wild Rover is masterly, both astute and beautifully apposite. Cyril's easy, naturally expressive delivery and adept, deceptively simple accompanimental style (on nylon-strung guitar) may always have betrayed the influence of Burl Ives, the man whom he readily admitted was the catalyst for him taking up the singing of folk songs in the first place, but his was a distinctive voice - and presence - that once heard was never mistaken (or forgotten!). His commanding tones ring out on the one non-solo track, the shanty Roll Down (in the performance taken from the original recording of the ballad opera The Transports). It's probably fair to say that this compilation, consistently entertaining though it is, doesn't necessarily paint the most complete picture of Cyril the folk legend; for that you really need also to collect at least one (but preferably more) of the other Cyril Tawney titles (Navy Cuts or Nautical Tawney) now available on CD from the same excellent label, as well as the brand-new Live At Holsteins release (reviewed separately). And personally I'd have liked the package to have included those important discographical details such as recording dates and sources. But in every respect - performance, fine re-mastered sound quality, presentation - The Song Goes On is a magnificent celebration of Cyril Tawney's artistry.
David Kidman June 2007
There can be few if any singers (outside as well as within the accepted folk circuit) who don't have at least one Cyril Tawney song in their repertoire. Such is the stylistic diversity of his writing that his songs have been successfully covered by performers ranging from The Corries through Peter Bellamy to Martin Simpson, from Emmylou Harris & Dolores Keane through to any number of shanty crews both at home and abroad. Within Cyril's enormously varied output, each individual song (perhaps surprisingly) lends itself to a wide variety of interpretative and expressive approaches, often involving very different tempos or rhythms from those Cyril originally envisaged and (interestingly) without necessarily sacrificing their intrinsic character. The appeal of his songs is universal despite the at times relatively narrow perspective of the experience depicted. As an ex-serviceman in the late 50s, Cyril's early successes came with singing songs of his native West Country, with an easy and effortless style of delivery inspired by Burl Ives, but he was soon to display a talent for writing songs which documented aspects of life in the Royal Navy in a refreshingly different, non-jingoistic way, making great use of the colourful vernacular in a well-crafted manner that was totally instinctive and anything but exclusive or inaccessible. Even the most ostensibly downbeat reminiscences or vignettes are laced with delicious tots of humour and ironic perspective, and the language and imagery invariably highly memorable. John Tams, in his insert note, rightly dubs Cyril a "lyric poet", for he understands and communicates real life in all its contradictory moods. Cyril's own notes to the songs are provided, together with brief but perceptive appreciations from Messrs. Carthy and Tams and the indefatigable Mick Peat (who has masterminded the release). I've long thought it odd (and frustrating) that Cyril's own seminal recordings have hitherto only been available in tape form (this medium is perennially notorious for its awkwardness of access to individual tracks and its annoyingly high susceptibility to stretching or breaking), so this new CD goes some way towards satisfying what I suspect will be a huge demand for this far more user-friendly format. The recordings are drawn from the original tape releases, and have been lovingly remastered (but not tinkered with in any way!) by Oliver Knight and John Tams, emerging from the process clear and characterful with plenty of immediacy. It's no exaggeration to say that a great many of Cyril's songs have truly become part of the tradition. All the acknowledged classics are here, visiting all points of the compass between broad comedy and poignant nostalgia – Chicken On A Raft, Sally Free And Easy, Grey Funnel Line, Five-Foot Flirt, Sammy's Bar, Diesel And Shale, On A Monday Morning, The Oggie Man, Six Feet Of Mud ….. (oops, now I realise I've named more than half of the 16 tracks!). They form a representative selection that's effectively a "best of" but also an effective primer and in the end very much the tip of the iceberg – and I do hope only the first of a series of Tawney CDs. It goes without saying that Cyril's own performances are virtually matchless, and not only as an authoritative interpretative benchmark, with superficially simple nylon-strung guitar accompaniments that make the whole listening experience an intimate and compelling one. Oh, and by way of a bonus this superb release is capped with two extra tracks not listed on the cover (Drunken Sailor and Reunion). Yes, I'd regard this release an essential acquisition.
David Kidman
A couple of years back ADA brought us a wonderful compilation of Cyril Tawney performing his own songs, taken from existing tape releases and lovingly remastered. Its sequel has been long awaited, and here it is - punningly subtitled "Songs In The Quay Of Sea". This is explained in John Tams' booklet essay, which I simply can't do better than to quote: "For such a maker of well-crafted and celebrated songs … you would expect a collusion at least with the tradition, but the depth of respect, the ingestion of the spirit, the command that could only be drawn from a professional sailor is here comfortable, confident, wayward, wry and passionate. The sea is central to Cyril Tawney. It has been his inspiration, his distraction, his baulk, his spring, his passion - his life." So this is a collection not of Cyril's own songs, but of his interpretations of other material taken from the vast corpus of sea songs, here largely from fairly traditional sources but alongside some rather less familiar choices (a superb rendition of The Fireship) and the occasional composed song thrown in for good measure (Bob Roberts' Waiting For The Day transposed to the south-west). It's a pity that Cyril's otherwise informative liner notes don't acknowledge the original sources for the recordings - I remember several from the tape issues, but for all I know others may have been freshly recorded, the sound quality is so good! Whatever, this is a great collection, showcasing Cyril at his compelling best as an interpreter of nautically-inclined material. His joy in singing is overwhelmingly communicated, and his simply judged yet often quite idiosyncratic nylon-strung guitar accompaniment (on around two-thirds of the selections) invariably proves a perfect and distinctive foil for the word-pictures he creates. Some of his renditions of oft-trodden material are among the best available, indeed. Just listen to the infectious glee with which Cyril conveys the personality of The Rambling Sailor, or the poignancy which he brings to Fare Thee Well My Dearest Dear, or the authority with which he invests the ballad of the Dark-eyed Sailor. Not to mention Cyril's unusual version of New York Girls - a real treat. The 47 minutes of this beautifully-packaged CD goes by like a ship in the night - far too quickly and fleetingly.
David Kidman
Allan's one of the key songwriters of our time, a true professional as much respected by fellow-musicians as by his loyal audiences. Over close on 40 years now, he's produced a large number of intense and significantly enduring songs, and his own recordings of many of those most frequently requested remain obstinately (though unavoidably) unavailable, languishing on long-deleted LPs and CDs (and yes, there's three of Allan's albums that I've never even owned on disc myself!). With this in mind, Allan has chosen to go into the studio and re-record a dozen of his best songs which fall into that unfortunate category. Yet considering its status as a collection of songs from different periods of Allan's writing career (spanning the quarter-century from 1970 to 1994) and its originally-intended function as a kind of stop-gap pending Allan's next album of brand new material, this set works fantastically well as a strongly unified offering in its own right which highlights both the mighty consistency of Allan's writing craft and the unstintingly high quality of his singing and playing. It also points up the stature of Allan's own continually evolving interpretations of his earlier material, by presenting the songs in stripped-down settings (just voice and guitar or piano) which in most cases are radically different from the original recordings. This method permits an altogether closer focus on the vocal nuances of Allan's increasingly mature renditions, which embody what I can only describe as a more conversational delivery that brings a more intimate expression of the emotional climate and extracts further (hitherto unacknowledged) subtle insights from the lyric. The unadorned new settings serve to retrieve the essence of the songs, meaning which may over the course of time been lost in indifferent or over-cosy cover versions or buried beneath inappropriate instrumentation. The incredibly heartfelt simplicity of Now You Know still speaks emotional volumes, as do other oft-requested songs such as Flower In The Snow and For An Old Friend. Priceless observational pieces like Urban Love Song glisten like freshly-polished jewels, while the reflective Chimes At Midnight (one of three songs on which Lutz Moeller's grand piano takes the place of Allan's guitar) also gains much from being shorn of its late-80s full-band arrangement). Yes, Allan, at the present moment you very probably "couldn't possibly play and sing any of them better than (you) have here": snapshot in time though any recording inevitably is, I'm strongly inclined to agree. It shouldn't be so easy to temporarily lose count of just how many great songs Allan's written, but I suspect that even his biggest fans can be guilty of doing just that - so this immensely rewarding new CD will provide a further salutary reminder.
David Kidman February 2008
Several times BBC Young Tradition Award finalist, Manchester-born Becky is one of the few female players of the uillean pipes in England today, and she's already a session and festival veteran of several years' standing. She's built a considerable reputation for her distinctive interpretations of traditional tunes - not only on the uillean pipes, but also on the Northumbrian smallpipes, whistle, fiddle and duet concertina - and for her skill in composing and arranging tunes that continue the tradition. Her debut CD was released over five years ago, a modest and unpretentious offering which eschewed precocious showing-off and instead concentrated on the music-making in the convivial company of her informal band of friends. Ireland Bridge, the followup, moves on a step by broadening the instrumental palette to include piano and demonstrating the increasing sharpening of Becky's arranging skills to incorporate countermelodies and layers of harmonies into her individual presentation of the tunes. Becky clearly feels no further need to prove herself, as there are no purely solo tracks this time round. But there's ample compensation in the shape of the quality of her playing in consort with her principal accompanist, here the skilled and tastefully virtuoso guitar/bouzouki player Dave Wood, while she's also retained the services of Hugh Bradley (bass), and Leigh Stothard (drums), Paul Cowham and David Kosky also contribute at times. Whether the tunes are traditional or self-penned (and there are plenty of both on offer here, with the latter just in the majority), Becky's approach is genuinely exhilarating, full of verve and dynamism, retaining a solid base in traditional form and setting, but she brings in touches of folk-rock and even baroque at times and the textures she employs are invariably full of interest, ensuring the listener stays awake! Right from the vibrant opening title track with its multitracked melody line, through the smallpipes showcase Smallcoalpiper and a stately treatment of O'Carolan's Captain O'Kane, and on to the more pictorial River Rose and finally the Can't Help Smiling set that rocks away to close proceedings - and I bet you can't too... A most pleasing instrumental album that's just a bit different from the usual sequence of tune-sets - and therein lies its freshness and appeal.
David Kidman April 2008
Bram's been a mainstay of the renowned folk label Fellside almost since its inception, and Song Singer, his appositely-titled ninth album for the label, keeps the faith by maintaining his proven, winning formula - that of presenting another fine selection of songs that Bram obviously loves singing. It's inevitably a very personal selection, so not all the songs will be to everyone's taste (there's one that I personally just can't get on with for instance), but if anyone can make a case for a song then Bram's your man. His genuinely accommodating performing style has been labelled "easy listening folk", but while that has an element of truth (in the sense that it won't frighten the horses with radical or aurally challenging arrangements, say), it should not be taken in the pejorative sense, for Bram's an entertainer in the old-fashioned sense, a purveyor of good honest artistry: what you reliably get from Bram is good songs well sung and attractively arranged (and thankfully, without an excess of bland keyboards!). On this latest offering, Bram's unpretentious yet wholly committed renditions are ably and tastefully accompanied by decent (and primarily acoustic) textures co-ordinated by engineers Paul Adams and Bob Hallard and featuring string virtuoso Stevie Lawrence, fiddler Iain Anderson, cellist Wendy Weatherby and other similarly expert musicians of unassuming excellence. Several of the songs are ones that Bram's been featuring in his live sets for a long time but not got round to recording despite repeated requests - until now, that is, and so his fans will welcome this disc with open arms for its inclusion of favourites like Rose Of Allendale and Huw Williams' Geordie (Will Dance The Jig Tonight). The songs that work the best for me are those where song and setting truly cohere (though it helps if I personally respond to the song anyway, of course). On this occasion I'd single out for special mention Judith Haswell's moving song of farewell Harbour Lights (some particularly lovely harmony vocals from Linda and Sue Adams on this one), James Keelaghan's Hillcrest Mine (why do songs about mining-disasters often have such jolly, even brilliantly catchy tunes?!!), John Richards' uplifting If You Can Walk You Can Dance, Jean Ritchie's See That Rainbow Shine (done in suitably uplifting acappella), and one completely new to me, Writing Home by Miv Cameron and Kevin Hughes (and thanks Bram for introducing us to it!). I also liked Bram's thoroughly appropriate (if unusual) interpretations of two recent but quite well-known songs dealing with the cotton industry of his native Lancashire (songs which in lesser hands tend to get saddled with a glib, overly cheery treatment). I could best sum up by saying that's what I've always liked about Bram - ie. it's clear that he really understands the songs and cares about putting them across: his expressiveness is natural and without a trace of affectation. This album does him proud, and it will quite probably come to be regarded as his best to date.
David Kidman December 2007
Bram Taylor - The Night Is Young (Fellside)
Though a constantly reliable and entertaining performer who remains loyal to the folk scene, Bram never gets the level of recognition he deserves it seems. I thought his previous album of all-new material, Fragile Peace (which I reviewed in Stirrings 109), might well have been the one to bring him a healthier profile. Bram's stature as a performer could only be enhanced, I felt, by his perennially attractive and accessible presentation of a series of well-chosen songs, many from the pens of unjustly neglected writers. But somehow that didn't quite happen, and I fear it's still unlikely to with this new CD. That comment shouldn't be taken to imply any lack of quality or consistency - far from it; it's just that Bram treads a roughly similar path again, using his customary artisan-like approach, which many listeners in this age of immediate impact and gushing trendsetting will persist in regarding as old-fashioned. For The Night Is Young, Bram has gathered together a generous selection of top-quality material, but tips the balance just a little further onto the side of the traditional than usual; here five traditional songs get his own special interpretative treatment along with one by Robert Burns and nine by modern songwriters. One of Bram's strengths has always been the seeking out and performing of fine songs by contemporary writers (Larry Kaplan, Brendan Graham, Willard Gayheart, Ian Chesterman et al.) that have been brought to his attention through his travels around the folk clubs of Europe. In fact, I'd not heard the majority of these songs outside the confines of the better class of club singarounds, and it's good to hear them being given permanent take-home exposure (as it were) by a true professional. For, to his credit, Bram always manages to choose songs that suit his own vocal characteristics; he's in particularly good voice this time round - pleasing, firm and enviably even in tone, though its very evenness can sometimes give the erroneous impression of blandness, one which is reinforced at times by a slight over-use of reverb on his voice. But Bram certainly appreciates some lovely supporting harmonies and/or chorus vocals on several tracks from Linda and Sue Adams, and Bob and Michael Hallard; these combined forces are perhaps most impressive on Eileen McGann's Wisdom Guide Me, sung totally unaccompanied. Instrumentally, aside from Bram's own guitar and occasional duet concertina, the audio signature of the album mostly revolves around the consort combination of the bouzouki of Steve Lawrence and the fiddle of Stewart Hardy - a glorious sound. The audio signature of just a few other tracks concentrates on the piano keyboard of Ian Kellett; at times this is attractively classical (especially when boosted by Stewart's fiddle and viola), too close to "easy listening" for my taste on If I Should Leave You (beautifully sung though it is). I'll close by giving honourable mention to Bram's treatments of traditional material, notably his gentle, wistful, decidedly non-raucous take on The Holy Ground (the arrival of which coincided with Tom McConville's similarly considered recent recording) and his inspired, welcomingly non-lugubrious revisit of Annan Water. Bram clearly still enjoys singing and discovering both new songs and fresh aspects of familiar songs, all of which he communicates strongly on The Night Is Young.
David Kidman
To those who only know Chip through his writing the classics Wild Thing and Angel Of The Morning, this set of very recent self-penned material will definitely come as a revelation. It's proclaimed as a mini-album, and yet it lasts nearly an hour; and it contains some of his most poignant and thought-provoking writing. In effect, it's a compilation release, which sets a track from a forthcoming album/book release alongside two tracks from the recent Rhinebeck Sessions (another soon-to-be-released project) before delving back to Chip's (currently out-of-print) cult 2001set Black And Blue America which at the time of its release caused a sensation in Europe for its cultural and historical commentary. All told, New Songs Of Freedom is a powerful collection of folk-Americana that reflects Chip's special perspective on America's past, present and future. The Rheinbeck tracks both deal tellingly with the current plight of the forgotten jungle warriors that the CIA hired to fight in Laos during the Vietnam War, while the three Black And Blue America songs are still incredibly relevant seven years on (begging the question why not re-release the whole album). New Songs Of Freedom is bookended by Dance With A Hole In Your Shoe, its closing track being the 24-minute fly-on-the-studio-wall account of the making and development of the "sneaky Walk-On-The-Wild-Side groove" of the song by Chip and his band whereas the opener is the end-result, the finished recording - and the latter must rank as one of Chip's most enduring creations. This is a very fine (if mildly tantalising) set, that gains a perhaps illogical sense of unity through its piecemeal nature.
David Kidman June 2008
Now in his 60s, not only is Chip Taylor's music interwoven into the very fabric of American culture - he is after all the author of the iconic Wild Thing - but his life outside of music would make a great morality tale on modern life.
When his High School band, 'Town and Country Brothers' broke up, he became a professional golfer. When a wrist injury put paid to that career he became a musician, talk about living the American dream. After some minor success his songs came to the ears of Chet Atkins, who began recording them. Along the way he discovered and produced James Taylor and Eric Sands, just for good measure he produced Neil Diamond's Brooklyn Roads.
In the 70s and 80s he released six solo albums, one of which, Chip Taylor's Last Chance, was described by Rolling Stone as the 'best album of 1973'.
One of his songs - Son Of A Rotten Gambler- became especially pertinent as, during a sabbatical from music, he became a professional gambler both at the tables and the track, in his own life Chip Taylor has enough material for a dozen albums.
Despite being blessed with massive talent and earning equally huge status, Taylor has remained close to the roots of his music and it's that philosophy which underpins Unglorious Hallelujah.
It's not so much that you sit and listen to Chip Taylor, as accept an invitation to enjoy an evening in his company. On Unglorious Hallelujah he shares his stories with the listener. At this point in his career he has no need to impress, he's just doing what has always come naturally. Not surprisingly there is a thread of reflection running through his music. What Would Townes Say About That and This Old Town are both songs written by a man who has seen much but been impressed by little, Van Zandt being the exception that proves the rule.
Taylor's slightly gnarled, almost world-weary delivery will bring obvious comparisons with Willie Nelson and, like Nelson, Taylor's honesty and absence of ego immediately forges an unbreakable bond between artist and audience, Taylor is one of us, his music is our music. It becomes almost a privilege to share in Daddy Why'd You Take My Guitar Away, it's a glimpse into the personal history of a sensitive artist and a thoughtful man.
In common with all great musicans, Chip Taylor has the gift of making those on the outside, care as much as he does about tales like Jack Knife. Make no mistake Chip Taylor is as astute a chronicler as any of the great American literary figures, the only difference being that he wraps his tales in music. Disc 2 of the set is titled Red, Red, Rose and Other Tales of Destruction. A title that would lead you to deduce that it's not the happiest collection of songs.
You'd be half right because while it is a collection of poignant love songs, there is a wry humour to Bippity Boo and The Trouble With Scientists. Like Unglorious Hallelujah, Red Red Rose is an album with a heart, soul and mind all of its own.
On both CDs Chip Taylor shows himself to be perfectly comfortable opening up, he may have forged many careers in his 60-odd years but he was born a romantic and he'll die one.
www.trainwreckrecords.comMichael Mee, Editor, Hawick News Oct 2006
Currently enjoying a long overdue revival following his return to music making in 1996, his name recently gracing the Number 1 slot courtesy of Shaggy's rework of Angel of the Morning (a mere 34 years and 8 months since Taylor's previous No 1 with The Troggs version of Wild Thing), this is arguably his best album since Last Chance. Voice on vintage dust-cracked semi-spoken form, there's his usual selection of countrified reflective relationship songs about loves lost (You Left Me Here), remembered (Blind Of The Midnight Hour or Stroke City Girls, suggesting Taylor could give Casanova a run for his money) and enduring (The Ship, one of two poignant duets with Lucinda Williams) as well as the getting old/life on the road odes represented by What A Smile You Had and John Prine duet The Way Of It. But the album's central occupation is, as the title and its between-track archive news clips suggests, an ambivalent observation of the US of A. It Don't Get Better Than This wields a nice line in irony, referencing Tiger Woods, Springsteen and "sending that kid back to Cuba", Theme For An American Hero could be simply about an old guy meeting an old flame or it could be a fable about America's lost and forgotten, Forth Worth Saturday Night (a nod to Robert Earl Keen) a good old boy knees up that hides a lament for youthful promise pissed away, and, one to rile the Texan fundamentalists, the fun but heretical questioning of Dance With Jesus. The album's key of course is the title track, a sim