| Thought this was worth sharing here....
Craig
------- Forwarded mail received on 29-Apr-1992 at 21:49:32 -------
From: VBORMC::"jablin@nevada.edu" "DOUGLAS JABLIN"
To: majors::cockburn
Celtic Folk-Rock, Celtic Rock-Folk, and Celtic Pop
Compiled by Doug Jablin
Introduction
As a way of familiarizing myself with celtic folk-rock I posted a
question on the net asking about bands in the genre. From there I just
continued until I got to this point. I've got a problem with going
overboard with my projects. Very little of this is original, I ripped off
just about everything and didn't always give credit, for this I
apologize.
This is an information resource.
What I'd like to do at this point is have the information come to me
as opposed to me come to it. Anyone who has any information or
suggestions that they wish for me to compile into the work can e-mail me,
and I will put it in.
Feel free to pass it on or do with it as you may.
Doug Jablin
April 27, 1992
Alba: British folk band considered to have risen and failed by 1979. Dave
Weide thinks they might be pretty bluegrass.
Albion: (in many incarnations descendants of Fairport etc). These albums
are VERY English, with a heavy influence from Morris Dancing tunes. Well
worth a listen, especially if you like accordion playing. Lots of ex and
future Fairporters were in this band at one time. Emphasis is on English
country dance tunes. The early ones, now reissued in the US on Carthage
are the best, but even their latest (from 1989) has some gorgeous
moments. Only three of their albums saw official US release. "Morris On",
"Son of Morris On", "Compleat Dancing Master"---These are basically
Albion side projects. "Son" is out of print in the US, but Carthage has
reissued the others.
New Sounds says: This is the work of Ashley Hutchings. All of the
Albion discs deal with British folk dances in rocking arrangements.
Ancient instruments often join the electric guitars, bass and drums, and
the Albion Band albums include a number of vocals as well. The best are
"The Prospect Before Us" and "Under the Rose." "The Prospect Before Us"
is a strong series of dances that will appeal to both folk and rock fans;
"Under the Rose" sounds like middle period Fairport Convention with its
easily melodic folk-rock tunes.
Latest Material: Following close on the heels of two cassette
releases in August comes "Sway With Me" by Judy Dunlop & Ashley Hutchings
featuring all Albion people you can thing of (new and old) plus Ric
Sanders, Dave Swarbrick, Martin Carthy, Dave Burland, Andrew Cronshaw
etc. It's over an hour long, CS/CD only. Albino 07, Nov 1991. Many of
the songs were specially commissioned by outside writers for this album
The Albion Discography
Albion Band: Under the Rose, A Christmas Present, Rise up Like the
Sun, and Light Shining.
Albion Country Band: Battle in the Field. No Roses.
Albion Dance Band: The Prospect Before Us and Shuffle Off.
Ashley Hutchings Projects. In particular, some notable albums were:
Morris On, Son of Morris On, The Compleat Dancing
Master,
Ar Log: Net Response: The only non-harp Welsh group I know of is called
Ar Log. (Apparently the name means "for hire" or something like that;
they were going to call themselves the Welsh equivalent of
"Rent-A-Musician" but it turned out to be so long in Welsh that it
wouldn't fit on an album cover.) I believe they have at least three
records out. They use a lot of fiddle, whistles or recorders, guitars,
that sort of thing, and do decent vocals. I can't say how traditional
their sound is, but it strikes me as having a traditional feel, for what
that's worth; I quite like them.
Next Response: Ar Log are the best known Welsh folk group. They are
a five-man band with a wide variety of instruments and a very accessible,
mainstream-Celtic sound. I think their latest album AR LOG V is their
best, and AR LOG IV second, but most of their albums are strong. They
have six records:
AR LOG
AR LOG II
AR LOG III
Meillionen [all dance tunes]
Rhwng Hwyl a Thaith, with Dafydd Iwan [see below]
AR LOG IV (Pedwar)
AR LOG V
There is a new CD out combining IV and V, very highly recommended!
Most of these come with lyric sheets in Welsh and English, on the record
and CD versions at least. See Welch Folk Music.
Steve Ashley: Founding member of the Albions, he never recorded with
them. His first release, "Stroll On" is very Albionish, and does feature
the original Albions on one track, 'Lord Franklin.' His follow up found
him sounding more like Nick Drake, even using Richard Kirby (who did the
string charts for Drake's LP's) as arranger. Both are out of print.
Battlefield Band: "Anthem to the Common Man" is a classic of folk rock.
The Press Release for New Spring reveals: They have mixed old songs
and tunes with new original material. Combining ancient and modern
instruments (Highland bagpipes, fiddle, keyboards, synthesizer, guitar,
accordion, whistles, and flutes) Battlefield Band pays homage to the
roots of Scottish music while keenly exploring new routes. The band has
also led others on the same journey.
Concert Review: A friend and I saw the Battlefield Band Wednesday
night in Denver. Since I got the first word that they were coming from
the net, thought a review here would be in order. It was a really good
show. I haven't had the chance to see them before (they were last here 3
years ago) so I can't make any comparisons with anything but their first
album, but I was really impressed by those changes. (I do miss the small
pipes, though.)
Two of the four members are new--Iain MacDonald (highland pipes,
flute, and whistle) and John McCusker (fiddle, whistle, cittern,
accordion and keyboards). The previous members that are back are Alan
Reid (keyboards, vocals) and Alistair Russell (guitar, vocals).
All the members of the band are good, but I'd recommend the show
just on the strength of McCusker. He's 18, and a wonderful fiddler (his
main instrument, but he played the others well, too.) He's also
obviously quite comfortable on stage for one so young, and writes his own
tunes. (I wonder how he's feeling not being able to drink on this tour;
he *looks* 16--I'd card him in a minute.) Reid integrates the keyboards
in very nicely with the traditional instruments, and both Reid and
Russell produce good lead vocals. MacDonald's main strength is his
piping, but the flute and whistle were well done too. Quite of bit of the
program consisted of their own songs.
I'd really recommend that you catch them if they haven't been
near yet. It was a fun, high-powered show. They played a lot of things
from their new album. And they closed with "6 Days on the Road," which
included some country bagpipes. Good fun.
Pierre Bensusan: The great Algerian guitarist/singer.
Reviewing the following albums: the eponymous "Pierre Bensusan" -
early, straightish folky stuff. "Le Roi Renuad" has interesting
sax/guitar drone arrangements. "Musiques" - this is brilliant - a bit
Nick Drake/John Martyn/Stephen Fearing/occasionally even Martin
Simpson-ish, but lighter, with wordless singing - some great irish tunes.
Pres de Paris - a pleasant but not stunning album. "Solilai" - slightly
over produced, but with some good flute/guitar duet work (Blomdido Bad de
Grasse/Gladd de Brasse from Gong days!!) the Virgin Megastore 3090 had
the following in its database: "Great Acoustics" on a very small US label
(I forget which) - 3 months ago they had no record of "Spices."
Concert Review. Pierre is back on tour after what looks to have
been a long gap. I saw him in Edinburgh about a year ago and then in
Glasgow perhaps 3 months ago. I don't think he can have produced
anything since "Sola\"i," since the three records he's selling are "Early
Pierre Bensusan" (a compilation of "Pr\`es de Paris/Reels" and "Pierre
Bensusan 2"), "Musiques" and "Sola\"i". His live act is very interesting.
He used to play traditional music, mostly but not exclusively in DADGAD,
but on "Sola\"i" he moved more towards complex original compositions.
This trend has continued further. He now plays the whole set in DADGAD
and carries a very large box of tricks with him, with about fifteen
pedals. The box is capable of recording long passages (minutes) and then
playing them back immediately. (I presume it's all digital.) So he tends
to begin by playing a backing passage (which is quite interesting enough
to function as a piece in its own right) and then adds several layers on
top of it before switching some out and starting to add new ones. (If
anyone knows what the box is, The really interesting part is that he is
superbly musical and highly innovative. If you get a chance to see him,
I'd recommend it.
Dan Ar Bras: New Sounds Says: A brilliant guitarist and a gifted
composer. Played with Alan Stivell, Malicorne, and Fairport Convention,
but despite his long association with folk revival, his albums mostly
contain original works, drawing on his Celtic heritage and often dealing
with culture and mythology of his native Brittany. His first album is a
musical depiction of the legendary city Ys. Ar Bras plays both acoustic
and electric guitars, and is joined by synthesizer, piano, bass,
percussion, uilleann pipes, flute, and vielle (a Renaissance string
instrument).
Blowzabella: Very dance-oriented, very early-instrument oriented. Lots of
pipes and hurdy-gurdy noises. I like their Plant Life CD, "A Richer
Dust"; I didn't like their earlier Plant Life LP's. "Pingha Frenzy" is
worth having, even if sadly short for a CD (that's to say, it's normal LP
length). So is the earlier Blowzabella "Wall of Sound" (!), and their
really latest, "Vanilla" (Special Delivery/Topic SPDCD 1028). "Vanilla",
however, is quite, quite, stunning. And if you prefer your hurdy-gurdies
without saxophones and electric bass (and with more than perfunctory
sleeve notes), there's "The Music of the Hurdy-Gurdy" by Blowzabella's
Nigel Eaton and friends on Saydisc CD-SDL 374. HMT.
The UK magazine Folk Roots reported recently that Blowzabella would
disband around the end of this year; they were doing a final tour but I
don't think they plan to visit North America. I was surprised, given the
success that "A Richer Dust" and "Vanilla" achieved. But I imagine that
the economics are against large folk bands, especially in England, which
is a much smaller market.
Nigel Eaton, the Blowzabella hurdy-gurdy specialist, has two
related CD's which may be of interest: (1) Nigel Eaton, "The Art of the
Hurdy Gurdy", with Cliff Stapleton, Ian Luff and Paul James from
Blowzabella -- a mix of traditional and original material, with an
11-minute track from Vivaldi. On Saydisc, not too hard to find in the
US. (2) "Ancient Beatbox", an attempt by Eaton and James to take the
hurdy gurdy onto the pop dance floor, with decidedly mixed results. Lots
of synthetic percussion; Sheila Chandra sings on one track. Jo
Freya/Fraser is working with a bunch of fellow female musicians from
around the country as The Token Women, and Andy Cutting has been touring
the clubs with Chris Wood (fiddle player/guitarist/singer).
The Blowzabella Discography
PLR 038 (LP) Blowzabella
PLR 051 (LP) In Colour
PLR 063 (LP) Tam Lin (w/ Frankie Armstrong & Brian Pearson)
PLR 063 (LP) Bobbityshooty
PLR 074 (LP) The Blowzabella Wall of Sound
PLR 080 (LP, CD) A Richer Dust
SIF 3050 (C, CD) Vanilla
"Pingha Frenzy" (live in Brazil, I believe)
"The B-A of Blowzabella" (unsure of exact title)
Books: The Blowzabella Tune and Dance Book (I don't know if this is a
reissue, revision, or companion to the "Encyclopedia Blowzabellica",
which I don't see in the catalog.)
Boiled in Lead: Boiled in Lead hails from Minneapolis. They are a mix of
traditional folk and rock with touches of a variety of eclectic cultural
influences. With all the variety, they manage to form a cohesive whole -
as opposed to just a random sampling of neat sounds and diverse stuff.
Electro-celtic as a genre has been around for a long time. What
makes Boiled in Lead different from other electro-celtic bands is that
they don't just fuse Celtic music with rock instrumentation, but they
bring in an enormous palette of other musical styles and sensibilities as
well. Am I wrong in saying that Boiled in Lead is where electro-celtic
enters the World Beat trend?
So far, the rockin' celtidelic people from Minneapolis have released four
albums:
The Man Who Was Boiled in Lead, Atomic Theory Records 1984
Hotheads, Atomic Theory Records 1986
From the Ladle to the Grave, Flying Fish Records 1989
Orb, Flying Fish Records 1990
Old Lead (containing BiL, Hotheads and 2 extra tracks-75 minutes of
music) is out. The CD is $12.00, plus and 2 extra
tracks-75 minutes of music) is out. The CD is $12.00, plus
1.00 for postage, snail, $2.00 via UPS. MN residents add
7% tax.
The cassette-only release was titled A&E_ (Alarums and Excursions? Arts
and Entertainment?), subtitled LIVE AND DEMO RECORDINGS 1987 (Crack
005c). Some of the songs appear (in different recordings) on "From the
Ladle to the Grave" and one appears on "Hotheads". The song list is as
follows:
Side A[coustic]: Side E[lectric]:
Mick McGuire Pinch of Snuff
Step It Out Mary Spanish Lady
O Ya Dilley Delaney's & Cherish the Ladies
House-Husband's Lament My Son John
Tourdion & LaRotta
To be put on their mailing list, send a postcard to: Boiled in Lead,
Postbox 7514, Minneapolis, Minnesota, 55407.
Billy Bragg: Londoner Bragg began his musical career as Billy Bonkers
fifteen years ago - having quit school at the age of sixteen - in a punk
group called Riff Raff. Current right hand man Wiggy was also a member.
In the spring of 1978, indie label Chiswick issued the band's "I Wanna Be
A Cosmonaut" EP. A decade later, Billy and Wiggy had the pleasure of
resurrected the title cut for a Muscovite audience, as documented in the
video feature "Mr Bragg Goes To Moscow" released late last year.
Following the dissolution of Riff Raff, Bragg kept a low musical profile
for several years, during which time he even tried the time honored
working class route of joining the British Army. Emerging in 1983 as a
lone troubadour with a message and an abrasive electric guitar, a demo
tape of seven startlingly fresh and uncluttered songs was put out as the
"Life's A Riot With Spy v. Spy" mini album. One song, "A New England",
was later a sizable UK hit for Kirsty MacColl. He survived being dubbed
the "Brightest Hope For 1984" by the ever fickle music press, chiefly
because his style wasn't commercial enough for the mainstream in the
first place. Late that year a full length album "Brewing Up With Billy
Bragg" appeared on Go! Discs (his UK label to this day), etc.
If you like your folk music with a lot of bite, politically
speaking, then you will want to go out and buy Billy Bragg albums. The
Internationale (released in the US sometime around August of 1990). is a
short album (less than 25 min.), but it is a powerful one none the less.
On it he updates "The Internationale" and restores some socialist anthems
to their original glory. Other Billy Bragg albums have political songs on
them interspersed with love songs and stuff like that, but this is pure
politics from the socialist angle. It is also a lesson in old union
songs, for those who are history buffs. He even gives you background on
the songs in the liner notes. As for live shows, if at all possible don't
see him in the US. Unless you're so into the politics that you don't mind
hearing 5 minutes of lecturing for every 10 of music. "Waiting For The
Great Leap Forwards," is a video that is "hilarious"...and very
political. There is a videotape with two 50-minute films he did on tour:
"Mr. Bragg Goes To Moscow" and "Which Side Are You On", which is about
unions in the USA.
BILLY BRAGG DISCOGRAPHY
compiled by Colm Mulcahy, updated April 1991
THE PEEL SESSIONS Strange Fruit SFPS-????, Jun 1987
LIFE'S A RIOT WITH SPY v. SPY Utility Records UTIL 1, July 1983
BREWING UP WITH BILLY BRAGG Go! Discs AGOLP4, Oct 1984
BETWEEN THE WARS 7" Go! Discs, AGOEP1, Feb 1985
DAYS LIKE THESE 7" EP Go! Discs GOD 8, Dec 1985
DAYS LIKE THESE 12" EP Go! Discs GOD X8, Dec 1985
LEVI STUBBS' TEARS 7" EP Go! Discs GOD 12?, June 1986
LEVI STUBBS' TEARS 12" Go! Discs, GOD 12X, June 1986
THE GREETINGS TO THE NEW Go! Discs GOD X15, 1986
BRUNETTE
TALKING WITH THE TAX MAN ABOUT Go! Discs ????, Sept 1986
POETRY
6 TRACK MINERS BENEFIT EP Wake Up WOMBLE 1, spring 1987
SGT. PEPPER KNEW MY FATHER New Music Express, NME PEP
LP-100, 1988
HELP SAVE THE YOUTH OF AMERICA Electra 9 60787-1, < May 1988
WAITING FOR THE GREAT LEAP 7" EP Go! Discs GOD 23, 1988
FORWARD
WORKERS PLAYTIME Go! Discs GO???, Oct?? 1988
SHE'S GOT A NEW SPELL Go! Discs ???, ?? 1988
THE INTERNATIONALE Utility Records UTIL 11 (in),
< May 1990
Brass Monkey: (more folkish) Early 80's. Traditional Rock, mixing
Fairport with the Who (DW).
the Bushwhackers: (quite celtic). Australia.
Cappercaillie: Impressive; as good as the early Runrig stuff. Karen
Matheson, the lead singer, has one of the most beautiful voices I've
heard in a long time. And unlike Runrig now, they have more than two
Gaelic tracks on each album, and don't sound too commercial either. Some
traditional waulking songs and a lot of fast ceilidh type music in
"Sidewaulk" and "Crosswinds". I think they have three albums out, the
third being "The Blood is Strong" from a TV series about the Celts? shown
in Scotland.
I had the pleasure of seeing these folks this past spring on their
North American tour (Waulking Across North America). absolutely wonderful
performance! plus, they melted my heart by playing 'Lagan Love' which is
one of my old time favorites. Just as a side note, Mark Dury (I think
that's his name) who plays bodran and woodwinds for them has appeared on
the Billy Bragg release "The Internationale" (which also features Dick
Gaughan singing 'The Red Flag')
Cariad Cywr: I also have a tape I dubbed from a friend who has since
gone back to Wales. The group is Cariad Cywr (I think; I don't have it on
hand). They are, I guess, pop-folk, but I enjoy the tape. I'd like to
find more by them, too.
Clannad: Rolling Stone Record Guide says, An Irish traditional group that
sticks close to the older arrangements and performances of the music. The
average listener would find them more difficult to listen to than a
DeDanann or Bothy Band, as their rhythms are understated and all singing
is in Gaelic.
Partial Clannad Discography
Clannad Two, Dulaman, Clannad in Concert, Crann Ull.
Contraband: There was another Scottish band around the same time as Five
Hand Reel, and I think they were called Contraband (?). Mae Mackenna
(SP?) was the lead vocalist, and the band was very strong instrumentally.
Cordelia's Dad: folk-punk from Amherst Mass. Their debut album,
Cordelia's Dad" on Okra/Rough Trade records is currently in the stores
and making some noise on the college charts. If the Ramones played
traditional music, it might sound like this.
Cropdusters: Classed under folk-punk. Thrash-punk.
Dando Shaft: (with Martin Jenkins of Whippersnapper), Gordon Giltrap (in
vein of Nick Drake).
De Dannan: Rolling Stone Record Guide says, The best band of the second
wave of Irish traditional music.
De Dannan Discography
De Danannan 75 Boot
The Mist-Covered Mountain 80 Shan
Selected Jigs and Reels 80 Shan
The Star-Spangled Molly 81 Shan
Sandy Denny: New Sounds says, Sandy Denny was a member of Fairport
Convention, the landmark late Sixties British group that combined
elements of traditional English music with rock instrumentations. Denny's
strong singing has its roots in plain-song, and Fairport Convention's
stolid, dirge-like march beat is derived from the music of the Church of
England. Denny's solo albums feature Richard Thompson. Denny died in 1978
after a tragic fall down a flight of stairs. Albums: "Sandy" and "Who
Knows Where the Time Goes".
Sandy Denny Covers
Compiled by Colm
AR BRAZ, DAN:Rising For The Moon (SD):Songs:
:90/05:90/10:Keltia:KM14-M312:
BLACK, MARY:By The Time It Gets Dark (SD):By The Time It Gets Dark:
:87/sm:88/04:Dara:DARA-027
COLLINS, JUDY:Who Knows Where The Time Goes 4.20 (SD):Both Sides Now:7"B
:68/<11:68/ :Elektra:EK-45639:Colors Of The Day
LP EKS-75030 72/05
COLLINS, JUDY:Who Knows Where The Time Goes 4.20 (SD):Who Knows Where The
Time Goes:LP:68/ :68/11:Elektra:EKS-74033
COVINGTON, JULIE:By The Time It Gets Dark 2.45 (SD**):Julie Covington:LP
:78/0?:78/10::Virgin:V2107:
COWSILL, SUSAN & ERIC JOHNSON:At The End Of The Day (SD):True Voices:comp
LP: :90/06:Demon:FIEND 165:
DRANSFIELD, BARRY:Who Knows Where The Time Goes (SD):Bowin' And
Scrapin':LP
: :78/ :Topic:12TS-386:instrumental
FAIRPORT CONVENTION:Sandy's Song [Take Away The Load] (SD):Gottle
O'Geer:LP:76/ :Island:ILPS-9389:
HARRIS, EMMYLOU:Like An Old Fashioned Waltz (SD):White Shoes:LP:
: :83/10uk:Warner B.:?23961
KJELLMAN, CARIN:Vintervindar (SD):Carin Kjellman:LP:
: :85/00:SW:Amalthea:AM-47:Winter Winds sung
in Swedish
KJELLMAN, CARIN:Solo (SD):Carin Kjellman:LP
: :85/00:SW:Amalthea:AM-47:sung in Swedish
RED SHOES:By The Time It Gets Dark (SD):By The Time It Gets Dark:EP:
:87/00:87/05:Mooncrest:Moon-1006
DAVE SWARBRICK:It Suits Me Well (SD):Smiddyburn:LP:
:81/06:Logo:1029
THIEVES:Dawn (SD/JD):Yukatan:LP:
: :79/08?:Arista:1A-062-62970:
THOMPSON, RICHARD & LINDA:I'm A Dreamer (SD):Doom & Gloom I:CS
:85/ :US:Flypaper:FLYC-001
WHIPPERSNAPPER#:One Way Donkey Ride 5:52 (SD):Promises:
:84/12:85/03:WPS:WPS 001
WOLF, KATE:Who Knows Where The Time Goes (SD) 5.23:Give Yourself To Love
(SD):2LP
:82/11 or83/03:83/00:US:Kaleidoscope:3000
YATES, LORI:Can't Stop The Girl (LT/Cook):Can't Stop The Girl:
: :89/09:CBS:4632 881:
Disappear Fear: Folk-Rock from Baltimore. Concert Review: I saw them
last night in San Francisco. There weren't many people there to see
them, but there should have been. I had arrived quite tired at 9:30 pm,
and at 1:30am I was full of energy. I'd say that their lyrics could still
use a little work; they're somewhat repetitive. The sound was not done
very well; the singers spoke to the person doing the sound a couple of
times and he didn't do anything about it. Anyway, the group is two
sisters from Baltimore who sing together; one of them plays guitar. I
understand they worked alone at first and sounded very folk, but they
have a bass player and a drummer now, and they're somewhere between folk
and rock. If you see they're playing somewhere near you, go see them...it
won't cost much, and they're very enjoyable. They were selling a tape and
a CD (and they have another tape which they didn't have there) which I
bought without hesitation, and I left the place (after they played for
two hours) feeling like dancing.
Nick Drake: He died quite a few years ago, and only has 4 albums worth of
material (all available in the Fruit Tree boxed set from Hannibal), but
all that hear him agree that he was an important voice in the folk-rock
movement. More of the singer-songwriter sort of thing than the "trad.
arr" sort of thing, but with backing musicians from Fairport (Peggy, Dick
Thompson and Dave Mattacks), John Cale, Danny Thompson and others and Joe
Boyd and John Wood at the helm, and the fact that he was "discovered" by
Ashley Hutchings, his folk-rock pedigree is quite good. He wrote some
very good songs in a jazzy-folksy vein and had a breathy, very
English-sounding voice. "Bryster Layter," and "Five Leaves Left," are
both given 4 stars by the Rolling Stone Record Guide.
Anonymous Response: Nick Drake is an artist I like very much. I
agree with the problem of syrupy strings behind Drake, they start to get
to me as well. The other problem I have is that Drake has a way of
depressing you or making you melancholy that not even Leonard Cohen or
Joni Mitchell can touch. Just when you think the next song could lighten
up, he invariably plows you even deeper into the ground. Drake is too
much of a downer to listen to at length. I've heard it said that John
Martyn's "Solid Air" is about Drake's drug demise, they were certainly
buddies (witness share of accompanying musicians too). Check out Stephen
Fearing who is a bit slick, but very fine, and has the distinct advantage
of being alive...
The English Country Blues Band/Tiger Moth: The ECBB attempted to cross
American blues with English material. I find both of the ECBB albums
charming; "No Rules" (reportedly out of print, on Dingles Records) was
mostly acoustic, Home and Deranged was quite electric. But I've heard
some American blues fans say those albums are pretty lame. After H&D the
band switched to playing only English dance material and emerged as Tiger
Moth. The Tiger Moth album I loved; highly recommended to anyone who's
enjoyed the Albion Dance Band. Howling Moth (the last album, the only CD)
left me cold; the spirit seemed to have evaporated. Now defunct; the
second ECBB album and the two Tiger Moth albums remain available from the
UK label Rogue.
Fairport Convention: "The" Celtic Folk-Rock band. The modernizers of the
folk tradition. They came from London's Muswell Hill, had just left
school in 1967, and could be heard at weddings and youth clubs playing
"the usual sort of juggy band thing with one amplifier between three
guitars and half a drum kit. "It was," Simon Nicol recalls, "a nice
summer, and Tyger had left home and moved into a flat in the house where
I lived and was born. It was called 'Fairport'..."
The original line-up was Judy Dyble (a local librarian) and Ian
MacDonald (vocals); Richard Thompson (who also had a job making stained
glass windows) and Simon Nicol (who was cinema projectionist at the
"Highgate Odeous") on guitars; Ashley "Tyger" Hutchings (bass) and Martin
Lamble (percussion). In this form they made their major London stage
debut at the Saville Theater on one of the late Brian Epstein's famous
Sunday concerts.
The band became worried by Judy Dyble, who during her short time
with the band she managed to make a noticeable impression, particularly
through her on stage habit of knitting socks and scarves when not
actually singing! They augmented her with a sixth member Ian MacDonald.
He had an "experienced pop background" (which had once played in a band
called the Pyramids), and a good voice. Judy Dyble finally left, after
appearing on the first Fairport album. The band carried on as a five-
piece, but audiences were unhappy. Fairport had acquired something of a
Jefferson airplane image for having a girl singer up front, and a new
girl was needed.
Sandy Denny joined the band in 1968. She had joined the Strawbs for
a short time, and was well known in the folk circuit playing Dylan,
Scottish, American and Irish folksongs. She wasn't immediately impressed
with her new band. "I listened to their first album and thought it was
terrible", she says, "but thought I'd see what happened". The rest was
history.
After Sandy joined the band they started experimenting with folk
rock. The first example of this was 'Nottamun Town' and 'She Moves
Through the Fair'. The experimentation continued on "Unhalfbricking" the
bands third album. In 1969 Ian MacDonald (who changed his name to Ian
Matthews) left to form "Matthews' Southern Comfort."
Tragically, just before "Unhalfbricking", a tragic accident
occurred. Several of the Fairports were travelling back to London after a
concert when their van crashed on the M1. Martin Lamble, the drummer, was
killed, and others were badly shaken. Almost as a therapy to recover from
the crash, the Fairports threw themselves into the next project, a
complete folk-rock album. Before work on it started, a couple of new
members joined the band: a drummer, Dave Mattacks, coming in from the
dance combos, and the folk instrumentalist hero himself, Dave Swarbrick.
Swarbrick's move caused a mild sensation. Here was a leading member
of the folk establishment, with a history of playing first with Ian
Campbell and then with Martin Carthy, suddenly giving it all up to join a
rock band. And why did the wily-looking man with the disarming grin do
it? Because he liked the amplified music, and had thought long and hard
about what was going wrong on the folk scene.
"Liege and Lief" is the quintessential Fairport album, and indeed
the album that pretty much defined the folk-rock genre. Some folk-rock
fans even maintain that the band did little else of much note. Tyger left
the band in 1970 to form Steeleye Span and was replaced by Dave Pegg. His
departure was shortly followed by Sandy Denny who formed Fotheringay with
her husband Trevor Lucas. The two departures were a shock, but the band
kept going. A new bass player Dave Pegg, came in from the Ian Campbell
Folk Group, and soon looked like a veteran rocker. The new five piece
produced yet another excellent Fairport album, "Full House" (1970),
though it showed a slight move away from folk rock.
After their manager Joe Boyd quit to take a prestige job on the
American West Coast, Richard Thompson decided to leave. This line-up
recorded "Angel Delight," then came "Babbacombe Lee," the first folk
rock opera. The final remaining original member Simon Nicol finally left
in 1973, to join the Albion Country Band. A new guitarist joined, Roger
Hill, for a few months before being replaced by Jerry Donaghue and
Trevor Lucas. Drummer Dave Mattacks also disappeared to the Albions, then
came back. The Donaghue-Mattacks-Lucas-Pegg-Swarbrick line-up then
actually managed to stay together for some time. They made a dreadful
album, "Rosie", an excursion by Swarbrick into writing pop drivel. Then,
in 1973, when all but their most stubborn fans must have given them up,
they brought out "Fairport Nine," which showed them to be back in the up
again. The folk numbers on the albums's first side had all the old verve
and enthusiasm--with Swarbrick's concepts of "dramatic story telling"
coming through well on 'Polly on the Shore'. The new songs ont he second
side showed how Trevor Lucas, in particular, had improved as a writer.
A Net Response: "The Five Seasons" is quite good, and in many
people's opinion better than recent albums such as "Expletive Delighted"
and "Red and Gold". The material is the same combination of trad medleys,
acoustic ballads and Thompson-esque MOR rock ballads. More use of
songwriters like Dave Wheatstone and less in-house writing. All-in-all
quite fun without breaking new ground; and excellent musicianship.
Fairport Discography
Heyday Hannibal 1968/1987
Fairport Convention A&M 1969
Unhalfbricking A&M 1969
Liege and Lief A&M 1970
Full House A&M 1970
House Full Island/Hannibal 76/86
Angel Delight A&M
Babbacombe Lee A&M
Rosie A&M 1973
Nine A&M 1974
A Moveable Feast Island 1974
Gottle O' Geer Island 1976
Fairport Chronicles A&M 1976
Expletive Delighted Varrick/Rounder 1986
In Realtime Live 1987
Red and Black
Five Hand Reel: An early project of Dick Gaughan's, a very electric
Scots group. Long defunct, alas. Started out in 1979 but hadn't broken
through. These guys qualify as "next best thing to Steeleye Span" among
the groups I've actually heard (which, being the poor Yank that I am, is
liable to be not that many). The album "For A' That" is superb, with the
best cuts being the title tune, 'Carrickfergus', 'Haughs o' Cromdale',
'Aye Fond Kiss', and 'P stands for Paddy'. "Ive Hand Reel" and "For A'"
That, sometimes turn up used on the east coast, and were reissued
recently (on Black Crow?) in the UK.
Fotheringay: Sandy Denny's post-Fairport band. The lineup was Trevor
Lucas, Jerry Donahue, Gerry Conway and Pat Donaldson, all of whom went on
to various Fairport and Richard Thompson lineups. This band is not as
loose as Fairport, the arrangements are detailed and quite beautiful.
Carthage recently reissued this in the US.
Bob Geldof: Solo album, "The Vegetarians of Love" has some celtic
moments.
Davey Graham: From the Unremembered Folk Book: Long before anyone else
was thinking of mixing styles or inventing "folk-rock," Graham was
playing the most extraordinary fusions. He stuck to acoustic guitar and
with that instrument alone he broke down the barriers. He started mixing
blues with eastern styles, and jazz and folk. His record "> A.D.," made
with Alexis Korner in 1961, went unnoticed by the general public because
it was so advanced. Korner helped bring together the Rolling Stones and
who played "da blooz" with Mick Jagger, Jack Bruce, Ginger Baker, and
many others destined for stardom. It disappeared without a trace, but was
considered a prime example of folk-blues. Two later albums, "Folk, Blues
and Beyond" and "Folk Roots, New Roots" (both released in 1965) were
rather like delayed time bombs; their initial impact was not enormous
but the long-term effect was devastating.
Graham became one folk music's great practical academics because he
lived out the experiments that he played. He could talk of the similarity
between an air and a raga, and elaborate on his theories of gypsy
migration and its effects on Irish and Hindustani music, because he has
made those journeys himself. He was born in England in 1940. His father
was a Scottish Gaelic teacher, and his mother was from Georgetown,
Guyana. While at school he was partially blinded in his right eye. As
soon as he left he became an itinerant musician, first playing around
Europe, then North Africa.
The "Folk, Blues and Beyond" album, which consists of Davey singing
and playing solo guitar, backed by an unnamed bass player and drummer,
sums up his catholic influences and the way in which he put them
together. The first track starts with a wailing Indian sounding theme
that gradually turns into a spirited version of Leadbelly's 'Leavin'
Blues'. It's followed by an elaborate, bluesy accompaniment to an English
song 'Seven Gypsies' (the beginning of a style that was to be known as
"folk baroque"), and instrumental from Morocco, versions of contemporary
songs by Cyril Tawney and Bob Dylan, and even excursions into jazz--Bobby
Timmons' 'Moanin' and Charlie Mingus' 'Better Git It In Your Soul.'
The next album, "Folk Roots, New Routes," broke even more ground.
This time Graham didn't sing, but his guitar accompanied one of Britain's
best known traditional singers, Shirley Collins. It was shot-gun marriage
of folk songs from Britain and America and accompaniments with blues,
jazz or Indian overtones. And it worked remarkably well.
Since the mid-sixties he sporadically turned up to play clubs, made
occasional albums, and sporadically disappeared again. He had personal
and serious health problems, and followers often seemed unsure whether he
was alive or dead.
Gryphon: (From 40 Folk Favorites) Formed in 1972 around the instrumental
talents of Royal College of Music students Richard Harvey and Brian
Gulland. The Band achieved considerable success by reviving medieval
tunes and instruments (such as the crumhorn and the glockenspiel) in
arrangements designed to appeal to a modern audience.
Hickory Wind: They were around in the seventies, I don't know what became
of them. Presumably named after the Gram Parsons song. Progressive
bluegrass, Anglo-Celtic tunes, countryish originals, and even a
"world-beat" song or two (before such terms existed). Probably the
closest you'll ever get to an American Fairport Convention (Dave Mattacks
even played on a few tracks). They did one album for Adelphi, then the
two for Flying Fish. "Fresh Produce" is acoustic, more old-timey than
bluegrass. "Devil's Bridge" (1980) is truly a unique record and the "real
meat". Imagine the Allman Bros. with Gregg on hammer dulcimer whipping
through 'Morrison's Jig' ...then shades of Fairport, Ozark Mtn.
Daredevils ("Melody Lynn" sounds like it came from the first OMD record),
and on and on... Rolling Stone Record Guide gives Crossing and Fresh 4
stars.
Horselips: Rolling Stone Record Guide: Heavy Handed rock adaptations of
traditional Irish folk music. From the unidentified book: From Ireland,
they met while making a commercial for Harp lager, but in their glittery
pop world way they popularized Celtic music and helped to keep folk-rock
going. They were residents on an Irish television show in 1971, started
touring and recording in 1972, and the next year their album "Happy to
meet...sorry to part" was released in Britain. It was a pleasing, if
slightly wishy-wasy mixture of Irish airs and rock, played by a band who
were now expert at bashing out rock tunes around the tough Irish dance-
band circuit, and were likely to unwind after a gig with a heavy session
of drinking and playing folk tunes on pipes or concerintas. Their second
album "The Tain", which they released in 1974, finally established them.
It was a "concept album", based on the pre-Christian Celtic saga 'The
Cattle Raid of Cooley'. The music was mostly a rock interpretation of
traditional Celtic melodies, and was part-brash, part-traditional linked
with echoes of Jethro Tull. Like most Irish music, it was gloriously
tuneful.
Horselips Discography
The Book of Invasions (1977)
Aliens (1978)
The Man Who Built America ((1979)
Short Stories, Tall Tales (1980)
Belfast Gigs (1981)
Incredible String Band: A band featuring the likes of Davey Graham, Dan
Ar Bras, Duck Baker, and Dave Evans. That Old Folk Book says (Mixed with
a dash from the RSRG): They came from Scotland. They started as a three
man jug band in 1965, playing in Glasgow at Clive's Incredible folk Club,
from which they took their name. Like other mid-Sixties folkies, Robin
Williamson and Mike Heron started out fitting personal chronicles and
self-righteous protests to blues and fiddle tunes. Their first album was
so unincredible that at least one folk-orientated record company turned
it down, and it was not until Clive Palmer left that the other two
members--Robin Williamson and Mike Heron--suddenly blossomed out to
produce some extraordinary music. Williamson favored the rhythmic
liberties of a cappella ballads and the weird shading of Middle Eastern
quartet-tones. Heron preferred calypso accents and exuberant innocence.
With their second album "The 5,000 Spirits, Or Layers Of The Onion"
they virtually invented a new, global folk form that made use of
instruments and musical styles from anywhere. Both were excellent
guitarists, but they embellished with any interesting sound they came
across--gimbris, whistles, harpsichords or drums, fiddles, mandolins or
gimbris. More surprising still, they played them baffling well; the
result was no weak imitation off alien material, but completely new,
fresh fusion
Psychedelia was at its peak in 1967 when the String Band rose to
prominence, and they summed up the admirable idealistic sides of flower
power. Their albums mixed an Eastern sense of awe of being alive with a
Western dry humor. "The Hangman's Beautiful Daughter" is their most
eclectic and most experimental album, a pattern (never equaled) for all
the rest. Abstruse fantasies, and parables are set to melodies that draw
on everything from spirituals to Gilbert and Sullivan. Unlike the later
albums, "Hangman's" sweetness and light is balanced by humor and vestiges
and protest. The songs showed a mystical, pantheist involvement in a very
living universe. It was neo-Wordsworthian imagery drawn not from a
Cumberland vale but the world at large.
For a time the String Band managed to straddle both the folk world
and the underground. In one memorable week in 1967 they appeared
alongside Shirley Collins at a folk concert and alongside the Pink Floyd
at the Saville Theater. But it was just a matter of time before they
moved completely to the rock concert circuit, when the clubs could no
longer afford them or give them the necessary scope.
Their fourth (double) album "Wee Tam and the Big Huge" showed them
extending their range yet again, this time to jug band and country
material. It included 'Air', a simple, gently humorous anthem to the
life-giving union of blood and oxygen, set to a murmuring calypso, and
the 'The Circle is Unbroken', one of Williamson's most eerie, haunting
hymns. It was all a long way from traditional music, but the influences
were still there.
After releasing this remarkable album in 1968, the String Band's
fortunes began to slide just a little, and new members came and went. The
band's ambitions also changed. Their most adventurous, and disastrous
scheme was launched in 1970 when their musical, "U," ran at London's
Roundhouse and then toured America. It was a flop. It was described as "a
surreal parable in song and dance', and consisted of boy losing girl
because he can't see what she can see, and then eventually getting her
back, after being told "you're one of my kind, you're an infinite mind".
The spark of enthusiasm, excitement and idealism in their work
gradually dimmed. In place of exotic instruments they moved to a more
conventional rock line-up of electric guitars, bass and drums. In place
of unspecific romanticism they became Scientologists.
Incredible String Band Discography
The Incredible String Band (1966)
The 5000 Spirits or the Layers of the Onion (1967)
The Hangman's Beautiful Daughter (1968)
Wee Tam (1968)
The Big Huge (1969)
Changing Horses (1969)
I Looked Up (1970)
Relics (1970)
U (1971)
Bert Jansch: From the Unremembered Folk Book: Davey Graham started the
folk baroque guitar school, but the man who was to popularize it was born
of Scottish-Austrian parents and started work as a gardener in a plant
nursery in Edinburgh. Bert Jansch then moved to London, became a
professional musician, and was soon a regular at Les Cousins. Jansch was
influenced by Big Bill Broonzy, Lightning Hopkins and other American
classic bluesman. Unlike Graham (who just wrote a few instrumental) he
then applied his blues technique to song-wring, and the result was the
highly personal collection that appeared on his first album, "Bert
Jansch," in 1965. His voice was weak, but delicately propped up by the
intricate accompaniment. The songs were for the most part introspective
and quietly melancholy, and the best-known, "Needle of Death" (which he
soon disowned) was one of the first successful songs to be written on the
drug problem.
By the time the third Jansch album, "Jack Orion" was released, he
had become exceedingly fashionable in London, and his records were
outselling even Dylan in the Charing Cross Road folk shops. But his
interests were beginning to change. He applied the folk baroque style to
British traditional songs like 'Black Water Side' and 'Notamun Town.' In
the same year he recorded an album simply called "Bert and John" with his
only active rival in the "folk baroque" field, his friend John Renbourn.
It consisted mostly of jazz-tinged instrumentals that the two of them had
composed, along with a Charlie Mingus piece 'Goodbye Pork Pie Hat.' It's
highly inventive, free-flowing music that shows the enormous scope that
is possible with just two acoustic guitars.
J.S.D. Band: Scottish folk rock.
Ron Kavana: (From Dec 91 Pulse) Irishman, now a Londoner, may be the
hardest-working man in folk/roots music today. This year, he released
three albums, "Coming Days", with his electric band, "Home Fire" an
entirely acoustic set, and L.I.L.T--For the Children. The latter is a
special collection featuring the Pogues, Mary Coughlan, Kavana and others
performing Kavana's songs; it's a benefit for the Belfast Charitable
Trust for Integrated Education. "Coming Days" features diverse influences
combined with his Irish roots including: African rhythms, Caribbean
flavor, Cajun, R&B, rap'n'reel, etc.
John Kirkpatrick: Ex-Steeleye Span, frequent Richard Thompson
collaborator, ex-Albion Band member and all around cool squeezebox guy.
Concert Review: I saw Mr Kirkpatrick performing to a small audience
in Swindon the other weekend. Small in spite of quite wide publicity, I'm
sorry to say - only about 60-70 there. He did a wide variety of stuff,
and I'm afraid I can't remember many of the titles. Suffice to say, the
virtuosity of the playing was remarkable, and he has a very good rapport
with the audience.
Because of the low numbers, the atmosphere was more like a folk
club night than a concert. I hadn't seen him before, although I've heard
the Steeleye stuff. The range of sounds he manages to get from what is
technically a very limited selection of instruments (one, two and
three-row melodeons, and a concertina) is extraordinary. Anyway, I bought
his 1984 album "Three in a Row" and it's well worth a listen. Mostly
tunes (in turn mostly his own) with a couple of songs. All very lively.
John Kirkpatrick and Sue Harris: They have a number of duo releases,
also solo albums and a band called Umps and Dumps. My favorites are
"Facing the Music" (all instrumental) and "Shreds and Patches" (with
vocals). John's solo "Blue Balloon" has him fronting the Richard
Thompson band for a set of eccentric rock tunes. Sue's solo "Hammer and
Tongues" has some music hall influence. All of their stuff is import only
in the U.S., most are on the Topic label.
Lindisfarne: Some material more like American Folk-Rock ala the Band, and
others more celtic folk-rock.
Longdancer: Produced by Ian Matthews, sound similar to his own
recordings.
Mabsant: are a brilliant experimental folk group led by Siwsann George.
Their music ranges from traditional "canu gwerin" through jazz and
spirituals; a kind of John Renbourn approach to folk. Their latest is
"Kton Gron" which is out on CD as well as cassette; it's a song-cycle
linked by recurring pieces on the harp and saxophone. I know of three
albums:
TRWY'R WEIAR [Sain]
COFEB [Sain]
TON GRON [Fflach]
The last may be a bit harder to find, but I know Earl Williams has
it (though he doesn't advertise it). Well worth searching out. All but
the first come with lyric sheets in Welsh and English. See Welch Folk.
Malicorne: Leaders of the French Folk revival. The handy pigeonhole for
them -- "The French Steeleye Span." I like their early albums (three of
which are titled Malicorne!) for the Hexagone label best, and their last
album "Les Cathedrales", "De L'Industrie" on Celluloid (France). Lovely,
often-elaborate textures. The albums from Hexagone are mostly now out as
import CD's, and Hannibal supposedly has a compilation CD in the works.
al. Some arrangements esp on their last albums approach rock.
Malicorne Discography
Malicorne (all three), Almanach, Quintessence, En Public, Le Bestiare, L'
Extraordinaire Tour de France d'Adelard Rousseau, and Balancoire.
Mara: Australian band which began life as Tansey's Fancy and renamed
itself after its lead singer. Material from a variety of European
traditions; lots of Eastern European songs, drawn from the Australian
immigrant communities. Danny Thompson plays acoustic bass and sometimes
makes them sound a lot like Pentangle. "Images" is on the UK label Plant
"Life and On The Edge" was on the Aussie label Sandstock. Mostly
acoustic.
Beryl Marriott: At this very hour Beryl Marriott is about to take the
stage in the Mill Theatre, Banbury, to open the show for the first night
of the Fairport Silver Jubilee tour. Beryl who, one may ask? Beryl
Marriott was who, over 30 years ago, took a very young Dave Swarbrick
under her wing and persuaded his go back to the fiddle, which he had
abandoned in favor of the guitar. Beryl had been a band leader for a
decade already, the midlands Ceilidh Queen. By the time he hooked up with
Martin Carthy in 1965 he was armed with a formidable collection of
tunes, and when he joined Fairport at the end of the decade, he helped
cement their transition from a band who did inventive covers of
contemporary American material (Byrds, Everlys, Paul Butterfield) to a
band who did unheard of reworkings of traditional Irish & British
folk songs and tunes. Folk rock would never be the same again. Beryl has
a SUPER album out now on Woodworm, "Weave the Mirror", recorded with the
help of Chris Leslie (Whippersnapper) and the current FC lineup. If you
have any of Swarb's solo albums from the 76-83 period, you will have
heard her charming and classy piano work. Highly recommended.
Ian Matthews: Another Fairport alumnus, who has about a dozen albums out
there. Only his latest, on Windham Hill, is still in print in the US. My
favorites are "If You Saw Thru My Eyes" which has Thompson and
Fotheringay backing him up, and "Valley Hi", an LA country album done
with Michael Nesmith of the Monkees.
Men They Couldn't Hang: Check out the first release, "The Night of a
Thousand Candles" Terrific Stuff! Trowser Press says: One of the current
rock bands not too unlike the Pogues, this electrified quintet doesn't
put a specific ethnic cant to its trad-folkified originals, but does
employ similar instruments and was partially produced by Philip Chevron
of MacGowan's clan.
Men They Couldn't Hang Discography
Night of a Thousand Candles Demon Fiend CD 50 1985
Greenback Dollar EP Demon 1986
How Green is the Valley MCA (UK) DMCF 3337 1987
Waiting For Bonaparte Magnet CDMAG 5075
The Colours 5" single Magnet CDSELL 6
The Crest 3" single Magnet YZ193CD
Silvertown Silvertone 1208-2-J
Rain, Steam, and Speed 3"s Silvertone Ore CD 4
Domino Club Silvertone 1391-2-J 1990
Mr Fox: They formed at the same time as Steeleye Span, played at the
same bookings, and lasted two years or so. They produced a double lp and
two single lp's (the double may be the same as the 2 singles), 'Mr. Fox'
and 'The Gypsy', and had a variable line up which included a fine
clarinet, and an amazing drummer. They failed because the lead female
singer played fiddle badly, and they split up. They wrote their own
'traditional' songs, rather than electrifying old songs, and they were
extremely powerful ballads. I still sing Mr Fox itself (a really nasty
Reynard song, where the fox gets his just deserts). The Grey Hawk was
another one. Anyway, not a band to sit and relax to, but well worth the
effort of chasing up. Featuring Bob & Carole Pegg, along with Barry
Lyons and Alan Eden.
Another Perspective: From the Unremembered Folk Book: The first,
most original, and most disastrous of the studiedly English folk-rock
writers were a couple from Leeds, Bob and Carole Pegg. They were hard-
core traditionalists who had spent some time wandering around the
Yorkshire vales and mors, collecting songs and local stories. Then, with
a barrage of quasi-academic explanations and attacks they rounded on the
folk scene and started a rock band, Mr Fox. The band was mostly a
disaster-its members simply weren't good enough--and this obscured some
of the extremely fine songs that Bob, in particular was writing.
Mr. Fox made two albums--"Mr Fox" and "The Gypsy"--that still stand
up well. The songs were mostly Yorkshire nostalgia, all about the closing
of the lead mines and village bands, but with a black, creepy edge behind
the sturdy tunes. 'The Hanged Man', a gory tale of a hiker who slips to
his death, and Carole's supernatural 'Gay Goshawk' both hinted at
something nasty out there in the English countryside. Bob and Carole both
had harsh, unusual voices, and played guitar, whistle and fiddle. Bass
and drums completed a band that when on form--as on their two albums--was
compelling listening. But live, as at the Cambridge Folk Festival, it was
too often a different story.
Bob and Carole's marriage broke up, and so did the band. Both have
since followed solo careers, but neither has yet produced anything to
match the first Mr Fox album. Carole came close, changing her name to
Carolanne, and recording an excellent solo album, backed by leading
session musicians. Her interest was moving towards country and rock,
though, and her best song 'Winter People' was hardly folk-orientated.
Carolanne later formed a short-lived band, Magus, with Graham Bond (just
before his death), and then returned to solo work. Bob meanwhile teamed
up with Nick Strutt, as an acoustic duo, and produced a surprisingly
quiet and melodic album. Pleasant, but no match for his earlier songs.
Van Morrison: Van Morrison and Chieftains.
Mouth Music: 'Mouth music' is a fairly generic term. It's a type of
music ('puirt a beul' in Gaelic) which is fast and mainly 'sung'.
There's minimal accompaniment with instruments. The music has it's
origins in the days when people held dances, but there was no musical
instruments around to dance to, so songs with strong rhythms which could
be danced to were invented. Capercaillie have some examples of mouth
music on their albums.
The "Mouth Music" is Talitha Mackenzie & Martin Swan; it's on
Triple Earth Records in the UK & in the US, is distributed by Ryko (rcd
10196). I first heard it sometime last year on Henry Kaiser's radio show
on KPFA radio in Berkeley. Talitha Mackenzie does the vocals & Martin
Swan the instruments (mostly synthesizers, drum machines & the like). The
songs are all Puirt a beul, sung in Gaelic, & the liner notes print the
Gaelic version, English translation, & the source of the song. If you
take the direction that Capercaillie is taking with this style of music,
& extrapolate, you "mite" get to the style of music on this CD.
Mackenzie & Swan were featured in the Sept 90 Folkroots Magazine
(#87)
Here's the intro to the article: "Mouth Music comes in many shapes &
forms but the Mouth Music of this feature article adds a new dimension to
the usual semantic ponderings....Their approach ... [takes] the mouth
music -- "puirt-a-beul" -- of Gaelic Scotland & mixed it with the
polyrhythms of Africa, abetted by the liberating influence of keyboard
technology & samples. Thus their treatment of a comparatively familiar
song by Gaelic standards, "Bratach Bana" ('White Banners'), quickly
establishes itself as a very different example of flag-waving. Martin's
radical use of keyboards -- radical enough to give Calum Kennedy (more
about him later) a blue fit with his leg up -- & colour instruments
instantly makes the connection between the modern & the traditional. He
does it with an eye on the way that African musicians such as Salif
Keita, Ousmane Kouyate, Baaba Maal, & Brice Wassy have used the rhythms
of the workplace and social activities and turned them around, made them
contemporary & timeless....
"Where Mouth Music's approach differs from the earlier work of,
say, the Bothy Band and Capercaillie, lies in their melding of a
tradition-grounded singing style & keyboard technology with
Afro-rhythms."
Ok, I think that's enuf to get the idea across.
Talitha Mack., born in NY, has a background as a student of
folksinging & went to Scotland in the late '80's to study Scottish
ethnology & Gaelic singing, according to the article. She has
released some other records, probably under her maiden name Talitha
Nelson, which the article suggests would be Irish/Celtic material.
Martin Swan's bio isn't covered in detail but he is from England, & it
sounds like he was involved in TV work; they met while he was working on
a film called "Dance To My Shadow" about South Uist.
Here's a comment from Talitha about Gaelic songs: "'I liked the
sound of the Gaelic language, but I think what attracted me more was
something about Gaelic songs that is different,' she confides. 'I don't
know whether it's different to me personally but they seem to speak --
excuse the cliche/ -- straight from the heart. There's something very
intense about them. Not necessarily with all Gaelic songs, particularly
the newer ones. The ones I like tend to be older.' '....I wanted to show
the Gaelic singers of my generation, the younger singers, that it was
possible to use an old style of singing, a technique with songs, and have
them be currently accessible & popular. I found that for the greatest
part that most singers do have this stagey, Olivia Newton-John technique
of Gaelic singing. With the girls especially I think it comes from having
been put on stage too early....'"
Next Re: I heard Mouth Music's first live gig in Edinburgh a week
ago. As I've heard people saying complementary things about their record,
I can only conclud
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