FolkWorld #52 11/2013

CD & DVD Reviews

ArHai "Eastern Roads"
Balkanworlds Records, 2012

www.arhai.com

Belgrade borne Jovana Backovic (vocals, keyboards, programming) and Norfolk based Adrian Lever (tambura, guitar, e-piano, double bass) met in 2008 when Jovana moved to England to complete her PhD studies in electroacoustic composition. They started the Balkan Folk fusion project ArHai, which formerly was the name of Jovana’s band in Belgrade. Their first album was recorded with Nick Van Gelder on percussion, Jesse Barrett on tablas, Matteo Grassi on e-bass and vocalist Ismail Hakki Ates and presents 6 self-crafted and 5 traditional tracks.
They start off with the intoxicating title track, e-bass, percussion and programmed rhythm samples create the driving pace to Jovana’s beautiful voice and the virtuoso playing on Bulgarian tambura. The same line-up is operating on nearly all original songs: “Tudora” is an up-beat electro folk song with pulsating e-bass, great percussion and tambura pace and hypnotic singing and guest vocalist Ismail sings a brilliant duet on the electro pop song named after Hakki Ates. The traditional ballad “Jasmine” is a solo performance of Jovona and Adrian, hauntingly beautiful singing is accompanied by e-piano, tambura, double bass and some spare samples. Nick joins in for the rhythmic “Morena” and Jovana creates some kind of pipes groove, a brilliant arrangement. Another highlight is “Tino”, a traditional song featuring electronic sounds, tablas, e-bass, tambura and Jovana’s breath-taking vocals.
Backovic and Lever have recorded a wonderful album between New Age, Folk and Electronic, the compositions and arrangements are dazzling and they are inspired musicians.
© Adolf „gorhand“ Goriup


Leddra Chapman "Telling Tales"
Dramatico/Rough Trade, 2012

myspace.com/leddrachapman

23 years young British singer/songwriter Leddra Chapman (vocals, guitar) has recorded her debut album together with producer and multi-instrumentalist Peter John Vettese, The Egham Brass Band, Jade Brightwell on violin, Darrio Cortese and Mark "Tuffy" Evans on guitars and Jon Harris on cajon.
The brass band starts off with a beautiful entry on "Story", a lyrical song showcasing Leddra's hauntingly beautiful singing. Jade shows some virtuoso violin playing on the slightly rocking "A little easier" and piano and violin accompany Leddra on "Edie", a lovely piano ballad. The cheerful "Summer song" combines rhythmic and melodic elements to create an irresistibly catchy song and "Wine glass" evolves from a mesmerizing ballad to an intoxicating rock ballad. "Wrap me up" is a tender lullaby and a well chosen final track.
Vettese was member of the legendary Jethro Tull and has worked as songwriter, arranger and producer with Frankie goes to Hollywood, Foreigner, Annie Lennox and many more; his broad musical experience, Chapman's brilliant singing and song writing make her first appearance a great success. Her music isn't really innovative, but the performance is excellent.
© Adolf „gorhand“ Goriup


Jeff Jensen "road worn and ragged"
Swingsuit Records, 2013

www.jeffjensenband.com

When Blues musician Jeff Jensen (vocals, guitar) moved to Memphis, Tennessee, he dived into the local music scene, co-produced Brandon Santini’s new album and released a new album himself as well. Together with his band, Bill Ruffino on bass and James Cunningham on drums, and a few great guest musicians he recorded 6 original tracks and 4 cover versions.
They start off with an intoxicating Blues rock featuring Brandon Santini on harmonica and Chris Stephenson on organ, “Brunette woman”. The same line-up plays Tom Waits’ “Heart attack and vine”, bass and drums create the dramatic groove, Santini, Stephenson and Jensen play some virtuoso solos and Jeff’s singing is awesome. Another highlight is Willie Dixon’s “Little red rooster” featuring the same five piece band. “Pepper” is an up-beat Jive written and performed by Jeff, Bill and James, and a perfect showcase for their inspired playing together. Victor Wainwright, another Memphis based Blues musician, co-wrote “Raggedy Ann” and joins the trio on piano, a brilliant and swinging Blues. “River runs dry” is a beautiful Blues ballad, performed on guitar, harmonica, piano, bass and drums.
Some of the finest Memphis Blues musicians have recorded a wonderful Blues album, Jeff Jensen’s songs are fresh and classy and he is a great singer and guitar player.
© Adolf „gorhand“ Goriup


The Whileaways "The Whileaways"
Own label, 2013

www.thewhileawaysmusic.com

The Whileaways are three distinct Irish voices: Noriana Kennedy (5-string banjo, banjo-ukulele, guitar), Grada's Nicola Joyce (guitar, piano) and Noelie McDonnell (guitar). Together with Éimhín Cradock (drums), Gerry Paul (guitars, 5-string banjo, charango) and Trevor Hutchinson (double bass) they recorded their debut album with 10 original and traditional songs. Hutchinson and Paul also figured on Kennedy's solo debut album Ebb'n'flow.
McDonnell wrote the Americana "Queen of December", his raspy voice is driven by two guitars and double bass and accompanied by great backing vocals of the two ladies. "Until then" by Joyce is a mesmerizing ballad in moderate banjo/guitar pace and Kennedy wrote the music for the traditional lyrics "Poor Ellen Smith", a perfect showcase for her hauntingly beautiful singing. Another highlight is Joyce's enchanting vocal performance on "Down in the valley", she composed the music to the traditional words. "Lonesome sparrow" is a light-hearted folk song by Kennedy, who also plays the acoustic guitar, and with the traditional American folk song "Banks of Ohio" the CD ends unfortunately after 38 minutes, definitely not enough for these brilliant singers and musicians.
Hopefully the three singer/songwriters will enjoy us with more music, studio records and live concerts as well, at the moment there's just one gig in Denmark mentioned on their homepage, keep looking at www.thewhileawaysmusic.com!
© Adolf „gorhand“ Goriup


"Lúnasa with the RTÉ Concert Orchestra"
Lúnasa Records 2013

www.lunasa.ie

Cillian Vallely (uilleann pipes, low whistle) did the orchestral arrangement for Lunasa's new project with the RTÉ Concert Orchestra conducted by David Brophy. The album features 9 sets with traditional as well as modern tunes and was recorded at RTÉ Studios in Dublin.
Kevin Crawford (flute, low and tin whistle) starts off with an Asturian Air, "Casu" is a traditional set from the Iberian part of Celtic lands. The orchestra blends perfectly with these five excellent musicians, Ed Boyd on guitar, Seán Smith on fiddle and low whistle and Trevor Hutchinson on double bass complete the band's line-up. "Leckan Mór", a dramatic tune by Vallely, has been recorded together with a beautiful tune by Irish flute player Emer Mayock and the traditional lament "An Buachallín Bán" is a perfect showcase for Cillian's fine piping, Scully Casey's and The Dusty Miller bring the set to a rhythmic and orchestral finale. Donald Shaw's MacLeod's Farewell opens the intoxicating set "Morning Nightcap", followed by the "Breton Set", featuring some virtuoso flute playing, fine orchestral arrangements and great Breton dance music. Séan and Trevor play the introduction of "The Merry Sisters of Fate" on fiddle and double bass, the orchestra and the band join in and we're in for a final musical firework with 3 traditional dance tunes.
Lunasa is one of Ireland's most popular, innovative and successful Folk bands, all five musicians are immersed in the Irish and Celtic Folk scene and join different projects, thus widening the musical horizon of their music, as you can hear.
© Adolf „gorhand“ Goriup


Niamh Dunne "Portraits"
Own label, 2013

www.niamhdunne.com

Hailing from Limerick, Beoga[46] singer Niamh Dunne (vocals, fiddle) released her debut solo album with 5 traditional Irish Songs and 6 cover versions. Fellow Beoga members Seán Óg Graham (co-producer, guitars, bouzouki, accordion, keys, banjo) and Eamon Murray (bodhràn, percussion) as well as some of Ireland’s finest musicians joined in: Niamh’s father Mickey on Uilleann pipes, Lunasa’s Trevor Hutchinson on bass, Northern Ireland’s Barry Kerr on low whistles, Kate Ellis, resident musician at Cork opera house, on cello and some special guests.
Damien O’Kane, Kate Rusby’s husband, gives the banjo a virtuoso treat on the traditional Limerick song “Ballyneety’s Walls” and Niamh captures the listener with her brilliant singing. Galway’s Noelie McDonnell and Nicola Joyce from Grada sing the backing vocals on “Éist do Bhéal” (John Spillane/Louis de Paor/John Reynolds), fine bodhràn pace, fiddle and low whistle accompany Niamh’s wonderful voice. Richard Thompson’s “Strange affair” is a hauntingly beautiful ballad brought forward with much emotion and Barry Kerr wrote “When autumn comes”, inspired up-beat rhythm, brilliant playing together of low whistle and fiddle and breath taking vocals. Scottish harper Caitriona McKay accompanies the traditional ballad “Cáilín Rua” (red-haired girl), bewitching vocals and brilliant arrangement with bouzouki, bass and cello. Richard Nelson plays dobro on “Foxy devil”, a sad song about alcoholism by the late Irish singer Joe Dolan, and Cathal Hayden from Four Men and a Dog takes the fiddle part on the classic Americana song “The games people play” from recently and sadly passed away American songwriter Joe South.
Niamh Dunne’s solo debut is a brilliant collection of songs, mostly about her home town Limerick, she is one of Ireland’s most spectacular singers and a fine fiddle player, add the first class musicians and you get a must listen to album.
© Adolf „gorhand“ Goriup


Emily Maguire "Bird Inside a Cage"
Shaktu Records, 2013

www.emilymaguire.com

Eleven years after a car crash causing a long lasting recovery London born Singer/Songwriter Emily Lucy Maguire (vocals, acoustic guitar, piano) packed her bags and went to sunny Queensland, where she founded with her Australian friend and musical partner Christian Dunham (bass, drum programming, string arrangements) her own record label Shaktu Records. On her new fan funded album they are joined by producer Nigel Butler (electric guitar, keyboards).
They start off with the beautiful piano ballad “beautiful”; Emily’s powerful singing is accompanied by a symphonic arrangement. Emily sings “bicycle made for two” to acoustic guitar, the band joins in and creates a romantic song, “north & south” is a melancholic rock ballad and on “old valentine” Emily inspires with soft and whispering to breath-taking soprano singing. Other highlights are “avatar”, a powerful love song written by Emily and British singer/songwriter Marli Harwood, and the dramatic title song where Emily ponders about fate.
The music of Emily Maguire is not new, rather mainstream, but there are plenty of money making Top Ten acts who could learn a lot from her. Great song writing, brilliant singing and perfect arrangements make you wonder why she isn’t on top.
© Adolf „gorhand“ Goriup


Emily Maguire "Bird Inside a Cage"
Shaktu Records, 2013

www.emilymaguire.com

Ten songs of singer songwriter material is on the menu for this record. Emily Maguire hails from London, but has spent significant time in Australia developing the perspective for her music (and I am sure a lot more). I am not sure if I see a direct link, but I do see a very universal style which does not lock it into a specific geography or era. The early songs were good, but the music seems to pick up steam as the songs keep coming at you with more depth and intensity.
© David Hintz


Jacqui McShee’s "Take Three"
JAG Records; 2013

www.pentangle.info

This is the first studio work in eight years from the great Pentangle vocalist, which some how does not seem right. Although since then, Pentangle reformed and did several wonderful shows, one of which had me crossing the ocean to see. Sadly, Bert Jansch has passed away, so there is no more Pentangle. But Jacqui McShee is here playing some of the traditional tunes from the Pentangle years as well as others from the golden age of British Folk. Gerry Conway has worked with her often (as well as so many other of the greats) and is back behind the drum kit. He adds some congas and exhibits his usual deft touch for this style of music. Alan Thomson handles all the guitar work with a clean tone and innate feel for bringing the ancient patterns forward a bit. The classic tunes like “Once I Had a Sweetheart” , “Nottamun Town” and “House Carpenter” sound as good as ever and are not mirrors to older versions. But if you want something different, they move into jazz territory with “Well Be Together Again”. This is a fine release for folk lovers anywhere, let alone members of the the Jacaui McShee fan club, of which I consider myself somewhere on the first page if not at the top of the list.
© David Hintz


Philip Boone "A Light and a Line"
Own label; 2013

www.philipboone.com

Born in Austin, but he lives in Topanga Canyon? Now if he can spend a little time in Nashville and Greenwich Village (via a time machine preferably), Philip Boone would cover all the major rootsy folk and folk-rock areas in the US. Boone does like to add a lot of American related moves to his music, which does fit the California singer songwriter style. He’s got a fine voice and a way with a song, so it is easy to listen to this music no matter which way he takes it. My favorite cut is “One Star” with its easy-going flow and quietly resonant electric guitar highlights in between piano jabs. Noah Georgeson of Devandra Banhart fame is on hand to do the mix and he captures all the finely produced sounds and places them all so they have their space to add to the quality of the songs. This is a fine album that should be able to find an audience.
© David Hintz


Paul Downes "The Boatman’s Cure"
Wild Goose, 2013

www.pauldownes.com

If Paul Downes sounds like someone with a firm grasp of folk music, well after 250 albums, he ought to be. This is only his fifth solo album, spending massive time playing with other bands and duets and such. A couple of familiar names that he has worked with previously show up here—Phil Beer on violin and mandolin and Maggie Boyle on flute and whistle. Despite the title, this is more of a slightly modern take on traditional folk and not a collection of sea shanties. One of his past collaborators provides the best song, Mick Ryan’s “Down Among the Deadmen” which ripples with strength and conviction. There are a few traditional arrangements, but a majority of the songs are covers of other folk songwriters (thus explaining perhaps why Paul Downes collaborates so frequently). He is a fine guitarist and has a steady voice and has a made a nice little album for the folk fans.
© David Hintz


Victoria Vox "Key"
Opus Music; 2013

www.victoriavox.com

Victoria Vox has long been a popular formula here on the Atlantic seaboard of the USA, but she seems to be making a name for herself everywhere. And that is as it should be, although I never would have a guessed a singer songwriter who plays ukulele and has an uncanny ability to impersonate a trumpet with just her voice would ever succeed so well. You really have to see that trumpet to believe it, as it is an amazing sound. The ukulele is also a surprise as she can evoke warmer sounds out of it than what you would expect. The warmth in her voice and songwriting is also key to the success of her work on this album. These songs flow beautifully as classic folk songs do. There are some strings worked into the arrangements which aid as a way to build the drama within the song before pulling back to the stark voice and ukulele. This is a fine album and a great way to experience this fine performer (until she comes to your town).
© David Hintz


Gus McKay "Saltflat Blues"
Rolling Plains Media; 2013

www.gusmckay.com

Modern original blues (sans one Lighting Hopkins cover) is what is on tap on this album. I like that it is smooth and goes into folkier areas like on “Murchison”. Those shifts keep my interest up. The playing has bite, but the voice is smooth making a nice combination. And I see nothing wrong with a song about a monkee on your back being about caffeine rather than those other substances long written about. Gus McKay has done well here and hopefully he will continue to offer his personal take on the blues as well as be continually willing to play with the form.
© David Hintz


Lucy Ward "Single Flame"
Navigator Records, 2013

www.lucywardsings.com

It does not take long to see why many people are talking up the talents of Lucy Ward. As “I Cannot Say I will Not Speak” ripples through my headphones, I find the intoxicating hooks making me shake and shimmer and it is not until the end of the song that I realize I am reviewing a never before heard record as opposed to putting on one of my favorite discs. This is quality singer songwriter material that has a strong folk base in most of the songs. Everything sparkles on this record and there is nary a weak moment as all twelve songs are easy to absorb and enjoy. She achieves great depth in many songs and “Rites of Man” is extremely psychedelic in an ethereal droning sort of way. There are a lot of great folk acts I recommend. England’s Lucy Ward goes beyond that as she is essential listening if you want to hear what folk music is like in 2013.
© David Hintz


David Munyon "Purple Cadillacs"
Stockfisch, 2013

www.davidmunyon.com

David Munyon is an American folk guitarist/singer who spends time in between the USA and Germany. He plays with a full band on this CD, although there is no percussion. The guitars are pivotal to pushing his songs through with delicate patterns dancing together with enough space in between. His vocals are more of an acquired taste as they are a bit on the weathered side of life. The songs are worth spending some time with as there is a mature story telling going on here. And keep listening and you may find an absolute gem like the seven-minute “Help Me Krishna Song”, a meditative classic of this era. I certainly did not expect that after a song called “Prayers of Elvis Presley”.
© David Hintz


Paul O’Brien "Long May You Sing"
Stockfisch, 2013

www.paulobrien.ca

Paul O’Brien has a fine touch on acoustic guitar and silky voice, which gives good treatment to the fourteen cover songs he has presented here. They are all by fellow Canadian songwriters including Neil Young, Joni Mitchell, Leonard Cohan and Gordon Lightfoot. In the cases of the more famous writers, he has chosen some of if not easily their most famous songs, which is not quite as interesting to me if he had dug deeper in the catalog. There is nothing audacious about this record, nor was there any intent. It is good smooth folk featuring some of Canada’s finest.
© David Hintz


No Snakes in Heaven "(Going Home)"
Rough Trade, 2013

www.nosnakesinheaven.com

This is album manages both density and a sense of space, no doubt due to fine production and interesting instrumental choices. Micha Voigt writes and sings the songs with some guitar, piano and effective glockenspiel. She is joined by just two others, one person on cello along with a guitarist/bassist. The songs are all folk-based singer songwriter material with moves into more indie rock depending on the song. There are audacious moves that startle one out of complacency, but nothing goes overly avant garde. Instead, this is mature thoughtful songwriting delivered very well with grace and passion. One listen and these songs will haunt your headspace for considerable time.
© David Hintz


Somebody’s Darling "Jank City Shakedown"
Own label, 2012

www.somebodysdarling.com

From Dallas Texas, comes this swaggering country blues-rock quintet. The female vocals of Amber Farris are tough enough to stay atop the swirling keyboards, ripping guitars, and strong rhythm section. The songs on this album push and pull enough in all directions to show that they could handle a small arena show opening for Skynyrd or take it down to a three-set evening in rural southern bar. They display sensitivity to their material even at higher volumes and bold rock moves. It is a near certainty that this would be an exciting band to see live, but this record is a good showcase until then.
© David Hintz


The Rides "Can’t Get Enough"
Provogue; 2013

www.theridesband.com

I slapped this disc on, paying no attention to any details about it, just waiting for the noise to emit for my review. My half attention turned slowly evolved into full concentration as I heard that instead of just another decent blues-rock album, these guys were laying down some scorching guitar lines. Then when they did an audacious and reasonably good take on the Stooges “Search and Destroy”, I had to drop what I was doing and figure out exactly who this was. Well…. there is a guy you may have heard of named Stephen Stills, behind this record, along with an old Chicago blues keyboardist Barry Goldberg (Electric Flag and many more), and a young guitar slinger, Kenny Wayne Shepherd. Apparently producer Jerry Harrison (from the Talking Heads?!) convinced them to give it a try. It shouldn’t work, but it does. They also tackle some blues standards along with Neil Young’s “Rockin’ in the Free World”. There are a few new compositions to round out this album as well. It is a hard rocking guitar fan’s delight. I am not sure I have ever visualized this much smoke coming out of Stephen Stills’ amp, even though I realize he is a fine guitarist and can rock out when he desires. I hope they had a blast making this record and it should be a path lots of aging rockers should follow. It might just add a few healthy, vibrant years to your lifespan.
© David Hintz


Worldfly "A World Gone Crazy"
Perambulator; 2013

www.worldfly.com.au

Gone crazy? As opposed to the time of rational happiness when exactly? Worldfly may not have all the answers, but they present their points of view in a stirring indie rock format. The production shines as the guitars cut through with steel-eyed conviction, allowing room for the clean purity of the vocal work to stay on top. It is a bit like U2 meeting Muse. The songs are not quite up to those lofty standards, but there are moments. This is a big sound, and being from Australia, you generally have to go big if you want people to notice on the larger and more populated continents. They may have what it takes if they can find an audience. The raw materials are certainly there, and this is a good listen.
© David Hintz


Rafe Pearlman + Jonathan Plum "Dust & Gold"
Own label; 2013

music.rafepearlman.com

This is well produced, well played singer songwriter material with the added bonus of having good songs. The core material is on solid ground, but the way that Indian instruments, lots of backing vocals, and various guitars and keyboards weave into the mix is what makes this a successful record. Although I find that the songs almost flow together too well along one lush plain, making it a little tiring at times. But every song has its own merit, so this is still a fine effort well worth exploring for classic singer songwriter fans and lush-pop/indie rock fans as well.
© David Hintz


Alex DiReto "Love’s No Serious Thing"
Own label; 2013

www.alexdireto.com

Easy going, finger snapping blues? I am not sure blues is ever ‘easy going’ by definition, but it sure can be played with a certain lilt as its done here. These arrangements have me smiling. The vocals are old school world worn and leathery. It is not always a perfect match with the music, but that may be in the long term. There are some cuts that really work well, such as “True Love Blues”, so blues fans should give this one a spin and see if it works in their own world of blues.
© David Hintz


Fiddler’s Green "Winners & Boozers"
Deaf Shepherd Recordings, 2013

www.fiddlers.de

The Pogues formula will outlast us all. Take two parts Irish folk lyrics and instruments and add one part punk rock sound and energy, shake thoroughly, and unleash onto the world. This band leans a little more to the Dropkick Murphys’ formula which is to triple the punk rock sound portion, although there are some quieter numbers on this album. The livelier cuts come off much better, as this band can sound too clean and mannered when the guns are not blazing. They even head over to the continent for a bit with gypsy moves that are worthy of the Ukranians. You would be pretty jaded not to find something at least a wee bit fun on this record.
© David Hintz


Gerry Griffin "The Passage of Time"
Own label; 2013

www.gerrygriffinmusic.com

This reminds me of lighter version of Robert Plant. That is a pretty big compliment coming from me, as I am a huge fan of what Plant has put out the last ten years. The comparison is not so much vocally, as Vancouver born Griffin sounds even older and with his limited scratchy range, he could be an acquired taste. It is the songs that are similar in that folk fashion that mixes other worlds with interesting corners of this world. The band assembled here does a magnificent job with rhythms, and sonic creativity to take these songs to a high level. The songs have a lot to say and there is so much to be gained by additional listening. This is a striking record, and it is no shock to me to see that a couple of his influences are Ry Cooder and Captain Beefheart. That should be enough to get you salivating., especially when the record sounds good from note number one.
© David Hintz


Pierre Bensusan "Encore"
Own label; 2013

www.pierrebensusan.com

This is a planned double live album of this great French guitarist’s work. I have a seven-song sampler, which gives me a fine opening course of the meal to work on. This will be a three-CD set, so there is far too much material for one meal anyway. Like most live albums, I just try to sit back and enjoy what an artist does on stage in the more stripped down format and compare it to the studio work. This is not a recording of one concert, or a series of recordings on one tour or even in one year. There is a range from 1998 to 2012 here and beyond that difference, there is also everything from solo acoustic guitar to songs with vocals and others with full band featuring electric guitar. The full band cut sounds more like Larry Coryell style jazz. But DADGAD folk is still where the heart of this album is. I would expect Bensusan fans will enjoy this diversity as I did, although the hardcore fans would probably prefer full one-night performances (of which perhaps they have dozens of bootlegs already). As with most folk artists, the transition from studio recordings to live stage is an easy one here and there is plenty of guitar prowess and feeling in these song variations. And with eleven new songs among the 31, this is a must-have if you are a fan.
© David Hintz


Stephen Harrison "Today Tomorrow"
Close; 2013

www.stephenharrisonmusic.com

This is the remastered release of an album that Edinburgh musician Stephen Harrison put out last year. This is the first I have heard it or anything from Stephen Harrison, and it may be my loss for doing so. Although Harrsion goes all the way back to the earliest post-punk era of 1979 in a band called Metropak, he has had a rather sporadic career until the last decade or so. His is a rich voice that is almost spoken ala Leonard Cohen and uses some lovely repetitive guitar patterns to set up his song stories. There are some strings and horns that broaden the horizons of the songs and plenty of reverb in the voice to create even more space. Even with those add-ins, I would preferred a bit more variety, even at the risk of losing the meditative qualities of this style. Whatever your opinion, it is pretty hard to deny this is a highly individual work that had me attentive from first note to last.
© David Hintz


Sofia Jannok "Wide as Oceans"
Songs to Arvas; 2013

www.sofiajannok.com

Sofia Jannok is an established singer in Sweden. This is the first record I have listened to and it is clear that she knows how to create expansive songs with fine artistry in the studio. It is a not overly big sound, but more of a bold pop-rock expression that has both modern touches and old-style charm. Although the big production in “Aktonas” with stirring strings and bold drumming made for quite an epic break amidst the more personal songs. This is mainstream music that balances artistry and popular styles well. It is not terribly folky, but still will interest a wide audience.
© David Hintz


Lisa Knapp "Hidden Seam"
Navigator, 2013

www.lisaknapp.co.uk

I saw the name Anne Briggs floated about in association with Lisa Knapp, which is not far from the mark. This has roots that go as far back as that and move through the fragile, psychedelic femme folk of the Vashti Bunyan era and beyond. Knapp’s vocal work is as stellar as you would ever hope for, if you are a fan of the classic folkies of old. She is highly expressive in spite of the underlying delicacy. There are guest spots by Martin Carthy among others, but the major highlight is a cover song by one of Carthy’s inlaws—Lal Waterson’s “Black Horse”. James Yorkston guests on this and the dual vocal is quite profound, reminding me of the heavy psychedelic folk stylings of Mourning Phase. No folk fan should ignore this album, as it is easily one of this year’s finest.
© David Hintz


Son of the Velvet Rat "Firedancer"
Monkey, 2013

www.velvetrat.mur.at

This is Austrian folkrock. The vocals have an American blues quality to them, but the music mixes in many influences. It has European folk flair woven into blues, rock, and folk styles that would be hard to pin down to any one area or time. The vocals are gruff and deep and the music can really take off with full band power. Some songs head into indie rock, which is pretty much a more rocked out folk-rock anyway, I suppose. This is a fine record that should play well with younger listeners who think old and vice versa.
© David Hintz


David Rotheray "Answer Ballads"
Navigator, 2013

www.davidrotheray.com

This is one of those ideas that seem so obvious once somebody does it for the first time. At least this is the first time I have seen something like this on this scale. David Rotheray has written thirteen songs that are ‘answer ballads’ to famous songs where the lyrics here reflect sequels of sorts for the characters in the previous song. For instance, there is an excellent response here in “Roxanne’s Song” where Roxanne gives a very stinging response to the Police’s lyric. Whatever happened to Bobby from Bobby McGee or Maggie from Maggie May? Check out all the stories here. The music is good and there are guest singers and players on every song feturing some of my favorites such as Eliza Carthy, Alasdair Roberts, and Kris Drever. The music is singer songwriter based full band material and is good enough as is. And the concept is an excellent one and it is hard not to want to listen to this one carefully at least once.
© David Hintz



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