- Has Faith Helped Bob Dylan to Win his Nobel Prize?
- Jarlath Henderson – Hearts Broken, Heads Turned
- U2@40: Is Bono the Messiah, or a very Naughty Boy?
- Janis: Little Girl Blue (DVD)
- Corinne Bailey Rae – The Heart Speaks in Whispers
- Dave Bainbridge: His Iona Story
- Sam Beam and Jesca Hoop – Love Letter for Fire
- A Note to Prospective Editors
- Features: Interviews
- Features: Miscellaneous
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Every now and then you get an agitator in the world of folk; someone who takes the songs that have thrived for tens or hundreds of years, and makes them fresh for a new generation – people like Jim Moray and Eliza Carthy. This release puts Jarlath Henderson firmly with them in that bracket.
Most U2 fans will have plenty of stand-out memories. Mine began in 1981, when they played the birthday party for my local rock club in Aylesbury. I knew none of their songs at that time, and instead of my normal place against the stage, I found a spot at the back of the hall and danced all night.
My last big impression was at Wembley Stadium on the 360 degree tour, where, strangely, I was even nearer to the band than in Aylesbury. When most of U2 crossed the bridges onto the B-stage behind me, I turned around and it felt like being at the back of the stage looking out at the crowd.
The 27 Club is a select few. Jimi Hendrix died at that age just weeks before Janis Joplin; Brian Jones and Jim Morrison in the same era; Kurt Cobain much later, and the appropriately-named Amy Winehouse more recently. Most of these died because of drug or alcohol abuse.
But was it actually the substances that killed them, or something deeper down?
If you told Bailey Rae, just before she won the BBC’s Sound of 2006, what the next decade would bring, she may not have believed you: only the fourth woman to have a first album début at number one in the UK album charts; the death of her husband two years later; a raft of awards and nominations; performing at the White House and with Stevie Wonder.
Label: Virgin EMI
Time: 12 tracks /55 mins
After the playful soulfulness of her first disc and the tragedy of her second, this third release is infused with joy. She has married long-time collaborator, Steve Brown, and the relief, love and hope of new beginnings glows through nearly every lyric.
Iona’s story is as fluid and mystical as the band’s blend of prog, Celtic, folk and jazz. It started with a few session musicians and produced songs that have changed people’s lives.
When the project began, founding guitarist and keys player Dave Bainbridge had no idea how big it would become. After playing for other people, he thought it time to put out some of his own material.
“My plan was to record an album as cheaply as possible (as I had no record company interest) and make 100 copies on cassette,” he recalled. “I even started to make a list of people I thought might buy it! That was the sum total of my vision, but God had other plans!
If Beam and Hoop sounds like a gymnastics event, it is the songwriting that stretches and flexes on this fluid performance. Fans of both should be thrilled.
There are few bands whose names are as appropriate as Afro Celt Sound System. It feels a bit tacky to do so, but you could describe them crudely as ‘Riverdance on safari’, so well do they blend the Celtic and African roots of their sound.
What pulls this first release in ten years so powerfully together is the rhythmic drive of both cultures. There is real energy here, but that is just the motor. The styling on top is equally exciting. Layer upon layer of lush, interwoven textures give this collection the feeling that you could play it for months on end and still be getting to know it better.
When I had a monthly review slot on BBC Oxford’s Sunday Breakfast, Nick Page was the man to come in and round the show off, because his combined wit and wisdom had huge appeal. There is plenty of both here as he tackles the mid-life crisis.
Publisher: Hodder and Stoughton
Format: Hardback, 220 pages
While Page would probably shudder at being labelled a brand, for those who have read him, his books ooze appeal like pine trees ooze sap. Among family, friends (and the couple who visited us for the first time this week and saw this book in the lounge) he is universally respected and enjoyed.
“Songs of Separation” isn’t really about separation, admits project creator Jenny Hill in the liner notes to this feast of female folk artists, explaining that it really looks across borders “to remind us that we’re all so much more connected than we seem.”
Label: Navigator Records
Time: 12 tracks / 56 mins
Effectively a protest directed at the Scottish Independence lobby, it features five English and five Scottish musicians – including leading lights like Eliza Carthy and Karine Polwart, together with Moulettes collaborator Kate Young and Mary MacMaster – working together during a week on the island of Eigg to arrange and record this dozen songs.
(I say, “working together,” but Carthy’s track could just as well have been taken off a solo album.)
Separation is used very loosely, and not just geographically, the songs also dealing with such issues as death, the loss of home, the gap between rich and poor, and the disconnect between human beings and the living world. It only appears inside the packaging, but the project is sub-titled ‘Reflections on the Parting of Ways.’
There is tremendous variety here, all within folk traditions, with traditional Gaelic songs, a touch of music hall on “London Lights” and two à capella tracks, recorded in a cave. When you get such a creative bunch of artists together, the result is often an impressive richness of detail. That is shown here, from the recording of the corncrake that opens the disc to the amalgamation of tunes in “Over the Border,” the history encoded in several of the songs, and the depth to which the concept is explored in many of the lyrics.
The outright highlight for me is the very Gaelic-structured “Sad Am I,” with a compelling rhythm, memorable tune and the inventive use of backing vocals.
But not far behind, with its short, wordless refrain, is a colourful account of “Echo Mocks the Corncrake”. “Poor Man’s Lamentation” has one of the strongest tunes. The fiddle-fuelled “Over the Border” medley would have made a great finale, but that honour goes to the reflective, banjo-led “The Road Less Travelled.”
With these artists, the playing and singing will always be of the highest order, but the project (more about it here) works well as a whole and is highly recommended to folk-lovers.