Goodnight Hazel

     This is a poem I once wrote long ago about. Hazel. She was a regular audience member at various folk clubs where my band at the time had played. I liked her. She was funny and intelligent. There was some link from our past too, which I can't quite remember. Innocuous friend of a friend/small world  sort of stuff. I was very upset when I heard she'd died so young. She seemed to like the humour and comedy of our stuff and got a lot of the jokes. 

    Her story has cropped up again recently on Social media. Basically she sacrificed her own life so that her child could live. This was/is the least I could do. It's never been published or sung anywhere in public before today. 

Goodnight Hazel,and what a surprise:
The last time we met
 there were dreams in your eyes
You'd talked about tangles 
and said you'd found love
We argued on missiles: a Hawk and a Dove.
Then over a bitter we had a few laughs
A packet of crisps 
and a walk through the past.
Now you're a memory,somebody said,
A story:a legend:or a poem to be read

I didn't know that your time wasn't long
Till you'd cheered the last number
And hummed the last song.
We couldn't know and you didn't tell:
A master of feelings,you hid the pain well.
Quieter than many and braver than most
We'll sing a last chorus 
and raise a last toast
And  those who once knew you 
will quite understand
A simple farewell from a bloke in a band. 

Two more Album reviews

Notes From The Boat         Mike Vass               Unroofed Records

Released 27th July 2018

                An innovative Scottish composer and multi-instrumentalist with a big imagination, Mike Vass really really REALLY likes boats.If you don't, then this album might possibly not be for you. Having said that it's not too technical and there is some very atmospheric music on it, featuring some fine musicians. It stands alone as a nice album of traditional music-whether one knows one's spinnaker from one's topsail or not.

             Ten musicians joined him  during 2017 on his Dutch sailing vessel “Sweet Harmony” whilst docked at Inverkip on the River Clyde. They take it in turns to be the featured artiste on each of the ten tracks on this CD. The album credits look like a Who's Who of Scottish Folk Music. The recordings feature not only the various instruments which Mike's chums brought along with them, but a plethora of additional sound effects mixed in mostly afterwards by Mike,too. VHF radio broadcasts,winches being operated,decks being scrubbed;I'm sure a nautical expert could identify them all individually.

           Mike had four fiddle players aboard including Anna Massie and Duncan Chisholm. Also featured on the recordings are accordion,whistle,melodica ,harp, mandolin and guitars Large items such as Grand piano and Kettledrums were out. (But how did he get that harp played by Corrina Hewat on “Voices”, through what he himself describes as “the hatch on my wee boat?”).

        This is his first major album release since 2014. The tracks are all of an agreeable length so that one is rarely bored or distracted. The frequent sound bites could potentially be a little distracting but on the contrary they fuse quite evocatively with the music. This is largely down to the recording and mixing by Vass himself, and the remastering by Iain Hutchinson. 

         The advance copy I received had a “Listen Out For” track-by-track guide included with the notes. This helped identify the objects used on each track. Whether this will be included on the final version (released 27th July) I do not know. The CD watch case designed by Kim Richards came as a clever triple gate fold sleeve,with a picture CD in the central pocket,making it look like a porthole.  

        “Notes from The Boat” is a unique and highly original idea,sensitively captured via a quality recording. The cumulative effect is a very agreeable and relaxing piece of music which one can listen to as an entire piece in one go, or “dip into” sampling individual tracks.

Far and Wide         Nick Dow            Old House Music

            Those who have never tried singing unaccompanied traditional folk songs in public could easily be fooled by Nick Dow. He makes it seem effortless. His pitch and timing are near perfect. But it's not at all easy: I can vouch for that personally.

          Many people try their hand at it, and some like Nick are very good at it. Others convince themselves that they have a penchant for it and they tour our Folk Clubs doing floor spots and proving themselves wrong. That having been said, there's a world of difference in producing a flawless studio recording, and standing up in front of strangers before launching into a sequence of songs with only a pitch pipe for company.

            But I will lay my cards on the table. I like Nick Dow's voice and I admire his material. I really enjoyed the last album of his I reviewed, which was a “Best Of” compilation featuring work performed between 2012 and 2015. Nick is to horses what Mike Vass is to sailing boats-but to his credit there is very little reference to things equine here.

       This 2018 album's content most certainly is “Far and Wide.” There are shepherds,sailors and tailors.There are Military songs and Maritime songs. Songs and tunes from Kent, Ireland,Sussex and Scotland. He certainly works hard at collecting, refining and improving songs.

          Nick does not drone-a common mistake which many a capella singers fall into. He uses intonation, phrasing and timing to emphasis particular points in each of the many stories he is telling. ( At 14 tracks and just over an hour long, it's a comprehensive collection). This is heard to best effect in “Prince Heathen,” a terrible and brutal tale made even more dreadful by Nick's passionate and dramatic delivery.

           The sleeve notes are as thorough as one might expect of such a specialist. Technical details about the tunes and timings:background to the research behind each piece:ancestry and history of each song in the collection,and an acknowledgement to each of those who first performed the original. The watch case and artwork is rudimentary and workmanlike-much as the collection of songs enclosed within.

        Sixty minutes of the human voice, with not a musical instrument in earshot-it requires some serious listening. I confess that I felt a little bit punchy by the end of it all after my first hearing. Which was in itself a tribute to the effort which this craftsman of the vocal art puts into his work.

CD Review: Namer of Clouds Kitty MacFarlane

        Also released in September 2018, but on Navigation Records, this was the second sample CD received in August 2018 recorded by by a quintessentially English, female folk singer. Unlike the Kelly Oliver one,this is a debut album Comparisons are odious, but listening to them back to back was an interesting experience and raised some interesting contrasts. She is also on Tour to promote the launch,mostly far afield, but can be seen at Leicester in November.

       As with the Kelly Oliver album Sam Kelly has his imprint stamped all over this one also. He produced it, in partnership with Jacob Stoney and some of the Lost Boys turn up again too. There are supplementary vocals,banjo,cello,melodeon and guitar. Jacob Stoney,Tom Moore and Josh Clark (who also mixed and mastered) add their musical two penn'orth also. ( What busy chaps..how do they ever find time to record themselves, or tour?). Recorded in Truro and Bath, it has West Country stamped all over it. (Even if it is watermarked so you can only see it when holding it up to the light. And even then,like the enigmatic, elusive quality of the album itself-not everyone can see it).

      Already critically acclaimed by some folk journalists, Namer of Clouds follows an E.P. Released in 2016. It is more mainstream that Traditional,though its roots are indisputably maritime and rural it is essentially acoustic. The overall impression is of a pretty little piece,prettily written and prettily sung. Many of the tracks are more poems set to music than songs. And Kitty is a decent poet who conjures up some decent imagery and creates some effective sound pictures .

       That said, Kitty has put a lot of research, travel and thought into collecting arranging and composing these songs. An eclectic and mysterious collection of work which,if I possessed a clifftop cottage,would have seen me gazing out to sea and watching the revolving glow of a faraway lighthouse as I listened.

     Given the timbre of her voice I was rather hoping that “Seventeen” would be the Janis Ewan version,but nine of the eleven tracks on here are original. The production is high quality,as one might expect from the Kelly stable. Lots of fade-ins involving “Found Sound” effects as on “Starling Song,” “Morgan's Pantry” and “Inversnaid” (Words to the latter by Gerald Manley Hopkins). The atmospheric “Sea Silk” was co-written by Sam and Kitty with native Sardinian mutterings,mysterious chuckling and wave noises sandwiching the vocals. There is much multi-tracking on the album,and a lot of subtly mixed harmonies which add to the overall ambience. “Man and Friendship” has a folksier feel to it than the rest of the album and is worth a second hearing.

    In fact, it is all worthy of a second hearing. “Namer of Clouds” is harder work than the Kelly Oliver album-but gradually, it grew on me too. It has been described as “cerebral and classy” and I suppose that means you have to listen carefully when so much is going on lyrically and musically. Listening to it made me think of The Somerset Levels even before I read that the cover photo was taken on those very marshes of Avalon. So her music made connections in my head-and that's what any writer and performer aims to do, isn't it?

      Finally, an additional House Point for the presentation. The CD I received was in an attractive three way gate-fold sleeve,with the CD itself (a picture disc) cosily perched in an envelope in the middle. The artwork was attractive and the accompanying notes were very informative.

CD Review : Botany Bay by Kelly Oliver

       This album was released at the end of September 2018, to coincide with a 16 date tour. For those in the Midlands Bromsgrove,Coventry and Milton Keynes are on the itinerary. Botany Bay is the third studio album from Hertfordshire-based Kelly. It is a firm statement of commitment to Trad.Arr. English Folk. The Award-winning Kelly has already established herself on radio,on tour and at Festivals including Cambridge and Costa Del Folk. The very listenable Botany Bay is sure to build on her growing reputation.

        Produced by Stu Hanna,it took 18 months to create and features songs collected from her home county, many of which owe their original exposure to Lucy Broadwood. This makes it a departure from her previous two albums which featured predominantly her own compositions. She definitely has an ear and a voice for traditional Folk music. Maybe her next album will feature a new take on much loved traditional songs from around the world? I'd certainly like to hear that.

      For Kelly is one of a whole army of winsomely lovely young ladies who sings somewhere in a range between an Angel, Kim Lowings and Rosie Butler-Hall. Her clear diction,pure enunciation and fabulous pitch ensure that each syllable is clearly heard:each significant word in each narrative is succinctly emphasised.

      Her strong musical pedigree adds an accomplished texture to the ten songs included. She is not afraid to rearrange and rescript some of the original material she discovered. Some songs are not straight covers-they are rearranged and adapted-and none the worse for that. Nor is she afraid to embrace new(-ish!) technology. She uses a vocoder to duet eerily and effectively with herself on “Lady Margaret” which gives the track a faintly weird and at times ghostly echo effect which is entirely appropriate to the subject matter.

      "The Bramble Briar"also has an interesting treatment No spoilers to ruin the surprises but there is definitely some funny business going on and the song includes a faintly disturbing dialogue between two sisters, and an abrupt ending which will catch out grizzled old Folk DJs like yours truly.

The title track “Botany Bay” jollies along at a robust and spirited pace. The bouncy, layered introduction featuring fiddle, banjo and a distinctly catchy vocal is serious earworm territory, You'll find yourself humming the melody around the house afterwards for days.

     In four brief years, Kelly Oliver has amassed friends and admirers in high places. Whispering Bob himself describes her as “a vital voice in British Folk Music,” in the accompanying promo blurb. Three of Sam Kelly's band of musicians feature on the album and their quality reinforces both the mood and the presentation. Jamie Francis (banjo) Toby Shaer (flute whistle and harmonium) and Eva Carson (Percussion) exert a strong influence on several tracks. “Trees They Grow High” features a cameo appearance from Phil Beer,plus Lukas Drinkwater adds bass and producer Hanna weighs in with mandola and piano.

    “Died of Love” features a sensitive close-part harmony with Luke Jackson,and some harmonica playing by Kelly herself. This lends a faintly Appalachian air to it and makes it sound as if it originated from Kentucky rather than Herts.

   Botanty Bay is an enjoyable listen with some thought-provoking content and excellent sleeve notes. I'll certainly be revisiting it.

Kentish Larks

       Following their appearance at Nuneaton Folk Club last night, after they appear at Atherstone Folk Club in the New Year, Sally Ironmonger and Brian Carter will have appeared at all three North Warwickshire venues. With a deserved reputation for a sense of fun,good songwriting,great musicianship and a willingness to engage with their audience they have won a lot of friends locally. Last night was typical of their entertaining performances. I am indebted to John B. Smith for providing so many photographs. All of those used here are his. 

     Last night marked the culmination of four years since the relaunch of Nuneaton Folk Club.In October 2014, Black Parrot Seaside made their last appearance anywhere by starting proceedings. Four years ago there was little indication of the terminal break-up which would follow,and a sparkling Guest List provided entertainment for a big turnout upstairs at The Crown. Dave Webb,Finger in The Jar,Malc Gurnham & Gill Gilsenan,David Parr,Sue Sanders,Katherine Fear.Bob Brooker,Simon and Sally Anne Veasey,John Kearney,K.C. Jones,Thruppn'y Bits, Terry & Jan Wisdom and Maria Barham all did a turn.

      Of that group, only Katherine Fear,Phil Benson and the Thrup'nnies were there last night,although the actual attendance at The Crew was larger than usual. Indeed,until the audience began sneaking away,late on, the room was nearly full. Those who left early missed the absolutely delightful Finale,Sally's full blooded tribute to Victoria Wood with the unexpurgated version of "The Ballad of Barry and Freda" AKA "Let's Do It" bringing the evening to a fitting and hilarious end. 

      There were a few minor disappointments. Those hoping to see and hear the glories of Nunc or better yet Drunc Monkey, were deprived not only of John Kearney, (touring America),and Flossy Mac,(stricken late on by a sickness bug),but also of Dragonhead's John Harris,who was otherwise engaged. Up until 5pm Jon Harrington,Paul Moore and I had a rough idea of what we were going to do to kick start the evening,but as things transpired, we were still making our minds up as we took to the stage. Sharp-eared audience members might have heard Paul and I running through a few bars warming up minutes beforehand. With no warm-up other than that and no sound check, we just went on (as troupers do),and winged it. 

         I cannot praise highly enough the contribution of those two Blues Monkeys Jon Harrington and Paul Moore. Paul was still not fully fit:he's had a debilitating illness which has left him with a chesty cough. Although it gave his timbre an impressive new register,he was clearly not right physically. Musically he was spot on. A vocalist relies on looks and cues and links, and Paul and I are developing a very useful rapport in that direction. He carried me through vocals I don't usually do. Jon,poor lad,after a day of working and commuting,had decided to walk in from home and arrived breathless and panting within a few seconds of us starting. But they joined me in ploughing through "Sitting On Top Of The World," "Guilty" and "Knocking on Heaven's Door" admirably. The audience sang their part in KOHD wonderfully, so it must have been alright. 

      Max Wright,solo again and away from Kittyhawk, followed us, with three spirited numbers, one of which was the seldom heard "The Night Hank Williams Came To Town." I've only ever heard the Joe Roberts interpretation of this number in Folk Clubs previously but as Joe doesn't come to NFC any more,it was good to hear Max doing this version. 

          More Nuneaton talent followed,firstly in the shape and sounds of Ian Bourne. Having requested his final song myself,I then insulted him by being absent whilst he performed it. I thought I had time to "nip" across the road during his first song to supplement the Raffle Prizes by buying some extra ones in Lidl. I was wrong.I arrived back to find he had finished the floor spot and Paul Moore,bless him,had turned his hand to compering in my absence. Thanks Paul. And apologies,Ian!

        Our 101st Guests (thought they didn't know it at the time) kept the Home Grown theme going by having two members of local band Green Man Rising duetting together. Steve Bentley on vocals and drum and Andrew Wigglesworth.on melodeon. They provided some rousing chorus songs and stirring instrumentation, including "The Bonny Ship The Diamond."  

       Thrup'nny Bits then followed, providing continuity between the very first NFC night at The Crown and this one. Polished and professional as ever,they got the whole room singing. And marvelling at their similarity to ZZ Top. Hitherto the trio will be known as ZZ Bits. 

        The final act, before Sally and Brian did their first set, was Comharsa. Earnest,loud,busy and enthusiastic,they filled both the stage and the room with their sound. Fresh from their triumphal appearance at the Twisted Barrel's Father Ted Day last weekend,they pounded out four numbers.Our resident Sound men Tom and Harvey had been temporarily spooked by their impending presence  but soon had the six of them,well set up and under control as they romped away to "Paddy Works On The Railway." Comharsa's final offering was "The Wild Rover." but before that their extraordinary version of "Rattlin'Bog" set mouths open wide.

               After the interval, that hastily cobbled-together version of Nunc returned briefly to run  through "Vigilante Man " and "Jesus on The Mainline " before handing the stage back to Sally and Brian. They do a mixture of their own songs and some well-loved covers,delivered with panache,enthusiasm and bags of energy. Go see them soon!