Shining On

         The long-awaited return of master song-writer John Richards to Nuneaton Folk Club finally came around last night. Having previously appeared at both NFC venues,this timehe was back up  in The Queen's Hall. John brought along the latest incarnation of The John Richards Band. He goes into The Folkies Hall of Fame for "Shine On" alone in my humble opinion,quite apart from the other masterpieces which have continued to flow from his pen.This time, a four piece format saw John,his bass player Jim Sutton,and the addition of his daughter Emma on vocals and instrumentalist Julia Disney as a change  to last years line-up.            

            After a turbulent and busy few weeks following our appearance in Warwick (yes..Warwick..) Nunc had thinned down to two and nearly did not make it at all. (Hence leaving them off the poster. Nonetheless,after no sound check or warm up at all, we opened proceedings with three favourites to get the tonsils aired. "Di Di The Ice Cream Man," "Jolly Boys" and "Albert Balls."  As hoped,they warmed up the audience up by making them chuckle,and they sang the choruses enthusiastically. 

             Not that anyone needed warming up. It was a warm night and how fortunate we are as a folk club to possess our very own air conditioning. In fact,if you look in the photographs,you can see it looming over the stage like a giant mother ship out of "Close Encounters."  Either that or Steve Bentley's Tuba has escaped?

           My word processing package had been experiencing a field day beforehand with the auto correct going rogue on some of the pre-gig promotional material. On the first posters for example I had proudly announced "Craig Sullivan(!!)" and Ellie Rogers as  part of the support package. Not true. The anticipated debut of Ellie Rogers (real name Ellie Gowers) (sorry Ellie) did not materialise. We just assumed she was stuck on the ring road or perhaps had ended up stalled at customs. perhaps detained  trying to cross from South Warwickshire into the Northern Zone. But here she is,anyway. See what you missed?

                In her absence we had to reshuffle the running order and drag up the other end of the spectrum, the slightly older but still winsomely handsome Bob Brooker. Bob started with an instrumental and the title song from his album "Our Home is By The Sea."  He concluded with yet another song about Whitby ostensibly about Herring but really  about Whitby. Bob likes Whitby-although bless him,he chose to be with us last night,instead of following the annual migration of the bearded folkies Oop North for the annual week-long jamboree there. So the NFC crowd finally got to hear his "Herring for a Tanner" song. This is a recent piece he is rightly proud of and which has been receiving rave reviews wherever he has performed it. A song featuring old money references...now where else did we hear that last night?  

                                               

               Adam Wilson was up next. He knows he has no choice but to do "Old Man" whenever he comes to NFC. He knows I wont let him into the building unless he performs it. Without having Neil Young in Town it's the next best thing. What a range, After fulfilling that particular obligation Adam called up Nigel Ward to join him, and a new collaboration was born. For me,it really worked. 

       It seemed fitting to have Craig Sunderland aka Sutherland aka Summerland aka Summerfield etc preceding JRB's first set.The typo thing became a running gag during the evening. Craig is a good sport and always enjoys a joke,  (Like me getting his name wrong). Craig is a delightful young man,with a great guitar style, a great voice and a real talent for identifying a great song before putting his own stamp on it. "John Barleycorn" and "Little Pot Stove" had probably been done to death over time in Folk venues,but he has injected new life into both. Craig Darlington and Neville Word. They'll go far. Good call, boys. 

             And then we were finally treated  to a first helping of some old and new material from by JR and company. of the new came a selection from a forthcoming new album. Some of us have long chided John for taking his time over a new recording so hearing a previewof such a project came as welcome news. Though I wont say I didn't miss "Polly"  "Don't Despise the Deserter"  "Roaring Water Bay" and  "The Foundryman's Daughter," the new stuff was equally sublime.

           After the break JK and I revived the audience with "Knocking on Heavens Door" which as always, they sang along to beautifully. Bob Brooker the man who never wins raffles, won again. He was seen carrying off a whole clutch of strong beers as his plunder. Thanks to the generosity of NFC supporters we had another high quality set of prizes. No Lambrini here. Prosecco and Pinot Grigio,plus a carry out litre and a half of Rose. I was surprised to see The Dubliners album finally go-but poor Barbara Dixon got left behind again-always the bridegroom. Paul Monks won a magnificent Nunc-style beach shirt donated by John Richards himself.( I look forward to seeing Paul wearing this on the circuit from now on). My thanks to Maggie,one of the forgotten heroes of NFC who works so hard selling tickets,folding them.encouraging people to draw them out and and then calling out the winners while we just loon about on stage enjoying ourselves. 

              Second half from JRB we weren't totally deprived of some of the old material. They finished their second set with "If you can walk you can dance," and as a rip-roaring encore (thank goodness!) "Shine On " was duly delivered. l'm not sure JR would have got out of the hall in one piece without doing it.  It's a talented line-up with a sublime sound. Jim enigmatically plucks his double bass,coaxing out some deceptively good solos. And then he.takes to the keyboard,adding another string to his bow. Emma has a bluesy,gutsy voice which provides a good counter to John's fine vocals and Julia's harmonies. Julia herself took the lead once or twice. Her fiddle playing was excellent and she accompanied herself on guitar with a poignant song about the Morecambe Bay disaster. 
             Thanks to Max Wright Maggie Veasey Ray Buckler and JK for the photos. And a round of applause for our young Sound Crew,beavering away all night,doing their best to please everyone! 

         There were (apparently!) counter attractions elsewhere at Cropredy and Whitby which may have tempted some of the grizzled old Folkies away from home turf last night And I think there was a thousandth re-run of "Vera" on ITV 3. But it was lovely to see so many of you all turn out anyway and so humbling to see so many musicians in there as well as all the regulars. Next month our Featured Guest is another guitarist's guitarist Si Barron and a bit of a coup also ,a floor spot debit from another ace guitarist,Tony Portlock. Hope to see you there. 

(belatedly) Warwick Beer Festival 20th July

            Apologies for the delay in reviewing this event. True to say there were a few logistical problems in the intervening weeks. Still:better late than never,eh?    
        One week before the all consuming excitement of the annual Warwick Folk Festival was due to overwhelm our County Town, the annual Beer Festival,relocated to Pageant's Park gardens,also hosted three days of music food, and well...beer.

        They'd had a pretty damp Friday night apparently, but we really were blessed that evening as all of the acts managed to play to a field of dry(mostly), happy punters. Getting there had been a bit of a nightmare,with our usual Warwick car park was hidden behind a baffling construction of cones and barriers whilst the rest of the town grappled with its one way system. 

        As Jon Harrington and I finally sprinted from a distant car park into Jury Street,we had received mixed messages en route about start times,and feared the worst, as we had been delayed. No need to worry because young Ellie Gowers was on stage and was giving it her best shot. Very impressive too,so much so that I invited her to cross the county meridian in August and come to Nuneaton Folk Club. Of which,more later. It was our good fortune to be appearing there on the Saturday night,the 20th July .We set up in pretty sharp order and with Matthew Mansfield  driving the P.A. with an admirable dexterity,the sound appeared to reach all parts of the compact area.  

Genius at work. 

      With the full six-piece line up available it was actually the Drunk Monkey version of Nunc who tore through a 45 minute set including all of the raunchier, noisier numbers as well as throwing in a couple of quieter ones such as "Guilty" and "Weather With You" The audience appeared to enjoy it all. Once again we got a few people dancing and a few singing along. Afterwards once couple asked if we could play at their wedding(!!) and I had some very positive feedback from a local publican who recommended we pay his establishment(s) a visit. 

Here we all are. Pablo IS there.You can see his sunglasses.

    Our good friends Alchemista followed us,and the level of music remained high thereafter so we hung around to listen to  a couple more sets. Alas,the beer began to run out,which is always what a Beer Festival Committee wants to hear,but it can be a disappointment for the committed Tickers seeking to add a few more trophies to the list. Top marks go though  to whoever it was who had the forethought to order not one but TWO barrels of Church End Fallen Angel. Having the second one racked up and ready in reserve, to come to the rescue late on Saturday was a stroke of genius. It certainly kept us occupied.                

           Top marks to Matthew Mansfield and his team of volunteers for assembling together what was  a very successful event. The setting was Sylvan,the food (especially the Fish & Chips) was excellent,and the music was an eclectic mix of styles. The Beer List had seen a lot of thought going into it. Many local breweries  represented,but also a commendable list of quality stuff like Mallinsons and Abbeydale on tap. The security and bar staff were especially friendly-they worked very hard to create a welcoming atmosphere. 

Recent Album Reviews from "Folk Monthly"

Laws of Motion       Karine Polwart      Hudson Records

          Karine Polwart is a real Folk talent. She is capable of wonderfully sensitive and ethnic vocals with a versatile range encompassing anger,wistfulness,sorrow and pain. She has an eye (and an ear) for painting pictures in word and sound. Though her roots may be in traditional and/or celtic music,as a songwriter she is not afraid to approach the contemporary.

        Accompanied by Steven Polwart and Inge Thompson,some of the arrangements here are quintessentially modern,with a lot of thought put into the background sound as well as the instrumentation.The three of them had a hand in the arrangements,whilst other credited musicians include Kevin McGuire (double bass) and Calum McIntyre(percussion). The album was produced by Karine herself plus Inge Thompson and Stuart Hamilton. Hamilton also recorded and mixed it at Castlesound Studio and Dean Honer mastered it. Quite a cast then,and quite a journey to get this album out on release.

       It gets very metaphysical. There is nautical, ornithological,botanical and meteorological imagery everywhere. Two song titles “Crow on The Cradle” and “The Robin” have both direct and indirect avian images,whilst elsewhere in other songs kittiwakes and puffins wheel overhead.

      “The Robin” is just a rather lovely homage to Rubecula. Whereas “Crow On The Cradle,” written by Sydney Carter, is really an allegorical anti war song:the only cover on the album. On several levels it really touched a nerve with me. Surrounded as we are here by big trees,the Rookeries and Jackdaw nurseries create a wall of sound from dawn to dusk at the moment. Corvid babies shriek and scream from the Ash and Cedars all day. But shoot them? Because they are a nuisance? No,I never would. Whacking a cushion with a fly swat is as dramatic as I get when I'm outside and I want to hear myself think. It makes them disperse and go back to their roost,but inevitably they come back..

.    Polwart's poetry is rich in the elements and in flora,fauna-and geology. Gardens are mentioned in several songs. Scots Pine,bracken,heather,willow gorse, eucalyptus and jasmine are among the roll call. The songs roam from braes to peatlands,across moors heaths and deserts. On land there is gneiss, sand and granite. Waves lash across oceans and onto shores.

       The title track I really liked. Co-written with Martin Green,( along with “Suitcase,”) the lyrics are both powerful and evocative. With multi-tracking,echo and reverb among production tricks it has a much bigger sound than most of the other content. As a consequence it fairly rocks along at times. Classic opening sequence and a brilliant hook line/chorus. I can't help feeling I'd like to hear her tackle some Americana or roots music via a style like this. It would work.

      “Cornerstone” is a restful ,intelligent piece with nice harmonies,tasty harmonics, an ambient arrangement and an eclectic instrument choice in the musical exchanges. Like “The Robin,” “Ophelia” has a softer, ethereal quality to it. “ I burn but am not consumed,” is a great title and a great concept. It is a brave combination of spoken word,sound effects and song. Jazz, song and performance arts don't always work for everyone. I'm ok with it myself but although it makes great listening, I bet the “live” stage performance of such a piece is an experience a level above just listening the album. “Cassiopeia,” with additional Vox from Richard Medrington also has spoken word as well as sung lyrics. For me it's more effective than the previous,longer multi-media track.

  Top marks for the packaging. A triple gatefold CD (card not plastic) contains a comprehensive booklet including lyrics and credits. The sleeve itself carries further interesting background to the songs and a rationale of sorts. “I didn't set out to write songs on a unified theme,” Karine declares. “ They've just landed that way.”

    And so they have. “Laws of Motion” is a bold and ambitious project. Dealing with movement,migration,and travel over time and space as it does, it travels from place to place and across time. The studious approach to such topics,linked loosely together reminds me of work by Phil Hare, Harbottle & Jonas,The Young 'Uns and many others. Nor was I surprised to see Mike Vass mentioned n the credits either. Another artiste I have reviewed favourably in FM before.

Overall,there is something for everyone here. It's a strong album,and one to listen to with a glass of wine or a mug of tea,whilst watching the sunset.It requires concentration and it needs to be revisited before one gets all the subtle nuances. If this is your introduction to Karine Polwart you will be impressed. If you are returning to her,you won't be disappointed.

Sisters and Brothers            Na-Mara

        This 2019 production is the fifth album release by Hertfordshire duo Na-Mara ( Gaelic translation by (or near) the sea)? They are Rob Garcia ( Guitar Mandolins and vocals) and Paul McNamara (guitars and vocals). Dan Garcia guests on Bodhran and percussion.

       Na Mara's self-penned songs are melodious and commendable. They are well sung clearly enunciated standard British fare with worthy topics and sing along choruses that I bet go down really well in the Folk Clubs. They have another string to their bows however which fair doubles their versatility. They have a diverse knowledge of World music, specifically French-speaking genres such as Breton,Walloon and Quebecois material which they adapt themselves.

      Thus as well as cautionary British tales about the perils of gambling, insurance fraud and exploitation of accursed and oppressed workforces,one can find Bourrees and a Galician muineira. ( My word processing package doesn't do accents so if the lads are reading this they'll have to forgive me for omitting them).These jolly instrumental interludes add light and shade to the album.

     Some tracks are bilingual,featuring decent pronunciation and the translations are generally sound lending them an air of authenticity. ( I bet it earns them a few extra boules de cidre too,when touring on the continent). “Compagnons De La Marjoiaine,” for example is a traditional French song which flits effortlessly from French to English with a fluidity which would make a few right wing politicians apopleptic with rage. “If I had but one true Love” demonstrates the same properties-so they are no one trick pony. “The Poor Refugee” is another cultural crossover:Na-Mara words sung in English and applied to a traditional Quebecois tune uncovered by Vent Du Nord. It deals with the timeless and boundary-transcending subject of the stateless in search of asylum or just armistice somewhere.

      Tackling “Time Wears Awa'” is a brave and pleasant enough undertaking,but for me it is a song best performed by a female singer. Once you have hear the Paper Circus version with Jennian's breathtaking vocals,you won't sleep soundly again for a week or more.

      “The Black Widows” is a self-penned tale about a more contemporary cause celebre (that's French you know). It's a cautionary tale about life expectancy in Liverpool during the 19^th century. “We Met Upon The Barricades,” also original, has elements of gallic style about the melody and deals with the trials of being on opposite sides. “English Penny” is based on a true story and commemorates the adventures of nurse Penelope Phelps during the Spanish Civil War.

      Sisters and Brothers is a truly international album. It comes tidily packaged in a gatefold sleeve with useful sleeve notes inserted into a handy pocket inside. It was recorded at Kingshill Valley Studios in St Albanns and was mastered by Ben Behesty in Clerkenwell.