And Yet....The Wilderness

          The Wilderness Yet is an eponymous work from  a Sheffield-based outfit of the same name comprising Rosie Hodgson ,Rowan Piggott  and Philippe Bourne. It  is a new departure for all three musicians and although they have broad experience elsewhere, this is a debut album. Potentially they are one of many duos or trios with a similar sound, in a competitive market place. Even more so since Lockdown. With "live" public performance currently limited to the point of non existence,TWY  will be judged on social media and/or recorded output. The good news is they are distinctive enough to stick in the memory and the album merits a second (and a third) listening. 

           It's a nice sound with plenty of style and originality. Some bands take several attempts to achieve this enviable level of performance. TWY  manage it on a first release. Going deeper into their background,this comes as no surprise. Although a new venture despite all three being comparatively young they are  well versed in this sort of material having had plenty of experience solo and in other outfits. Already old hands at gigs and festivals,their pedigree shines through. 

          Musically,all three can handle lead vocals and their harmonies are well arranged. Rosie is yet more talent from Sussex (Bird In The Belly:Mike Reinstein:Hickory Signals and Green Ribbons). She writes some of the material and her sibilant voice is  in great evidence. It is one of those crystal clear quintessentially English voices,clearly enunciated and emotionally phrased. Rowanalso writes lyrics and  adds fiddle,viola double bass whilst Bourne contributes whistle,guitar and flute. The recording is further bulked out by Evan Carson (Bodhran),and vocals from Charlie Piggott (button accordion) and Johnny McDonagh (bodhran),both of  De Dannan. 

        The Wilderness Yet take their name from a Graham Manley Hopkins poem. The twelve tracks are mostly original material but are written in a traditional context. The atmosphere  and content are both ethereal and metaphysical. They have a real aptitude for songwriting,evidently putting a lot of effort into it .They show a critical understanding of what constitutes traditional folk. There are tune sets as well as songs making it a rounded listening experience.  The overall tone is of loving Nature,wild life and growing things. 

        They acknowledge the influences of Terry Pratchett, Eric Bogle Pete Lyons and Ben Paley and there are Nordic and Celtic strands woven into the composite sound. 

         The CD comes in a triple gatefold watch case with a picture disc. There is wonderfully sylvan/rustic artwork from Adam Oehlers throughout. Comprehensive sleeve notes detail the background of each song.  Lyrics are available via their website-which is where you can order this. The official release date is July 24th 2020. 

      

        

From There To Here

From There To here    Jacqui McShee and Kevin Dempsey      MCDEM RECORDS

          Kevin Dempsey is a bit of a hero of mine. He's a regular guest at Nuneaton Folk Club and a welcome guest at all the other local venues too. His work as a solo artiste or as a member of Dando Shaft and Whippersnapper is legendary. As an icon he has earned the right to be a bit aloof and a bit distant if he wanted to, but he never is. He is always the same lovely,grounded fellow that I've known for years. I like his guitar playing,his singing voice and I like Kevin Dempsey. I'm also honoured to say that occasionally he has agreed to jam in with my band,and we've been like starstruck teenagers on stage when he has. All the photos show us grinning and him focussing on the guitar! The man is just Boss. It says everything that he dropped the copy of this album round at my house. In person.

Kevin Dempsey with Nunc.

       Now we've got that out of the way,let's move on to Jacqui McShee. I've never met her,but I adored Pentangle too, especially the stuff she did with them. Basket of Light is in my top ten Folk albums of all time . Her vocal contributions on The Cuckoo, House Carpenter and Once I Had A Sweetheart were (and remain) sublime. As a Folk Jock I've played their stuff and Kev's many times. When I heard they were doing an album together...just...wow!

       This new album contains some of my favourite Folk Songs. I've always loved Brigg Fair and Lord Franklin for example. I have many versions of Lord Franklin,and have always admired John Renbourne's version most. Turns out it's Jacqui's favourite,as well! I have always had a soft spot for Nature Boy too. A brave project but as Jacqui says, "this is a song we have both wanted to sing for a long time."   And of the trad arrs. Jack Monroe just has that indefinable Dempsey kick and swing to it. Both in the picking and the singing.

        The coincidences just keep on coming. Many centuries ago ( I exaggerate slightly) I studied English Literature at a London College and qualified to teach it to "A" Level. One of my areas of study was the work Of William Butler Yeats-who of course all scholars will know was Irish and not English! . My own life took a different course and so I never did get round to sharing his poetry with a group of Sixth Formers, Innisfree though was always one of my favourite poems by the great man -and blow me down here it is on this album put to music! 

       They are not afraid to stray away from covers and to tackle their own writing projects. Beautiful Island is credited as being a McShee/Dempsey composition but I suspect the lyrics are Jacqui's alone as it refers to a personal experience. Frankie too is very personal. It is about Jacqui's dad although by coincidence Kev's dad is also a Frankie.  

          Telephone Lies reverses the credits so I'm assuming it's one of Kev's. " it keeps the yearning at bay," he suggests in the notes,referring to the occasional bit of judicious editing when reporting home whilst on the road. Leaving is their final effort together-a lighthearted reflection of Brexit which again I have to say I have a great deal of sympathy with. 

        The sleeve notes are meticulous- a wonderful asset for a Radio Show presenter! I always like to study credits,check on a written version of a lyric and absorb any background if provided. The artwork and photography is subtle and Joe Broughton has done a fine job on the mastering. 

         There's no getting away from it, voices change and evolve over time. ( I speak from personal experience!)  Listening to myself singing on vinyl in 1978 is not quite the same as hiding behind a settee when I'm on You Tube nowadays. Luckily for Kev and Jacqui,that special timbre and intonation is still there. Like a fine Madeira, it may have matured with age,but whether solo or in a duet together here are two immaculate,perfectly phrased voices. A Collectors Item and a musical treat.  It is available in all digital forms and can be ordered from Kevin's or Jacqui's websites. 

Sketches

    Like many other Folk outfits,Sally Ironmonger and Brian Carter have not been entirely inactive during Lockdown. They have been proactive and have managed to issue a new album. In the past, despite hailing from Kent (that's almost Brittany in my part of The Midlands), they have (deservedly) been regular guests at almost all Warwickshire venues. This newest release is an ideal way to keep in touch, for anyone currently missing them. 

     They take their songwriting seriously,whether compiling albums or assembling "live" performances. Consequently they are always entertaining in both formats. Like their live shows there are (as always) plenty of laughs in this collection,a lot of good music,some singalong choruses and an occasional sublime lyric that sticks in your head for ages afterwards. It's not all nudge nudge wink wink,although there is a certain Bamforth Postcard End of The Pier quality about them. 

      The title song is a nod to Boz who illustrated many stories and articles by Charles Dickens. It's an apt reference because like Sally, Dickens had a strong Kentish connection. He also loved to draw little pocket-sized caricatures of people,which the work of Boz complimented.  A typical example of an Ironmonger sketch is The Bitter End which combines Sally's unique vocal style with some poignant subject matter and clever wordplay. 

      Having myself written a song putting Piracy into a modern context  (Risk Assessment in my case), I loved "Threadneedle Street."  Here they are at their angriest,describing "Tax evading asset stripping crocodiles," but  waspish humour provides a good vehicle for making a serious political point.  "The bastard sons of Blackbeard now walk Threadneedle Street," Sally croons,reasonably. I've joined in with this song at a live performance, singing merrily along with the choruses and echoing Brian's simple one word counter refrain of "Bastards."  It was a very liberating experience. 

     In previous reviews of Sally's  releases,I've mentioned her affinity with the late,great Victoria Wood.  They both write in rhyme but the lyrics here are never forced or contrived thereby avoiding the trapdoor of end-of-line doggerel. In fairness, this admiration of VW is no secret and Sally does tend to finish her stage act with a brilliant homage to her. For those of us still missing that  Woods-style brilliant observational writing,Sally is a most acceptable substitute. She has the same acid touch to some of her lyrics and imagery, managing to pack so much into each single verse. 

        The songs on Sketches are far from superficial. Some indeed are full portraits. They have a witty,clever,reflective content. The targets are often everyday themes we can all associate with. Sally's delivery is wry,tongue in cheek and sometimes vernacular. She makes no attempt to mask her accent,so good for her. "Sometimes a song appears waving a flag and demanding attention," the sleeve notes observe,adding,"and sometimes it is like trying to squeeze toothpaste back into the tube."  Well...quite. 

             "Backstreet Boozer" rightly laments the passing of many of our great British pubs,no doubt currently being hugely accelerated by the horror of Coronavirus. Those of us who loved sinking a pint of Redemption or Tring in the Bree Louise whilst waiting for a train home from nearby Euston, now hope that the Bowler Hats responsible for its compulsory purchase( for HS2 clearance and subsequent  demolition), choke on their Gin and Tonics.   

         When I first saw them, Brian's role was not as forward as it is nowadays. He tended to play a few instruments,add occasional colour to Sally's magnificent vocals and was the straight man in those amusing verbal asides to the audience. On Sketches he contributes guitar (including  some cheeky little solos), mandicello, mandolin, banjo and Shrutti box. AND his name appears first in the writing credits. Nine of the twelve tracks are theirs,whilst the others are by Ian Petrie, the Chumbawumba team (no less!) and one is a cover of a Traditional child ballad which is over one hundred years old.  

          The songs are all of a sensible duration,between 3.30-4.50 mins. I know I bang on about this but as a Folk Jock and Club organiser, this is a godsend. So many artistes make the mistake of writing (and then recording) interminably long songs which won't get airplay and will send an audience off to sleep. If you can't get a strong message, a moral standpoint or a good story condensed into less than five minutes then you are at odds with an ancient Folk Tradition. You're neither a balladeer nor a troubadour. 7+ minutes of preaching or overkill will only engage Folk Nerds of the most seriously committed kind. 

         Much to admire then,in this fine collection. Their songs make you smile, shake your head,nod in agreement and develop a yearning to throttle some of the objects of their penmanship. If you've seen this duo already or own any of their previous albums,I'm preaching to the converted. If not-get it. It's available via their website as a hard copy or download. By clicking on the link here  you can also sample snippets of each song-so you can see I'm not fibbing!

      http://www.sallyironmonger.co.uk/