Another Album Review

The Wife of Urban Law               Peter Knight's Gigspanner

        Now “The Wife of Urban Law” is formally launched, the band are embarking on an extensive U.K. Tour to promote it. It is Gigspanner's fourth album, timed to be on general release at Halloween 2017. Canny marketing this, as it is both a magical and a haunting album and the musicianship is devilishly good. (Sorry!)

       Ex-Steeleye Peter Knight's musicianship was once praised by the late Sir Terry Pratchett. Which elevated him highly in my standing well before I first played this new album. Peter and his Gigspanners are rightly popular. He likes to attach his name to bands, just like John Mayall does with his Bluesbreakers-but fair play:Knight's influence is everywhere on this album. A graduate of The Royal Academy, his work is undeniably pleasing and highly innovative. To say he plays the fiddle is like saying Chopin was a decent pianist.

      The album title is taken from an inscription on an 1884 tombstone in an Oxfordshire graveyard. Urban Law was a person rather than a piece of legislation. The opening bars of Urban's Reel's is redolent of Dire Straits as in Telegraph Road or Private Investigations. Knopfleresque notes are finger picked out over an ominous background drone. It would be superbly spooky soundtrack music. Then, just as you have settled to this gloomy opening, away it dances into an entirely different mood and time zone. Eventually to segue into a rather nifty, flamenco paced ending. Leaving the listener scratching their head and wondering quite how they got there. Dancing across tabletops in some Taverna, when you started off peeping through your fingers on top of some bleak moorland.

         Lament For The Wife of Urban Law is one of two songs exploring who this guy and his wife may have been. Several of the studio tracks are full of uncertaintly and conjecture like this. Musical questionmarks, phrases and snatches of tunes hang in the air along with the long,suspended chords which hum away threateningly beneath the tracks.

           Rocking The Cradle is a spinetingling piece of work. Haunting sound effects accompany a structured musical introduction and continue to provide an eerie background throughout. It is a sad tale ,just ripe for telling round a blazing log fire at the end of October and the start of Samhain. A quite extraordinary piece of work, with mesmerising instrumentation leading to a sudden ending, with waves washing somewhere onto a deserted midnight beach. Probably only a synthesiser or a bit of creative sampling-but it had me hiding behind the settee and checking that the front door was locked every time I listened to it. The longest track on the album but not a second is wasted.

        Peggy and The Soldier Is a metronomic treatment of a familiar song. This lends a calm and relaxing air to it. Spencer The Rover is the framework of a well known and oft-performed piece of Folk Music. Once again the scene is set with the vocal:a familiar tale of misfortune and lamentation and reminiscence of travel in faraway places. Then we are whisked away from Spencer's adventures and his descent into poverty and off on a musical magic carpet ride. The music perfectly fits Spencer's nomadic lifestyle and life journeys, before his eventual return to a kind of domesticity.

      Bold Riley is one of my favourite songs and this version stands up to all the others I know. Beware: it is destined to be a horribly clingy earworm if you listen to it too much or too often. The chorus is a great hook-always has been,popular with singing audiences, but there is also a very nicely paced central instrumental section.

      Penny The Hero, recorded “live” in Dartmouth, has echoes of Afro-Caribbean rhythmns woven throughout-both from the guitar work of Roger Flack and the percussion of Sacha Trochet. A flighty piece of nonsense with a lighter mood than some of the other tracks-much as befits a song dedicated to a pub game.

     The Blackbird was also recorded “live” at the Dartmouth venue. It is a delightful, richly layered instrumental where Flack and Knight call out question and answer phrases to each other. It wanders seamlessly through Jazz, Trad. Arr. Rock and Classical and back again. Knight's depth of expression here is tremendous. Subtle at times, infectiously rugged at others.

         This is a cracking album. So many good CDs have already been released in 2017, for example from Frigg, Sam Kelly, The Young Uns,and Pilgrims Way, to name but a few. But this one definitely deserves to be to be added to the (growing!) pile of keepers. I played it over and over again on first receipt and long after. I heard something different in each track every time. Anyone adding this to their collection will need to be fit. Your feet will be tapping throughout and at times you may well be sorely tempted to leap up and dance along with it. That's when you are not peering under the table to ensure the Bogeyman is not hiding there.

A Haunting Evening

           According to  "Nuneaton Pubs," by local Author Peter Lee, The Crown has a reputation of being Haunted.  Those who know me well will know that  I neither "celebrate" nor "commemorate " that (literally) ghastly annual event Halloween. (And why). However, I live next door to a churchyard and have also had enough spiritual experiences in my lifetime not to dismiss entirely the unexplained or mysterious chains of events which  sometimes happen. I once remember one winter night there, making a comment about my dearly loved (but alas long departed) Mum on stage there, when a butterfly emerged and settled on my face. Hmm....

          Setting up another Club night first thing at lunchtime was straightforward,except that the Theatre Group who regularly use the room had helpfully covered up the back of the stage with black curtain. Not just pinned it, but stapled and screwed it to the wall. This meant that hanging up the NFC banner was notional. 

          The copies of Folk Monthly, usually so punctual,and always arriving well in time before our First Wednesdays, had disappeared,and had not arrived as usual by the time we had set off for Bond Street again. So our receipts were £15 down before we even started! 

        All was working when Dave Smart and I left it that afternoon. But when we returned later, the door to the room simply would not open. The bar staff swore it was unlocked but the two of us could not open it. The slight young barmaid floated upstairs and pushed it straight open. 

       Last night at The Crown, Nuneaton Folk Club was the night after Halloween. During the day the Gremlins and Glitches  became outright spooky as they accelerated. None of them spoiled the evening however. We had two typically magnificent sets from the prodigiously talented  Danny Pedler and Rosie Butler Hall as our Main Guests. A procession of floor singers, many making their debuts provided a diverse tapestry of styles and influences. We had some first time visitors who vowed they would come back next month, and although many familiar faces were absent, it was again standing room only. 

           Nunc opened with "Bring It On Home," followed it with "Down Where The Drunkards Roll" and finished with "Knocking On Heaven's Door." Which latter the audience sang beautifully. 

             Meanwhile, outside, down in the street below, on that bloody racetrack of a three way junction,where NFC follower Mick Stanley once lost an argument with a car,  Rob Oakey was battling with his own demons,having taken a prang on the corner en route to The Club. It is a sign of his determination that having parked up and chatted with The Constabulary,he made it upstairs in time, took a seat and (happily) won a tin of sweets in the raffle, later. 

            Next up,the first of our floor spots  and making an NFC debut was Angus Ellis. I'm sure he won't mind me saying that he's been to some dark places at times. Let's just say if he was a cat he'd be walking very carefully nowadays. But he's taken great steps to get back to where he once was, both in terms of guitar playing and songwriting. He did us a couple of his own compositions last night, and despite the batteries in his guitar playing up, we could hear him right at the back. He was quite restrained: our audience would have been surprised to see him playing a Fender Telecaster and ripping up The Anker Tavern earlier this month, duetting with John Kearney on "American Girl."  Versatile chap, Angus. 

Angus Ellis. He da Man. 

             Angus is a regular at The Fox at Attleborough. It has acoustic sessions every Monday night and has previously provided us with a regular source of musicians,notably Paul Moore,John Neal  and Simon Veasey. Last night was a positive invasion by the Fox Massive,however.  Wes Hall, for example. Wes is a regular  audience member at NFC sessions,but  stepped up from the floor last night  to make his debut, accompanied by Paul Moore.

Wes and Paul

              I'd seen the  JPs at a couple of local venues, and I liked what they did. Paul and Jane came under attack from various malign influences straight away.. you could almost see an invisible hand tugging at Paul's guitar lead and working it loose as they got into their stride during the first number. That same hand  was also having a go at blocking the signal from Jane's Ukulele,but they fought it off and were coming through loud and clear at the back. When you are on that big stage it is not always easy to hear yourself,but by their second song they had fought off the distractions. They looked (and sounded) the part. 

Jane and Paul. The J.P.'s doing themselves Justice.

               Jak and Maria have appeared at NFC in various guises-as members of Frayed Knot for example, or as a duo. Last night they sang us a couple of songs including a very thoughtfully arranged version of the John Hurley song, " Love of The Common People."  A lot of people think that Paul Young wrote this, but he simply adapted and popularised a version covered by many including The Everley Brothers, Bruce Springsteen and Stiff Little Fingers. It was a good choice. The audience sang the choruses well.

Jak and Maria

            Back then, to the Attleborough Posse, this time represented by John Neal. He  hosts the informal Monday night sessions in The Fox in a relaxed and  friendly manner, putting in his own contributions too. Including percussion (dusting a pair of brushes on his guitar case), or some very tasty harp fills.  It was far from his NFC debut last night. He gave us two of his own songs including the excellent "Lennon" with its evocative imagery.

             Bob Brooker can always be relied upon to provide us with good musicianship and pearls of wisdom laced with that dry Lincolnshire humour of his. Last night the gremlins had also been nibbling  at his DI lead however and the amplification of his Bouzouki came and went intermittently. Bob had told me earlier his hearing was a little down last night,( although he heard me .o.k when I bought him a pint beforehand). (Diet Coke-he was in training for an important Folk meeting tomorrow).  So stridently (and so well) does Bob play however, that right at the back we could still hear him. Bob cannily finished with a version of John Connolly's "Fiddler's Green" An old Folk Club favourite, with the audience returning the choruses right prettily. As they say. 

                We were running late, so shelving Malc Gurnham's cameo for the second half, Danny and Rosie stepped up and blew everyone away with their catchy,likable ,danceable music. They have a lovely stage presence:friendly,engaging,knowledgeable and not afraid to laugh at themselves. They played us a short taster set to take us up to the Interval,including two of my favourites, "Hares on A Mountain" and  " Smith's New Rant." 

           Second half under way and as we folded the Raffle tickets, Malc  "The Godfather of Folk" serenaded us with a Birthday tribute to Tom Paxton. Who is nearly as old as Malc is. He must have heard me doing that joke as he followed Paxton  up with " Teenager In Love." This bemused some of our younger audience members a little, as the Chorus singing was particularly strident in this. Two good choices by Malc (as you would expect) to prepare the audience for a full 45 minutes of Danny and Rosie.

Malc demonstrates what the well dressed teenager wore in 1922

              Really, you'd have to see them to appreciate how good they are. Their enthusiasm is infectious,and  their musicianship is undeniable. Rosie seems to float at times, her feet skipping along with the rise and fall of her fiddle playing. Danny coaxes all kinds of sounds ancient and modern from a variety of instruments. Feet are set tapping, heads nodding, their music just makes you want to forget the arthritis and get up and dance. 
           All too soon it was time to bring the house lights up and bid farewells. Dave Smart had been set numerous conundrums during the evening but once again battled through all the ethereal mishaps to provide us with a first class setting. Rob Oakey  was giving Bob Brooker a lift home. I do hope they both got back to Cov. safely. 

 

                

Back In The Day

      It would be true to say that our good friends Jan and Campbell Perry have not had the best of summers. This time last year they were busy organising and then compering and hosting "Back In The Day" which is an evening concert as part of Warwick's Annual Warwick Words Festival. (See poster below). 

      This year, sadly, it proved impossible,and they were unable to do so. Colin Squire gamely picked up the baton and ran with it, taking over organisation, publicity and compering. Thus it was that we gathered last night together in The Lord Leycester Hospital Warwick to entertain an enthusiastic audience. 

This is Colin, Squire. 

     

   At the same event in October last year ,John Kearney and I appeared together as JAG. We enjoyed it so much we were crossing our fingers that we'd be invited back and as luck would have it, we were-this time as Nunc.  We had two slots, one in the first half and one in the second. We were honoured to be accorded the privilege of finishing the evening with our  final set.  To say we had a good time doing so is a massive understatement. 

      Also appearing on a star studded bill of local Folk talent were The Thrup'nny Bits, Daisybell, Allan Richardson,Highly Strung and  Colin Squire himself.

       What a venue! I've admired it often from the outside, but the hall we played in was simply stunning. It had stone walls,high ceiling and a squeaky stage. So care was needed from all of us with performing without a P.A.-but what an environment to sing and play in! The pictures here give you some idea of the size and age of the hall. With cartwheel-sized garlands beneath the ceiling lights, a lovely wooden floor and the audience seated in an attentive crescent of humanity,it looked very attractive.  

Mr. Kearney's solo spot.

         John was also invited to play a first half set solo. Which he did, admirably, reminding all of us what a great songwriter he is with "Agincourt to Abbeville" and the like.             

                 It was good to see some friendly faces in the audience as well as all those Literary cognescenti.  Most of them seemed to be having a lovely time. Although with Literary types you do sometimes look out from the stage and see an utterly inscrutable expression staring back. But Max and Marilyn followed us over from Nuneaton Folk Club the previous night
       Terry and Jan were simply time-defyingly brilliant. Both looking very elegant,and Terry seamlessly weaving my joke into his stage patter. " One of my friends asked me if I remember this place being built," he quipped, before knocking out Djangoesque riffs and runs. Jan's singing remains an example to us all. I love their CD. 

Jan & Terry getting a Swing On.

       The Thrupp'nnies delivered their usual selection of wit, wisdom and humour with elan and panache. Des, being the wise old wordsmith he is, gave the audience a potted history of each of the songs. On the rare but treasured moments when The TB's are vulgar, it is  a bit like a Great Auntie belching behind a china teacup. All in the best possible taste and delivered with a naughty twinkle in the eye. Their classic parody of "Breaking Wind Suddenly" to the tune of "Blow The Wind Southerly" got everyone tittering.. Their material encourages hearty audience singing, and I confess to belting out "The Wren," their Christmassy alternative version of the very similar "Pleased To See The King," with festive gusto. ( Blimey-Tesco have got Christmas cards on display already so why not?). 

Thrup'nny Bits. They blamed the dog. But we knew it was them

     It says everything about each of the performers on the bill last night that I have played all of their material on "Anker Folk"  and it stands alongside the other stuff well and compares most favourably. The only artiste on last night one whom  I had not seen since this time last year was Allan Richardson. I was so impressed with his material last year I brought a job lot of his CD's. So I knew all the songs he did,as I knew them all! "Moving On" is just brilliant, and deserves a wider audience.

Allen Richardson is Moving On

           I happen to know from reading today's messages that there was a little bit of a mix-up beforehand between a couple of the Daisies of Daisybell (# great name!). This meant that Ginny was there first, fresh fragrant and organised, and the others arrived a little later and I have to say looking a little flushed. Having got confused by Warwick's Gyratory system. ( It happens! Bloody nightmare!) But it did not show in either of their two excellent sets. Again, many of the numbers they sang I have aired on the wireless.  They play some fascinating instruments as well as singing so sweetly and so melodically. You might think that they were just three pretty faces but some of us know-there's a LOT more to it than that. Enjoyed "Miner's Winter" and "This Wheel Is Broken." especially. Classic songs. 

Daisybell in fine form

      And so at the end of a most pleasant evening, the entire Company assembled on or at the side of the stage and Mr Kearney led us all in a sing-song with his Irish Rover fusion with Bob Marley's "Don't Worry."  Is that the last this venerable old building has seen of us until next year? Watch this space. maybe not. 

A Place for Zoe.

     Those who know our back story will know about the events which led to us losing two newborn twin grandsons at UCH some time ago. Saying goodbye to my son's children and holding their tiny hands in the incubators troubled me greatly. At the same time  few days later, my daughter miscarried. Three lives gone. For a long time afterwards I struggled with my emotions whenever visiting UCH, which I had to do fairly often. Rob and Ray will never be forgotten. We had to register their births and attend their funeral, so their place on the family tree is assured. 
       However, there is a happy ending,as both my son and my daughter presented us with a grandson and a granddaughter respectively, arriving within a couple of months of each other in 2016. Reuben and Lily have brought back sunshine into our lives.

        Part of what haunted me at UCH as a visitor to the Neo Natal Unit over those few sad days was the looks on the faces of young parents there. Some elated:some in utter despair. For a long time I wanted to do something practical to help, and by contributing to Zoe's Place, courtesy of an invite from Hilary Wilson last Saturday, I was finally able to.

      Last weekend Nunc were part of a Charity Marathon at the Nursery Tavern in Chapelfields,Coventry. The event was to raise funds for Zoe's Place which is a Baby Hospice. Nunc and Blues Monkey combined into a six piece to open,with a set just under an hour long. We'd actually taken to meeting up to rehearse together during August. As you can see-we all took it very seriously. 

       Nunc Monkey comprised Flossy, John,Geoff from Nunc  and Monkey boys Jon Harrington,Paul Moore and Dennis. Thus we had the luxury of two guitars,percussion and Jon's multibox of harps,expertly pushed through a very useful P.A.  I was chuffed to be back at The Tav. It really is a delightful booser-one of many in this area-and although I'd eaten and had a beer before, this was the first time I'd got to play there. 

      The event was due to take place in the pub garden, with a Gazebo, but wind and rain had set in by 4pm so we drew the curtains to shut it out and played in front of the door,instead. Six of us crammed into a small stage area was a little notional. Idiot dancing was definitely off the menu. Poor Dennis with his washboard,High Hat and sundry items got trapped at the back so that all you could see of him in the photos is arms and knees sticking out. Paul, resplendent in snappy suit, white tie and Trilby,chose to sit separately on a bench seat,but even so-it got very cosy. 

       In the picture below Paul has lost his hat, what with all the excitement and all. One of the most enjoyable experiences was when we handed over the chorus singing of "Knocking On Heaven's Door" to the audience-and not only did they take it up-it spread to the other two rooms.

      We stayed there five hours, so didn't catch all the sets,but I managed to catch  Amelia Roberts, One Trick Pony, Tilt ,Dan Gascoigne,Wilson Wright, Anna Ryder and a few others. The running  list is above. One minor bit of excitement came when we were all blowing up balloons for decorative purposes and I found at the hard way that I have an anaphylactic reaction to latex! Fortunately, after the set, my lips swelled up and I came out in lumps. Fortunately I was able to carry on drinking my way through "The Tav"s fine collection of real ales. But it gave everyone a laugh as it looked like I been slapped by a cage fighter.  

      Though it was for a serious cause, we had lots of fun fund raising. Hilary Wilson and her team'family of helpers deserve the highest praise for the work they put in. Making sandwiches, co-ordinating the running order,putting up decorations, and something involving a giant marrow wearing a hat which I never got round to fully understanding. 

. For the nerdly Nunc/Monkey minded the Set list was:

1. How Long Blues 
2. All Gotta Die Some day 
3. Weather With You
4. If I Had Possession 
5. Freedom/Ohio
6. Vigilante Man
7. Perfect
8. Angel From Montgomery 
9. Knockin On Heaven's Door 
10. Don't Worry 
11. Bring it On Home 
12. Pack Up Your Troubles

Happy Third Birthday Nuneaton Folk Club

         It's been slightly longer than three years actually, October 1st 2014 to be precise, since Black Parrot Seaside clambered unsteadily onto that stage upstairs at The Crown and relaunched Nuneaton Folk Club. There had been previous NFC's in The Arts Centre and elsewhere, run by people from the town who are still working hard on the North Warwickshire circuit. But it was evident from that first night that the town was just too big to carry on without one. 

October 2014

     The centrality of the venue was a handy plus, and those big audiences just kept on coming. Some have stayed with us since that first day,others have drifted away and a few alas, are no longer with us. What many of us find fascinating is that new faces constantly turn up,and the age range of our audiences remains refreshingly mixed. Not all are dyed in the wool Folkies:personally, I think we are a lot better for that. 

        No better way to celebrate then,last night  than with a packed room, a heartily singing audience and some quality music on stage.Nine hours put in, and eight (yes eight,) miles  covered yesterday culminated in another excellent night at NFC.

         BPS were to be the original Residents,but that was their only appearance there,and for reasons it would be diplomatic not to dwell upon,they folded a month later,after nearly 40 years together. I was gutted at the time,but grateful that it kick-started me into Nunc-myself,Flossy and JK. Boy, we've had some adventures together,and we've packed more gigs into those three years than I would have got with BPS. 

Black Parrot Seaside launching NFC October 2014

         Last night we wanted a celebratory mix which would reflect the eclectic nature of what we are trying to do at NFC. Yes it is important to have quality Guests as the main Attraction, and I'm sure all would agree that we got that in spades with Belzebub. (Of which more later).   At times the stage resembled a music Shop Window and although a decent sized one, it got a bit congested at times!

        Nunc began,and did "April Morning" to remind everyone we CAN do Folk music,before a classic Nunc mash-up of two CSNY songs-"Ohio" and "Find The Cost of Freedom." We finished with a barely rehearsed tribute to Tom Petty-"I won't Back Down."  

Nunc. They WONT back down. 

     John Kearney stayed on stage to do us some solo stuff including the inimitable " I wanted to be Bob Dylan." There was also an opportunity to do another one of his songs, " The heart has its Reasons." Cracking shirt, too,JK! 

JK. Bob Dylan wanted to be him. 

Sue Sanders was there from the start in 2014 ,too,and it was nice to see and hear her back there last night, bringing a little calm with her fine fiddle playing. A lot of stuff has happened to Sue since,but,very much symptomatic of the immense talent in the Nuneaton area, there she was, even with a poorly finger and newly recovered from Shingles,a proper trouper.

Saucy Susie Sanders. On the Fiddle again. 

     Peter McParland and his gentle singing is a club favourite, and he delivered three songs with his usual charm. 

Pete McParland

              Sam Stephens has had his share of woes since he last appeared at NFC. That was in a duo with the late and very much lamented Gren Morris. I bought their excellent Album "Hymns Ancient & Modern"  at the time,little realising that poor Gren would be taken from us so soon by a ravaging illness. Sam gave us a couple of tunes and managed to shift a few of those remaining CD's-all proceeds now to Macmillan Nurses. 

Sam Stephens

    Simon and Sally Ann Veasey were there that first night in 2014 also. They were back again last night, expecting to do three songs. However,  I asked them to add a fourth to help Kevin Dempsey get his breath back after climbing all those stairs. Some songs with a local touch, others from across the Atlantic. All (I believe?) self-penned. And yes. We are distantly related. SASAV are, as I write,off to warmer climes, for a Disney Cruise, joining their son Tom who many NFC regulars will recall, was one of our finest Sound men. His dad did a good job for us last night too, holding the fort until Dave Smart arrived hot foot from his meeting. 

SASAV. We're related,you know. 

         

              It was touch and go whether Kevin Dempsey would make it. That he did and with seconds to spare,and then went on and blew the house down, says so much about the man. Such a combination of creative genius,modesty,and above all,humility,is rare,at any level in the music business. There were all kinds of extenuating circumstances which many booked to do a floor spot in (non) sunny Nunny on a wet Wednesday night would have bowed to. Not Kevin. He is a mate so I am biased,but his music is sublime and his understanding of people is unique. Gifted and grounded. 100% quality.
    

 I always love watching guitarists in any room where Kev is playing, as they inwardly implode watching his technique. And seeing the ladies softening as those golden tones ring out. Some musicians are right Divas,but not Kev. We rushed him up the stairs,he had not time to tune up, he had a wonky lead but he gave us three exemplary songs including "Wicked Polly." . Tuning, lead adjusting,guitar slapping,all in one movement, and not moaning but grinning,all the time. I swear he has more than two hands!Top Bloke!

             Our main guests were Belzebub. They were the first act I had ever booked on reputation and recommendation only ,without actually seeing them. They did not disappoint. They gave us two sets of quality music. It was good to see the cheery smile of Ian Wilson again, pumping the accordion and lashing the Mandola. (Or Bouzouki?) Two of us in Nunc had worked with him professionally, in another context in Coventry,many years ago.  

Belzebub. 

       Beelzebub put a lot of thought into their arrangements and their delivery. Loved their slowed-down version of "Step it Out Mary," for example. Accomplished musicians and competent vocalists, they got (and deserved) two encores, which on a wet, windy night says a lot. Elsewhere yesterday I read an interesting Forum debate on stayaway audiences, or those who drift away early. It says much for Belzebub that as they finished, there were still plenty left, cheering them on. 
        As I write we have a guest list booked through to October 2018 and next month's floor spots are already fully booked. 
         My thanks to Sue,Flossy,Max,JK and Paul for the photos. Onwards and Upwards.

Album Review: Pretty Peggy (Sam Kelly and The Lost Boys)

      Recently I received what was then an early advance copy of the yet to be released “Pretty Peggy,” CD.  I confess thereafter, I played it over and over again. It is an excellent album, packed with big production, accomplished vocals and evocative instrumentation.                Frankly, it just oozes class. Unsurprising really, as it comes with a hell of a pedigree Sam's first EP won a Radio 2  “ Best Emerging Act” Folk Award.  Mike Harding, Mark Radcliffe and Seth Lakeman are among those to have already praised the band, so with such plaudits from Folk Royalty, who am I to disagree? ( I won't).

       Sam was a Britain's Got Talent Finalist aged just 19. Irish ancestry, born in Norfolk,living in Cornwall, what can possibly go wrong? (It doesn't). Still only 24, Sam's singing style shows character beyond his tender years. It is very distinctive and impossible to stereotype or define. Stripped down, it stands alone as a classic traditional voice. But he can embellish that with rock and Indie undertones. 

      The band-his regular touring and Festival line-up-are simply brilliant on the CD. His guests  include no less than Cara Dillon, Geoff Lakeman and Mike McGoldrick, How can it fail? ( It doesn't).

     Pretty Peggy herself is the inspiration behind The Bonny Lass of Fyvie. A song covered and recorded by many others, but here with additional vocals from Cara Dillon and the excellent pipe playing of McGoldrick, it soars.

     The Keeper is a refreshingly up tempo treatment of an old English song which many of us first learned in school. The Close Shave is an hilariously classic tale of cross- dressing and mistaken identity. (Happens all the time in Barrack Street).

      Greenland Whale applies a modern touch to a traditional subject matter. The frantic banjo picking is more Appalachian than Celtic, yet it works. The vocal is again honourably traditional:the chorus is one which will get festival audiences bawling and the whole piece just drives along. 

         Beware Angeline The Baker. An ancient Stephen Foster Minstrel song, it is the album's ear worm. I had no doubts over choosing it as the sampler on my radio show and I've been humming it (and the instrumental bridges) ever since.

        The Shining Ship is a magnum opus coming in at just under six minutes. An epic,layered performance opens with a ghostly vocal echoing whispered fragments of House Carpenter and the 17^th Century ballad Demon Lover. If Jack Sparrow were to record an album track I imagine it might sound like this. Plenty of effects and overlays and some intricately woven accompaniment with a distinctly oriental touch and a brilliant ending. The Rose explores similar territory. With its repeated central melody it is weirdly hypnotic, Mr Sparrow and his crew would like this, too.

            The eerie When The Reivers Call, is another big production, as is a powerful Folk Rock version of Dylan's Crash On The Levee. Indisputably, the boys can rock it up, but they are also capable of sophistication. “If I were a Blackbird is a haunting piece of music and beautifully sung, with a tiny tiny bit of tremelo sparingly used, and some splendid choruses. The Rose too, is atmospheric;a reworking of an original by Belgian band Naragonia.

         The plaudits for this band are richly deserved. On Pretty Peggy, they are at the top of their game- gifted, confident, innovative and energetic. Superbly engineered and produced, if there is a better Folk album than this released in 2017 I look forward to hearing it. The word “Classic” is applied to far too many albums. It is appropriate here. Sam and company are touring later in the year. It should be  a sell-out .

Getting Down with Men of Straw

           So here we are at NFC, with September 2017 now ticked off and approaching October next,with us celebrating our third birthday. A slightly smaller audience than usual, but no less enthusiastic in their chorus singing and as generous as ever with applause and encouragement. They also proved to have deep pockets when it came to buying raffle tickets and CDs and even though they were spread out a little more than usual, the room was still filled right to the back of the hall.    

          Lots of reasons why attendance was slightly lower this month. Those regulars used to moonlighting as teachers or Education Assistants (poor loves), had just started back to work after richly-deserved Summer Holidays. Many were physically and emotionally shattered. Others, taking advantage of their misfortune (and reduced travel prices once the schools go back) were off abroad, junketing in the sun.   Up the A5 at Hinckley Act we had the counter attraction of Tool,Willow et al ,greedily trying to beat their own record for appearing in as many venues as possible during  one week. 

       I had been into The Crown already at dinner time, to hang up the NFC banner, unload the P.A. and set out chairs and tables upstairs. My most immediate logistical problem however was using a bear hug to  manoeuvre a large man-sized packing case (allegedly containing a fridge freezer) from the centre of the dance floor, to the side of the room in a less conspicuous place.  As the evening got under way  rumour spread that John Kearney was not actually in Atlanta,Georgia, but was hidden  in this mighty cardboard box, secretly checking out just how well Paul Moore was filling in for him.  Mischievous NFC regulars  immediately christened this combination as "Punc."     

     Speaking of which, starting off the evening and joined by, (at JK's suggestion), a slightly anxious Paul Moore,he  Flossy and I ground out a few tunes from the regular Nunc repertoire.  We had furnished Paul with chord charts,song sheets, You Tube clips and MP3 files,and of course,Paul had accompanied us all previously at Astley Castle and as a member of Mac Awe On Tour.  We started with "Bring It On Home", added a fine version of "Angel From Montgomery" (which we knew the real JK would be visiting), and finished with the wonderful Richard Thompson song "Down Where The Drunkards Roll."  Paul was fine. We knew he would be. 

Nunc ft Paul Moore

         Des Patalong, a man of many shades,hats, hues and allegiances, was actually there on Wednesday as a token representative of shanty boys Sharp As Razors.Consequently,  he led us in us three vibrant hollers, including the eponymous "Sharp as Razors" which was a good way to get the audience singing straight away. Des had a new Razors CD with him,which he had recorded and mixed himself. Most impressive.  

Des Patalong. He's Sharp as Razors

            We do like to have our debutantes at NFC but it was of interest to note that, despite appearing in different combinations previously, all our guests this Wednesday had appeared on stage at The Crown before. Take Simon and Sally Ann Veasey for example. Their son Tom (currently outrunning hurricanes in a Disney Cruise ship) was our first Sound Man. His dad Simon appeared early doors partnered with Paul Moore and Sally Ann of course was a founder member of Daisybell. All of them had appeared en famille as The Veasey Family, but I think I'm right in saying that as a husband and wife duo our audience had not seen them previously. Only the week before we had recorded them in this format at the Anker Radio "Live Lounge" sessions, for a birthday Special of Anker Folk. We eventually aired both catchy songs "Moonlightin' Man," and " I'll Catch you Later " on the radio show. I was delighted to hear them repeated at The Crown along with a clever song about how Nuneaton got its name. (The real one, not "Treacle Town"). 

Simon and Sally-Ann. They'll catch us later

           Also recorded and broadcast in both those Live Lounge sessions, another class Nuneaton-based performer, John Neal, made a swift return this Wednesday and gave us three songs: "Passing Day," the seasonal "September Grass" and the powerful "Song for Lennon" with an evocative hook line. 

John Neal

           We just can't get enough of the excellent Paper Circus at the moment. Talent, Youth and glamour. Not always a in regular supply at some folk clubs.  It was good to see them back in the original line up, with Jennian joined by Jim and Siraj. Jim proudly showed me his new cello which had a "proper" pick up, meaning he could finally use a DI box. The days of angled boom mikes were finally over. Jennian in his first week at a new job and fresh from Uni with her two degrees (get YOU girlfriend!) was, as always in fine voice. No, "fine" won't do it,actually. "Beautiful" voice is better. Always good to see jaws dropping when Jennian unleashes  those astonishing vocals. Two versions of "Amazing Grace" and "Go Lassie Go" got the classic Circus treatment. Magical. Good sound, guys!

Paper Circus. Go Lassie,Go. (And lads)

      With the audience (and Scarecrow) visibly knocked out, and Wilson Wright,invited to follow that did so,admirably. John and Hilary, sounding better than ever. Besides including a song Hilz had previously performed on radio 4 they finished by putting a WW slant on  a haunting version of "Fotheringay " which really did justice to such a great song and showed off  Hilary's voice to perfection. John Wright's contribution should not be overlooked. His guitar work and vocals are sometimes underestimated. So glad these two got together as a duo. 

John  and Hilary.  Wilson Wright are all right

         When you have fellow musicians who turn up knowing that there is no chance of a floor spot you know you are getting somewhere. So it was good to see Jak Lynch, Pete McParland Max Wright and Katherine Fear among others just the enjoying the music. And as Scarecrow stepped up to give us a first taste of their excellent multi-skilling,we all knew we were in for a treat. They'd had lots of requests beforehand and managed to fit them into this first set and the longer second one with not one but two encores. 

Scarecrow whistling up a storm

                            So, besides any newer stuff, it was good to hear again their outstanding version of Fairport's "Too Close to The Wind" and to see (and hear) the audience joining in with "New York Girls"  and "Down To The Rigs"  Scarecrow's musical competence and versatility is astonishing. Flute duets. Bagpipes. Good spirited Folk vocals. Unique and original instrumentation. Numbers featuring light and shade with introductions middle sections and properly arranged endings. And the occasional good old hanging added for good measure. All this, and absolutely no side or "Big Time Charlie"  about them. No wonder they are playing support to the great Dougie McClean at Banbury Festival next month. But get that second album done quickly, chaps!

All this and bagpipes too.