I’ve been really impressed with Jack Badcock’s work in Dallahan, the Scottish/Irish/World folk band that he helped found a decade ago. This month, however, sees him release Cosmography, his first ever solo album.
As with Dallahan’s 2023 album, Speak Of The Devil, it’s a showcase for his gifted acoustic guitar-playing and distinctive tenor voice. But whereas that last album took us on an exhilarating, frenetic journey across a number of folk traditions, this one takes us into lush, atmospheric, singer-songwriter territory. And a very fine debut he’s turned out in this new guise, too.
Badcock’s vocals are soulful and emotive and he’s proving himself to be an ever more impressive songwriter, here tackling themes from the future of humanity (‘Life In Three Dimensions’); the sixteenth century explorer who was the first Englishman to reach Japan, (‘The English Samurai’); and the much more personal ‘Too Many Things’, described as “almost a therapy session that tackles the excessive indulgences of myself and peers in the music industry.”
What really makes this album, however, beyond the poignant songwriting and superbly mellow vocals, are the rich layers of instrumentation. Euan Burton, who also plays bass on the album, does a sterling job as producer and leaves us with a solo album that’s polished and fully-formed. With a stellar line-up of supporting musicians, including some especially beautiful piano from Tom Gibbs and simply gorgeous pedal steel from Connor Smith, there’s much to fall in love with here. Folk luminaries like Siobhan Miller, Josie Duncan and Joy Dunlop line up to provide lush backing vocals.
Don’t expect Cosmograpy to be much like Dallahan but do expect it to be exceptional. It really is outstanding.
Running this blog I often get bands (or their PRs) offering to send me free CDs. Almost without exception it’s usually when they’ve got a new album to promote and are looking for a review.
Recently, however, I received the following email from a guy called Todd Jasko who was once in a band called the Brick City Three:
“Quick random question for you: my band is trying to get rid of our CDs. We’re goofy party hard rock. Can I send you one for free? More detail: we had a band. We had a blast. Our drummer got sick and passed away. Now I’m left with 30ish CDs and I would rather give them away free than try to sell them. Happy to mail you one for free if you like! Or if you want to check us out first, we’re called Brick City three and we’re free digitally on Bandcamp. Let me know, and thanks for your time!”
Intrigued, I checked them out online, instantly liked what I heard and emailed Todd back to take him up on his very kind offer.
A few days later, said CD arrived in the post all the way from New Jersey. Quirky, punked-up, party rock with witty self-deprecating lyrics and irresistably catchy hooks, it’s been blasting out of my stereo all week. As per the email, it’s not a recent album. It came out in 2008 and the back cover still advertises the band’s Myspace account! So I’m going to resist doing a full blow-by-blow review but the good news is that the band still have some unreleased tracks and Todd is planning to put a final album together. That, I definitely will review.
A bit more background on the Brick City Three:
Brick City Three was formed in 2006 in Newark, NJ (aka “The Brick City”.) Mike (bass) and Cal (drums) grew up in Jersey listening to Rush and Yes, but none of their friends enjoyed rock music, so they didn’t know any local guitarists. In the early 00’s, Mike met Todd through Mike’s coworker (Pete Levine – former drummer of Flowerhead), and Todd’s habit of remembering people’s birthdays led to him reach out to Mike in August of 2006. Mike remembered Todd from some previous jams at Pete’s house, and he asked Todd if he would want to come out to play some music with Cal and him. Considering Todd was anything BUT an in-demand guitarist, singer, or songwriter, he jumped at the chance! Their first jam included covers of “Rockin’ in the Free World”, “Dig In”, and “Space Oddity”, and they enjoyed it so much that they decided to do it again!
One of their improvised jams during that initial meeting stuck in Todd’s head, and he asked Mike and Cal if he could try bringing an original tune to their next jam. Their second jam birthed this first song as a band, “Show Me”. Eventually, this song would be their album opener as well as every show’s closing number.
Rehearsals continued most Saturdays in Newark, and by the spring of 2007, the band had enough solid originals to start playing shows. What they lacked in talent they made up for in enthusiasm! After a few months, they settled on the moniker “Brick City Three” since Newark was such a big part of their formation.
Between 2007 and 2011, the band played several shows in NYC and NJ, released one studio album, and developed a repertoire of approximately 20 original songs and 15 cover songs. And they weren’t afraid to mix it up! For example: they knew that Mike and Cal’s friends at the Juke Joint (a backyard venue in Newark) weren’t huge rock fans, so they once surprised the crowd with a more dance-friendly set of covers ranging from 70’s disco to 80’s hip-hop to 90’s R&B including a variety of guest singers.
Sadly, Cal’s health slowed the band down, and he eventually passed away in 2015. But we are still left with memories, video, and hours of audio from shows and rehearsals. Todd is currently planning to put together a final, second, posthumous album in the near future to honour the band’s and Cal’s legacies.
Brick City Three and Cal – we salute you! And I very much look forward to hearing the second (and final) album.
One of the advantages of living in Hastings, now the adopted home-town of Praying Mantis founder Tino Troy, is getting the chance to see the band performing tracks from their new album, Defiance, down the road in your local rock pub within days of its worldwide release. Indeed, introducing the title track of the new albumtonight, Tino Troy acknowledged it would be the first time it has ever been performed in public.
First, however, we hear from Gypsy’s Kiss who have the claim to fame of being the first band Iron Maiden’s Steve Harris played in. Like Praying Mantis, they formed over fifty years ago, with their first gig being played back in April 1974. Founder Member and guitarist, David Smith, reformed the band in 2018 with a new line-up and they’ve gigged solidly since then, as well as releasing an album and a couple of EPs. Indeed, this is their third time playing the Carlisle and they’ve built up quite a local fan-base now. They play a mixture of songs from their original tenure and off their new album and if you like that brand of good, honest, 1970s, guitar-driven hard-rock, in the vein of say Stray or a heavied-up Wishbone Ash, it’s a very enjoyable set. Not to mention the historical curiosity element that comes from hearing the songs that were performed by Iron Maiden’s Steve Harris at his first ever public gigs.
And then it was on to the main event. The set from Praying Mantis included material from the early days like ‘Captured City’ and ‘Praying Mantis’ alongside more recent material, like ‘Keep It Alive’ and ‘Cry For The Nations’, together with two tracks from the brand-new album, the aforementioned ‘Defiance’ along with ‘Standing Tall’, with its unexpected dance-beat. A packed-out Carlisle gave the band a rousing reception, with bass-player Chris Troy, in particular, visibly moved by the response. The band rewarded the crowd with an encore that included a rendition of Lynyrd Skynyrd’s ‘Simple Man’ and their own ever-green ‘Children Of The Earth’.
But what of the rest of the album? Eleven tracks that are “a perfect blend of classic Praying Mantis with a contemporary twist,” as bass-player, co-founding member and principal song-writer, Chris Troy puts it.
As well as nine original songs and an instrumental track, there’s all a cover of the Russ Ballad-penned classic, ‘I Surrender’, a huge hit for Rainbow in 1981 and a track I absolutely loved as a young teenage rock fan and still love today – a song that marked the high-point of Rainbow’s post-Dio embrace of more accessible, melodic hard rock. Rainbow are now long-gone, of course, but who better to continue flying the flag for accessible-but-intelligent, polished, melodic, hard rock than Praying Mantis? Interestingly, Praying Mantis, themselves, were actually in the running to release this song back in the early ‘80s but were overtaken by events when Blackmore and co. were given the nod to release it themselves. They certainly do it justice here. Other album highlights include the instantly-catchy rocker, ‘Feeling Lucky’ and the nicely mellow ‘One Heart’, with its lovely keyboard flourishes and Spanish-style guitar.
Both a highly-enjoyable album and a equally enjoyable album launch, Praying Mantis have definitely earned themselves the right to be a tad defiant these days.
I first came across the Julie July Band in the band’s early days when they were performing their lovingly-collated and extremely well-received tribute to Sandy Denny. Time has flown by and the band have been together a decade now and are about to release their fourth studio album.
While the first one stuck to material that had been written or performed by Sandy Denny herself, subsequent albums have been composed of original material. The last album, the post-lockdown Wonderland, saw the band draw on a more eclectic range of influences. With Flight Of Fancy they continue on that journey still further.
The band themselves characterise it as “music inspired by the folk, rock and blues movements of the ‘60s and ’70;s with a 21st Century twist.”
The title track picks up that laid-back, sun-kissed, US country rock -meets- English folk rock vibe which Sandy Denny’s post-Fairport outfit Fotheringay delved into so wonderfully but there’s many, many more influences here beyond Denny, Fairport and Fotheringay. From the psychedelia-tinged ‘All In Our Minds’, to the funky reggae party of ‘Boho Woman’, to the wistful minor-key singer-songwriter vibe of ‘Lost In A Crowd’ to the sparse, delicate beauty of piano-and-vocal closing track, ‘Simply Yours’, it’s like a magical mystery tour through a fifty-year-old, recently-rediscovered record collection for the discerning buyer.
Holding it all together is Julie July’s crisp, clear vocals; great five-part harmonies, thoughtful but accessible songwriting, and a superbly versatile band – now with an established line up of Steve Rezillo (Lead guitar), Caley Groves (acoustic guitar) Dik Cadbury (bass), Mick Candler (drums) and Carol Lee Sampson (keyboards).
Flight Of Fancy is a really enjoyable album and it’s not at all fanciful to conclude that the Julie July Band continue to soar and continue to deliver great music.
Seven Stories (parts one and two): released 23rd February 2024
“Storytelling is at the heart of Duffy’s songwriting but she finds a unique angle or topic on each track that brings a fresh perspective to a common and relatable issue.” – Maverick magazine on the 2021 debut EP from Little Lore
Following her fantastically well-received debut EP as a solo artist back in 2021, Seven Stories is the latest project from Tricia Duffy and her singer-songwriter alter ego, Little Lore. The first four songs, Seven Stories part one, were released digitally back in September 2023 with the final three songs Seven Stories part two being released in February of this year. A CD version, featuring all seven songs from both parts one and two, is also set for release on 23rd February 2024.
Little Lore:“I had seven songs and I decided to release it in two parts: Seven Stories part one and Seven Stories part two. I’m now thrilled to be releasing the final three songs from the project as well as the CD bringing all seven songs in the collection together. There’s a real variety of styles. Death is one of my go to subjects to write about so there are a couple of quite bleak, sad songs. I’ve got some wry wit in there as well. There’s obviously a climate change one as well – I always like to include one of those. It’s a figurative song written from the perspective of the planet.”
Featuring Little Lore’s compelling storytelling, irresistible melodies and heartfelt vocals, Seven Stories is again produced by renowned New York-based producer and multi-instrumentalist, Oli Deakin (who records under the name of Lowpines). As with the debut Little Lore EP and subsequent singles, Oli Deakin provides the lush instrumentation on each of the tracks, with Morgan Karabel, once again, featuring on drums.
Little Lore adds: “I recorded the vocals in a studio in Kent with an amazing producer and engineer called Paul Stanborough. Lowpines (Oli Deakin) has done the production and all of the instrumentation again and Morgan Karabel is playing drums once more. It is important to me to have women in the team so having a female drummer is really cool.”
On working with Little Lore, Oli Deakin comments:“Working with Tricia on her records as Little Lore has been a really fun journey. As a producer it’s always exciting to work with people who have great ideas, and even more so when they’re also open to building on those ideas and trusting where that might lead. Tricia has been very generous with that trust, which I think has given us both a lot of confidence to be adventurous with our approach, both in the writing and the recording. It’s super rewarding to go out on a limb with an idea and have it land in a place we both get excited about!”
For the full interview with Little Lore visit here
Six of the seven tracks were again written by Tricia Duffy while the final track, ‘It Would be Easier to Miss You if You’d Died’ was a writing collaboration between Tricia and musician and songwriter, Thiago Trosso. A part of the US Ska/Punk/Reggae scene and playing as a session musician in his home country, Thiago Trosso moved to the UK in 2015 with the goal of building a career as a songwriter and solo artist. He finished a Songwriting MA in London, and is now doing a PhD in therapeutic songwriting, opening the path for co-writing with numerous artists around the world.
Seven Stories (parts one and two) will be released on CD on 23rd February 2024 and the final three songs from the project will also be available on all the main digital platforms on the same date.
Running on Empty:“Written from the perspective of the planet, it’s sort of a love letter to the human race. The lyrics start “I hold you gently, while you destroy me. Running on Empty. I love you anyway. To get into the frame of mind I needed to write the song, I physically wrote a letter to humanity to help me get the sense of what I wanted to say, that the planet will survive the climate crisis just fine after we humans have wiped ourselves out, but she (Mother Earth) acknowledges that she benefits from some of our interventions. Despite the big topic, it’s a relatively simple song with a haunting Americana vibe.”
Stolen Glances: “I wrote this song in response to a prompt from the Song-a-week challenge run by James Tristan Redding in Nashville. The prompt was “Stolen Glances” and I was travelling home from Cornwall on the train. I remember opening my computer and typing “on a train facing backwards, I steal glances”. It has had quite a lot of re-writes since that first draft – I think the original version is still knocking around on YouTube somewhere – it’s quite a different song lyrically now. I tried to capture the sense of movement and observation that can be inspired on long journeys, the narrator is searching for answers, but there is almost a sense of not quite knowing what questions she is asking. I think we have all felt that way at some point in our lives.”
The Bench: “This devastating song was inspired by the benches that line the seafront in St. Ives in Cornwall and the true story of a friend of mine who tragically lost her husband a few years ago. The song tells the tale of a man and a women who meet and fall in love despite their age difference. He leaves her once because of the social discourse around their circumstances, but later returns and they marry only to have him leave her again. In the bridge it is revealed he hasn’t left her voluntarily, but died. In many societies benches are incredibly important to people, who use them to memorialise their loved ones with plaques that articulate their feelings about a particular place. “He loved this place” – for example. By centring the story around the bench, we have a sense of a specific location with which to build the narrative. And I believe this makes it more relatable as a result.”
Sebastian Says: “This is a song about imposter syndrome and the inner critic. I have named the voice in my head Sebastian so this is my tribute to him and a good way to tell him to button it! Obviously it had to be a man who tells me I am too fat, doormat, too old, too cold etc. It is a full on driving rock Americana song which probably needs to be played at full volume!”
The Jackal: “I originally wrote this for a TV Americana Crime brief, but I liked it so much I decided to release it myself. There are lots of myths surrounding the Jackal, which are known in some communities as ‘death dogs’ or as tricksters. The Egyptian God of the afterlife, Anubis, had the head of a jackal, so seeing a jackal was considered a warning that someone was in danger. A bit like a fox in European folklore, in African folklore the Jackal is recognised for its ability to adapt with cunning and stealth, a wily creature that dodges traps by feigning death. It has a black saddle because it offered to carry the sun on its back, burning his fur, and inspiring the words in my chorus.”
Little Pieces:“I wrote this in response to a brief which was simply to write a song that was titled “little pieces” with a I IV V chord structure. I started mind mapping the words little pieces and somehow landed on the idea of food. I asked myself who eats food in little pieces? The infirm, babies, people at ‘80s dinner parties with pineapple and cheese on sticks? The lack of control people in care feel over all their choices I think can be summed up with the concept of food. Imagining what it must be like to have so little influence over your daily life that you can’t even decide what you eat must be disturbing. I had a lot of doubts about releasing this song as I know it is not going to be everyone’s cup of tea! But I took inspiration and confidence from the likes of Nick Cave and Tom Waits and decided to just go for it – with a lot of support from Oli who always believed. The arrangement is entirely unsettling and I am sure it is not an easy listen but sometimes stories just need to be told.”
It Would be Easier to Miss You if You’d Died*:“This was a co-write with my friend and fellow songwriter, Thiago Trosso. I always like to come to writing sessions prepared with some ‘writable’ ideas. I don’t always need them, but I think it is the spirit of co-writing to bring your best stuff to the room. That day I read out a list of ideas to Thiago and when I told him the concept I had of being ghosted and it being easier to miss that person if they’d died – he smiled and said, “Let’s write that one!”. We knew it had to be a careful balance of wry wit and humour with sadness and I hope that we have struck that balance. It was inspired by a real experience of being ghosted which seems to be more common these days. Or maybe we just notice it more because we are all so connected. I think Oli thought I was crazy when I first sent him the song. It doesn’t fit a typical structure, starting with a half chorus to land the premise from the start. But he really leaned into the wry nature of the song and I think the instrumentation really enhances the feel. This is the first time I have ever cut a co-write, but I am positive it won’t be the last.”
Seven Stories: release information:
All Tracks written by Tricia Duffy except *written by Tricia Duffy and Thiago Trosso
Vocals – Tricia Duffy
Produced by – Oli Deakin
The Bench Drums – Oli Deakin
All other tracks Drums – Morgan Karabel
All other instruments – Oli Deakin
Vocal Recording – Paul Stanborough at Chapel Studio, Kent
Artwork – Afiya Paice
About Little Lore:
Little Lore is a London based, Indie-Americana singer-storyteller whose songs are both charmingly accessible and beguilingly challenging. You’ll want to listen twice. When you combine British wit and wordplay with cherished Americana roots, musical magic starts to happen. Based in Chiswick, West London, and originally hailing from Portsmouth, Tricia Duffy started her singing career as a teenager, which included a stint on cruise ships in the United States. She began writing and performing her own material with Americana duo Duffy & Bird and they released a well-received album ‘5 Lines’ in 2017 and a follow-up EP ‘Spirit Level’ in 2019.
Tricia’s solo project Little Lore was created in 2020 during the pandemic. Her debut solo EP, Little Lore, was released in 2021 to glowing reviews. The singles, ‘Shallow’, ‘Brown Liquor John’ and ‘Birds’ were released in 2022 to similar acclaim, followed by another equally well-received single ‘Normal’ in January 2023. An enthusiastic advocate for songwriters, she is the London Chapter Coordinator for NSAI (Nashville Songwriters Association International) and is especially passionate about creating opportunities for female, transgender and non-binary songwriters.
In her songs, Little Lore brings together an affection for the heart and heritage of Americana music, with an intelligence and maturity of storytelling that can sweep you away into new and unexpected emotional worlds.
Seven Stories (parts one and two): released 23rd February 2024
Away Beyond The Fret is the third album from husband-and-wife folk duo, Lucy and Jon Hart, and the follow-up to the highly-enjoyable Journey Through The Roke, which I reviewed back in 2021.
Lucy Hart:“Many of the songs on this album focus on our Suffolk home and the close bonds of family, friendship and community.”
Fresh-sounding, slightly genre-hopping and once again deeply rooted in the history, culture and landscape of their Suffolk homeland, Away Beyond The Fret is delivered with the duo’s characteristic elegance and beauty. The highly-talented duo of Lucy and Jon Hart continue to delight and this, their third album, is proof that Honey & The Bear have blossomed into something truly magnificent on the UK folk scene.
Three Galleys is the debut album from Holly & The Reivers, a project formed back in 2017 that brings together Holly Clarke (vocals/guitar), Merle Harbron (vocals/fiddle) and Bertie Armstrong (vocals/banjo).
Holly & The Reivers:“Three Galleys reaches into the depths of the darker side of folk song and brings forth the messages in the songs that are deeply rooted in human experience through history. Each track has been meticulously arranged to help interlace the story with a musical setting that enthrals listeners to submit and be swept away in a journey of rich storytelling.”
This is an older live video but still carries their instantly-recognisable signature sound based around the trio’s banjo, fiddle and guitar and their contrasting but complimentary vocals. Beautifully atmospheric soundscapes combine with stunning interpretations of traditional ballads that tend dwell on the darker side of human existence, borne of an enduring fascination of folk horror cinema. In Three Galleys, Holly & The Reivers have served up a highly impressive debut album.
Martinmas is the fourth and final release in Gavin Marwick’s Quarterdays series, and this one sees the Scottish fiddle-player and composer team up with pianist and accordion-player, Phil Alexander. The two have played together both socially and professionally over a number of years.
Gavin Marwick:“Martinmas celebrates the life of St Martin of Tours, the only actual historical figure to appear in the Quarterdays canon. Born in what is now part of Hungary, serving in the Roman army and ending up as Bishop of Tours and ultimately one of the patron saints of France, Martin offers a very broad European vision of the spread of the early church across the continent during this long ago fourth century period.”
Marking the final season of the year and celebrating the life of St Martin of Tours, whose feast day is marked on November 11th, the six tune-sets, all composed by Marwick, distil Scottish, Eastern European and French traditional influences alongside more contemporary ideas. Once again, Marwick hits us with more wonderfully expressive fiddle and he and Alexander deliver some nicely evocative tunes that perfectly capture the time of year. Quarterdays has been a fascinating project and Martinmas is a worthy finale to the series.
Playing in bands such as Paper Tiger, Unspeakable Acts, Delicious Houdini, Bamboozle, Tom Houston and the Keltic Band and davesnewbike as well as working as musical director in theatre, Tom Houston has also had a prolific solo career and Everything In The Delicatessen is his sixth solo album. His current work encompasses spoken word, soundscapes, stories and songs.
“Everything In The Delicatessen attempts to give the listener that ‘up close and personal’ experience with ‘local produce’ of high quality,” promises the accompanying press publicity.
An album that transcends musical boundaries and is brimming with drama and musicality, great lyrics and great melodies, Everything In The Delicatessen is the kind of album you’ll come back to again and again and always find something new.
Aberdeen-based musician and songwriter, Colin MacDuff, says he “dabbled” in music and poetry when family and career commitments allowed time but things got more serious upon his retirement when he enrolled on Boo Hewerdine’s and Findlay Napier’s mentorship scheme for aspiring songwriters. With their encouragement he soon found he had more than a dozen original songs and his debut album, The Past In The Sky, was released in 2022 to positive reviews. Separations is the follow-up.
Colin MacDuff:“During the past year I wrote a lot of new songs and got thinking about whether some might fit together in an album. At first, I thought they were very disparate. But, aided by a glass or two, I had the revelation that they were all songs about different aspects of separation.”
The theme of separation in the songs extends across a range of subjects, from relationship break-ups, to bereavement to economic displacement. The main accompaniment is MacDuff’s own acoustic guitar-playing but he’s joined by Angus Lyon (accordion), Jenna Reid (fiddle) and Hugh Halton percussion, with pianist Maria Quinn also providing some beautifully eloquent piano on three tracks. With his gentle vocal and engaging storytelling, Separations acts as an excellent showcase for Colin MacDuff’s fine songwriting.
Hot on the heels of his stunning 2023 studio album, Glass Knight, released back in August, genre-fluid glam-prog-folk singer-songwriter, Joshua Burnell, follows it up with a new live album in time for Christmas.
Glass Knight, which Burnell launched when he performed on the main stage at Fairport’s Cropredy festival, picked up tons of good reviews – including from Darren’s Music Blog where I described it as “Hunky Dory-era Bowie meets folk rock meets prog” and hailed it as a bona fide twenty-first century masterpiece. Rather than giving us ‘stadium-ready’ renditions of the songs from Glass Knight, however, Live At The Crescent (recorded in the intimate setting of a gig in York in October 2022) takes us back to before Glass Knight was recorded, when many of the songs were still being worked up in readiness for the studio.
Opening with the then un-released ‘Where Planets Collide’, Burnell goes on to share with the audience a number of embryonic versions of songs that would later appear on Glass Knight, as well as some older material, including three songs from its excellent, albeit more folk-leaning predecessor, Flowers Where The Horses Sleep.
In addition to live versions of other classic tracks from Burnell’s back catalogue, there are also songs like ‘Some Things Aren’t Eroded’ and ‘Slow-Burning Cigarette’ that are yet to appear on any studio albums, giving us a tantalising glimpse of what might be coming next.
Joined by his regular band of Nathan Greaves on electric guitar, Oliver Whitehouse on bass, Ed Simpson on drums, Frankie Archer on violin and Frances Sladen on vocals; the album is a complete, unabridged recording of his concert at The Crescent that captures the immersive atmosphere of a Burnell gig.
After a hugely-successful three and a half decades together Steve Knightley and Phil Beer announced this year that Show Of Hands’ days as a touring unit would finally be drawing to a close. The recent Autumn 2023 tour marked their final outing as a trio (with Miranda Sykes) and a spring tour planned for next year will be their final hurrah as a duo. To coincide with this fond farewell, they have a new compilation out. Intended as a companion piece to their original 2007 Roots‘Best Of’ of compilation, Roots 2 offers up a whopping 31 tracks across two discs.
Steve Knightley: “We’ve always strived to evolve and experiment with our sound,, all the time staying true to our folk roots. We hope the diversity of this album demonstrates that and it will be a noteworthy addition to our discography.”
Immediate proof of just how long-overdue this follow-up compilation is, immediately comes in hearing just how many of my favourites from Show Of Hands can be found on this new collection: ‘Haunt You’, ‘The Long Way Home’, ‘Now You Know’ and, of course, ‘Arrogance, Ignorance and Greed’.
The earlier material isn’t neglected completely though. There’s a new version of ‘Country Life’, for example, recorded live in Exeter and reimagined as a gentle, reflective ballad rather than the rousing twenty-first century rural folk anthem we all love and know. And things are brought up to date with a gloriously celebratory live version of their 2021 ‘lockdown’ single, ‘The Best One Yet.’
Moving, poignant, rousing, anthemic (no-one does anthemic quite like Show Of Hands after all), Roots 2 is a sterling late-career retrospective of one of the most important UK folk outfits of the past four decades.
I first came across Jack Rutter when three precociously-talented but slightly nervous teenagers took the stage at Fairport’s Cropredy festival back in 2011 as that year’s BBC Young Folk Awards winners as the trio Moore Moss Rutter. Since that time, Rutter has made a major mark on the UK folk scene. As well as periodic albums with Moore Moss Rutter, there have been collaborations with the likes of Sam Sweeney, Seth Lakeman and Molly Evans, plus his own solo career.
Jack Rutter:“Folk songs and music captivate me and make me happy. This album is a love letter to the music and the whole folk scene that has been a constant in my life and so many other lives down the generations and I hope it stirs something back into the big folk melting pot.”
The third in a trilogy exploring British folk songs and featuring nine songs in the trad. arr. cannon, this latest offering is yet further evidence of Jack Rutter’s growing stature as a performer. Now un-disputably, one of the finest singers and interpreters of traditional material on the UK folk scene today, This Is Something Constant is a truly excellent album from Jack Rutter.
Hot on the heels of What Are We Trying To Say, released back in March of this year, husband-and-wife duo, Stu and Debbie Hann, have another new album out, this time in collaboration with playwright, Kieran Knowles. Described as a “play with songs” The Herald began life as a short UK tour telling the story of a small-town local journalist, with Knowles providing the spoken-word parts and Megson delivering the songs. Following the success of the tour, the three teamed up once more to produce an audio recording of the show.
Megson: “It has been a fascinating process to take part in and observe the many parallels between scriptwriting and songwriting. The outcome of the project is something we are immensely proud of.”
Linking the songs, Knowles delivers a well-written and convincing narrative that serves as a worthy tribute to the finest traditions of local journalism: holding those in power to account, giving a voice to the local community and standing up against injustice. And what superb songs and superb storytelling we have from Megson here, some of which will surely develop a life of their own outside the format of this particular project.
Picking up best newcomer award at the BBC Folk Awards back in 2012, Lucy Ward went on to have an impactful career on the UK folk scene but things have been rather quieter in recent years as her attention has turned to her family. Unanswered is actually her first new album to be released in five years and she’s teamed up with fellow singer-songwriters, Svavar Knútur from Iceland and Adyn Townes from Canada.
Lucy Ward:“It’s the true story of an old telephone, clearly disconnected for many years, that still sometimes rings… though no-one ever dares to answer to the ghostly caller.”
A multi-national collaboration borne out of lockdown and two years of Zoom exchanges and finally recorded at a remote location on Iceland’s northern coast, the album brings together three performers with their own unique styles to create an innovative slice of contemporary indie-folk. Stark and melancholy as befits the subject matter, there’s an intimacy and a tenderness to the songs on this album, the three contrasting voices melding with some incredible musicianship to produce something memorable and highly creative.
Notching up ten years and five albums together, The Colour Of The Night is the latest from Ninebarrow, the duo of Jon Whitley and Jay LaBouchardiere. It follows the excellent A Pocket Full Of Acorns, released in March 2021 just as the UK was heading into lockdown.
Jon Whitley:“The world has certainly felt a bit topsy-turvy since our last album but we are lucky to have received wonderful support that kept our spirits high – some of the songs here reflect that sentiment.”
The Colour of Night comprises five original songs and one instrumental piece, alongside several covers, an adaption of a Victorian poem and one traditional song. The duo’s signature vocal harmonies are set against the lush instrumentation of cellist, Lee MacKenzie, double-bassist, John Parker and percussionist, Evan Carson, alongside the duo themselves on piano, mandola and reed organ. A beautifully-uplifting album, Ninebarrow once again deliver their trademark folk magic.
An award-winning Uilleann Piper, flautist and composer, Calum Stewart has chalked up an impressive musical cv working with the likes The London Philharmonic Orchestra, The London Symphony Orchestra, BBC Scottish Symphony Orchestra, Julie Fowlis and Nitin Sawhney, in addition to pursuing his solo career. His most recent albums; True North (2023) and Tales from the North (2017) bring together traditional melodies and lyrical compositions, inspired by the landscape and heritage of the north of Scotland.
Calum Stuart:“Through this collection of music, I aim to pay tribute to the traditional tunes that have stood the test of time, while also expressing my personal connection with the north of Scotland through self-penned tracks. The songs reflect the memories, experiences, and encounters I’ve had in this captivating region.”
Featuring five traditional tunes and five new compositions from Calum Stuart, there’s a vibrancy and a freshness about True North which makes for an exhilarating celebration of Scottish traditional music and the timeless beauty of the Uilleann pipes.
Straddling the territory between indie, alt-rock and psychedelia The Clocks are a three-piece outfit from down here on the Sussex coast in Hastings. Formed in 2018, they are: George Bond (guitar/lead vocals), Adam McSweeney (bass/backing vocals) and Garry Alexander (drums).
As well as picking up a growing number of followers on the local live circuit, there has also been a flurry of recording activity over the past eighteen months. Initially releasing several singles independently, the band then signed with local label, Frontier Music. More releases soon followed, such as recent single ‘The Conversation’ which came out back in the summer.
The Clocks:“This track is more than music – it’s a conversation between the instruments and your soul. Let the waves of sound wash over you and take you on a musical adventure like no other.”
‘The Conversation’ is one of eight tracks that appears on the band’s long-awaited and newly-released debut album Road To Ascension which came out on 27th October.
From Cream to the Jimi Hendrix Experience to Grand Funk Railroad, the classic power trio line-up of bass-drums-guitar remained a key fixture of the psychedelic era. The Clocks remain true to that tradition. And while there’s more than a nod to rock’s illustrious heritage in The Clock’s sonic template – from the early ’60s beat boom to the late 60s psychedelic ‘era and beyond – the band also have their feet planted firmly in the present. More contemporary indie-rock influences are also very apparent, too. It’s an appealing mix and makes for an impressive debut and one that is likely to enhance the band’s reputation and and win them over plenty of new fans.
Available on all the main digital platforms you can check out Road To Ascension here:
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