GIG REVIIEW : Bellowhead (Galeri, Caernarfon, Tuesday 29th January 2008)

Just to prove that there is life outside of Glasgow during January, I have just been to one of the most entertaining nights of my life, in the company of the vivacious eleven-piece band, Bellowhead -- one of the most exciting sounds to grace the folk world at the moment. Combining traditional material with a burlesque sound, and outstanding musicianship, they really do pack a mighty punch. We arrived at Galeri and the stage was packed with instruments -- it was exciting before the band even took to the stage!

The Ant and Dec of the folk world, Spiers and Boden, provide a solid anchor to the English tradition. To see Spiers juggling between half-a-dozen melodeons and concertinas is truly a sight to behold. As for Jon Boden, well, he provides a real wacky, charismatic stage presence, delivering his lead vocals with such passion and drama. There is nobody that can play the tambourine quite like Jon Boden! Taking centre stage with Spiers and Boden was the equally energetic Benji Kirkpatrick, whose intense, frantic fretwork on guitar, bouzouki, mandolin and banjo was absolutely awesome!

It is the brass section that really provides the powerhouse of Bellowhead, raising the depth and volume of their sound to a whole new level and imbuing the band with a real sense of 'show'. Meanwhile the string section of cello and fiddles adds further drama and weds the sound further to the tradition where necessary.

Finally I can't not mention the enigmatic percussion of Pete Flood who plays with such inventiveness, creating catchy rhythms on all manner of percussive delights, ranging from pretty standard percussion instruments to a delightfully quirky array of cutlery, frying pans and clockwork toys!

The set drew much from their stunning album, "Burlesque," with lively renditions of "Rigs of the Time" and "London Town" being particularly enjoyable. Their arrangements of traditional tunes are absolutely breathtaking and the ferocious interplay between Boden, Spiers and Kirkpatrick is absolute magic! We were also treated to some new repertoire from their forthcoming album -- the song "Fakenham Fair" being memorable, alongside sets of tunes that suggest they’ve upped their game even more with respect to intensity and vigour!

My only frustration tonight was at being welded to my seat when the rapturous music being performed cried out at you to get up and dance! I stamped my feet hard and wriggled awkwardly in my chair -- my pelvic floor has never had so much exercise!! This is a band that you need to stand up for, you need to take part in the experience... to move and be moved.

It is great to see a band like this, who obviously invests so much energy and passion in what they do. They are refreshing and utterly unique, and great ambassadors for the tradition, with a broad appeal that will blast through any genre boundaries. What I admire most about Bellowhead, aside from their genius musicianship, is the effort they put into entertaining the audience -- and the ecstatic response they got from tonight's audience showed that this is very much appreciated. Whatever you do, don’t miss a chance to see Bellowhead live!

http://www.bellowhead.co.uk/

ALBUM REVIEW : Jim Causley - 'Love Lost Found'

Jim Causley, Lost Love Found (Wild Goose Records WGS348CD)

Causley's rich and commanding voice proves to be an incontrovertible draw, right from the first notes of "Polly Vaughn", a song collected by Cecil Sharp in the Appalachians and married to a delightful Shirley Collins melody. The depth and resonance that Causley possesses lends drama and authenticity throughout this delightful collection of predominantly traditional material.

Causley provides an interesting interpretation of "Shulé Rune" with a groovy mandolin arrangement, picking out an infectiously brisk rhythm around which Causley weaves his vocal intensity. "Traitor's Love," an enjoyable George Papavgeris composition, offers another lively moment with an energetic accordion arrangement, performed as a duet with Papavgeris himself. An a cappella "Oxford City" has a stark beauty, affording precious opportunity to enjoy Causley's remarkable voice in fine, unadorned majesty.

Instrumental accompaniment is relatively sparse throughout, with Causley's accordion complemented primarily by James Dumbleton's guitar, mandolin and percussion. James Delarre's fiddle brings a different flavour to a few tracks and Sandra Kerr's Appalachian Dulcimer adds an interesting other-worldly feel to Causley's melancholy interpretation of "Wild Rover."

"Love Lost Found," Causley's second solo offering, is a thoughtfully assembled recording with many facets that impress and beguile.

http://www.jimcausley.co.uk/

(originally published in issue 77 of The Living Tradition magazine)

ALBUM REVIEW : Fiona Mackenzie - 'Elevate'

Fiona Mackenzie, Elevate (Linn Records, 2008)

Elevate is the debut solo album from Fiona Mackenzie -- a Lewis-born singer-songwriter, whose career in music to date is already pretty impressive, being a former member of the bands Seelyhoo and Anam.
Mackenzie has penned some deliciously enigmatic lyrics, shot through with an endearing kookiness and wrapped up with catchy pop melodies. Sounding positively sensuous and evocative on the numbers with minimum accompaniment, Mackenzie often displays a somewhat fragile voice that only adds to the distinctive feel of the album. "The Bottom Of The Sea" may well be the best grown-up "pop" song you will hear all year, whilst the swirling mysticism of the title track is spectacularly uplifting.
Staying well connected to her roots, Elevate includes three songs in Mackenzie's native Gaelic. "An Roghainn" is a haunting Sorley Maclean poem, set to music by Mackenzie, whilst "Duisg Mo Chride" and "Hi O Hè" are penned by Mackenzie and her sister, Eilidh. "Hi O Hè" gets a futuristic sounding arrangement, with some funky saxophone, showing that contemporary Gaelic culture is truly alive and kicking.
There is a distinctive ethereal ambience that permeates the sound of Elevate, lending an infectiously fresh and vibrant sound. Calum Malcolm has done an outstanding job with the production here, leaving well alone where little is needed, yet conversely creating expansive soundscapes -- similar to those he is famed for from his work with The Blue Nile -- to beautifully flesh out the sound elsewhere.
Elevate is a tremendously impressive debut; well-written, beautifully sung and exquisitely produced. I can't recommend this album highly enough, nor run out of enthusiasm for singing its praises -- I know it's only January, but this has "album of the year" written all over it!
http://fionamackenzie.com

ALBUM REVIEW : Bellevue Rendezvous - 'Tangents'

Bellevue Rendezvous, Tangents (Self-released, JYM001)

Bellevue Rendezvous are a three-piece acoustic band, who play an unusual blend of predominately European music. The result is an interesting, eclectic-sounding album, flavoured with various European traditions. It is Ruth Morris' nyckelharpa that gives the band their distinctive sound, combining effectively with Gavin Marwick's fiddle and Cameron Robson's guitar and bouzouki.

Morris' nyckelharpa gives a dynamic sound and is largely responsible for the European flavours that permeate this collection. In particular, a number of lively Nordic polska's provide an enticing sound with the nyckelharpa driving along the infectious rhythms -- it really is hard not to burst into spontaneous dance! A pairing of traditional Serbian tunes, "Durdevka," and "Zbogom Selo", are positively brimming with Eastern European mystique, with exhilarating melodies that border on frenetic.

Some well chosen contemporary compositions are well intermingled; the opening tune is Donal Lunny's sprightly "Tolka Polka," blended with a traditional Breton tune, "Hanter An Dro" and a brooding French mediaeval piece. The album closes with a set of three tunes composed by band-member, Gavin Marwick, making a fine job of absorbing the many flavours and accents that permeate this collection.

After several plays, I totally fell in love with this recording; its diversity is both enthralling and engaging. I do have one gripe -- it would have been nice if details about the tunes were included in the sleeve notes. These tunes really fired my curiosity, and a bit of detail and history would have left me feeling a little more satiated!

http://www.bvrz.co.uk/

(originally published in issue 77 of The Living Tradition magazine)

DVD REVIEW : Tony Palmer’s film of Fairport Convention & Matthews Southern Comfort

Fairport Convention, Tony Palmer's Film of... (Voiceprint, 2007)

This remarkable DVD release provides not only highly entertaining video footage of Britain's much-loved pre-eminent folk-rockers, but an immensely important recording of an important evolution of our vibrant folk heritage. Filmed in 1970, at an outdoor summer fair in Maidstone, the video captures the "Full House" line-up of Fairport Convention, following the departures of Sandy Denny and Ashley Hutchings, but still with founder members Simon Nicol and the phenomenally talented Richard Thompson, alongside the legendary Dave Swarbrick. The line-up is rounded off by arguably one of Britain's finest rhythm sections -- the bass guitar of Dave Pegg and drums of Dave Mattacks. One wonders whether Tony Palmer realised it at the time, but this really was history in the making.
Fairport open the set with a rollicking collection of jigs and reels; the tight rhythm section of Mattacks and Pegg, laying down a formidable groove over which the ferocious duelling of Thompson's guitar and Swarbrick's fiddle adds flamboyant melodies. This is followed by a storming rendition of the traditional "Sir Patrick Spens," that finds Thompson and Swarbrick both in formidable voice -- to me this demonstrates the very best of Fairport's folk-rock forays, taking this old ballad, shaking it down, and delivering it with an energy and vigour that just can't be ignored. The burgeoning song writing talent at the heart of Fairport is aptly represented by the melodic Thompson/Swarbrick composition, "Now Be Thankful."
A couple of tracks from former Fairport member, Iain Matthews, with his band Matthews Southern Comfort portray a West Coast folk-rock style more akin to Crosby Stills & Nash. They turn in a solid performance, though it lacks the feel of significance and authenticity so prominent in the Fairport set that it follows.
The video footage itself is excellent, both in terms of composition and quality. There is plenty of background footage to give a good flavour of the era. There is also a recent interview with the film's director, Tony Palmer, which provides further insight and context, though seems a little dry after the vibrancy of the performances on offer.
For those fortunate enough to witness this line-up for themselves back in 1970, this DVD serves as a great souvenir of the times. For those of us who can lay claim to not even being born in 1970, it's a fascinating insight into the early part of not just Fairport's journey, but the beginnings of a British folk-rock sound that has been much imitated over the last thirty-odd years. Absolutely stunning! An essential addition to your collection!
http://www.voiceprint.co.uk/product_details/14398/Fairport_Convention_And_Matthews_Southern_Comfort-Live_At_Maidstone_Castle_1970.html

ALBUM REVIEW : Wendy Arrowsmith - 'Now Then?'

Wendy Arrowsmith, Now Then? (Arrowsmith Music, 2007)

Wendy Arrowsmith's debut album opens with a splendid self-composed number, "The Visitor," recalling a stormy, snowy night in 1881, when the Whitby lifeboat was dragged 8 miles across land to Robin Hood's Bay, to rescue the crew of the stricken vessel, "Visitor." Set against a gently rolling, shanty-like melody, this evokes well the thoughts of the harsh conditions and determined characters. Similarly, the track that closes the album, "Skipio," is a thoughtful reflection on an individual caught up in the slave trade, with equally compelling lyrics.
There is a focus on family life that crops up in a couple of Arrowsmith's own compositions -- the tongue-in-cheek romp through "Are We Nearly There Yet" set off in contrast against the thoughtful "The Whole Wide World," which demonstrates further Arrowsmith's perceptive song writing talent.
Arrowsmith tends to sing in a fairly high register, and on some songs there is a shrillness that doesn't always make for comfortable listening. However, her more subdued vocal performances portray a certain beauty, and songs like the traditional "The Rowan Tree" or the Scottish lullaby, "Dream Angus," are sublime. Elsewhere, a reading of Jim McLean's "Smile In Your Sleep" is soothing and bewitching, whilst the accompanying uilleann pipes lend further atmosphere to Arrowsmith's beautifully haunting and tender rendition of "She Moved Through The Fair."
With further focus on the strong song writing that shows so much promise in the opening and closing tracks, and a taming of some of her harsher vocals, Arrowsmith will be well worth keeping an eye on.
http://www.wendyarrowsmith.com/