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Album Reviews -
November - Mid December 2002
Reviews of wyrd-folk albums
In this section reviews of albums
will be added regularly. Once they have been shown for a while they will
move into the old reviews area. The artists database which is coming soon
will also contain all album reviews for easy use. Please scroll down for
links to the other areas. Reviewed albums may be purchased using the
'On-line Retailers' section of the Useful Information area. If you have
trouble finding an album let me know using the 'Meet the ...' link under 'Lord
of Misrule' and I'll be happy to help.
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Latest Reviews
Archived Reviews Aug - Oct 2002
Reviews currently
on this page (click on the hyperlinks below or scroll down the page to read).
Bread, Love and Dreams
- s/t
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Review by Mark Coyle
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UK 1969 Decca
In
the late 1960s many folk artists were still almost entirely endebted to the
traditional acoustic form, this band though would record three albums of which
this is the first which moved away in turns into the more progressive area of
extended concept song forms. This album has the innocent hall marks of a
debut band for the era, much of the song writing is wide-eyed but being with a
label like Decca they had the opportunity to expand from simple arrangements
straight away. The first song 'Switch Out The Sun' is a naive club folk
type song enlivened by strings, 'Virgin Kiss' is similar. Although the
arrangement on 'The Least Said' is fairly pedestrian we are introduced to
fantastic female vocals, an innocent delicate lead with a haunting siren
backing. 'Falling Over Backwards' is a more stark sustained mood song with
those siren vocals that remind sometimes of some of the ghostly early Pink
Floyd, the mood is lost a little by being swamped in strings but this does have
a strangeness and similarity to The Incredible String Band.
'Lady Of The Night' is a gorgeous stately ballad that is a fragile and precise
as Trees' 'Garden of Jane Delawney'. There is a lot of mid-tempo strummed
ordinary folk mixed with strings for a couple of tracks. 'Until She Needs
You' repeats the formula of 'Lady Of The NIght' to quite devastating effect.
'Mirrors' has a clear psychedelic influence with it's raga-dream like vocal and
finger-bells opening before leading into a rather ordinary song. 'Poet's
Song' is different again with a stunning delicate celtic folk song led by
soaring flute, a style that was still embryonic at the time of this songs
recording but here perfectly realised. 'The Yellow Bellied Redback' is a
confused spoken story song with more than a hint of hippy whimsy about it.
The last song is a terrible uptempo chugging road blues that doesn't suit the
band at all. So we have like many debut albums a very mixed bag.
There is a lot that is ordinary and pedestrian here but when it is good the
tracks mentioned it sparkles with a rare touch and for these tracks it is well
worth picking up for the collector. This isn't acid-folk for much of the
album but the few tracks of quality shine brightly.
John Renbourn Group - A Maid
In Bedlam
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Review by Mark Coyle
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UK Shanachie 1977, released 1984
 In
the mid 1980s folk music was in a transitional phase and many albums released
then are now being rediscovered as they were unjustly overlooked at the time.
This album from former Pentangle guitarist and traditional music legend John
Renbourn is such a release. It brings together John with Jacqui McShee the
singer of Pentangle once again and continues the adventurous and importance
evolution of traditional music that these two artists have played a key role in.
The album takes many very old songs either traditional instrumentals or
important songs such as 'Reynardine' done by Fairport Convention, 'Black
Waterside' done by Anne Briggs and Bert Jansch and 'John Barleycorn'.
Renbourn also takes track from his earlier albums such as 'Death and the Lady'
and 'My Johnny Was A Shoemaker'. Indeed the album seems like a
continuation or sequel to his own early music classic 'The Lady and the
Unicorn'. Being John Renbourn these versions are not just straight forward
reruns but complete reinterpretations. They are done in a Tudor, early
music sound with formal structures and much use of violin and woodwinds.
The guitar sits in the background driving the tracks on and takes the place of
the harpsichord in early music. The instrumentation is supported by Indian
tablas pattering in the background and this adds an evocative and strange
quality that is beguiling and new. Taking music back hundreds of years and
then cross pollinating it with middle Eastern influences is curious but highly
welcome intention. It sounds natural and the music flows quite
wonderfully. The vocals are usually led by Jacqui but are often massed in
harmonic structures. These are then complex versions of the songs, these
are not wild ragged versions of the folk songs but measured formal versions that
bring a regal and classical dignity to the music. In the late 70s John
Renbourn recorded a number of absolutely classic albums that fans should seek to
acquire. They are possibly the best of his career and each explores
something different. There is an excellent and very cheap compilation
available that is work getting to explore this era of his work further.
For fans of traditional folk music, of early music and of these artists this is
an essential and exciting album that will form an important part of any
collection.
Oberon - A
Midsummer Night's Dream
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Review by Mark Coyle
UK 1970 Acorn Records
 Like
many of their contemporaries Oberon came together through Radley College in the
late 1960s as part of the folk music boom and recorded one album of 99 copies
(for tax reasons) before breaking up and disappearing. Hailing from Oxford
in England they were unusual in having flute and violin amongst the line up so
had a fairly expanded sound. Their sole album reviewed here was recorded
live in a School hall and didn't have any production to speak of. It is
therefore an accurate depiction of the band. The album would perhaps
through its limited private pressing run become quite collectable and has been
reissued on CD. The album starts with a wonderful atmospheric version of
the traditional 'Nottanum Town'. Here we here the spacious qualities
offered by the recording setting contributing to the sound with the music driven
by rolling ominous drums, the guitars and vocals encircled by the other
instruments. A number of songs on the album are delicate quite lovely
instrumentals but there are two epic tracks 'The Hunt' and 'Minas Tirith'.
Here we have an expansion in the music moving into the 'progressive area' with
exploring extended instrumental sections (even a drum solo) and the influence of
psychedelia, particularly the Grateful Dead playing 'Dark Star'. The music
crescendos and recedes, exploring melodies and then temporary chaos. The
last track 'Epitaph' is a sweet soft personal song that rounds off the album
nicely. The playing often incorporates elements of jazz which gives the
music an improvisational and exploratory quality. Perhaps the only song
that is out of context to the album is a jazz folk version of the classic
'Summertime'. But this is a small niggle. While the album isn't a
classic and doesn't stand out in a definitive way for those collecting wyrd-folk
music this album has proved to be enduringly enjoyable and is often sought out.
Pamela Wyn Shannon - Nature's
Bride
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Review by Mark Coyle
US 2002 Girlhenge Records
http://www.girlhenge.com
 This
album was kindly provided directly by the artist and arrived in the most
beautiful presentation of an album I have ever seen. In a small box with
dried leaves, ribbons and the CD in the middle. The album cover weaves
forest based imagery with pictures of the artist and provides an evocative
context for the music. Musically the album sits between folk and Celtic
genres and uses popular music dynamics with the most personal and imploring
lyrics. I hope it is not an injustice to say the album reminded me of the
first from Toni Childs back in the late 80s. The playing is quite
wonderful with very Celtic sounding flute, pipes, bodhran and fiddle
complementing the delicate guitar work of the artist. Thematically the
lyrics consider nature, innocence, sustainability and the challenge of a
changing society. Each song has been carefully crafted and arranged and
the album was quite clearly a labour of love. The album naturally sounds
more American than many on this list but this is refreshing with traces of Joni
Mitchell. Rhythmically the album is subtle using hand percussion rather
than a drum kit. This lets the music shine out giving a gentle emphasis.
The album ends with a version of Nick Drake's 'I Was Made To Love Magic' which
is of direct interest to members of this group.
Candidate - Nuada
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Review by Mark Coyle
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UK 2002 Snowstorm Records
http://www.candidatesite.co.uk/pages/recordpages/nuada.html
Candidate are a modem indie-folk band from London who have attracted a lot of
media attention for their musical blend. This new album was inspired by
the way in which the film The Wicker Man had influenced them. They went on
a trek to the original sites of filming, seeing the burnt stumps of the Wicker
Man that still stand and staying in the same hotel. During this time they
made their new album Nuada, named after the Celtic pagan god which while
inspired by the film is defiantly their own work. It starts with a short
soundscape of echoing guitar and flute that immediate is like a hazy memory of
Paul Giovanni's Wicker Man score but then we go into the song 'Barrels of Fear'
proper and it's a wonderful gentle folk song with acoustic guitars, vocal
harmonies and subtle keyboard drones behind it (this is the song you can listen
to from the site). It explores what it means to be in a remote community,
one that is discovered and feared by mainstream society. The music carries
on like this and reminds a lot of the first classic album by Tir Na Nog or in
places Chris Thompson. Often the acoustic guitar is quite exquisite such
as on the pastoral guitar and flute instrumental 'Tomorrow's Tomorrow'.
"Beautiful Birds' starts with the sound of seagulls as did The Wicker Man film
and uses a similar approach to Paul Giovanni's soundtrack in taking a
traditional melody and resetting it. Here we have a rhythm made from
claps, accordion and a joyful air of celebration that is infectious. 'Song
of the Oss' carries back to Cornish hobby horse traditions on a jazzy guitar
instrumental. 'Save Us' is a quite beautiful lament against the intrusion
of the outside world that makes excellent use of the three part harmony vocals.
'Circle of Ash' surprisingly reminded me of Peter Gabriel with it's yearning
vocal and sustained keyboards. Renowned enduring folk guitarist Bert
Janshc plays a bluesy refrain on the electronic folk track 'Burrowhead' which is
a gorgeous example of the 'folkadelica' originally started by Ultramarine and
now carried on by such as Minotaur Shock and Bronze Age Fox. 'Island 34'
is a quite stunning atmospheric instrumental that seems to reach some unique
territory with chiming layers of acoustic guitar, it's as simple and devastating
as a Brian Eno ambient piece but has the wash and dynamics of Labradford, if
ever a piece evoked soaring with the birds over a remote island this is it. So
we have an interesting album that takes the source inspiration and turns it into
a personal exploration of its themes. At the album's end we have the sound
of bells clanging in the wind and burning taking us abck to the sacrifice and
singularity of those on Summerisle.
It's a short album but in the age of eighty minute CDs that don't warrant the
length this is highly welcome. The CD has a video documentary about its
making that is available on any Windows based PC. If you follow the
complementary link provideded in the introduction to this review the album have
kindly written extensively about the album with a track by track overview.
This is most welcome and adds significantly to the experience and showing the
concept. It's a nice touch to an excellent album which demonstrates
vividly that folk music is still vital and evolving in the hands of the young.
With albums like this from Candidate and such diverse artists as like Cara
Dillon, Bill Jones, Oliver Knight, Julie Murphy and a host more it has a safe
future.
Steve Tilston
- An Acoustic Confusion
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Review by Mark Coyle
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UK 1971 Village Thing Records
 When
considering folk artists Steve Tilston is wonderful but often unacknowledged and
unheard. Steve started as a simple acoustic musician although like many of
his contemporaries with innovative tunings. His songs were inspired by the
style of Bert Jansch or Wizz Jones but with a personal delicacy and emotion.
Recorded during the early winter of 1971 his first album was recorded when only
twenty and early in his development, so it is a homage to innocence and
influence. However it does not slavishly follow other artists but instead
provides an insight into a developing talent. Perhaps the most surprising
element listening with the distance of over thirty years is how like Nick Drake
it sounds. This perhaps now doesn't seem particularly unusual as a
generation of teenagers with a guitar pay direct or indirect homage to the now
legendary deceased artist. However back in 1971 popular mythology has it
that Nick was unheard, unknown and unappreciated. However listening here
nothing could be further from the truth and whether deliberate or not it sounds
almost like a missing album between 'Bryter Later' and 'Pink Moon'. By
this I mean that is has a doomed romantic wistful quality but married to the
acoustic minimalism of the later album. Listening to the album the
reviewer almost feels guilty referencing such an artist so clearly to another
but when listening this is an inescapable conclusion. The album is
distinctiveness to be highly attractive, Steve's voice is warm and gentle with a
lilt like Donovan but a directness like Jansch. The gentleness of the
album almost places it as quite lovely late night listening, it slips by almost
unheard but imperceptibly changing the mood. 'Sleepy Time On Peel Street'
adds a lazy bluesy swagger, harmonica and bass. On 'Rock and Roll Star' we
add a propulsive of rhythm highlighted on guitar and similarly on 'Train Time'.
The CD reissue adds two songs recorded in 1978 that are less tentative and the
product of an artist confident in himself and sounding more direct even though
still only using guitar and vocal. If anything they have a narrative
quality similar to Simon and Garfunkel on 'Homeward Bound' or 'America'.
An excellent album that provided the basis for a singular talent still active
and integral to the folk scene.
Steve Ashley -
Stroll On (Revisited)
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Review by Mark Coyle
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Originally UK 1974 Gull Records
 Steve
Ashley is a pivotal but often unknown folk artist who played an important
background role in the shaping of folk rock. He formed Ragged Robin who
backed Anne Briggs on her second and final album before retiring. Steve
was then part of the early line ups of The Albion Country Band formed by Ashley
Hutchings to explore English traditional music. In 1973 he began recording
his own solo album at long last and with the support he had given to a variety
of artists the favours were returned to give the musician line up a unique
pedigree. Ashley Hutchings, Barry Dransfield, Danny Thomspon, Dave
Swarbrick, Robert Kirby, Daves Pegg and Mattacks to name but a few.
So in this album we bring together musicians from Fairport Convention, Steeleye
Span, Pentangle, Nick Drake, The Dransfields and other major folk bands of the
era. With such a fantastic line up it is somewhat a relief to say that the
album is a classic. Indeed the album was hailed instantly on its release
as such and was such an auspicious start that Steve could never really sustain
this level of acclaim (which was not his fault, music was changing with the
changes of Punk to come).
The album is a loose concept piece about the turning of the seasons and evokes
the seasons excellently with sympathetic songs to the subject. In all but
two cases the songs were penned by Steve Ashley himself but it is a testament to
his talent that they immediately sound traditional and often atmospherically
ancient. With the first song 'Fire and Wine' the listener hears an
unaccompanied acapella section give way to stunning electric folk rock with
lyrics that talk of Autumn's frosts and the need to keep the cold at bay.
'Now
is the time for fire and wine
fire for body and wine for mind
We will sing and play till break of day
and we will sing the frost away'.
Many of the songs are simple in structure based around the proficient acoustic
guitar playing of Steve Ashley complemented by the guest musicians.
'Finite Time' is in this style whereas 'Silly Summer Games' has a more
swaggering Celtic folk rock sound after a soft opening. Steves vocals on 'Springsong'
combine a folk lilt with powerful rock projection in a way that wouldn't be
heard again until The Waterboys Mike Scott. This particular song has
beautiful tablas from Chris Karan and a lovely string arrangement with a
swooning, almost romantic look at the coming of Spring. It is like an
enchantment in music and another largely unacknowledged classic. 'Farewell
Green Leaves' has sliding pedal steel from B J Cole and harmonica that gives the
song a slight rustic country quality. 'Spirit of Christmas' is an
evocative Dickens style tale of ghosts at Christmas. The exquisite
haunting penny whistle work on this song further demonstrates Ashley's talents.
'Candlemass Carol' is absolutely fantastic with tabla and guitar accompaniment
complemented by four recorders playing serene medieval melodies. The
lyrics throughout the album bring forth evocations of the British past, folklore
and mythology such as these from the 'John Donne Song'
'Goe and catch a falling starre
Get with child a mandrake root
Show me where all past yeares are
or who cleft the Divel's foot'.
'Old Rock 'n' Roll' is a swaying mid-tempo Celtic folk rock and explores the
temporary liberation to be found in the excitement of popular music. "Love
In A Funny Way' is a jazz-folk melody with flugel horns arranged by Robert Kirby
(the arranger of Nick Drake's strings). The epic 'Lord Bateman' is notable
as it revived the original line up of the Albion Country Band. The Albion
Country Band had then fallen apart and had recorded the fantastic 'Battle Of The
Field' which would lay unreleased until the band was revived as the Albion Dance
Band in 1976. Ashley Hutchings was working on the 'Etchingham Steam Band'
project but brought the band back together in support of their colleague.
The song is good but comes together from the middle section onwards where it
moves away from folk rock into a drone based harmonium section, when it comes
back to the folk rock section it is complemented by stunning fiddle from Sue
Draheim. The last song 'Follow On' takes us back to seasons end with just
guitar and strings, it is a poignant and quite beautiful way to finish an album
that was then and is now a classic of the folk genre and merges the traditional
and the electric in a way that few albums have ever achieved quite as perfectly.
Steve has continued to record with a web site at
http://members.aol.com/ashleyweb
Malinky - Three Ravens
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Review by Mark Coyle
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UK 2002 Greentrax Records
 During
the last two years many people have slowly discovered this band's first album
"Last Leaves' and been stunned by it's authentic invocation of the original
Scottish folk music, an unrefined but warm sound of woven instrumentation and
quite bewitching vocals. An all acoustic traditional band with lyrics
often written in early English rather than contemporary language listening to
the music is like being transported back two hundred years to a wilder, harsher
world for the population. The band do not shy away from this harshness and
tell tales of murder, rape, theft, crime, hanging and accusations of witchery.
On the second album the band evolve but thankfully do not massively overhaul the
sound. There is a warmth to the production that creates a slight
similarity to Bill Jones. However this band is more starkly evocative of
the past. The songs merge the traditional with the self penned often
combining elements from both into a new whole. This is precisely the
function of folk music, to bring the past forward and combine it with our
experiences to tell a story of relevance and meaning. There is perhaps
more light and shade on this album with some soft ballads such as 'The Lang Road
Doon'. However these are traditional ballads rather than the pop music
form and on this is true of the album. For the uninitiated to folk music
they may be able to listen in awe at the talent but may also find difficulty in
the lyrics and the unrepentedly folky delivery such as on 'Thandy'. The
band never gives way to sentimentality or over romanticism which strengthens
further the power of the music. They may use whistles and skin drums that
many associate with some kind of twee and self indulgent view of the Celtic but
this is a continuum from the ancient. Their melodies may be bright but the
lyrics often talk of poverty and death. Haunting sadness pervades 'The
Sound Of A Tear Not Cried' and the determined sounding album title track 'Three
Ravens'. Perhaps the most exciting aspect of the band is when the vocals
and instruments fly into entrancing patterns of whirling, dancing fury such as
on 'The Rovin Ploughboy' or 'The False Lover Won Back'. The last track is
heart melting 'Follow The Heron'. In Malinky we have effectively a new
national treasure, more than a living museum they are vital and in drawing the
comparisons between the experiences of the working population across the eras
they show that more the more things change, the more they stay the same for the
ordinary people. This is life affirming, beautiful music that demands your
attention and provides rewards in abundance.
Bert Jansch - Edge of a Dream
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Review by Mark Coyle
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UK 2002 Santuary Records
 This
album follows the excellent 'Crimson Moon' in 2000 which showed a reinvigorated
Bert Jansch sounding relevant and fresh. Unlike that album this has not
had the same kind of music press fanfare and seems to have slipped out fairly
inobtrusively. There is that problem that once the world has realised
you're still around and possessing a unique talent, do they then want to
continue to buy your music or move on again? Jansch doesn't attract the
casual listener but dedicated fans and enquiring people into related music.
So to a certain degree it is hard to market and place a new Bert Jansch album.
However there are guests again here to arouse interest and the renewed focus on
folk through artists like James Yorkston and Paul O' Reilly may generate some
people to look more into the roots of the music.
Bernard Butler again guests and as he is also releasing work of his own again
this aspects seems to have been played down apart from on the cover. The
album starts with it's title track which is a fairly average folk rocker with
'rock baby rock' lyrics and a languid electric guitar riff from Butler.
Better by far is the jointly written song with Hope Sandoval, the smokey voiced
ex-singer of Mazzy Star from the US. This song returns Bert playing on her own
solo from last year. This track is quite beautiful and mysterious with
cymbal washes, excellent acoustic from Bert and 'that' voice, it feels like the
soundtrack to some half glimpsed opiate dream and is quite stunningly beautiful.
'Sweet Death' harks back to the 'Needle Of Death' stark acoustic sound and is
fantastic for it. The lyrics talk of being reunited in death and welcoming it's
approach, they are very dark indeed and suit the minimal accompaniment.
British folk legend Dave Swarbrick plays sensitive and delicate violin in the
later part of the track and it's a career (never mind album) highlight with
Swarbrick also playing in a specially written instrumental duet.
A
lot of the album is rambling folk blues like 'I Cannot Keep From Cryng' and
these seem like fairly easy fall backs, there is nothing wrong with them but
they sound ordinary unless with some musical element added like the electric
slide of Butler on the aforesaid track. There is a lovely Spanish guitar
version of 'La Luna' that is very different from what we would expect and
therefore brings something new and interesting. Another highlight is the
Jansch family performed song 'The Quiet Joys of Brother Hood', a version of the
Richard Farina track, this is delicate, mysterious sounding and perhaps an area
to explore more. Last track has Ralph McTell on harmonica with a
non-sentimental exploration of September the 11th. So when Bert tries out
something new, to push the boundaries into new areas you get the feeling his
interest is sparked and these stand head and shoulders above the rest of the
album. The more straight forward tracks are indistinguishable from
early albums and always more than competently played. I think Jansch can
be confident and move forward further with his next album, good player and moral
support that he is I would not use Bernard Butler again. He lacks
inspiration and doesn't bring anything unique to the music unlike Hope Sandoval.
This is a good rather than great album but when it reaches into new territories
these are definitive tracks and the power and artistry of Jansch suddenly leaps
to the fore.
Paul O' Reilly - First
Thing In The Morning
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Review by Mark Coyle
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UK 2002 Vinyl Junkie / Loose Records
 Many
artists are compared to the perceived doomed romanticism of Nick Drake's
personal folk music but few really achieve it. Here we have an album that
try as the reviewer might to avoid it demands comparison. This is a first
album but misses out the lushness of the first two Nick Drake albums and goes
straight for the introspection of 'Pink Moon'. It has the same personal,
slightly remote feeling and a determined sense of purpose. Like Nick Drake
nothing is hidden from the listener except gratuitous emotion. We hear
every movement of the hands on the guitars as though these are personal
statements in their own right. In these days of eighty minute albums this
has only eight tracks and lasts little over thirty minutes. However we
have a quality and focus here that would simply be lost by extension. The
artist has deliberately and precisely achieved their intentions. Little is
actually given to the listener about the artist, the music talks about the
circumstances and environment around the maker, his observations not the
feelings of the writer. However these come out by implication, there is
the feeling of someone who cannot articulate the personal and so let's it seep
out through the gentle sorrow of these tracks. The music is wonderfully
recorded but simple acoustic guitar and voice with the voice a musical whisper,
simple and restrained.
In
the background often is a tiny, subliminal element of electronic processing an
echo of the mental disorientation and chaos of modern life taken out of context
into a gently buzzing ambient hum. There is nobody else on the album,
occasionally the voice accompanies itself but a consistent and hazy
contemplation is sustained throughout. There is no compromise the modern
music, to marketing. The lack of artist profile, interviews enforces the
view that this is not a wallowing in depression but an exploration of something
more true. If you want to escape the spin doctor, media driven society
here is a respite. The album doesn't even have a picture of the maker and
this allows the listener to personalise the music for themselves, the lyrics are
vague enough to apply universally. Even while listening to the music it is
difficult to grasp anything tangible, it sits just out of reach half heard.
It is music for rainy afternoons sat looking out of a window, for dealing with
loss, somehow it offers a mental space that is uncluttered. This is an
important album, it does not wallow in false introspection or teenage angst,
this somehow seems primal, ancient even. Nick Drake, Robert Johnson, late period
Talk Talk, The Blue Nile make music that works below the surface and find their
way to subtle emotions. This album sits quietly awaiting your return and
draws you back for loneliness and respite are places we all need to be
sometimes.
If
the album is sparse and intense it is never bleak. The album title offers
us the key, first thing in the morning things are quiet, unspoilt and full of
uncorrupted promise. Each day is a potential new beginning full of hope.
This is where the artist moves beyond the Nick Drake comparison, for that artist
could never find the new start he constantly sought. With this album Paul
O' Reilly is giving us and perhaps himself that new day.
James Yorkston
And the Athletes - Moving Up Country
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Review by Mark Coyle
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UK 2002, Domino
 In
2002 there was a media interest in new folk music that was primarily driven by
the reviews given to this album and that of Cara Dillon. There was a
perception in the media of accessibility in this music without losing an
ancient, evolving quality in a contemporary setting. In this regard the
media had accurately found an album that fused a number of factors quite
brilliantly. Yorkston is part of an extended musical community in Scotland
that has evolved without recourse to of significant influence from external
sources. This has bred a confidence and distinctiveness to the music that
is attractive and in a society that voraciously consumes and moves on, something
quite unique. Like many modern folk based artists Yorkston has a gentle,
enveloping quality to his music and this is supported by a warm production that
helps the music appeal to more than just a folk fan. A notable factor in
it's appreciation was the legend that a dance music magazine hailed it as a
masterpiece and listening to the music the use of accordians, violins and
harmonicas in slow, sustained layers gives the music an almost ambient sheen at
times. However this is not lifestyle or coffee table music, but personal,
crafted songs from an obviously talented artist.
The title 'Moving Up Country' talks of becoming more not less remote, of
distancing the artist from external factors, of finding the source. It is
perhaps not accident then that the reviewer saw musical comparisons between this
album and the first two by The Band, the US rural folk rock band who retired to
the country to achieve focus and were in turned influenced by this. The
sustained organs and melodic interactions are highly similar as is the careful
attention to song writing. James Yorkston isn't a luddite though and
technology is used to subtle effect notably within 'Tender To the Blues'.
This is a warm, friend of an album that you're always pleased to see. As
folk music it is not wild and intense or introspective and personal.
Instead it is observational or like reading a diary. The artist will be an
interesting one to watch and see how he evolves, subsequent albums could go in
many directions. 'I Spy Dogs' for example shows the band capable of
rocking out like a folk version of Ray Charles' 'What'd I Say' and final track
'I Know My Love' swells in an epic coda to almost sound like Pink Floyd.
The 'Patience Song' highlights a conventional ballad with electronics that could
with more conformity be a contender for the Badly Drawn Boy style of authentic
pop star credibility. By staying out of the limelight he has thankfully
avoided becoming a disposable media darling and has the room to develop.
Perhaps being based in Scotland and having a musical community around may help
in this respect. For now we can luxuriate in this genuinely rustic and
highly enjoyable debut.
Paul
Giovanni / Magnet - The Wicker Man Original Soundtrack
Review by Mark Coyle
Check or Buy Wicker Man music, books & DVDs at Amazon UK
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UK 2002 Silva Screen
Records
 When
Trunk records released a mono CD version of the Wicker Man soundtrack taken from
the short version of the film with the sound effects still mixed in and some
tracks missing, people were grateful for its release as no other version was
then on the horizon. However excitement grew when Gary Carpenter,
co-arranger and performer of the film's music alongside the sadly passed and now
legendary Paul Giovanni, mentioned on the internet that the stereo tapes from the
longer version of the film were being prepared for release on CD. Now we
have the CD which adds to our appreciation of the film's music but as with
everything in this film, things are never quite what they seem.
We have stunning packaging with posters and a long
helpful booklet. While the original Trunk CD was taken from the actual
film the new Silva Screen CD is taken from versions of the songs recorded
especially for a soundtrack album. So we get specially recorded versions
in stereo and for this we will be eternally grateful to Gary Carpenter who
guarded the tapes for many years. We get 'Gently Johnny' for the first
time and a full length 'Tinker of Rye' sung by Christopher Lee. However
the songs are as performed by Paul Giovanni and Magnet, not the actual 'takes'
by the actors (or the singers dubbing the actors) in the actual film unless this
coincides. So the beautiful 'Willow's Song' is now by Leslie Mackie
(singer of the film's titles). This version while absolutely fantastically
recorded is much more delicate and restrained vocally and for the reviewer
doesn't really compare with the fantastic performance in the film by Rachel
Verney. Likewise 'The Landlord's Daughter' loses it's boisterous element
and as the song is about being wanton and lustful, becomes a shadow of the film
version.
The other songs are authoritative but it's hard
initially to disentangle the audio experience from the film with the effects
woven in adding to the ambience. For a film so free and unrestricted by
convention if anything the versions until we get used to them may sound normal
and clean. This isn't any failing whatsoever of the songs only that we
need to place them in their own setting rather than that of the film.
There may be other minor disappointments, 'Willow's Song' for example isn't the
full version but the shortened one. The incidental music tracks towards
the end of the CD run songs from different parts of the film together as single
cues and as these weren't from the soundtrack album some are in mono.
These do not therefore sit well occasionally with the rest of the CD. But
these are tiny gripes and shouldn't be overstated or given undue prominence.
Thanks to all involved is due for making the music available and therefore is a
huge amount to be grateful for. Gary Carpenter himself should be proud of
his achievement in preserving this legacy so well. However if people had
perhaps thought that the new CD would prove definitive and wipe away what went
before then this isn't the case and for those wishing to experience the film's
music to the fullest extent both the earlier Trunk CD and this one will be
essential. As I mentioned before nothing is ever as it seems with this
wonderful film and that is one of its central attractions.
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