Dr Faustus, with Robert Harbron, Tim van Eyken and Benji Kirkpatrick, but we won't talk about them now. M/elliottbrood David Kidman August 2008 Neil Brookes Tony Weatherall - The Whitchurch Hornpipe (WildGoose Studios) Here's a wonderful record of two experienced musicians enjoying themselves thoroughly in bringing to rural entrepreneurship research papers our attention a host of rarely-heard compositions taken from a collection of manuscript tune books from. Mostly, they're a band that are all about having fun, the big sounds and guitar hooks inviting you to get down the front and party. M Mike Davies July 2011 The Bevvy Sisters -. and although every element and "orchestral section" is in its due place there's a tremendous feeling of spontaneity in the playing, the element of proud showing-off is still there in spades but sensibly sublimated to the demands of the music and the scoring. Peggy Seeger's One Plus One is a truly inspired choice, while the "glorious fun""ent is made up of Arthur Askey's bee-witching Bee Song and two brilliantly witty John Kirkpatrick numbers, King Neptune and Jogging Along With My Reindeer (what a combination only 65 shipping. But Roy keenly embraces the sentiments of each and every song he sings, whether it's George Papavgeris's all-encompassing and life-affirming anthem Friends Like These or Ian Campbell's epic and darkly prophetic Old Man's Tale. It's even more of an appetising menu than usual, for it comes in the form of a main-dish (full-length) studio disc with a complimentary (and complementary) bonus disc containing an "appetiser prepared at a live performance all housed in a mouth-watering vol-au-vent of a digipack. His backing musicians - principally Mark Emerson (violin, viola, accordion) and Tim Harries (bass both most famed latterly for their work with June Tabor - do little to dispel the air of brooding despondency Charlie conjures up with his mournful voice and softly chiming acoustic. Produced by Ray Kennedy, it's a more rock n roll affair, laying out its musical agenda with the opening title track, a ringing guitar number duetted with Steve Earle that in its thematic cocktail of loss and longing, and the refusal to lose yourself.
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Unusual and inventive touches like grungy electric guitars or percussion are sometimes brought into play in order to ominously enhance, rather than distract from, the sparse but rich texturings already provided by acoustic guitar with occasional fiddle or concertina. It's not all muscle flexing. As ever, Temple's presentation is first-rate, the accompanying booklet containing full personnel credits and informative notes - but there's even more nuggets buried within the pages of the band's website. It's a shame, but folks now seem to persist in using the tag of political songwriter as a shorthand for dismissing Billy as a man whose relevance has passed its temporal sell-by date. Book Binder's guitar style is very gentle, acoustic finger-picking and his vocals are as equally gentle. They are breaking out from the ' one of folk music's best kept secrets ' tag with applause and appreciative reviews from all who hear them, including me! Their lazy, dusk-tinged and gently lush music doesn't quite measure up to that tag, although the lyrics to the songs themselves (largely the work of the band's guitarist/keyboardist Chris Meyers) do possess a certain bittersweet double-edge dichotomy in the way they approach and reflect their. The nyckelharpa is not quite the rarity it once was, even at the time of the trio's debut, with an increasing number of performers lately falling under its spell and taking up its challenges, but it's still a wonderfully exotic timbre to encounter in any.
Folk, country, gospel it covers so much. Both of these earlier volumes had suffered in some degree from the "worthy celebrity whose heart is in the right place but doesn't quite connect with Les's mindset" syndrome, so it's good that the various contributions making up volume 3 are altogether more consistent and. M m/cindybullensmusic Mike Davies October 2010 Cindy Bullens - Dream #29 (Blue Lobster) Those unfamiliar with Bullens who get round to reviewing her latest album will probably focus on the guests who put in appearances. Discovering country through such artists as Parton, Cash, Harris, and Young, her influences have resolved into a predominantly Appalachian sound underscored by instrumentation that includes accordion, banjo, mandolin and fiddle in addition to her own acoustic guitar. Well known for their sound which is deeply rooted in 40s and 50s jump blues, this is their first release since 2008s Unique Style. Each of them has a background to die for - both were "kid folkies in the (proverbial) sweet shop growing up being involved in, and understanding and appreciating, folk music. As indeed here with Freak Flag well almost, I guess. With Omnibus having both drawn a line under and reinvented their past, welcome return may not be offering anything new in the genre stakes, but it certainly points to a healthy future. Most of the B sides have been recorded that way and, aside from singer Jack Steadman being weaned on a diet of Young, Mitchell, Martyn and Drake, guitarist Jamie's father is Neill MacColl, son of folk legend Ewan and wife Peggy Seeger, brother of Kirsty.