December 2015

THE LANTERN HAS FALLEN is the inspiring 8-track follow-up release from Falkirk (Scotland) born singer-songwriter, banjoist and guitarist, Jill Hepburn. Being the youngest of five children and growing up in a household filled with music from both ends of the spectrum, including pop, punk, 1960s folk and traditional tunes, her latest collection of songs does more than just hint at this musically diverse upbringing, but rather seemingly pays homage to it. Like her first two recordings-GROOVY ENOUGH FOR TWO (EP: 2005) and SNOWFLAKE (2010) have both received respectable acclaim-this organic, old-timey and effective third effort promises to follow in the same folky, appreciative footsteps as its impressionable formers. The album has a deep and personal edge-something which Jill’s music is fast becoming known for-and it’s easy to see where her self-admittance of a slightly darker tone on this release came from, with menacing numbers such as the banjo carried “Footsteps”-which opens the album beautifully-and the folk-entwined “Farewell My Friend” both sounding as though they tell very moody tales. Make no mistake however; there are one or two infectious toe-tappers on this new release also to lift one’s spirits, such as the instrumentally-composed “The Ragged Garland”-which seems to have a raw Sarah Jarosz feel about it-and the upbeat “I’m Going Away For A While”-both not only adding a diverse dimension to the album, but also demonstrating to her listeners just what a talented musician she is. Vocally, Jill seems stronger than ever; the storytelling edge and the ability to pull readers into her folktale-ish world epitomises her voice, particularly on songs such as “Fire And Flame” and “Listen To The Air,” which does so much to breathe life into the album, music and intimate stories told. Recorded in Tolbooth, Stirling, with the likes of Kenny Brady on fiddle, mandolin and harmonies and Martin Stephenson on guitar, this remarkable little album cries out for mass listenership, and certainly for those who have the ear for sensitive folk, then this one comes with a high recommendation from me; my only disappointment being the want of more tracks on the album and perhaps a duet or two thrown in the mix.

Palmer T. Lee was 19-years-old when he inherited two old banjos and he has gone on to build them into his life and career. Teaming up with Kendl Winter they have developed a sound based on the duel picking of those two instruments that, when joined by soft, folk harmonies, is an intriguing package. THE SACRED HEART SESSIONS is the follow-up album to 36c, which they toured for a year playing in clubs, hotels, house shows, back yards and street corners. The unique voice of Kendl has a fragility that’s met with Palmer’s folk sound to create an old-time sound that is utterly unique. And, of course, the banjos are always brought along as the stars of the show. At times it seems the instruments are working alongside each other and, then at others, they are almost raging into competition to create a fast, rolling sound. Fourth Time’s A Charm sounds like it comes directly off the front porch of a Midwestern homestead, with Palmer working the lead, and Kendl joining him on one of the most unusual choruses that has to be heard to be understood, as their voices replicate the sounds of their quick banjos. The instrument has certainly found a home here where it can be showcased to its full potential and will delight fans of old-style country and bluegrass. The songs do tend to sound a bit similar by the time you near the middle of the album, but it’s clear they’ve never once strayed from their clear vision, which shows its authenticity and humble origins. It’s a very bare bones and traditional sound of days gone by, and with a nod to the old banjo-playing traditions of Americana. That’s something to be admired and fostered, and these two are working hard to do just that.

How do you carry the burden of being so well established because of another vehicle (in this case, The Shadows) that anything else you try pales into insignificance, at least in the eyes of a majority of the general public? Such was the case of Marvin, Welch & Farrar. Well, part of it may have had to do with the fact that they turned from electric gods into acoustic weaklings but, for me at least that’s where a lot of their charm lay. Okay, so the comparisons to Crosby, Stills & Nash are inevitable (M,W&F even said so themselves) and to some lesser extent, the band, America but if you give it a chance, particularly in 2012 where acoustic music is being heralded as the second coming, there may hopefully be re-awakened interest. This pair of albums reissued on CD for the first time, date from 1970-71. Now, far be it for me to be critical, but I’m not sure about the opening track “You’re Burning Bridges,” which apparently was met with approval from more knowledgeable scribes than me, but the intonation on the nylon strung guitar is what might politely be described as being a bit dodgy. The second track, “A Thousand Conversations,” however is a different kettle of fish, with its gently picked 12-string introduction and seductive string arrangement, which wouldn’t sound out of place on a BBC Radio 2 show. Collectively, Hank Marvin, Bruce Welch and John Farrar could rock it out when they needed to, as can be witnessed on “Throw Down A Line” and surely a contender alongside the likes of the Goo-Goo Dolls for a Hollywood soundtrack. I just knew when I got this album I was going to be in for a treat, little realising just how much of a treat it really turned out to be-a bit like getting the purple wrapped chocolate in a box of Quality Street. If you’re into a slice of country-rock or just into great harmonies and guitar performances, then may I humbly suggest you start here?