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'Stand and Deliver' by Pilgrims' Way is noticeable for its originality

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Four piece band Pilgrims’ Way oozes the rich variety of English Folk culture that will lead you to consider the storytelling of yesteryear and the heritage connected with it. Opening song, ‘Caveat For Cutpurses’, is equally astonishing and unique. With inspiration taken from playwright Ben Johnson’s ‘Bartholomew Fair’ it sets an interesting scene, the result of Johnson’s experimental theatre of centuries ago. It is a jaunty song, with the combined voices of the group coming together in a lively crescendo that keeps the pace and dynamism flowing well. While ‘Saucy Bold Robber’ contains something of a hint of rock, the album for the most part automatically brings to mind the impressions of music from rural England. There is an essence of fun that prevails throughout that will take you back to evenings singing around campfires… The album appears to delight in being different, extending its interest in Ben Johnson in ‘Ibson, Gibson, Johnson’, for example, to tell the story of a female highwayman feigning capture to attract Johnson’s attractions, only to commit murder the plot fails to go to plan. According to the band, the album was intended for “anyone who has ever fantasized about being more glamourous…more romantic…those who desperately seek escape from the mundane.” I would certainly agree that the album has achieved that. Not for everyone, but if you like more traditional folk that harks back to English history, then this may take your fancy. 3.5/5

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Canadian roots/swing duo Over The Moon live and breathe real cowboy country.

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Living on a ranch in the foothills of Alberta’s Rocky Mountains, it’s inevitable there will be a strong sense of place – and the rhythms of the land – when you start to make music. When the couple released their debut album “Moondancer”, the resonances were there for all to hear, reflecting the pulse of life in a territory that is both dirt-hard rugged and stunningly beautiful. It’s a wild ride that takes in styles from 40’s western swing and Appalachian old-time, to cowboy blues. Simple and sweet, all of the material has a common thread that speaks of the Canadian west and on its UK release, reviews were glowing, AmericanRootsUK saying it was “exceptional,” and Country Music People adding “there’s so much to enjoy here.” The Editor of Maverick magazine told readers: “You will love this!” Suzanne Levesque and Craig Bignell met in very romantic circumstances. He had been the in-demand drummer and percussionist hired for studio work when her then band were recording their latest CD. Something clicked between them and they have been together ever since. A few days after meeting, the singer/actor Tom Jackson was entertaining a close circle of friends at a dinner party in his Calgary home, with many better-known names from Alberta’s music community present. Late that night, they formed a classic in-the-round circle and took it in turns to play songs for the company. Unused to be playing guitar in public although comfortable doing so when no one else was listening, Craig accepted the challenge while feeling slightly apprehensive. Suzanne picked up on his nervousness and from the shadows, appeared double bass in hand like a Cavalry charge to support him. He later confessed that the confidence boost had delivered such a rush of warmth that he thought his heart was going to burst. That was how it all got started, they’ve been singing together so naturally ever since, and now they are married.

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Review: Ned Roberts OUTSIDE MY MIND

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Ned Roberts OUTSIDE MY MIND Aveline Records 4.5 stars A hopeless romantic but Ned Roberts is one to watch With his 2014 self-titled debut album receiving significant exposure on BBC radio, newcomer to the British folk scene, London based Ned Roberts is sure to reach an even wider audience with OUTSIDE MY MIND. Recorded in Electrosound Studios, Los Angeles under the expert direction of experienced producer Luther Russell, the ten self-penned numbers explore all aspects of relationships from the hopeful to the devastated or just chasing dreams. Compared to the likes of Tim Hardin, Leonard Cohen and Nick Drake, I felt he sounded remarkably like James Taylor and the songs could easily be mistaken for some of the Simon & Garfunkel classics. Playing guitar and harmonica, Roberts would have little difficulty replicating the music in a live setting although things are embellished nicely on the album by Eli Pearl (pedal steel) and Jason Hillier (bass) whilst producer Luther Russell contributes drums, electric guitar and piano, also sharing backing vocal duties with Sarabeth Tucek. The songs are all expertly crafted and delivered beautifully; simple easy listening ballads, with the artist only occasionally upping the tempo slightly on the likes of Angel Station, with its ‘desperately waiting for a date in the rain’ theme; don’t worry, she turns up eventually! I really liked this album which grew on me more and more with repeated plays. Highly recommended. John Roffey www.nedroberts.co.uk

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Review: Hat Fitz & Cara AFTER THE RAIN

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Hat Fitz & Cara AFTER THE RAIN Independent Release *** Vintage meets modern in a drum fuelled, foot stomping showdown. Australian Hat Fitz and Irish born Cara Robinson are a husband and wife team based ‘down under’ that are a unique combination of hill-style Gospel blues and stripped back, drum driven roots topped off with clear, strong vocals from Cara and deep, rich, growly tones from Hat Fitz. AFTER THE RAIN is their fourth album, released on the back of some strong live performances throughout Australia, Canada, Europe and the UK, indeed Cara was awarded the Australian Female Blues Vocalist of the Year award in 2015 so they clearly both know how to work up a tune. The album opens with ‘Going Home’, a short song that only really gets going in the last third, but when it does, it’s glorious. A big gospel chorus leads us home but it seems to be over all too soon. This is followed by first single ‘Doing it Again’ an up-tempo, drum fuelled bonanza that gives us an insight into their married life and creative process. Other songs keep that unique yet traditional sound that the pair have. ‘After the Rain’ has a military drum beat and huge gospel chorus. ’Tank Man’ is a boogie-woogie piece with Fitz on vocals and a healthy dose of slide guitar. ‘Try’ is a mid-tempo, foot stomper dripping in muddy Blues, a song straight off ‘The Commitments’ soundtrack 25 years too late and ballad, ‘Rosie Hackett’ has a quiet, Clapton-esque beginning before it develops into a Celtic infused number with Cara sounding uncannily like Adele in places, particularly during the ‘just one touch’ refrain. Most of the songs on AFTER THE RAIN come in between 2 minutes 50 seconds and 3 minutes 40, which often leaves you with a feeling of wanting more. Some would argue that this is a good thing but I would have liked to have seen more experimentation, more ambition. There are some lovely ideas and great musicianship on this album, both Hat Fitz and Cara are clearly accomplished at what they do but overwhelmingly I was left wanting more than just a three minute foot stomp. If drum driven, bluesy-roots style foot stomping is your thing then Hat Fitz & Cara might well do it for you – an enjoyable but ultimately short experience. James Daykin www.hatfitzandcara.com

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Review: Emily Maguire A BIT OF BLUE

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Emily Maguire A BIT OF BLUE Shaktu Records **** Haunting landscapes and imagery rich songs Emily Maguire, the British born singer-songwriter, has had a remarkable journey. Plucked from obscurity in 2007 to support Don McLean at the Royal Albert Hall, she has released 3 albums, written poetry and prose, published a book on the Bi-polar condition and suffered numerous health setbacks and challenges so it is no wonder that her songs aren’t three minute puff pieces about men. Produced by Nigel Butler, (K.D. Lang, Robbie Williams, Will Young), he has helped to transform this set of beautiful, broken images into a series of ethereal songs, linked by the binding narrative of lush orchestration, sparse instrumentation and the dream-like quality of Maguire’s voice. This is no easy listen – this isn’t an album to pop on in the kitchen whilst you make tea. This is one of those rare, wonderful beasts in today’s instant world that has to be loved. Every lyric needs a time and space to breathe, to settle and to be poured over. Melodies are in abundance here but are not necessarily evident on first listen, you won’t get to the end and have one of the songs lodged like an ear-worm in your brain – A BIT OF BLUE is not one of those albums, it’s a grower, it needs nurturing and like everything that is given a chance to flourish it will give back in spades, as long as you allow it to. Despite the fact that some of this album was recorded in Queensland, Australia and some in Ross-on-Wye there is a clear coherence and binding narrative running through the middle of it, linking all the songs together. Maguire’s haunting vocals and the beautiful use of piano and strings produce a lush yet sparse feel to many of the tracks. It is by no means an easy listen but who said music has to always be commercial and consumable? If you prefer your music deep, dark and dramatic, if you want every lyric on every line to have a meaning and not just placed there to advance a melody then A BIT OF BLUE might well be your colour. James Daykin www.emilymaguire.com

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Review: Kate Rusby LIFE IN A PAPER BOAT

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Kate Rusby LIFE IN A PAPER BOAT Pure records 4.5 stars Another gem from the award winning Yorkshire folkie Soon to be celebrating 25 years in the folk business, Kate Rusby albums never fail to impress and LIFE IN A PAPER BOAT is up there with the best. Kate’s fragile but hauntingly beautiful vocals are perfectly suited to the mix of self-penned and traditional numbers. Producer husband Damien O’Kane has done a sterling job and there is nothing approaching a sub-standard track on the album. Rusby has surrounded herself with some of the best supporting musicians from the folk world with Dan Tyminski and Ron Block from Alison Krauss’ Union Station guesting on a couple of tracks. Her song writing is as innovative as ever and I really loved the imaginative lyrics on ‘Hunter Moon’ and the two songs with a seafaring theme, ‘The Mermaid’ and of course, the title track. Just one cover, Archie Fisher’s The Witch of Westmorland; a great tale of a witch with amazing healing powers. One bonus track is included; the catchy Big Brave Bill, a ‘Superman’ like character from Barnsley who comes to the rescue on numerous occasions and derives his strength from drinking Yorkshire Tea! The album runs for almost an hour but the quality fare on offer ensures the listener’s attention is never distracted. The beauty of this album is that it should appeal to a diverse audience rather than a strictly folk oriented clientele. John Roffey www.katerusby.com

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Review: The Western Flyers WILD BLUE YONDER

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The Western Flyers WILD BLUE YONDER Versa Tone Records 4.5 stars Fresh take on a classic American art form Sounding like the energetic authentic Western Swing version of the Star Wars cantina band, this new band manage to combine Western Swing, hot jazz, cowboy songs and fantastic fiddle tunes into a truly unique country offering. Blending the classic with the new, this band, comprised of guitarist Joe McKenzie, National Swing Fiddle Champion Katie Glassman and upright bassist Gavin Kelso puts a new spin on the classic with an enjoyable groove which instantly brings to mind a packed 1940’s Texas saloon just off the trail. These three accomplished musicians, each with a wealth of experience, combine to produce a version of vintage Western swing which I found particularly charming. It’s clear to see why these three have come together and I welcome the corroboration which is difficult to see being negatively received by die-hard traditionalists and newbies to country-alike. Of particular note in the generous 36 minute, 13 track album is the welcoming, upbeat and aptly named You’re From Texas and the lively Sweet Georgia Brown. Definitely a band to watch out for – watch this space! Michael Locke www.thewesternflyers.com

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Review: Emily Smith SONGS FOR CHRISTMAS

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Emily Smith SONGS FOR CHRISTMAS White Fall Records WFRCD015 **** Thankfully devoid of bells and ho ho ho’s. A Christmas album with a heart of gold. Mention Christmas music and most folk will think of traditional carols or those pop hits crammed onto a CD and invariably called “The Best Christmas Hits Ever. Vol. 97.” However the discerning listener can find a rich vein of roots music that is tied into the festive season. Indeed the late Bert Jansch will probably be heard in many households around the 25th December due to the inclusion of his rendition of “In The Bleak Midwinter” on many of those compilation discs even though it died a death when originally released. So for those inclined to have a festive listen without too many sleigh bells award winning Scots singer Emily Smith offers this fine collection of songs, some traditional, many new. Smith is one of the rising stars of traditional Scots folk music and on Songs For Christmas she sings wonderfully with a fine band behind her, the songs firmly in a folk setting, accordion and fiddle well to the fore over briskly strummed guitars and fleet footed percussion. The arrangements on staples such as Silent Night and God Rest Ye Merry Gentlemen are just sublime and perfect for listening to with a late night mulled wine. Elsewhere there is the flowing folk rock of The Blessing Of Mary  and  Christ Has My Heart, Ay which dip into Scots and American traditional music (both of which would bear listening to at any time of the year). There’s wintry balladry on the gorgeous Winter Song which is redolent of frost and bare trees while Heard From Heaven Today has a woody timbre courtesy of accordion and viola as the simple repeated words implant the Christmas story wonderfully. There’s some jollity on the calypso like Little Road To Bethlehem, a late night lullaby on the cover of Mindy Smith’s Santa Will Find You and a nod towards the New Year with Smith’s fine version of The Parting Glass, a reflective moment that allows her voice free rein over an immaculate arrangement. Smith tops and tails the album with two songs that capture her vision of Christmas. Find Hope is a song that does capture the non commercial side of Christmas (you remember, the chap in the stable and all) and it warms the cockles of the heart with its message of hope and optimism.  Her cover of Sarah Siskind’s A Life That’s Good closes the album and again it’s a moment of reflection and thanks. Paul Kerr www.emilysmith.org

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REVIEW: Hannah Sanders & Ben Savage BEFORE THE SUN

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Hannah Sanders & Ben Savage BEFORE THE SUN Sungrazing Records 4 stars Magical folk harmonies For the follow up to her beautiful debut CHARMS AGAINST SORROW, Hannah Sanders is joined by guitarist and Dobro maestro Ben Savage from folkies The Willows. Under the expert guidance of Toronto producer David Travers-Smith, they have come up with another gem of self penned and traditional numbers with a Dylan cover thrown in for good measure. Of their own compositions The Fall (Hang) has macabre overtones but sets the scene for the gorgeous harmonies that adorn the whole album. What’s It Tonight My Love? finds Hannah and Ben out on the evening streets musing over the darkness and studying the moon on the way home. Richie Stearns’ Ribbons and Bows is a dark deceptively up-beat number featuring some great dulcimer. More dulcimer on the spooky Unquiet Grave as the superstitions surrounding excessive grieving are explored with the dead lover unable to fall into eternal sleep for the wailing of his beloved. Dylan’s Boots of Spanish Leather is simply a classic. The couple are joined by a host of guest musicians, notably Canadian guitarist Kevin Breit, Katriona Gilmore on mandolin, fiddle and vocals, Evan Carson on percussion, Jon Thorne on double bass as well as Ben’s vocal partner from The Willows, Jade Rhiannon. Jim Causley and Robin Gillan also add their vocal talents to what is a really lovely album. John Roffey www.hannahbenmusic.com

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REVIEW: Red Moon Road SORROWS AND GLORIES

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Red Moon Road SORROWS AND GLORIES Manitoba Film and Music ***** Blissfully beautiful folk that will have you harmonising with your hips swaying. Aptly titled Sorrows and Glories, Red Moon Road return with their third studio album, which was recorded in the aftermath of an accident which saw lead singer Sheena Rattai need to take time out of a life on the road to recover from an accident. The record itself covers the healing period as well as many of the highs the band have experienced in their ever-growing career. Essentially a folk trio that centre their sound on a harmony drive, the real star on Sorrows and Glories is the crisp, clear and emotionally rich vocal of Rattai at the albums centre. While the charming harmonies have echoes of Britain’s finest Americana trio Red Sky July, they appear to be less integral to the finished sound of Red Moon Road. While the trio do mix up vocal duties along the way, with both Daniel Péloquin-Hopfner and Daniel Jordan in fine voice, it is when they deliver gospel driven harmonies to Rattai’s vocal that the spine really tingles. At their most striking, The Lumineers’ flavoured I’ll Bend But I Won’t Break and the powerfully spiritual a capella opener Beauty In Their Broken Bones, Red Moon Band manage to take subject matter that is common to the genre but deliver them with an inspired edge that will etch them for all eternity in your memory. With an ability to make the everyday seem enticing, and a personal story that is truly moving thrown in to mix, Red Moon Road catapult their third studio album into the elite of their genre. This is a record that not just needs to be added in to your collection, but warrants the trio that created it to be awarded a flurry of awards. Jeremy Williams-Chalmers

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