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Thirty years on when we've embraced the darker moods of alt. There is, however, a rugged spine to these songs, a rootedness in real lives that means they deserve their place of honour in the line that leads from Woody Guthrie to where we are today.

So, "Give him another bottle, let him ease his mind". And whilst the Nashville mainstream would have given this a slow sickly over-sweet arrangement, Talley and his fiddler turn it into a fast-chugging railroad song, a celebration of the drunk's earlier life.

Elsewhere, he gives us his take on "Red River Valley", beautifully played and with an added verse of his own in the middle; the famous tune is abandoned for a sparse dreamy sequence at that point in a songwriting experiment that reminds me of stuff Don Maclean was doing at the time, all of which makes it about as "folk" as you can get in an American context.

Not content with that , "Sing Song Kitty", which I only knew from Doc Watson's version, turns up with different words - nonsense and otherwise- as "Daddy's Song", and sounds just great.

It seems there are as many versions of that song as there are households that sang it. Throughout, the playing is warm, lively and sensitive and Johnny Gimble's fiddle is a particular delight; recording back in was a protracted and informal affair and the core musicians were augmented by more than a dozen others who "happened by", including a young John Hiatt who contributes the lead acoustic guitar on one track.

All in all, a quiet delight. For his latest release, Jeff Talmadge has gathered some of Nashville and Austin's top musicians and produced an album that is as gentle as it is deep.

Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer.

Country and very easy going. Let Her Go showcases Talmadge's velvet voice and is some more easy going Country.

Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album. This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland.

He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination.

Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy.

Talmadge says that this is one of his favourite Dylan songs and that he'd always wanted to record it. He should be pleased with the result as the band plays as one.

Because Of You gets him out of first gear - almost. Like the others, this skirts the area between folk, Americana and Country.

Train From Amsterdam slows things back down again and is just so easy to listen to. This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands.

White Cross remains firmly in the slow lane and mixes Americana with Country. In the US it is common practice for people to place small white crosses at the scene of road accidents and it was spooky that both Talmadge and his friend, Claudia Russell, were both working on a song on this topic at the same time.

They thought it would be best if they collaborated and the result is here. Scrapbook is an almost seamless transition from its predecessor and keeps up the gentle theme.

This idea came from Talmadge thinking that every place he visits is like turning the page of a scrapbook.

The slightly jazzy Chet Baker Street closes the album and Talmadge doesn't crank it up, even for the last song. This album is perfect for when you have a few friends around and don't want the music to completely drown out the conversation but still want to raise a few talking points.

Texan singer-songwriter Jeff writes strongly and powerfully, much in the tradition of Townes Van Zandt and Guy Clark those especially called to mind - well at least that's on the evidence of Blissville , which would seem to be Jeff's fifth CD release.

I was very much taken with the warmth of Jeff's idiomatic, honest, intimate, sometimes half-spoken vocal style, and by his plain-speaking and simply evocative lyrics.

He cloaks his stories of regret and oblique reminiscences in attractively homespun and often decidedly ironic philosophy, a fetching combination that yields as much intellectual as pure listening pleasure.

Examining the liner notes, though, Blissville would also seem to be, at least in part, an anthology of sorts, for it's stated that of the album's thirteen tracks, three had originally appeared on Jeff's album Bad Tattoo , whereas a further two are from 's Secret Anniversaries and two others from 's The Spinning Of The World the versions here differing in that they benefit from remixed vocals, it says.

That leaves just six tracks having been newly recorded in But whatever the provenance or vintage of the songs here, Jeff's output is heard to be mightily consistent and always better than likeable, with the more recent tracks in particular really characterful in a soft-edged alt-country mode that's often reminiscent as much of the rootsy mid-period Band albums as anything else.

Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before.

Jeff Talmadge - The Spinning World Bozart Records Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about.

Who is Jeff Talmadge? His website gives a little background information about the man, ' Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer Jeff Talmadge is a man of multiple talents and many hats.

The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from.

Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship with the assistance of Stephen Bruton on slide guitar, mandolin and mandola is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy.

Throughout the collection of eleven songs the professional production by Bradley Kopp is bright, full and warm with acoustic guitars, gentle bass and percussion, strings cello and violin and touches of accordion and harmonica.

His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus and she's always a ' plus ' Annie Gallup on backup vocals.

Want to hear more? You may download soundclips from his website before clicking on to Amazon. We may live in a spinning world but Jeff Talmadge's albums are for those important ' time out ' moments - lay back and enjoy!

Singer-songwriters of the Saharan desert, the Touareg ex-rebels Tinariwen, birthed distinctive blues grooves - intense and enthralling - now taken up by the young seven-strong Touareg blues-rock band Tamikrest.

Their name "Tamikrest" is Tamashek the Touareg language for "union" and "knot" - a symbol for the desert, language and culture which unifies and binds them.

And unified they are. A western band might be considered "tight" but Tamikrest are another thing entirely. The slow-paced caravan of bass-driven rhythms, electric guitars, tunes layered with claps and harmonies punctuated by the ululation of female backing singers and even echoes of the Eagles and a few reggae beats , become trance-like.

The words of lead vocalist of Ousmane Ag Mossa in the Tamashek language seem totally comprehensible to the Western heart, even if to the ears they aren't.

It's the universal voice of pain and passion of struggle, of war, the beauty of the desert, of travelling grooves and - ultimately and hopefully - prayers for freedom.

If you need an actual translation, the sleeve notes are also in English and French. John Tams - The Reckoning Topic. John Tams rocks - oh, yes he does!

You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil? Think again, my friend. Just as it was surprising to realize that Unity , the album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker.

And, as might be expected, he's learned a thing or two with all those years under his belt. One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience.

Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering.

The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark.

But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor.

In stark contrast to the superficial happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill.

Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own.

His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours.

The song has a bleak beauty that's hard to ignore. In The ballroom , Tams slips into his pumps for the first of two songs marking the lure of the dance.

Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope.

Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song. Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break.

Unlike The ballroom , the lyric is filled with the excitement and expectation of an evening's fun: But it's historical ballads at which Tams excels and Home has a belter right at its heart.

She was an angel all in my eye, which made me from my colours to fly". He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love.

Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff. It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here.

In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout. Home is an album that reveals new treasures with each play.

It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this.

JT call Home sorry! Music Of The Good Hope T2 The recent National Theatre production of the play The Good Hope , relocating the tale in Whitby, provided the vehicle for a new musical collaboration between Messrs Tams and Taylor reunited in an echo of former Home Service and Albion Band glories , providing a telling 17 minutes' worth of soundtrack that's recorded here.

They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging!

Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based.

Named for a favourite hiking spot in the Adirondacks region of northern New York state, this is the new project by Mike Ferrio, the former frontman of Tandy which came to an end with the death of multi-instrumentalist fellow member Drew Glackin.

Deciding to start over rather than continue without Glackin's integral input, Ferrio assembled a collective of musicians who played with names such as The Silos, Ron Sexsmith and the Guthries plus violinist Eleanor Whitmore to put together what he describes as 'an artistic project for a lost friend.

Recorded live on vintage analogue equipment, the songs inevitably deal with the big issues of death, friendship, life and love, the music embracing elements of soul, rock, folk, gospel, and Americana with instrumentation that includes organ, horns, harp, strings and, notably on the wide open prairie skies ambience of More Than A Feeling no, not that one , harmonica.

With tracks clocking in between two and a half and six and a half minutes, it's clearly a work born of great personal emotion, Ferrio's dusty timbre leaking wistful reminiscence and sadness but also, as with the uptempo The Seven Sisters, alight with hope.

Lyrically there's much religious imagery alongside that of mortality and transience with, as on the sparsely arranged The Perfect Circle with its otherwordly background ambience, calls to make the most of the 'diamond days', before 'your deal goes down.

One to let wash over you as things like Requiem For Andrew, On Faith and Heaven In The Haze with its gospel choir seep into the soul, it's both a poignant, reflective elegy and the birth of a new future.

You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show.

Rarely has a set of songs contained such an impact and achieved it so deftly. Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant.

Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible.

Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights.

Tandy may not shout from the rooftops but its music is deafening in what it has to say. Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album.

Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents. Two for the price of one - with a bonus track on each!

There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce.

The other members of the band are: Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train.

A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear. If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to.

Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.

Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor.

Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong.

After the maelstrom to hear a heart being poured out is a startling moment. It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole.

Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who!

Incidentally, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged. The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies.

This would, of course, matter not a jot were the music not so captivating. To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.

Tandy - The Lowdown Gammon Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way.

With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure.

The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.

Their Lichtenstein's Oriole album pricked up ears when they played the UK a few years back, and it's good to revisit their lollopping bluesy collaboration with the late Dave Von Ronk on Lorna and be reminded of the Steve Earley I Signed A Circle and the simple but complex storytelling childhood reminiscences of Pictures of China.

Tandy's latest album ' Lichtenstein's Oriole ' is an ornithologist's delight: Artwork out of the way, the music is pure joy: The album drives along with acoustic and electric guitars from Ferrio and Jay Sherman-Godfrey, aided by Dobro and lap steel from session man David Hamburger, fiddle from Miss Darlene, Sibel Firat's cello, cajun accordion from Charlie Giardano and Ferrio's harmonica.

It's a fine, fine album with hidden depths and secrets beneath the instant pop appeal. At the Bar Club and a pub gig, Rosie O'Grady's in Camden, in May, they produced as perfect a sound as a band can make, even with a slightly changed line-up, without losing any of the vitality or magic of the album.

Maybe it's the other way round - the album perfectly captures the ' live ' Tandy. Well, the album was mostly recorded ' live ' in the studio and they have at least three elements working perfectly together in both album and ' live ': Tom McCrum's acoustic sticks drumming on tour he used just brushes and acoustic sticks on snare and never missed a beat.

Virginian Miss Darlene's fiddle was a smoothly mellifluous constant. Mike Ferrio controlled the whole with his songs: Language can be percussive in its own right; here the words roll rhythmically along, as much an instrument as his harmonica.

And there were no jokes or wisecracks between songs - just straight into one great song after another.

An album to hug to death and buy for special friends. I hope they come back to the UK soon. Rochdale's Will Tang hasn't exactly taken the conventional route to gaining UK recognition.

He made his name in Hong Kong by starting off in the burgeoning blues and jazz scene before going on to be a highly rated session harmonica player playing for, amongst others, Jackie Chan.

From there he went on to his first record deal and paling 10, seater stadiums. After a further four albums he decided to come home to the UK, settle in Manchester and release his debut UK album.

Opening with the eponymous title track, Will sets about realising the boast of the album's title. There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album.

The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray. Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar.

On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues. This shows a level of sensitivity and vulnerability.

He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica.

This gritty, blues influenced rocker is a welcome addition. Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker.

Something Special is a new one and although it is upbeat, it is unmemorable. Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this.

He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini.

The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul.

There are two bonus tracks, remixes of Travellin' Man the normal mix of which is not on the album and Love Bites.

The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues.

They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition.

A Hong Kong harp player, you've got to be kidding? Well, I'm not and William Tang has as much right as anyone to express his love of the blues.

The opener, Walkin' Round is excellent and a song that any U. It is a very good introduction to the playing of William and he has surrounded himself with good musicians.

This is a 'live' studio album and gives us a feeling of how the band would sound in an intimate club - fantastic.

It's Alrite rocks - it's another Tang song and guitarist Murdoch produces some good slide guitar before William goes almost apoplectic at the end. Sweet Little Angel is a B.

King song and he has done the right thing by not trying to sound like the great man and there is some more strong guitar work from Murdoch.

The Thrill Is Gone is the song made famous by B. King but William's voice is not really suited to this but the interesting use of harmonica redeems it.

It is an instrumental finish to a good album and, like the other tracks, is held together by the tight drumming of Mark Menezes. Canada's Tanglefoot have become one of that country's most popular exports, with a loyal following in the UK largely due to their storming, swashbuckling appearances at festivals.

In the flesh they've an almost overwhelming, distinctly larger-than-life presence which draws you into their stirring and passionate music: One special thing about Tanglefoot is that even though the band's always had a strong "corporate identity" as a performing unit, each of its members is a more than capable front-person when taking the lead role on a song.

There's a wide gamut of emotions on display, from Al's deliciously menacing theatrical portrait of the Bishop on Boot Soup and guitarist Steve Ritchie's charming swing-idiom retelling of When Dad And Uncle Archie Lost The Farm, both of which contrast nicely with Tanglefoot's tremendous, lively take on the traditional Paddle Like Hell done in authentic French-Canadian dialect, naturally!

The band's newest recruit, flamboyant fiddle player Sandra Swannell, contributes loads more than just a pretty face and some spirited musicianship, and not just in the vocal-harmony department but in the shape of a fine song, the story of Maggie, which fits in really well with the rest of the group compositions.

Steve's anthem For The Day another well-harmonised acappella item forms an ideal closer. Maybe you'll feel that the brief sequence of slightly silly extraneous outtakes tacked on at the end should have been left on the cutting-room floor, but at least you can exit before they start.

Any mild sense of underplay at moments during the set is only apparent while memories of the band's massive live presence remain in your mind; what's important is that Tanglefoot still make a suitably big sound even on disc and they're on splendid form both vocally and instrumentally here.

After five studio albums and even more UK tours, the big hairy ones have finally got round to releasing a live CD. Captured Alive brings right into your living-room or bedroom, car or privy!

We took him to the hospital where they had great difficulty believing that he had played a concert that night. His finger joints were severely swollen despite being soaked in a bowl of water with all the ice from the bar during the interval.

The promoter at the venue was prepared to pay back any punters the cost of their tickets. Not a single one did.

A case of 'actions being stronger than words'. John has every intention of returning to UK and Europe again next year.

At the moment he is about to go on the road in Australia and New Zealand. Catch him if you can. This CD has been played with great frequency since I got it when LJB toured the UK with the Manfreds back in June, , but I still find it virtually impossible to point the listener to any particular track.

The only solution is to just play the whole CD again and again. Just go order the CD for yourself and you can decide! Deep Purple, Fairport Convention, you get the idea - that's where my allegiances lie.

So, let's improve my position a little. I'd been privileged to meet John twice, on the occasion of his sadly aborted UK Tour.

A close friend of mine knew John during the sixties, hadn't seen him since he'd moved to Canada, persuaded me to take her to the opening night in Banbury and I ended up putting this particular blues legend in hospital.

If you're really interested, mail me and I'll tell what is, at best, a very dull tale. That evening, musically the gig bored me intensely.

Sure, the guys were all very proficient, technically adept at what they were doing, but I just didn't get it; Long John's style of blues just ain't for me.

So, I find a copy of Johns Hypertension release ' Evening Conversation ' before me, requiring a review. I'm not exactly the best person for the job because, as I've said, I just don't buy this particular style of music.

The man, however, I like a great deal; he is hysterical and great fun to be with. We only spent a couple of hours in each others company and I was gratified to learn that, when he was in the UK towards the end of , he inquired of said friend as to my whereabouts.

Needless to day, I was chuffed that he remembered me, and more than a little peeved that when he was in my home town, I'd opted to be in Hong Kong following folk rockers Little Johnny England.

And having a damn fine holiday with my daughters. Oh well, some things are just not meant to be. I've had this release on the go for a while now, and I'm almost embarrassed to say that it has not grated the nerves once.

Either I'm getting old or this music isn't quite as bad as I'd first feared. On first listen I recognised only one tune - Morning Dew.

It took a while, but I finally twigged that this was the number opening the sixth Blackfoot LP some 20 odd years previously; a quick dive into the archives confirmed the authors as Tim Rose and Bonnie Dobson.

Yep, it's the same piece, wake up ears. It just sounds a little different, like the difference between the late John Lee Hooker and Black Sabbath although, to be fair, Blackfoot were closer to Lynyrd Skynyrd and the lead guitarist of the former is now a member of the latter.

Many of the songs are Baldry arrangements of numbers written by that most classical of composers, Trad Arr. I think that, if you're a fan, you'll enjoy this release.

You may well have a lot of the numbers already in the studio, but this is a live album, and there is always something that little bit different - special?

I'm sure that you won't be disappointed by your purchase. Well, I just don't know, but I'll be playing CD this some more. If he comes close enough to home that is.

One of a pair of new releases from Scottish songwriter and storyteller Jackie Leven, this is a disc of monologues rather than songs, and is conveniently split into two sections.

These vary from gently observed vignettes to some more overtly amusing tales of provincial life and newspaperdom, and are delivered in an initially quite low-key and diffident manner but also with evident affection; within them we meet the various characters that people the new town of Glenrodent and its newspaper offices and gain a whimsical insight into their lives and preoccupations.

The episodes are punctuated with brief but attractive piano interludes composed by Michael Cosgrave and inspired largely by Scottish dance forms.

The second section of the disc brings three choice stories of Jackie Leven's own concoction: The final tale, Sex Tourist, was recorded at a club in Sydney in It matters not that all three of these tales have been released previously albeit the first and third only on not-easily-available Haunted Valley label discs , for they well complement the storytelling of the Jackie Balfour episodes.

Even so, I'm not sure there's a particularly wide audience in terms of potential record sales, I mean for this aspect of Jackie Leven's art, beyond the "occasional entertaining listen" status that inevitably accompanies spoken-word recordings, however good.

A Scottish folkster with a jazz family background, Bancroft's explored both fields in her previous albums, not to mention experimenting with electronica.

There's jazz blues flavours here on the musically flirty Occasional China where she slips into scat backed by Amy Geddes providing gypsy fiddle, the breathy No Smokin with a percussion rhythm that sounds like the bellows of an electronic lung, and the skittish Dented with Tom Lyne's double bass groove.

Mostly though she channels her jazz raising into folk intimacy, delivering the rippling, bluegrass flecked Supersize Me with its laments about the lack of community and childhood in the modern age, the waltzing I Carried Your Heart's age-enduring love song and, also touching on a theme of passing years, the sparse wood-smoked When The Geese Fly South.

Written four years back, Boo Hewardine guests on co-penned closing track Caroline, a 3am jazz cellar piano blues account of an unconsummated drunken one night stand and subsequent self-questioning while, underscoring the classiness of the project, the album's co-produced and mixed by Mark Freegard whose extensive credits include Maria McKee, Manic Street Preachers and, more pertinently for that sultry jazz vibe, Swans Way.

Probably more one for the Ronnie Scott's crowd than your local folk club, but certainly worth the exploring.

Produced by Ray Wylie Hubbard and mastered by Gulf Morlix both of whom also guest along with Stephen Bruton , it's fairly blueprint southern barroom rock country with pumped up guitars, mouth harp, swaggery rhythms and bluesy acoustic honky tonk ballads.

They're not doing anything new, but they're as reliable and easy to slip into as an old pair of shoes. Band of Two is exactly what it says on the tin - a band comprising two musicians.

The pair in question are Croydon man Pete Fyfe and Garry Blakeley, from Hastings - two musical souls who met by chance ten years ago, discovered an affinity in their tastes and have built a great rapport and a catalogue of songs, jigs and reels that guarantees a great evening's entertainment when they play live.

Decade , the duo's second album, is packed full of high-quality songs and tunes, all played with an obvious love of the material and an infectious enthusiasm that will put a smile on your face and have you singing along.

With a distinct leaning toward the Celtic end of the British musical spectrum, it's not surprising they elect to kick off with "Farewell to Ireland", a no-holds-barred instrumental workout that immediately displays the fine fiddle-playing of Blakeley and some furious strumming on the guitar by Fyfe - a tremendous opener.

Fyfe relishes the lyric, giving his vocal a menacing edge as Blakeley's fiddle ducks and weaves around it and the guitar.

One of Van Morrison's best-known songs gives Blakeley his first chance at the mic, his voice a pleasing contrast to Fyfe's deeper tones.

Fyfe's playing on "Have I told you lately" comes to the fore as he overlays deft mandolin fingerwork on Blakeley's guitar.

A sparser arrangement than Morrison's original but all the better for it - lovely. One of the several stand-out tracks is the pair's reading of "Fairytale of New York", the original of which featured another child of Croydon, the late Kirsty MacColl.

Two people could never, of course, hope to make a bigger noise than The Pogues at their best, but, like the Morrison song, this version loses nothing for its simplicity - well, it's such a good song, how could it fail?

Ireland gets a look in again when the pair tackle the old standard, "Danny Boy" and the delightful "Blarney roses". You might remain tight-lipped through "Irene goodnight" but your resolve will begin to slip during "Comin' round the mountain" and, by "Worried man blues" you'll be singing along as it segues into a "Pick a bale o'cotton", "Swing low, sweet chariot", "It's a long way to Tipperary" and "Pack up your troubles" before the set's wound up with "Knees up Mother Brown".

It may sound a little naff but, believe me, it works. Two nicer blokes you couldn't hope to meet and "Decade" is an album they are quite rightly proud of.

Following six independent releases, the hirsute ashram-friendly psych folk Venezuela raised, California based singer-songwriter finally makes his major label debut with a collection that, produced by Paul Butler from A Band of Bees, is eclectic while remaining firmly rooted in the hippie folkster landscape.

Can't Help eases you into proceedings with marimba ripples and a tropical island sway that might make Jack Johnson sound like explosive punk before his Incredible String Band affections rear their head with Angelika where his phrasings echo the young Robin Williamson before the song suddenly mutates into a jazzy piano led bossa nova and Banhart apparently turns Puerto Rican.

There's a Latin blood in the veins of Brindo too, another bossa nova croon only this time sung - or rather seductively whispered - in Spanish.

Skipping around the influences, Baby varnishes a Smokey Motown soul groove with a light reggae hiccupping and a suitably playful lyric that talks of choo choo trains in a manner that recalls Jonathan Richman.

Then it's a trip down to Graceland with the easy lilting kwela tinged folk Goin' Back To The Place while the more intimate moods of Paul Simon - and the lost soul purity of Jeff Buckley - would also seem to cast their shadow over the melancholic building piano pulses of First Song For B and its immediate acoustic guitar accompanied sequel Last Song For B which sounds like a musical close companion of Bookends.

He does like to keep your ears on their toes. Will it see him embraced by a wider, mainstream audience? Probably not, but his devoted following is certainly going to be passing round the pipe in celebration.

With a sleeve photo that suggests you're in for an expanded version of the Polyphonic Spree, the bearded Banhart's fourth outing sees him building on his past foundations of 60s harmony pop, trippy dippy Indian drones, bossa nova and blues.

Fleshed out into full band arrangements but retaining his eccentric whimsy I assume he's being whimsical when he sings of being a lonely sailor ogling young lads on the frankly barking Little Boys , he recorded this in Woodstock, clearly on a creative roll since it features no less than 22 tracks.

As such, it can prove a tad wearying if you're not totally submissive to his merry skewed charms as evidenced on something like the bizarre The Beatles which starts out namechecking Paul and Ringo and then inexplicably finds him crowing in Spanish while folk whoop it up behind him.

But if you're prepared to pick around for favourites then the tripped out sitar drenched latter-day Donovan meets Bolan blues of Lazy Butterfly, the soft whispery Queen Bee, lollopping jugband Some People Ride The Wave, guitar instrumental Sawkill River, the lazy warbling driftalong Koreak Dogwood and, in his Spanish mode, the sun kissed Santa Maria Da Feira and a melancholic cover of Venezuelan Simon Diaz's moody Luna De Margarita repay the effort of juggling with the skip and play buttons.

A bunch of four track recordings came to the attention of former Swans frontman Michael Gira who released them as is through his Young God Records, thereby setting into motion a growing cult following.

Recorded in the same sessions as the previous Rejoicing In The Hands, this 16 track collection pretty much sums up everything you need to know.

He plays acoustic guitar, has a high pitched, quivering vibrato that makes him sound several decades older than his 23 years and which prompts regular comparisons to Tyrannosaurus Rex period Marc Bolan and the early days of the Incredible String Band.

Oh and of course, Syd Barrett. Deliberately naive in his sound, which straggles warbling folk, ragtime, bluegrass and blues but here embracing arrangements that involve brass, piano and strings in addition to trusty guitar, his narratives frolic cheerfully in the fields of playful whimsy with lyrics that include tales of psychedelic squids and the cloven hoofed offspring of a man and a pig.

Dotting around at random, you'll find a bluesy reading of Ella Jenkins' folk song Little Sparrow, fingerpicked spooked lullaby Ay Mama with its mournful trumpet, the arpeggio folk blues tumbling Little Yellow Spider about, well take a guess, a vaguely pop inclined At The Hop no, not Danny and The Juniors , an ominous Horseheadedfleshwizard where he sings about hosing down the dead before they die, backporch good timing The Good Red Road and the closing drunken swayer round the summer evening Hawaiian bonfire strummer Electric Heart.

Taken en bloc it can get a touch wearying, but sampled at intervals you'll be convinced his people really were fair and had sky in their hair.

Primarily built around their twin guitars, it's a simple acoustic affair, with no ambitious productions, but it leaks honesty and a passion for the music they make.

As in Bushbury days, American bluegrass back porch mountain music remains an influence, most evidently so on the naggingly catchy Mousetrap, a jug band of a number with Bannister on mandola that could have slotted easily into the Oh Brother soundtrack without anyone suspecting anything out of place.

But there's more than hillbilly going on. Opening track Long Slow Day is a gorgeous tropical lilt designed for laying back and watching the sky while the spellbindingly lovely I Will Go With You brings to mind the better, less bombastic moments of Chris De Burgh and mixes it with Art Garfunkel.

Not sure about the closing number, a bluesy Superman's Lasergun that doesn't really come off, but otherwise this can only serve to further boost Bannister's reputation among the faithful as one of the most distinctive voices and writers on the UK roots scene.

If you've not yet encountered the wonderfully original music of this perennially dynamic and talented young Whitby-based trio, then now's the time to start, and this new album, taken together with Galata Bridge , should provide the perfect starter pack.

The band have taken their recent cautious experiments in layering of sound textures from Galata Bridge and the Bluebells EP on to new levels of accomplishment, and this is strongly in evidence on the trippy opener Go To Dreams , but to their credit this aspect is never overdone, and the defiantly individual characters of the three individual musicians is always foremost, with the quality of the recording attaining a new level of engineering expertise here.

Quiet Fire is a truly beautiful creation, with Dave Moss's sinuous, enticing vocal line poignantly inhabiting the idyllic landscape of Bluebells.

Other songs show Dave's increasing penchant for the more pensive turn of thought, ranging widely from the eerie, economically-expressed pacifism of The Fight and the compelling title track to the quasi-catechism of Bless with its curiously effective neo-calypso setting.

The instrumental tracks that punctuate the songs on this album are sensibly sequenced to follow them, in that like the Eastern European dance-forms on which they're modelled they often begin slowly then build in tempo or intensity.

They can therefore appear slow-burners by comparison with some of the band's earlier, wilder efforts, though it still takes a fair bit of digital dexterity to get your feet round the almost wilfully complex time-signatures!

As ever, Tim Downie's guitar work which, admirably, is clearly audible throughout is a model of subtlety and embellishment that might come as quite a surprise if you've ever witnessed his string-breaking exploits in live performance!

My only minor complaint about this release is the near-unreadability of the text on the neat digipak sleeve, due to insufficient contrast - that latter tag certainly doesn't apply to the varied music on display on this exhilarating album.

This disc has been long in coming, but hey, it's been worth the wait. It's a natural confluence of two of our finest singer-interpreters who have discovered an equally natural kinship; they have much in common, not least some important formative influences.

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.

For them, standards were set at an early stage, and both were introduced to major figures on the folk scene at a tender age almost as a matter of course.

They met and became friends quite early on, but then for several years they followed independent courses: Mike mostly singing with his siblings in The Wilson Family group and Damien launching his own professional solo career after attaining the finals of BBC's Young Tradition Award in , then going on to mastermind the groundbreaking Demon Barber Roadshow.

They'd talked about trying some songs together, but it was not until around four years ago to my recollection that this idea bore fruit on a tentative foray into the clubs armed with an embryonic joint repertoire developed under the influence of the generous folk artists whose own repertoires form the thread that now binds this disc together.

The folk artist whose figure looms largest over the whole set, inevitably but entirely justifiably , is the mighty Peter Bellamy whose own performances provided the inspirational source recordings for several of the songs chosen for the disc , closely followed by Ewan MacColl and Dick Gaughan.

The vital combination of attitude and respect is an essential one for any song carrier worth his salt, and it's one which Damien and Mike closely share and keenly display throughout their work together.

Each of them is passionate and distinctive as a solo singer, with a rich-toned and sturdy delivery. Mike here employs quite a bit of decoration in his solo passages, while not getting in the way of Damien's trademark throbbing vibrato, and the two voices sit well together generally not always the case with two voices which share a roughly similar range.

It's important, therefore, to retain plenty of textural variety during the course of a joint CD, and this is managed by virtue of Damien varying the accompanying instrument between English concertina seven tracks and guitar three , the remaining brace of tracks being performed acappella.

In the latter category we find one of the disc's highlights, a particularly enterprising choice and the only item not associated with any of the previously notified "influences": The second acappella item is a runthrough of Shiny O, a shanty obtained from Stan Hugill.

Damien's deft, rhythmically inventive guitar playing provides an ideal foil for Mike on three contrasted songs including The Green Linnet and MacColl's My Old Man, while his concertina provides sterling accompaniment for both solo and joint vocal outings as well as a notably poignant counterpoint to MacColl's Joy Of Living.

The actual form the "duo act" takes can vary in approach: The "odd track out" is Jim Jones, which is a solo performance by Damien with concertina.

Yes, both in terms of repertoire and performance style, Damien and Mike have chosen well for representing their duo activities on this CD.

Finally, an honourable mention for the disc's presentation: Influences and inspirations are freely acknowledged, generously granted and openly encouraged in my turn, I've been well "under the influence" of both Damo and Mike, and "The Family" ever since I myself started singing.

Sure thing, Mike and Damo have done themselves proud here, and it'll be interesting to see how this musical partnership develops in due course - let's hope we don't have to wait five years to find out!

This Canadian songstress singer-songwriter to you! She played over here in the UK last autumn as part of the Twisted Folk package tour along with Tunng , and is set to return for a handful of dates next month including the Green Man Festival.

Jill's been tagged "alt-cabaret", and listening to For All Time, her second record, it's hard for me to get that tag out of my mind. I think it's her singing style and the tonal quality of her voice more than anything else that justifies that tag: In its gentle energy, this album has a direct, up-close feel which reflects the method of its actual recording live-off-the-floor , with individual instruments perfectly selected and balanced within the overall spare-but-rich sound-picture.

The canvas is quite broad as far as instrumental colours are concerned, with almost every one of the eleven songs being differently scored: You might find the album easier to get into after the first three tracks, which aren't really typical; the opener Just For Now is a chunky old-style ballad with a torchy country-gospel feel, then Don't Go Easy is easygoing steel-driven country, and When I'm Makin' Love To You is a cheeky swing-jazz piece set to a perky clarinet and piano backing.

Ashes To Ashes is both delicate and stately, a measured and considered reflection, Hard Line has a subdued funkiness in its driving Motown vibe.

Variety and contrast notwithstanding, the standouts for me are the title track and Goodnight Sweetheart, both good examples of the kind of beautiful, simple little time-honoured love songs that you feel you've always known, and Legacy, whose generous, measured pace allows full rein to Jill's expressive vocal qualities.

Jill's probably at her tremulously confidential best on the closing Starting To Show, while on some of the other songs, like the tender Two Brown Eyes, Jill reveals herself to have a sexy vocal presence akin to Cowboy Junkies' Margo Timmins.

On the evidence of this CD, I can understand why Jill has made such an impression thus far, and can imagine her special brand of intimacy working much to her advantage live.

Brighton-based duo Kevin Barber and Mark Taylor are one of those totally-together acts that sound for all the world like they've been playing and singing together almost from birth.

Typically they play an attractively melancholy brand of acoustic-based, guitarsome bluegrassy Americana, with around two-thirds of their material self-penned and the remainder made up of respectable if not consistently outstanding covers of on this, their third CD songs by Albert E.

Brumley, Woody Guthrie and Paul Simon gripe: But I liked this record a lot, and even though it's primarily the vocal harmonies and tight arrangements that make the impact on first hearing the songs stand up to scrutiny and grow on repeated listening.

Generally there's a very satisfying ambience about the duo's music, and it's couched in an accomplishment that's easy-going yet not without a quality of thoughtful depth and immediacy of inspiration.

With top-flight recording quality reflecting the duo's close, intimate yet dynamic live presence, this is a treasurable release that deserves wider recognition.

A little over two years ago, I reviewed a very fine CD, Islet, which paired Rebecca's passionate and individual singing of a selection of traditional songs with the intricate and inventive traceries of Durham guitarist John Steele.

For her latest recording project, Rebecca has recruited a host of accomplished traditional musicians from different cultures to assist her in bringing alive her brilliantly creative vision of these age-old ballads and songs.

For instance, on the disc's closer, an idiosyncratic take on The Snows They Melt The Soonest, Rebecca is at her most vocally uncompromising and adventurous: Compared to which, the faint-eared will find much of the preceding album significantly easier going.

For instance, on Rebecca's percussively upbeat take on The Blacksmith, you can readily believe you're listening to Kate Bush backed by 3 Mustaphas 3 and a Turkish fiddler, while her retelling of The Cutty Wren is propelled by a spicy flamenco-style rhythm.

Just as on Islet, Rebecca demonstrates a keen response to English and Scottish traditional material and Quebequois call-and-response song alike, although you may feel especially on initial acquaintance that one or two of her determinedly imaginative settings seem too eccentric and "busy".

On the other hand, there are moments when the outcome of Rebecca's creativity is simply so extraordinary that you've never heard the like before the soundscape of Queen Jane is not at all easily describable, and will stop you in your tracks for sure, while the extended, subtly percussive drone-layered setting of Lagan Love is almost as astonishing in terms of atmospherics.

And a special mention for recording engineer-wizard Ron Angus, who plays guitar is there no limit to this guy's talents?!

But all the members of Rebecca's support crew are vitally important, as she acknowledges by devoting four pages of the excellent booklet to their biographical background.

I suspect that this CD will divide listeners it even divided me at the start! Durham guitarist John Steele and Canadian singer Rebecca Barclay have been collaborating as a duo for around five years now, yet this would appear to be their first CD together.

On it they illustrate their common interest in performing predominantly traditional songs from both sides of the Atlantic - this diverse selection presenting songs from standard English sources including The Cruel Mother, Lovely On The Water, Factory Girl and MacCrimmon's Lament alongside three of French Canadian or Newfoundland origin all sung in French , topped up with a brace of contemporary songs by Dick Gaughan and Stan Rogers.

So far, so straightforward; but initial aural encounter proves not quite so. John's guitar work is very skilled indeed: And there we come to what for many listeners may be the sticking-point: Describing the features of Rebecca's style is not an easy task: But I came round to celebrating Rebecca's individuality of style, her distinctive brand of passion - although I'd acknowledge that it doesn't work equally well on every song she tackles Blackwaterside and Both Sides The Tweed, for instance, sound laboured and out of kilter as interpretations.

But when it does work, close listening is rewarded by a mesmerising experience, a kind of pindrop immediacy that startles in its simplicity - which in turn is informed, I'm sure, by Rebecca's study of the vocal traditions of other world cultures.

Finally, although this is a duo record, Rebecca and John benefit from some subtle augmentation from friends playing variously fiddle, flute, accordion and percussion on a small handful of songs.

The basic duo will provide an intense and intriguing live experience, one which I'm now quite keen to sample. Bob Haddrell, Alan Glen and Dino Coccia are the current incarnation and the guest stars compliment them perfectly.

Val Cowell and Paul Cox guest on vocals and their voices fit together very well on this sultry blues along with Papa George on slide guitar and Roger Cotton on Hammond.

There are only four covers on the album and the second, Mose Allison's I Won't Worry About A Thing, shows a bunch of top musicians on top of their form.

However, it is Alan Barnes on sax that is the standout. The first of the originals is a result of many hands and Back At The 4 Aces is an airy instrumental that takes in jazz and a little bit of reggae.

Jim Mullen adds his considerable guitar talents to this one. Great British blues musician Alan Glen is a much lauded guitarist, harmonica player and songwriter and his Petunia is next.

This is slinky jazz of the highest order and has Glen written all over it, as you can tell from the guitar work.

Everything Or Nothing is another Glen song and he showcases his harmonica this time - British blues from a British bluesman.

It's a full band effort for the instrumental Blues For Judy which is on the jazzy side of the blues again, with Glen's guitar shining through.

I also thought that Glen would have given the harmonica part a better treatment. Coccia and Haddrell team up for the first time to write Time, Talk 'n' Trouble, a slow methodical blues that doesn't really get anywhere.

Although it has the added extra of Nick Newall on flute it's really nothing out of the ordinary. The last of the covers is a laid back version of Peter Green's Watch Out.

It's jazzed up a little and I'm sure that it's not what Green had in mind when he wrote it. Well played, as are the others, and in the jazz vein which is a side of the band that has come out more than I'd hoped.

The Barcodes latest offering on the excellent British blues, soul and jazz label Note Records raises the standard for blues tinged jazz for those who choose to follow.

Alan Glen manages to get his guitar to sound like a Steely Dan track and the saxophone from Nick Newall is very slinky.

Thick Cut is the first of the instrumentals and whilst the organ flurries from Bob Haddrell are excellent, they fall into second place after Alan Glen excels on guitar and harmonica.

Crazy Life is smooth blues tinged jazz and Glen's harmonica is on top again. The Barcodes Theme is mainly a showcase for the saxophone Nick Newall but the others get a look in too.

This is a well-played jazz instrumental. The title track is jazzy blues, pretty much akin to the rest of that ilk on the album and they get a little funky on the blues groover, Tell Me The Truth.

The wonderfully named Splanky is an organ-led instrumental. Jazz, of course, that gives the main protagonists a chance to show off again and Dino Coccia's drums are the perfect foil for the rich guitar and organ sounds.

We finally get a real blues on That's Alright. The slow guitar intro added to the harmonica fills, organ and electric piano makes this a favourite. However, this jazzy, up-tempo version does not do much justice to the original and the vocalist doesn't really get out of first gear.

The Barcodes are excellent musicians but their singing does not come up to the same standard. This legendary guitarist's first solo album in almost 20 years should be a cause for celebration, and it is.

It's also a happy set that was self-evidently as much fun for the musicians as it is for us humble listeners.

Only now has he felt the time right to return to recording, and When At Last certainly has the feel of an easy-flowing, relaxed 40 minutes of music-making.

The compositions may themselves be necessarily tautly structured, but the playing - from Russ himself and his collaborators alike - is wonderfully flexible without going overboard on the improvisation angle.

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Then, to balance these euphoric moments, the disc presents several of the thoughtfully considered slower compositions and arrangements in which Aly has also always excelled.

Finally, no Aly Bain collection would be complete without one of his many recordings of the traditional Shetland air Da Day Dawn, and he's chosen one of the very finest, the one with the BT Scottish Ensemble.

This is a cannily sequenced minute collection that's pretty comprehensive in its own right and works well as an independent listening programme, but on the other hand it can't help but leave me with that niggling feeling of incompleteness.

Because I just know there's so much more out there in Aly's impressively exhaustive discography, and many of the original albums aren't all that readily or any longer available.

I suppose it's rather like the tip of an enormous iceberg floating in the ocean between Orkney and mainland Scotland, the catch being that the majority of the rest of that ice-floe may well be destined to remain beneath the surface.

OK maybe I'm being needlessly pessimistic here - let's hope I'm proved wrong, and there now ensues a veritable flood of Aly Bain reissues!

Baird quit to go solo in but after the first two albums, Love Songs For The Hearing Impaired and Buffalo Nickel, his career's been somewhat patchy.

Hodges now onboard, this marks something of a return to form. There's no envelope pushing going on, but what you do get is solid, beer-swilling, swaggering Southern country rock n roll with cranked up ringing guitars, rolling riff-packed melodies, throaty twang vocals and air punching choruses.

It won't change your life, but pour a cold one and crank the likes of Lazy Monday and Runnin' Outta Time up loud, and it could well make your evening.

This is an unusual record by any standards. It can be considered doubly unusual, in fact, since Eddie's normally been responsible for the more spaciously arranged Blondel pieces - although it's not widely known that Eddie's been pursuing a parallel solo recording career for the past ten years he's released four solo CDs including a compilation, but none have been nationally distributed.

The first four songs on this disc are simply-conceived outings, initially displaying a quite jazzy demeanour, recorded close-up and live in front of an appreciative small club crowd by the sound of it.

Best of this quartet are the gently reflective Memory Lane and the distinctly Tilstonesque Tramp. Listeners coming new to Eddie's work will wonder, on the strength of these songs, why wider commercial success continues to elude Eddie.

Songs like Compromised and Funny Old Life carry a laconic laid-back feel comparable to classic John Martyn, and Almost Gone has a canny grasp of delicate melody-line that recalls Clive Gregson.

Eddie's individual voice is exposed well on this brief set, ditto his deft guitar work, a talent which should be more widely appreciated too.

Dear Companion is a lovely, intimate album sung and arranged by nu-folk outfit Espers' vocalist and songwriter Meg Baird: The genesis of the actual project came in an invitation to create a solo release for Philadelphia's Tequila Sunrise label, out of which nothing but a 7" single appeared and the entire LP - recorded in spare moments during the sessions for Espers II - was never made available at the time It's typically minimalist in terms of backing just Meg's own guitar or Appalachian dulcimer in the main , and Meg's clear-toned singing has never sounded more truthful and beautiful - of that I'm convinced - for she gives her all in terms of passion and conviction in "doing a really good job" of communicating these songs which evidently mean so much to her personally.

Forced to pick some highlights: Add to that an enchanting version of Sweet William And Fair Ellen, an attractive, rippling waltz-time rendition of Willie O' Winsbury and yes, it works!

The final track is a gorgeous acappella rendition of the text of the opening title song as learnt from the singing of Sheila Kay Adams , bringing the experience deliciously full-circle.

This record is seriously sublime, and should if there were any justice be embraced wholeheartedly by the folk community as well as by Meg's Espers fanbase.

It may be Meg's debut solo album, but I do so hope it's not her last. Baka Beyond is the seminal world-music fusion outfit founded by Martin Cradick and Su Hart, which started out on its global music exchange some 10 years ago; Rhythm Tree can be seen as the culmination of their work to date, even though after all this time we're in danger of losing the power to surprise from the juxtaposition of seemingly unlikely musico-cultural bedfellows.

The recurring constant context in which the various musics are brought together is the music of the Baka Pygmies of south-east Cameroon - hence the group name.

The Baka tribe, who are masters of dance, bring an amazingly energetic spectacle to the BB live act, yet much of the uplifting quality and sheer exuberance of that collaboration also comes through on a purely audio level through the performances of the core eight-piece band you hear on this CD, notwithstanding its inevitable lack of visual distraction which as a bonus allows for greater concentration on the subtleties of the musical mix.

Here, the heady brew of Celtic, Gaelic and West African musics is so persuasive that you often have to listen really carefully to separate the strands, and in this respect I'm convinced this is the Baka's most successful marriage to date.

Musically, Rhythm Tree is a landmark in cohesive exploration of different musical cultures. I love the way in which the musical framework shifts continually withjn individual tracks, while at the same time I can appreciate the impact of specific textural or thematic elements which inform and characterise these tracks eg Su Hart's rendition of the Gaelic waulking song which forms the basis for Sad Among Strangers, the and Paddy Le Mercier's weaving violin arabesques on several of the tracks.

The Baka tribe's contributions to the album were recorded "in-house" either "in the field" or at the Music House, the purpose-built recording studio in the tribe's village funds for which were raised by the band.

One minor point, though, is that I'm not altogether convinced of the need to constantly reinforce the listener's sense of place quite so many times by interpolating natural sounds from the Baka rainforest, supremely evocative though the ululating quasi-yodel of the singer's Call Of The Forest which frames the rest of the album undeniably is.

Richard "Duck" Baker is on the face of it a musician of contradictions: His expertise extends right across the fretboard of musical genres, and over the course of his year recording career so far he's made a frightening number of solo albums, encompassing not only jazz and swing, but old-time and free improv, Irish and Scottish folk tunes, and O'Carolan to Christmas carols.

Not to mention guitar instruction videos, and heaps of music criticism, and duo albums with all manner of respected musos from experimentalists John Zorn and Henry Kaiser through to fiddler Kieran Fahy and traditional singer Molly Andrews.

So you'll gather that Duck's latest recording is eagerly welcomed in this house. It's a project which has "been in the works for years", sort of evolving from a response to something people have been demanding for a while: And that's just the impeccably played, yet far from soulless, solo items on the disc, the remaining half of which is given over to some sparkling duet performances.

It's probably a very old joke by now, but if you don't respond to Duck's brilliant playing then hey, you must be "quackers"!

Its title is a clever wordplay on the well-known Dominic Behan song The Patriot Game suggested principally by the equally well-known tendency of musicians to carry their tunes to foreign shores.

Its equally underselling subtitle T raditional Irish And American Music simultaneously reflects the performers and the repertoire.

Should you need a quick pen-picture: American-born, London-based Duck is nothing less than a definitive premier-league fingerstyle guitarist, whereas both Ben and Maggie were born to families who emigrated to England Ben's father's that celebrated old-timer Tom Paley, and Maggie was reared in the musically vibrant London-Irish community of the 60s and 70s.

Ben's a fabulous young fiddle player who readily immerses himself in activities as diverse as Scandinavian music, revivalist oldtime with his father in the New Deal String Band and the vibrant acoustic thrash of McDermotts 2 Hours and the Levellers.

And last but definitely not least, Maggie's a damnably fine flute player as well as quite simply one of the loveliest singers in the entire world.

Further connectivity is assured when you realise that Duck, shortly after moving to London in the late 70s, had been responsible for introducing Maggie to Steve Tilston, sparking off one of the most wonderful collaborative partnerships of the British folk scene from the late 80s through to the mids.

So trust me, the aforementioned three musicians working together give us something truly special on this CD.

Their empathy is remarkable; rarely do you hear such miraculous attunement between performers of ostensibly disparate musical disciplines or experience though anyone with a deeper knowledge of the musics concerned would argue that qualification in any case.

It's a heavenly partnership, which first trod the boards of a select few local West Yorkshire venues a mere 15 months or so back if my memory serves me rightly , and just had to spawn a studio recording!

They clearly have a real good time making their music too, as you'll see from the joyously nonchalant cover photo, and in their music-making much play is made with the tension between the Irish and American senses of rhythm.

A specially noteworthy feature of the performances, though, is the way in which the extraordinary talents of each of the three musicians as individuals, normally utilised in a solo situation, are adapted so very naturally to the group situation.

Duck's essentially soloistic approach, his tremendous facility for playing both melody and either countermelody or bass line, is given full rein in this unusual context of his arrangements of the tunes on this CD.

And Maggie's use of the Irish flute on indigenous American old-time tunes is somewhat of a? Ben's Swedish-style harmony playing on the well-travelled The Blackbird is an unusual but effective touch, while his intense accompaniment of Maggie's excellent rendition of A Youth Inclined To Ramble is a CD highlight.

This is one of just five vocal items on this CD happily, no fewer than four of these are Maggie's, yet the fifth, Rye Whisky , brings Duck out front on an all-too-rare excursion to the vocal mike.

The faster tunes trip by abnormally lightly and fleet-footed - pieces like Poll Ha'penny which many of us first encountered as the final leg-slapping tune of the original Fairport Dirty Linen set and the closing banjo tune Robinson County are both vital and sprightly - while on the other hand the slower well, more measured!

Finally a word of praise for the booklet, which manages to convey a lot of information on the tunes and songs and the performers' sources in a succinct and readable manner together with supplying the full song texts used.

The recording, a homespun production by Mike Hockenhull, faithfully reflects both a deep feel for the music and a deep knowledge of, and trust in, the musicians and their capabilities.

An exemplary release this, everywhere exuding a loving attention to detail alongside the equally exemplary musicianship. Do track it down, you'll not regret it.

This is a long-overdue reissue of an important Tradition LP which presented field recordings, made in , of the playing of Etta Baker and other talented musicians of the Southern Appalachians who had never previously been recorded.

Obscure they may have seemed, but uncommonly fiery is the playing, with a raw edge and unbridled vitality for whom the word "enthusiasm" might have been coined.

Since those heady days, when even specialist folkies hadn't heard anything like these musicians, other recordings have surfaced featuring fiddler Hobart Smith notably those made for the Library Of Congress where he backed his sister, singer Texas Gladden , but the rest of the musicians on this collection have remained little more than names on a discography, although the influence of their playing has pervaded that of countless aspiring traditional-style guitarists, banjo players and Appalachian dulcimer exponents ever since.

Even at a temporal remove of over 50 years, you can't fail to be moved by the tremendous power of many of the performances collected here, especially the fiddle tracks.

And as well as fiddling vigorously, Hobart Smith also contributed one track on which he removed all the frets from a borrowed banjo before playing!

The rest of the musicians were all recorded in their native North Carolina, and are drawn from the family and friends of guitarist Etta Baker; they play timeless popular tunes from the tradition such as Cripple Creek, Soldier's Joy and Shady Grove as well as a few less well-known pieces.

Etta's rendition of John Henry played with a jackknife blade! I also enjoyed Richard Chase's harmonica tunes for their cheery quality and his insistence on carrying the melody along rather than forcing you to listen instead to his technique.

The sound quality of the disc is raw and forward, primitive by today's standards naturally, and some of the guitar pieces are rather clangy, but it's all still perfectly listenable.

In fact, a very enjoyable disc that's also of considerable historical and heritage interest. Full liner notes are reproduced, as always with the Tradition reissues.

Pretty much essential I'd say. Etta Baker is the grand old lady of the blues and I'm sure she won't mind me saying that she is 91 years of age.

She has influenced many a guitarist and Taj Mahal has said that she is the greatest single influence on his guitar style.

This album of songs recorded between and shows that she is a force to be reckoned with. There are two parts to the recording, the 'now' section which covers the first 11 songs and the 'then' section covering the final 7.

Opening with 5 songs accompanied by Taj Mahal, Etta introduces us to her gentle style on the oft covered John Henry, the beautifully played Crow Jane, the wonder that is Going Down The Road Feeling Bad, the first self-penned track Madison Street Blues on which she airs her electric guitar and outshines guitarists half her age and the country blues of Railroad Bill.

She picks up the banjo for Cripple Creek, and this is a foot-tapper, and then continues the country theme on Johnson Boys.

Going To The Race Track, a gentle acoustic blues, starts off a run of three songs and a poem featuring Etta on her own.

Her dexterity is so astounding on Lost John that you will swear that you are listening to the playing of someone far younger. Dew Drop is slower than most of the others but you can just imagine the drops of water falling from the spring flowers.

Poem is exactly what the title says. It is a four line poem that perfectly sums up growing old. The final track of the 'now' category is Comb Blues and features the comb and paper as an instrument.

Taj Mahal is back for this and is joined by Algia Mae Hinton. This is a slow blues that harks back to the very beginning of the genre.

In the 'then' category we are treated to seven songs that were recorded in July One Dime Blues, one of the three songs on the album written by Baker, sounds so contemporary that it is hard to believe that it was recorded nearly 50 years ago and it shows that she was an extremely good guitarist in her time.

Etta's father Boone Reid plays the banjo for Sourwood Mountain and there is just something about banjo music when it is well played.

This is a wonderful example of finger picking and, although age may have slowed her down a tad, there's not too much difference in the two versions.

There's a second offering from her father, a different version of Johnson Boys. The banjo playing is excellent again but having heard the later version with added fiddle I have to say that I preferred that one.

To finish off, Etta comes in with a strong version of the classic John Henry with excellent slide guitar and Bully Of The Town which is played in a gentle, acoustic Piedmont blues style.

Etta Baker is a remarkable woman and Music Maker deserves our thanks for allowing her to record again.

Music Maker page for Etta Baker. The first album, Mercy, sought to address the blast and the random manner in which some died and others lived.

In , Pretty World offered meditations on gratitude, obligation and beauty. Now comes the final part, an exploration of the price of forgiveness and the cost of clinging to anger, told through songs that pivot around the homeless and helpless, and of love found, lost and held together with tape.

On the bluesy title track we meet a field hand hoeing cotton "for the rest of my life" like the father that walked out on his family in despair, Mennonite tells of a religious kid from Mexico who, wearing his new 'pearl snap shirt', found love dressed in a "short short skirt' in a bar room and left the Lord behind, while, Palestine II and its prequel Palestine I unfolds the tale of a marriage that began with teenage passion in a travelling preacher's tent and has had to hold together through a tragic accident, hard times and history repeating itself with their daughter running away "with the boy selling bibles.

Speaking more than singing his narratives, Baker's dust and gravel voice variously recalls John Prine, Dylan, Steve Earle, Tom Waits and John Trudell, his sparsely arranged American songbook music hewing to southern backwoods folk disarmingly beautiful on the two step fiddle call and response swayer Who's Gonna Be Your Man and Texan country in the vein of Van Zandt and Kristofferson.

Opening with a brief snatch of Dixie, sung in the round by a female voice its 'look away' refrain returning to bring bitter resonance to the dark night guilty secrets of Moon and closing on the poignant Snow with its metaphor about being lost and emotionally frozen in a drift of your own making, it is both melancholic and life-affirming.

It's hard not to be touched by the snapshots of the disenfranchised and losers who populate Signs, by the Waits-like Angel Hair where, on Christmas Eve, the singer recalls a fatal traffic accident on black ice a decade earlier, or by the unwanted pregnancy of Not Another Mary and the girl who "could not say I love you too.

But, at the end of the day, between the tears, Baker reminds you that, even if you're only getting by, life is worth persevering with and far better than the alternative.

When musicians appear at one of our Mr Kite Benefits, I often ask about what they are listening to and who they would recommend.

So, you might imagine that his ears are well tuned to fine music. So, it was that I was recommended to Sam Baker.

I believe Bob Harris also had his ear bent about Sam too. Indeed, if your ears don't get wrapped around his music soon, I'll be mightily surprised.

Guests like Kevin Welch and Joy Lynn White lend their support on this first record suggesting that he's already attracting the attention of the great and good.

But, it's the music that is the star attraction. From the opening track, 'Waves', with its vivid imagery of walking down to the sea and writing a loved one's name in the sand just to see it washed away, I'm hooked.

Sam's lyrics are painting pictures like this all the way. From 'another bunch of boys, another blue sky' as he contrasts a baseball game and a war zone to the car 'full of baby junk' that sit on the backseat of a homeless mum's car.

There are 'barbers with no nose', 'drunk cops', men 'in their underwear drinking beer', 'skinny boys with their rifles fighting door to door' and characters galore in his stories In fact, there is so much colour in his lyrics that the one word song titles are enough.

Hear one song and you'll be drawn in to hear the rest. Sam's voice adds to that colour with its gravely lived-in drawl reminding you of John Prine or Todd Snider.

As my wife says, you'll be immediately won over if you're a sucker for the gravely voice. Put that next to those lyrics that present social commentary whilst painting all sorts of pictures in your mind and I'll be very surprised if a major label doesn't pick up this record.

Steve Henderson, March www. Long John Baldry - Remembering Leadbelly Stony Plain Records "Most of the songs in this collection have been part of my life since I first started singing in the mid's.

Because they are so familiar to me I was able to record my vocals and guitar work in one 'take' for most of the tracks. K - something he tends to be very self-effacing about, as those who have seen him live at any point will recognise.

I know of no other headliner who gives his sidesmen such accolades whilst backing off from centre stage himself. This character trait is reflected in the bonus interview track on the very end of this CD, and the liner notes acknowledge Chris Barber and Lonnie Donegan and a host of other influences As to the content of the CD itself, well, I was amazed at the number of the tracks I knew so well whilst not having any Leadbelly in my record collection, nor, indeed, in compilation blues CDs - something I need to rectify but meanwhile LJB manages to cover this void magnificently.

This album is worthy of repeated playing, which may well have something to do with the sparseness rather than the 'over production' tendency found on so many of today's CDs.

This is a tribute CD, acknowledging the input of Leadbelly, but with the unique Baldry interpretation.

His vocals going from the deep huskiness, for which he is so well known, to the lighter, smoother shades of his marvellously rich voice. There were, for me, moments of goose bumps when he sounded like Alexis Korner - but then they both inspired each other way back when.

LJB's voice is a musical instrument in it's own right. His guitar playing needs no accolades. What amazes me is how perilously close he came to the possibility of not being able to perform anymore.

That was back in October Having not seen him for about 20 years I was taken to a gig by a friend on a whim to The Mill at Banbury.

John was not well. He managed the first half without anyone realising the levels of pain he was experiencing.

He then nearly collapsed during the second part. We took him to the hospital where they had great difficulty believing that he had played a concert that night.

His finger joints were severely swollen despite being soaked in a bowl of water with all the ice from the bar during the interval.

The promoter at the venue was prepared to pay back any punters the cost of their tickets. Not a single one did. A case of 'actions being stronger than words'.

John has every intention of returning to UK and Europe again next year. At the moment he is about to go on the road in Australia and New Zealand.

Catch him if you can. This CD has been played with great frequency since I got it when LJB toured the UK with the Manfreds back in June, , but I still find it virtually impossible to point the listener to any particular track.

The only solution is to just play the whole CD again and again. Just go order the CD for yourself and you can decide!

Deep Purple, Fairport Convention, you get the idea - that's where my allegiances lie. So, let's improve my position a little. I'd been privileged to meet John twice, on the occasion of his sadly aborted UK Tour.

A close friend of mine knew John during the sixties, hadn't seen him since he'd moved to Canada, persuaded me to take her to the opening night in Banbury and I ended up putting this particular blues legend in hospital.

If you're really interested, mail me and I'll tell what is, at best, a very dull tale. That evening, musically the gig bored me intensely.

Sure, the guys were all very proficient, technically adept at what they were doing, but I just didn't get it; Long John's style of blues just ain't for me.

So, I find a copy of Johns Hypertension release ' Evening Conversation ' before me, requiring a review. I'm not exactly the best person for the job because, as I've said, I just don't buy this particular style of music.

The man, however, I like a great deal; he is hysterical and great fun to be with. We only spent a couple of hours in each others company and I was gratified to learn that, when he was in the UK towards the end of , he inquired of said friend as to my whereabouts.

Needless to day, I was chuffed that he remembered me, and more than a little peeved that when he was in my home town, I'd opted to be in Hong Kong following folk rockers Little Johnny England.

And having a damn fine holiday with my daughters. Oh well, some things are just not meant to be. I've had this release on the go for a while now, and I'm almost embarrassed to say that it has not grated the nerves once.

Either I'm getting old or this music isn't quite as bad as I'd first feared. On first listen I recognised only one tune - Morning Dew.

It took a while, but I finally twigged that this was the number opening the sixth Blackfoot LP some 20 odd years previously; a quick dive into the archives confirmed the authors as Tim Rose and Bonnie Dobson.

Yep, it's the same piece, wake up ears. It just sounds a little different, like the difference between the late John Lee Hooker and Black Sabbath although, to be fair, Blackfoot were closer to Lynyrd Skynyrd and the lead guitarist of the former is now a member of the latter.

Many of the songs are Baldry arrangements of numbers written by that most classical of composers, Trad Arr. I think that, if you're a fan, you'll enjoy this release.

You may well have a lot of the numbers already in the studio, but this is a live album, and there is always something that little bit different - special?

I'm sure that you won't be disappointed by your purchase. Well, I just don't know, but I'll be playing CD this some more.

If he comes close enough to home that is. One of a pair of new releases from Scottish songwriter and storyteller Jackie Leven, this is a disc of monologues rather than songs, and is conveniently split into two sections.

These vary from gently observed vignettes to some more overtly amusing tales of provincial life and newspaperdom, and are delivered in an initially quite low-key and diffident manner but also with evident affection; within them we meet the various characters that people the new town of Glenrodent and its newspaper offices and gain a whimsical insight into their lives and preoccupations.

The episodes are punctuated with brief but attractive piano interludes composed by Michael Cosgrave and inspired largely by Scottish dance forms.

The second section of the disc brings three choice stories of Jackie Leven's own concoction: The final tale, Sex Tourist, was recorded at a club in Sydney in It matters not that all three of these tales have been released previously albeit the first and third only on not-easily-available Haunted Valley label discs , for they well complement the storytelling of the Jackie Balfour episodes.

Even so, I'm not sure there's a particularly wide audience in terms of potential record sales, I mean for this aspect of Jackie Leven's art, beyond the "occasional entertaining listen" status that inevitably accompanies spoken-word recordings, however good.

A Scottish folkster with a jazz family background, Bancroft's explored both fields in her previous albums, not to mention experimenting with electronica.

There's jazz blues flavours here on the musically flirty Occasional China where she slips into scat backed by Amy Geddes providing gypsy fiddle, the breathy No Smokin with a percussion rhythm that sounds like the bellows of an electronic lung, and the skittish Dented with Tom Lyne's double bass groove.

Mostly though she channels her jazz raising into folk intimacy, delivering the rippling, bluegrass flecked Supersize Me with its laments about the lack of community and childhood in the modern age, the waltzing I Carried Your Heart's age-enduring love song and, also touching on a theme of passing years, the sparse wood-smoked When The Geese Fly South.

Written four years back, Boo Hewardine guests on co-penned closing track Caroline, a 3am jazz cellar piano blues account of an unconsummated drunken one night stand and subsequent self-questioning while, underscoring the classiness of the project, the album's co-produced and mixed by Mark Freegard whose extensive credits include Maria McKee, Manic Street Preachers and, more pertinently for that sultry jazz vibe, Swans Way.

Probably more one for the Ronnie Scott's crowd than your local folk club, but certainly worth the exploring.

Produced by Ray Wylie Hubbard and mastered by Gulf Morlix both of whom also guest along with Stephen Bruton , it's fairly blueprint southern barroom rock country with pumped up guitars, mouth harp, swaggery rhythms and bluesy acoustic honky tonk ballads.

They're not doing anything new, but they're as reliable and easy to slip into as an old pair of shoes. Band of Two is exactly what it says on the tin - a band comprising two musicians.

The pair in question are Croydon man Pete Fyfe and Garry Blakeley, from Hastings - two musical souls who met by chance ten years ago, discovered an affinity in their tastes and have built a great rapport and a catalogue of songs, jigs and reels that guarantees a great evening's entertainment when they play live.

Decade , the duo's second album, is packed full of high-quality songs and tunes, all played with an obvious love of the material and an infectious enthusiasm that will put a smile on your face and have you singing along.

With a distinct leaning toward the Celtic end of the British musical spectrum, it's not surprising they elect to kick off with "Farewell to Ireland", a no-holds-barred instrumental workout that immediately displays the fine fiddle-playing of Blakeley and some furious strumming on the guitar by Fyfe - a tremendous opener.

Fyfe relishes the lyric, giving his vocal a menacing edge as Blakeley's fiddle ducks and weaves around it and the guitar. One of Van Morrison's best-known songs gives Blakeley his first chance at the mic, his voice a pleasing contrast to Fyfe's deeper tones.

Fyfe's playing on "Have I told you lately" comes to the fore as he overlays deft mandolin fingerwork on Blakeley's guitar.

A sparser arrangement than Morrison's original but all the better for it - lovely. One of the several stand-out tracks is the pair's reading of "Fairytale of New York", the original of which featured another child of Croydon, the late Kirsty MacColl.

Two people could never, of course, hope to make a bigger noise than The Pogues at their best, but, like the Morrison song, this version loses nothing for its simplicity - well, it's such a good song, how could it fail?

Ireland gets a look in again when the pair tackle the old standard, "Danny Boy" and the delightful "Blarney roses".

You might remain tight-lipped through "Irene goodnight" but your resolve will begin to slip during "Comin' round the mountain" and, by "Worried man blues" you'll be singing along as it segues into a "Pick a bale o'cotton", "Swing low, sweet chariot", "It's a long way to Tipperary" and "Pack up your troubles" before the set's wound up with "Knees up Mother Brown".

It may sound a little naff but, believe me, it works. Two nicer blokes you couldn't hope to meet and "Decade" is an album they are quite rightly proud of.

Following six independent releases, the hirsute ashram-friendly psych folk Venezuela raised, California based singer-songwriter finally makes his major label debut with a collection that, produced by Paul Butler from A Band of Bees, is eclectic while remaining firmly rooted in the hippie folkster landscape.

Can't Help eases you into proceedings with marimba ripples and a tropical island sway that might make Jack Johnson sound like explosive punk before his Incredible String Band affections rear their head with Angelika where his phrasings echo the young Robin Williamson before the song suddenly mutates into a jazzy piano led bossa nova and Banhart apparently turns Puerto Rican.

There's a Latin blood in the veins of Brindo too, another bossa nova croon only this time sung - or rather seductively whispered - in Spanish. Skipping around the influences, Baby varnishes a Smokey Motown soul groove with a light reggae hiccupping and a suitably playful lyric that talks of choo choo trains in a manner that recalls Jonathan Richman.

Then it's a trip down to Graceland with the easy lilting kwela tinged folk Goin' Back To The Place while the more intimate moods of Paul Simon - and the lost soul purity of Jeff Buckley - would also seem to cast their shadow over the melancholic building piano pulses of First Song For B and its immediate acoustic guitar accompanied sequel Last Song For B which sounds like a musical close companion of Bookends.

He does like to keep your ears on their toes. Will it see him embraced by a wider, mainstream audience? Probably not, but his devoted following is certainly going to be passing round the pipe in celebration.

With a sleeve photo that suggests you're in for an expanded version of the Polyphonic Spree, the bearded Banhart's fourth outing sees him building on his past foundations of 60s harmony pop, trippy dippy Indian drones, bossa nova and blues.

Fleshed out into full band arrangements but retaining his eccentric whimsy I assume he's being whimsical when he sings of being a lonely sailor ogling young lads on the frankly barking Little Boys , he recorded this in Woodstock, clearly on a creative roll since it features no less than 22 tracks.

As such, it can prove a tad wearying if you're not totally submissive to his merry skewed charms as evidenced on something like the bizarre The Beatles which starts out namechecking Paul and Ringo and then inexplicably finds him crowing in Spanish while folk whoop it up behind him.

But if you're prepared to pick around for favourites then the tripped out sitar drenched latter-day Donovan meets Bolan blues of Lazy Butterfly, the soft whispery Queen Bee, lollopping jugband Some People Ride The Wave, guitar instrumental Sawkill River, the lazy warbling driftalong Koreak Dogwood and, in his Spanish mode, the sun kissed Santa Maria Da Feira and a melancholic cover of Venezuelan Simon Diaz's moody Luna De Margarita repay the effort of juggling with the skip and play buttons.

A bunch of four track recordings came to the attention of former Swans frontman Michael Gira who released them as is through his Young God Records, thereby setting into motion a growing cult following.

Recorded in the same sessions as the previous Rejoicing In The Hands, this 16 track collection pretty much sums up everything you need to know.

He plays acoustic guitar, has a high pitched, quivering vibrato that makes him sound several decades older than his 23 years and which prompts regular comparisons to Tyrannosaurus Rex period Marc Bolan and the early days of the Incredible String Band.

Oh and of course, Syd Barrett. Deliberately naive in his sound, which straggles warbling folk, ragtime, bluegrass and blues but here embracing arrangements that involve brass, piano and strings in addition to trusty guitar, his narratives frolic cheerfully in the fields of playful whimsy with lyrics that include tales of psychedelic squids and the cloven hoofed offspring of a man and a pig.

Dotting around at random, you'll find a bluesy reading of Ella Jenkins' folk song Little Sparrow, fingerpicked spooked lullaby Ay Mama with its mournful trumpet, the arpeggio folk blues tumbling Little Yellow Spider about, well take a guess, a vaguely pop inclined At The Hop no, not Danny and The Juniors , an ominous Horseheadedfleshwizard where he sings about hosing down the dead before they die, backporch good timing The Good Red Road and the closing drunken swayer round the summer evening Hawaiian bonfire strummer Electric Heart.

Taken en bloc it can get a touch wearying, but sampled at intervals you'll be convinced his people really were fair and had sky in their hair.

Primarily built around their twin guitars, it's a simple acoustic affair, with no ambitious productions, but it leaks honesty and a passion for the music they make.

As in Bushbury days, American bluegrass back porch mountain music remains an influence, most evidently so on the naggingly catchy Mousetrap, a jug band of a number with Bannister on mandola that could have slotted easily into the Oh Brother soundtrack without anyone suspecting anything out of place.

But there's more than hillbilly going on. Opening track Long Slow Day is a gorgeous tropical lilt designed for laying back and watching the sky while the spellbindingly lovely I Will Go With You brings to mind the better, less bombastic moments of Chris De Burgh and mixes it with Art Garfunkel.

Not sure about the closing number, a bluesy Superman's Lasergun that doesn't really come off, but otherwise this can only serve to further boost Bannister's reputation among the faithful as one of the most distinctive voices and writers on the UK roots scene.

If you've not yet encountered the wonderfully original music of this perennially dynamic and talented young Whitby-based trio, then now's the time to start, and this new album, taken together with Galata Bridge , should provide the perfect starter pack.

The band have taken their recent cautious experiments in layering of sound textures from Galata Bridge and the Bluebells EP on to new levels of accomplishment, and this is strongly in evidence on the trippy opener Go To Dreams , but to their credit this aspect is never overdone, and the defiantly individual characters of the three individual musicians is always foremost, with the quality of the recording attaining a new level of engineering expertise here.

Quiet Fire is a truly beautiful creation, with Dave Moss's sinuous, enticing vocal line poignantly inhabiting the idyllic landscape of Bluebells.

Other songs show Dave's increasing penchant for the more pensive turn of thought, ranging widely from the eerie, economically-expressed pacifism of The Fight and the compelling title track to the quasi-catechism of Bless with its curiously effective neo-calypso setting.

The instrumental tracks that punctuate the songs on this album are sensibly sequenced to follow them, in that like the Eastern European dance-forms on which they're modelled they often begin slowly then build in tempo or intensity.

They can therefore appear slow-burners by comparison with some of the band's earlier, wilder efforts, though it still takes a fair bit of digital dexterity to get your feet round the almost wilfully complex time-signatures!

As ever, Tim Downie's guitar work which, admirably, is clearly audible throughout is a model of subtlety and embellishment that might come as quite a surprise if you've ever witnessed his string-breaking exploits in live performance!

My only minor complaint about this release is the near-unreadability of the text on the neat digipak sleeve, due to insufficient contrast - that latter tag certainly doesn't apply to the varied music on display on this exhilarating album.

This disc has been long in coming, but hey, it's been worth the wait. It's a natural confluence of two of our finest singer-interpreters who have discovered an equally natural kinship; they have much in common, not least some important formative influences.

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.

For them, standards were set at an early stage, and both were introduced to major figures on the folk scene at a tender age almost as a matter of course.

They met and became friends quite early on, but then for several years they followed independent courses: Mike mostly singing with his siblings in The Wilson Family group and Damien launching his own professional solo career after attaining the finals of BBC's Young Tradition Award in , then going on to mastermind the groundbreaking Demon Barber Roadshow.

They'd talked about trying some songs together, but it was not until around four years ago to my recollection that this idea bore fruit on a tentative foray into the clubs armed with an embryonic joint repertoire developed under the influence of the generous folk artists whose own repertoires form the thread that now binds this disc together.

The folk artist whose figure looms largest over the whole set, inevitably but entirely justifiably , is the mighty Peter Bellamy whose own performances provided the inspirational source recordings for several of the songs chosen for the disc , closely followed by Ewan MacColl and Dick Gaughan.

The vital combination of attitude and respect is an essential one for any song carrier worth his salt, and it's one which Damien and Mike closely share and keenly display throughout their work together.

Each of them is passionate and distinctive as a solo singer, with a rich-toned and sturdy delivery. Mike here employs quite a bit of decoration in his solo passages, while not getting in the way of Damien's trademark throbbing vibrato, and the two voices sit well together generally not always the case with two voices which share a roughly similar range.

It's important, therefore, to retain plenty of textural variety during the course of a joint CD, and this is managed by virtue of Damien varying the accompanying instrument between English concertina seven tracks and guitar three , the remaining brace of tracks being performed acappella.

In the latter category we find one of the disc's highlights, a particularly enterprising choice and the only item not associated with any of the previously notified "influences": The second acappella item is a runthrough of Shiny O, a shanty obtained from Stan Hugill.

Damien's deft, rhythmically inventive guitar playing provides an ideal foil for Mike on three contrasted songs including The Green Linnet and MacColl's My Old Man, while his concertina provides sterling accompaniment for both solo and joint vocal outings as well as a notably poignant counterpoint to MacColl's Joy Of Living.

The actual form the "duo act" takes can vary in approach: The "odd track out" is Jim Jones, which is a solo performance by Damien with concertina.

Yes, both in terms of repertoire and performance style, Damien and Mike have chosen well for representing their duo activities on this CD.

Finally, an honourable mention for the disc's presentation: Influences and inspirations are freely acknowledged, generously granted and openly encouraged in my turn, I've been well "under the influence" of both Damo and Mike, and "The Family" ever since I myself started singing.

Sure thing, Mike and Damo have done themselves proud here, and it'll be interesting to see how this musical partnership develops in due course - let's hope we don't have to wait five years to find out!

This Canadian songstress singer-songwriter to you! She played over here in the UK last autumn as part of the Twisted Folk package tour along with Tunng , and is set to return for a handful of dates next month including the Green Man Festival.

Jill's been tagged "alt-cabaret", and listening to For All Time, her second record, it's hard for me to get that tag out of my mind. I think it's her singing style and the tonal quality of her voice more than anything else that justifies that tag: In its gentle energy, this album has a direct, up-close feel which reflects the method of its actual recording live-off-the-floor , with individual instruments perfectly selected and balanced within the overall spare-but-rich sound-picture.

The canvas is quite broad as far as instrumental colours are concerned, with almost every one of the eleven songs being differently scored: You might find the album easier to get into after the first three tracks, which aren't really typical; the opener Just For Now is a chunky old-style ballad with a torchy country-gospel feel, then Don't Go Easy is easygoing steel-driven country, and When I'm Makin' Love To You is a cheeky swing-jazz piece set to a perky clarinet and piano backing.

Ashes To Ashes is both delicate and stately, a measured and considered reflection, Hard Line has a subdued funkiness in its driving Motown vibe.

Variety and contrast notwithstanding, the standouts for me are the title track and Goodnight Sweetheart, both good examples of the kind of beautiful, simple little time-honoured love songs that you feel you've always known, and Legacy, whose generous, measured pace allows full rein to Jill's expressive vocal qualities.

Jill's probably at her tremulously confidential best on the closing Starting To Show, while on some of the other songs, like the tender Two Brown Eyes, Jill reveals herself to have a sexy vocal presence akin to Cowboy Junkies' Margo Timmins.

On the evidence of this CD, I can understand why Jill has made such an impression thus far, and can imagine her special brand of intimacy working much to her advantage live.

Brighton-based duo Kevin Barber and Mark Taylor are one of those totally-together acts that sound for all the world like they've been playing and singing together almost from birth.

Typically they play an attractively melancholy brand of acoustic-based, guitarsome bluegrassy Americana, with around two-thirds of their material self-penned and the remainder made up of respectable if not consistently outstanding covers of on this, their third CD songs by Albert E.

Brumley, Woody Guthrie and Paul Simon gripe: But I liked this record a lot, and even though it's primarily the vocal harmonies and tight arrangements that make the impact on first hearing the songs stand up to scrutiny and grow on repeated listening.

Generally there's a very satisfying ambience about the duo's music, and it's couched in an accomplishment that's easy-going yet not without a quality of thoughtful depth and immediacy of inspiration.

With top-flight recording quality reflecting the duo's close, intimate yet dynamic live presence, this is a treasurable release that deserves wider recognition.

A little over two years ago, I reviewed a very fine CD, Islet, which paired Rebecca's passionate and individual singing of a selection of traditional songs with the intricate and inventive traceries of Durham guitarist John Steele.

For her latest recording project, Rebecca has recruited a host of accomplished traditional musicians from different cultures to assist her in bringing alive her brilliantly creative vision of these age-old ballads and songs.

For instance, on the disc's closer, an idiosyncratic take on The Snows They Melt The Soonest, Rebecca is at her most vocally uncompromising and adventurous: Compared to which, the faint-eared will find much of the preceding album significantly easier going.

For instance, on Rebecca's percussively upbeat take on The Blacksmith, you can readily believe you're listening to Kate Bush backed by 3 Mustaphas 3 and a Turkish fiddler, while her retelling of The Cutty Wren is propelled by a spicy flamenco-style rhythm.

Just as on Islet, Rebecca demonstrates a keen response to English and Scottish traditional material and Quebequois call-and-response song alike, although you may feel especially on initial acquaintance that one or two of her determinedly imaginative settings seem too eccentric and "busy".

On the other hand, there are moments when the outcome of Rebecca's creativity is simply so extraordinary that you've never heard the like before the soundscape of Queen Jane is not at all easily describable, and will stop you in your tracks for sure, while the extended, subtly percussive drone-layered setting of Lagan Love is almost as astonishing in terms of atmospherics.

And a special mention for recording engineer-wizard Ron Angus, who plays guitar is there no limit to this guy's talents?! But all the members of Rebecca's support crew are vitally important, as she acknowledges by devoting four pages of the excellent booklet to their biographical background.

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