It's the quality of playing, added to the care taken in blending the varied lines and tones, which makes this stand apart from and above most other recordings we come across.

It's so nice to hear good new tunes along with the old, as well. They have paired up two of Colin Cater's best tunes, Tricky Dicky and Liberation Polka (I do hope those get taken up by session musicians), and they use some of Nick's tunes (including Harry Enfield's Waltz). Alongside this Mary H treats us to a classic rendering of Joseph Taylor's version of The Gypsy Girl. And what a wonderful idea to pair The Cream Pot with Bang Upp!

As you can probably tell by now, I'm having trouble focussing on the sheer quality of the performance and recording, because of the superb selection of material.

Of course, you could simply take my word for it and go out and buy it, thus saving me from embarrassment.
Flos Headford
WildGoose WGS370CD Wild Goose, May Cottage, Fullerton Road, Wherwell, Hampshire SP11 7JS www.wildgoose.co.uk

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The Battlefield Band - Zama Zama

Since their inception some decades ago the Battlefield band have earned and maintained a well deserved place at the very top of Scottish music. Over the years the band has included many great singers and musicians and their current line up must rank as one of their best. There's the strong pipes influence of Mike Katz, a multi instrumentalist who also offers guitar, bass, whistle, and bouzouki. Then there's the absolutely brilliant fiddling of Alasdair White. Add founder member Alan Reid on vocals, keys, and accordion plus newest member Sean O'Donnell on guitar and vocals and you've got a great package.

This album apparently was conceived as having a theme of songs and tunes about gold but spread to encompass different sources of wealth and consequently greed. A fair amount of it is new material penned by members of the band and it is a great listen, varied, tasteful sensitive and powerful in turn with quite a world music feel on occasions. The excellent sleeve notes are fascinating in their own right illustrating the band's wide research and providing background and insight into the generous 14 tracks.

Why Zama Zama? I recommend getting the album and finding out
Ian Wilson
Temple COMD2102 www.battlefieldband.co.uk

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The Hut People - Home is Where the Hut is

This is about as eclectic a range of music as you could wish to find: from Finland to Brazil and all stops in between, Sam Pirt (the piano box man from the band 422) plays various large accordions - we're talking 96 and 120 bass here, with cunning switches on top you can nudge with your chin - while Gary Hammond (erstwhile jazzer and member of The Beautiful South) plays all sorts of percussion. And I mean all sorts: never mind obvious things like tambourines, djembes, congers and triangles, this chap also does zabumba, red cyclops, caxixi, static whip and cabasa amongst others.

Starting with a lively Basque tune, they take us through Finnish schottisches, Brazilian song tunes, a couple of Canadian pieces, a bit of morris and a dose of Parisian café waltz. Cajun aficionados will probably recognise Demis McGhee and Sady Courville's Happy One-Step, though somewhat evolved from the original, while Princess Royal gets a quirky Latin treatment. Napoleon Crossing the Rhine becomes a stately march and everything is rounded off with a Finnish tune from an outfit called The Helsinki Melodeon Ladies in which Garry Hammond shakes and rattles just about everything in sight.

The whole effect is a sort of Simon Jeffes meets Nana Vasconcelos - Quirky, listenable and fun.
Chris Beaumont
FECD22 Fellside recordings. PO Box 40, Workington CA14 3GL www.fellside.com

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Julie Fowlis - Uam from me.

Having to review a 'promo only' copy of a mostly Gaelic CD is a hard starting point ...no information. First impressions: nice voice, she looks good, typical guitar, fiddle, flute, harp, type Celtic accompaniment, well played but nothing groundbreaking. OK, check website (www.juliefowlis.com) "Scottish singer Julie Fowlis, BBC Radio 2 Folk Singer of the Year 2008, Torchbearer of Western Isles Gaelic song". Well, if you like Western Isles Gaelic music you will love this. I'm afraid I lack the cultural/geographical sophistication. I doubt whether this will make the hoped for cross-over into mainstream, but she certainly has talent, and I'm sure you'll hear more from her. My preference being Wind and Rain, a lovely duet with Eddi Reader.
Andy Norman
Shoeshine Records 2009 www.juliefowlis.com www.shoeshinerecords.com

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Ken Campbell's Ideal Band

The sub-title "A unique blend of contemporary and traditional songs from Scotland" gives, I suppose, a bit of a clue as to what to expect, but I must confess I was a little disappointed with the contents. Apparently, "In the 1980s 'The Ideal Band' was one of Scotland's most highly respected Celtic folk bands", but they must have slipped under my musical radar. Now reformed, this is their latest offering. Perhaps I'm a bit too English, but it did little for me. The musicianship is undeniably faultless, but I'm afraid I found the arrangements a little safe and similar, verging even towards the bland. Ken's voice, though pleasant enough, seemed to lack the passion required of some of the lyrics. It reminded me of a light operatic tenor...very pleasant, but I like my vocals a touch rougher round the edges. I've long been a fan of the original 1930s Bob Smith's Ideal Band, apparently the inspiration behind Ken and his colleagues. Listen to those early recordings, there's a sense of fun and adventure sadly missing from this CD. The single instrumental track Mains Castle/Fola Reinlander (9) has a drive and pace sadly lacking from the song arrangements, offering, perhaps, an indication of what might have been. Still, it'll probably sell shedloads in Scotland.
Baz Parkes
FECD226 Fellside Records, PO Box 40, Workington, Cumbria CA14 3G www.fellside.com www.kencampbellscotland.co.uk

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Billy Mitchell and Bob Fox - Back on City Road

Two of the North East's top talents have been touring together as a duo this year to great aplomb. I doubt they'll need much introduction as they both have a great pedigree. Bob Fox has one of the best voices on the folk scene, was part of a seminal folk duo with Stu Luckley in the early days and then after a bit of a break came back a storm as a solo performer and with his band The Hush. Billy Mitchell was a founder member of Jack the Lad in the seventies and went on to become the lead singer with Lindisfarne, fitting in great acts like Maxi and Mitch along the way. Both are accomplished musicians with a fine line in humour so it's not surprising that their recent tour has gone down a storm.

So I reckon for all their many followers, how highly they rate this album will, as much as anything, come down to the choice of material. There's some earthy trad stuff like The Shoemakker, The Pitman and the Blackin and The Sheel Row Flood (I thought this was a Tommy Armstrong song but I'm probably wrong.) They've included two Mark Knopfler numbers, Sailing to Philadelphia which got stacks of airplay when he recorded it as a duo with James Taylor, and Why Aye Man which I think I remember from 'Auf Wiedersehen Pet' as a clever fusion of Geordie and First Nation American. Old Peculiar Feeling from Rod Clements is reminiscent of the Lindisfarne era and then there's one Mitchell original Shiftin' to the Toon, and Child of Mine by A and G Kaley plus a set of tunes before finishing up in fine retro style with Lennon and McCartney's Yes It Is.
Ian Wilson
www.bobfoxmusic.com www.billymitchell.co.uk

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George Papavgeris - Looking Both Ways

George Papavgeris is one of the best song-writers in the English language - and quite a nice singer too. I had the great pleasure of meeting and talking with him at Shrewsbury Festival last year. He told me that he had just completed another CD and was very pleased with it. He thought it was the best CD he has made (and he's made quite a few).

Well, here it is - and he's right. It is a fabulous collection of the best songs he's written with wonderful arrangements played by some of finest musicians on the English folk scene (Paul Sartin, Pete Flood, Vicki Swan and Jonny Dyer with the Tindall family adding backing vocals). There's a couple of tracks that reflect George's Greek roots and the accompanists sound utterly authentically Mediterranean.

George writes, in the sleeve-notes, about "observing ourselves from the outside and smiling (lovingly, always lovingly) at our anthropocentric veneer of self-importance". I think that just about sums it up. As I said in a review of his earlier CD, "He loves life - and writes - and sings - his love."

But, strangely, I think the best track is one that I wish I'd never heard! It's a re-recording of his 2002 song, Thieves of Innocence, about children forced to join armed militias "and a lot nearer than you might think". It is the bleakest song I've ever heard. An horrifically truthful summary of appalling and continuing cruelty. It makes me weep and I think it should be known by everyone - yet, at the same time, I wish it could be forgotten! A truly great song.

There are several other tracks that will certainly become well-known session songs with their catchy tunes and wise words. There's a lovely song about cross-cultural love and another about neighbours and neighbourliness which George says is, "My answer to the BNP".

And finally, the CD is dedicated to Johnny Collins who, I think, would have embraced these songs with all his heart and soul. Put it at the top of your shopping list.
Chris (Yorkie) Bartram
WGS369CD Wild Goose, May Cottage, Fullerton Road, Wherwell, Hampshire SP11 7JS www.wildgoose.co.uk

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CraigMorganRobson -Hummingbird's Feather

If anyone had asked me what I thought of the idea before it became reality, I might have said, "It won't work. Three singers with great solo voices coming from different parts of the UK are surely going to compete rather than cooperate." But I would have been totally wrong.

Craig Morgan Robson use their distinctive individual voices and accents to great effect on solo songs and passages in some songs but, when they sing together (and that is most of the time), the resulting harmonies are utterly sublime. They amend their technique to suit each song so, if it requires, they will use quite simple harmonies or even unison but, where the tune allows and the meaning of the words doesn't get lost, they can produce an astoundingly full and beautifully balanced vocal arrangement.

This is their third CD together and, like the previous two, it contains a mixture of old songs and new drawn from various British and Colonial traditions. The result is a satisfyingly varied programme of great songs. On a few tracks they are accompanied by some very able musicians which further enhances the variety. But I'm not going to bore you with my inadequate descriptions - you can hear short samples of all the songs by visiting their website . I urge you to do so while bearing in mind that the CD, along with (obviously) the complete tracks, also has carefully-researched notes and a nice picture on the front! Highly recommended.
Chris (Yorkie) Bartram
RVRCD10. Reiver Records, 70 Burnt Hill Road, Farnham, Surry GU10 3LN www.CMR-harmony.org.uk www.carolynrobson.com 01252 722938

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Jez Lowe and the Bad Pennies - Northern Echoes, Live on the Tyne

That's exactly what it is, Jez Lowe and the Bad Pennies (with guests) live on the Tyne! After 25 years of bringing his songs of the North-East out of the North-East, he has taken a bunch of them back to the North-East and recorded them live on the Tyne- simple! Not only that, but you get the 'performance' DVD "A Song for Geordie" from 2007 fer now't! Brilliant! If you are a Jez Lowe fan you'll have to buy this, if you don't know anything about him, it's about time you did. Do your homework at www.jezlowe.com
Andy Norman
TTRCD 110 Tantobie www.jezlowe.com

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The House Devils - Adieu to Old Ireland

I was interested in reviewing this CD as a catch-up on what is going on in Irish music these days. Manchester has had a strong Irish community and an affinity with Irish music for years and has more recently produced stars such as Dezi Donnelly, Mike McGoldrick and others who whilst playing in contemporary settings draw on the musical traditions of the old Manchester Irish pubs. The House Devils are a four piece band that is sets itself very much in a style that is popular today, so at first listen, whilst presenting a very clean, professional and entertaining sound, they do not appear to be venturing too far from the well established norms of current day celtic bands. The excellent vocals of Matt Fahey are very pleasant on the ear and his guitar accompanied, well-chosen repertoire of songs is delivered in a gentle but rich tone. Fiddler Andrew Dinan is an All-Ireland champion and is apparently acknowledged as one of the finest fiddler's in the world - quite a CV. On this recording his tune-playing is great, though I am less keen on his song accompaniments, especially the habitual inclusion of downward glissandos. For me the real star of the band is Mat Walklate, who plays flute and pipes with excellent technique and in fine style, fusing well with Dinan's fiddle in the tunes and coming up with some good ideas in the songs. His harmonica playing is outstanding, and he contributes much to the lift and drive in the tunes and songs. Especially impressive is his setting of the technically demanding sean nos style song The Mountain Streams, which for the most part is accompanied by droning low harmonicas (not pipes as I first thought). The quartet is completed by Anthony Haller on double bass who plays nicely and fills out the tonic range effectively. If Irish music is your passion, you will not be disappointed with this album, unless you are looking for something particularly original or distinctive.
Neil Brookes
ARC Music EUCD2232 thehousedevils|@|hotmail.co.uk

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Sara Grey with Kieron Means & Ben Paley - Sandy Boys

A long time favourite with folk club, concert and festival audiences, this latest offering from singer and banjo player Sara easily illustrates why. From the opening title track to the closing Train on the Island (15), the whole is a delight. A mixture of old timey tunes, hymnals, minstrel tunes and little known variants of big ballads it really offers something for everyone. Ably supported by son Kieron, (guitar, vocals) and Ben Paley (son of legendary musician Tom) the standard of musicianship and singing is exemplary. Fine Times at Our House (8) is sheer instrumental fireworks, whilst Sheep, Sheep Don't You Know the Road (4) shows the assembled company as no slouch at the old acapella. The Jealous Brothers (10) and Young Hunting (14) are versions of Child 69 and 68, albeit in slightly pared down versions. Stand out track, however, must be a wonderful high lonesome version of Utah Phillips' Goodnight-Loving Trail (2), which tells the story of the "old woman" of the cattle drive; the cook. Retired from active cattle drive service due to failing sight and aching limbs (I know how he feels!), his life grows increasingly solitary and introspective. Some wonderful harmonica from guest Mike Wheelans (I'd forgotten what a great player he is) adds to the whole melancholy air. Just one slight complaint here, though. For years, I'd thought what a great name the Goodnight Lovin' trail was...all those cowboys riding off from their wives and sweethearts bidding Goodnight to all that Loving...no wonder the songs are so poignant. Imagine my surprise then, dear reader, to discover such a notion is arrant nonsense. Charles Goodnight Esq. and Mr. Oliver Loving founded the said trail, running from Texas to Colorado, in the Nineteenth Century, and it was named for them. But this album's such a delight, I'll forgive Sara for shattering my illusions.
Baz Parkes
FECD 225 Fellside Recordings, PO Box 40, Workington, Cumbria CA14 3GJ www.fellside.com

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Emily Smith & James McClennan - Adoon Winding Nith

Since winning the BBC Young Traditional Musician of the Year in 2002, Emily Smith has become one of the brightest lights of the British folk scene, a position recognised in last year's Scots Trad Music Awards, where she was awarded "Scots Singer of the Year". Her glorious voice has now graced a number of albums. On this new release, she is joined by multi-instrumentalist Jamie McClennan, on a set of songs celebrating the 250th birth of Robert Burns - highly appropriate from a girl who comes from the Dumfries area. However, although this release is enjoyable, I don't think this is their finest hour. This short album, whilst containing some really beautiful things (I particularly liked the haunting piano accompaniment to Gowden Locks o' Annie), gives me the impression of having been put together in rather a rush. Although Emily sings as wonderfully as ever, and Jamie's playing is commendably zesty, the arrangements seem hasty, and in many cases don't strike me as having a lot in common with the songs. Don't get me wrong, this is a very good album and the fact that I feel that this issue falls short of my expectations is probably as much to do with the amazingly high standards I have come to expect from them. There is a nice booklet, with lyrics (and glossary!) and some lovely artwork. Not one for beginners to Emily's art, but it will still give a lot of pleasure.
Paul Burgess
WFRCD003 White Fall Records www.whitefallrecords.com

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Jackie Oates - Hyperboreans

I must confess I had only come across the Hyperboreans in the pages of Robert Howard's "Conan the Barbarian" stories, but apparently Herodotus describes them as a mysterious race living somewhere beyond the Arctic. Well, now they are the title track of an album by Jackie Oates, courtesy of songwriter Alasdair Roberts. I will also confess that I thought of Jackie Oates as a fiddle player who could sing a bit; now I've heard this album, I realise she's as much a singer as a fiddler, and a very fine one at that.

Proceedings kick off with a lively version of The Miller and His Three Sons, and things are well balanced between such rustic jollities - the Copper's Pleasant Month of May comes later - the gritty hardship of Henry Lawson's Past Caring and a setting of The Sheffield Grinder. There's also a classic murder ballad The Butcher Boy, a version of The Lakes of Cool Flynn and Birthday, taken from Icelandic poppers the Sugarcubes.

Supporting musicians are plentiful: Saul Rose contributes melodeon, Jim Moray plays just about everything you could think of, and every time there is a particularly satisfying bit of guitar accompaniment it seems to be James Dumbleton. Jackie herself plays 5-string viola, octave violin, cello and shruti (no, I don't know what that is either). Several other musicians are also credited but despite the numbers involved, nothing gets in the way of Jackie's singing - for which all credit to those who have done the arrangements, and Jim Moray's production.

I thoroughly enjoyed this album by a singer who is good now, and I am sure can only get better.
Chris Beaumont
TPLP1034CD One Little Indian/Unearthed www.jackieoates.co.uk

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Mike Martell - She Waits For Me

Canadian singer/songwriter/guitarist Mike Martell accompanied by wife Tami, and Sophie, with Tom Leighton (accordion/whistle) Garton Bernard (mandolin) and Bill Garratt (guitar). Mostly nautical themed songs (ships, boats, and fish) and also of true love, Mikes strong voice, and lovely Canadian accent, make this a powerful and emotive sound. Trouble is, by the 5th track it's ALL sounding VERY slow and VERY miserable. If you like Leonard Cohen you'll like this, me.....I'm off to slit my wrists.....
Andy Norman
www.mikemartellmusic.ca

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The Wilson Family - A Grey Lock or Two

The Wilson family are 30 years old. Well, perhaps a little older than that, but they have been singing together as a six-piece group for 30 years and this album has been produced to celebrate that anniversary. Unfortunately, only five of them are to be heard, as Pat is still out of action after an accident in 2008, but the lads put on a pretty good show nonetheless.

They have picked some cracking good songs for their birthday CD. Adieu John Barleycorn, Lord Marlborough, The New St. George, April Morning and Davy Louston all rattle along heartily. In fact everything sounds as if it were created specially to be sung by five lusty north-eastern voices in harmony. Ale features as the subject of several songs, and it's good to hear Alex Glasgow's Close the Coalhouse Door get an outing, as also Graeme Miles Lairdsfield Disaster, one I've not heard before. There's also a great version of the haunting concentration camp song Peatbog Soldiers.

Having managed to catch the Wilsons at the last Shrewsbury Festival, I enjoyed hearing some of their current repertoire on CD as well. You don't get all the entertaining back chat and banter of course, but you do get some "before" and "after" photos, contrasting today's grey bits and receding hairlines with the flowing restoration locks of the 1970s.
Chris Beaumont
BITCD311 wilsonfamily|@|ntworld.com www.thewilsonfamilyalbum.co.uk

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The Unthanks - Here's the Tender Coming

A few issues ago, I was fortunate enough to review the debut CD by Rachel Unthank and the Winterset, and more than quite liked it. All seemed to be going well, until sisters Rachel and Becky committed the cardinal sin of all young folkies...they grew popular! They signed to a major label!! They started wearing posh frocks and make up instead of clogs, shawls and coal dust!!! Chat rooms all over the internet resounded to cries of "sell out" and "that's not folk music". Stir into the pot the alleged acrimonious departure of a fiddler and a keyboard player, a few more cries of "How very dare you" and the stage was set for a Mercury prize nomination for 2008's critically acclaimed The Bairns...which I still haven't heard

So where did they go from there? First, "a name tweak" to reflect the "co-fronting" role now played by Becky alongside her elder sister. A couple of profile raising TV appearances, including Jools Holland and the Bellowhead Christmas extravaganza then followed. And finally, for now, a new line up bringing a more rocky, mainstream sound to the mix. So what of that musical mix? Still firmly rooted in the traditions of the North East the majority of tracks are either trad arr. or written "in the tradition". The opening Because He Was a Bonny Lad is, to my ears a tad languorous a treatment for one of my favourite pipe tunes, but that same treatment works beautifully for Graeme Miles' Sad February. The sisters have very distinctive voices, and I love the way they use them...on some songs. On others I find they grate. Flowers of the Town (9), learned from dad George (mainstay of The Keelers) and Ewan MacColl's Nobody Knew She Was There (8) are a delight but I find Lal Waterson's At First She Starts (11) and the closing title track a harsh, grating listen. But it's NOT the closing track...we're then treated to a "hidden track" that's a real gem. A rollicking rumbustious version of what I suspect is a song from the Geordie music hall tradition Betsy Bell. It even features clogging. And my question is, if it's so good why hide it? I'll leave the jury out on that one. So, it's fairly certain the Unthanks will continue to provoke lively discussions everywhere. My turning 30, aggressively non-folkie daughter loved it. We'll leave you to make your own mind up.
Baz Parkes
EMI/RabbleRouser 50999-687122-2-8 www.emicatalogue.com www.the-unthanks.com

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Ray Hearne - The Wrong Sunshine

Fifteen songs from the pen and guitar of Ray Hearne - he's a fair hand at putting words together, and has an ear for a good tune as well.

Taking some inspiration from traditional song styles, some from personal memories, and a considerable amount from his Yorkshire environment and its industrial heritage, he sings of lovelorn hope, collieries, roundabouts, daffodils, navvies and the 69 bus from Rotherham in a genially listenable style that range from the plaintively nostalgic to cheery singalong choruses. The main accompaniment is his own guitar, with some bass, mandolin and keyboards from Neil Ferguson, brass from Jude Abbott, whistle from Jo Freya and concertina from Chris Sherburn. Various "No Masters" luminaries provide a backing choir for some of the choruses.

The enclosed booklet gives the lyrics of all the songs. This is always handy, of course, but in this case particularly so, as Ray Hearne's delight in alliteration, internal rhymes, assonance and word coinings is worth dwelling on via the printed page. The chorus of one song ends: "I'll thank you not to shut me up, 'cos I've got things to say". He certainly has, and does it very well.
Chris Beaumont
NMCD31 No Masters Co-Operative Ltd PO Box 209, Leeds LS12 9BJ 08456 430934 info|@|nomasters.co.uk

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Roger Watson - Past and Present

There can't be many people involved in the folk scene today, either as audience or participant, who haven't felt the touch of Roger Watson's influence. From his early work as singer and instrumentalist with Muckram Wakes, through the seminal work of the New Victory Band and the Hop to the glorious melting pot that is Boka Halat, he's been there, done that. I've even heard dances that he's written called and introduced as traditional. As has his occasional song. Add a warm, at ease, singing voice to the blend and I think we have the man covered. All of those aspects (apart from his dance calling!) may be found on this CD. As the title implies, it offers Roger (and the listener) a chance to revisit old favourites whilst introducing those soon to be new ones. The content is split almost equally between songs and tune sets, and we have further sub divisions (Venn diagram, anyone?). There're three types of song; traditional, Roger's own, and Roger's re-take on traditional themes. The opening Gilliver was written in 1965, and, telling the story of a man and his pit pony, easily stands the test of time. Seafarers (14) reminds us what a great shantyman was lost to the world when Mrs Watson's son chose to be born inland. His new version of Lovely Joan (3) is a delight, and destined to become a folk club standard. Peg of Derby (5) and The Manager's Daughter (12) remind us (as if we need it) that industrial hardship and the bitterness it engenders aren't the prerogative of the nineteenth century. The tune sets show why his melodeon and concertina tutors still sell...he's a master player. Bengal Rounds/Old Sir Simon the King (8) manages to marry the Indian 12 beat Ektaal rhythm to the English 3/2 hornpipe style, coupling it with a triple time jig. Idbury Hill must be one of the best of the Cotswold morris tunes and the version here, paired with Broken Dagger (5) is a delight. Ably assisted by Jackie Oates on viola and Tim Walker on brass and side drum, there's something for everyone, I feel.
Baz Parkes
WGS367CD WildGoose, May Cottage, Fullerton Road, Wherwell, Hampshire SP11 7JS www.wildgoose.co.uk

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Ran Tan Band - The Big Cheese

In these politically sensitive times I suppose I need to declare an interest here. I've been friends with the members of Ran Tan Band for a very long time. Such an association can often cause problems...if the recording's awful, do you tell them, and risk never being invited to dinner again? No such problems here though, as this CD is an absolute delight. But that will come as no surprise to those who bought the original cassette in 1988. Yes, that was when the original recording was made, but it's still sounding as fresh as a proverbial fresh thing. The joyous interplay between melodeon and saxes, with gob iron riding over the top, might be found on many of the dance CDs recorded over the past couple of years, so Ran Tan must have been well influential, innit. Released last year to mark a re-union of the band, the recording features tunes from the UK, France, Quebec, Galicia, Mexico, and Poland alongside several fine self penned numbers. Rock solid percussion and bass underpin the front line in a more than satisfactory manner. Sadly, the early demise of bass and mandola player Pete Reeve prevented his joining last year's re-union gigs, and the album is fittingly and poignantly dedicated to his memory. It's been re-mastered by audio butler to the gentry Ralphie Jordan, and the result is a crystal clear recording allowing everything to shine through as it should, which isn't always the case on dance band CDs. Available from the band direct at its website, where you can also read a couple of 20 year old reviews, see some nice pictures or perhaps even book the band, as they seem to be having so much fun being re united, they've decided to carry on. Oh, and Simon Booth's cover's lovely. He went to Wolverhampton Art School you know...
Baz Parkes
Hum 001 CD www.rantanband.co.uk

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Various Artists - Many a Good Horseman

TRADITIONAL MUSIC MAKING FROM MID-SUFFOLK RECORDED 1958 - 1993

This double album was first published on cassettes in 1985, along with a wonderful book, subtitled "A survey of traditional music making in Mid Suffolk". But these CDs present a much clearer sound than the cassette tapes through the use of modern equipment. So much so that, despite having the tapes for any years, I can hear lots of things that I'd never noticed before.

And what wonderful things are there! Most of these recordings were done by John Howson in the early 1980s but there are some earlier pieces from rare archives.

The title may give you some idea of what to expect. It comes from an old man's comment if a singer forgot his words, referring to the fact that even a good horseman might hit a stone while ploughing and have to retrace his steps to straighten the furrow. Thus, some of these singers may forget their words or stumble over the tune but, in the end, the whole field is well-ploughed. This is where our traditions have had their roots sustained and they are ripe for harvesting by anyone who wishes to learn the old songs and tunes as they were played in the old days.

A full track-list, notes and all the words of the songs (!) can be found on the website. Plus, of course, lots of other wonderful CDs, tapes and books. The Veteran catalogue is a real treasure trove and these CDs are pure gold.
Chris (Yorkie) Bartram
Veteran Records: VTDC8CD. Veteran Mail Order, PO Box 193, Stowmarket IP14 3WZ www.veteran.co.uk

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Various Artists - Phonofossils 2nd Selection

One continuing delight in going to Folk Festivals is the total unpredictability of the kind of person you are going to run into. One of my favourite characters is the genuinely brilliant Adrian Tuddenham. We have spent hours talking about how best to wind a transformer.

At Bromyard last Autumn, he kindly let me have a copy of one of a series of records that are being released on the Poppy Records label. Adrian is probably the finest engineer in the world at rescuing old recordings, and these CDs attempt to put some of the less well known 78s into the hands (and ears) of the public. As you may imagine, the selection of items is eclectic, not to say whacky.

This collection begins disarmingly staidly with Me and Jane in a Plane, by Harry Bidgood and his band (for this recording called The Broadcasters). It was released in 1927, but surprisingly for the age includes the sound effect of an aeroplane, fading in and out of the music. Next, we meet Orlando and his Orchestra spicing up Pretzel Dolls with a musical saw (1932). After that, we have an extended selection from "No, No, Nanette" from April 1925, probably one of the earliest electric recordings from the UK.

Then we hear from Fred Gibson about his tribulations when Buying a Stamp in the days when God was spelt GPO (1928). That's followed by the rather jolly Jackanapes Polka, played with great panache by Alexander Prince (1915). Next up is an intriguing Albert W Ketelby number, In the Mystic Land of Egypt, with full orchestra and chorus (1932). It's not his best known piece, but great fun.

The next piece is a grin producer, too; it's The Clatter of the Clogs, by the Bournemouth Municipal Orchestra, featuring W W Bennett on xylophone. After that is a typical music hall comedy song from Bert Lee about the 'clippies' called Fares Please (1918).

We are also treated to a surreal rigmarole of a monologue entitled The Loch Ness Monster, by John Tilley (1933), which provides an odd introduction to an odder item. The Imperial Marimba Band treats us to Dance of the Nightingales - a Barn Dance.

George Robey sings In Other Words, a clever composition and performance in comic vein from 1916. The incongruity of placing Cupid's Serenade (Frank Westfield's Orchestra, 1927) just before the Doo-Wacka-Doo Foxtrot (the New Prince's Toronto Band) wasn't lost on me, either.

After a love song from Sydney Swift (Love Nest, 1921), we are regaled with the stirring tones of the Wingates Temperance Prize Band (still going to this day) recorded in May 1915 playing a composition by their conductor from 1891, William Rimmer, grandly titled the Punchinello March. Would you, by now, be surprised to learn that the next number, By the Waters of Minnetonka, was collected from a Crow Indian in 1911 by Thurlow Lieurance?

Well, if you out-guessed me on that, I'm sure you're not expecting the last piece to be an enactment of a ghost story.

I dread to think how many hours of painstaking research, experiment and dogged reworking went into each track. Enough restoration has been performed to render the tracks listenable, but not so much as to distance these pieces from their historic origins.

In short, this one CD provides a tantalising glimpse of a nearly-forgotten era -times when there might be one wireless in a whole street, when you could have a great night out with your friends without risking deafness, times when listening to music was a rare, unaccustomed pleasure.

This Series is well worth investigating.
Flos Headford
HXP102, Poppy Records, 86 Mount Road, Southdown, Bath BA2  1LN. www.poppyrecords.co.uk

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His Worship and The Pig - China Town

A HISTORY OF THE STAFFORDSHIRE POTTERIES IN SONG

The combined talents of Dave Boulton (words) and Jeff Parton (music) are 'His Worship and the Pig'. Two very competent musicians (guitar, banjo, concertina, octave mandolin, etc, etc.), their sound is that comfortable and entertaining traditional folk club sound. 'China Town' (Cregreen Recordings) is their journey through the jobs associated with 'the potteries' around Stoke.

Well played, and well recorded, these good, original songs catalogue the hardships, and dangers of these jobs. Unfortunately it would seem that unless you were the boss ALL the jobs were bad, dangerous, and with long hours. Probably much the same as any other working man at the time. This means that the impact of these songs is somewhat diluted, with the exception of The Final Firing and the humorous Saggar Makers Bottom Knocker. The CD sounds like something you would find in a museum shop, a sort of potted history, although if you are going to see them I think they would be entertaining
Andrew Norman.
www.hisworshipandthepig.org.uk