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I am almost swooning from the heat as I get into the car to leave Woodford Folk Festival 08/09. This quickly changes to swooning with delight as the great music from the Swoon CD and the air conditioning start to take effect. I ran into Swoon (Josh Notting and Angela Smith from Mackay) doing a set at Woodford who gave me their new CD Kindred to review. Many make the mistake of over doing the CD production and not sounding how they actually sound live. Thankfully Swoon self-produced and managed to stay true to their real sound, except for some subtle overdubbed harmonies and extra guitar. They also added drummer (Peter Vadiveloo) and well known bass player (Liz Frencham) on a few tracks. Swoons music is refreshing, unpretentious and very easy to listen to. The overall flavour is original, vibrant, jazzy and acoustic. Angela on lead vocal has a real knack for melody and superb phrasing. Her vocals sometimes cruisy jazz - cool, sometimes gutsier seem to flow effortlessly over Josh’s clever guitar accompaniment. Josh is one resourceful player with finger-picking, heavier rock and percussive, jazz/ blues influenced guitar riffs all featuring on the album. Percussion, stomp box and occasional guitar effects also complement the sound. Swoons songwriting is about love and life and covers many tempos and styles so listening to them never becomes boring or monotonous. An added bonus is most of these Swoon tunes have a great hook. From the melodic title track Kindred to ballads like I Can’t Fall, the catchy Watch Out which builds to a crescendo and great danceable acoustic folk rock like Free Tonight and Give In To Me. Angela and Josh list some of their influences as Led Zepplin, Jigzag and Brisbane’s Stringmansassy to name a few, along with nice swimming holes and alcohol. They are now featuring on JJJ Unearthed and are two very nice, very talented people who are sure to go far. Recorded by Steve Vella at Dog and Bear studio Melbourne, the very professional lucky number 13 song package features great artwork and lyrics. The Kindred CD released in December 08, tour information, other recordings and merchandise are available online. Visit www.swoonmusic.net [top] Jimmy Watts Debut CD
Jimmy Watts has a style all of his own which you will know if you have seen the passion and dedication he commits to his music when playing live. However if any comparisons were to be made it could be said he has been influenced by the rootsy, bluesy, one man band style of Bob Dylan or Australian artists such as Phil Manning, Jeff Lang and more recently Xavier Rudd. Jimmy has done a fair job on this self titled debut CD with all the songs written, performed and recorded by himself. The sound quality is quite good and manages a true representation of what Jimmy sounds like. It does not have an overly produced or overly commercial sound, so it is very real which I kinda like. Use of harmonica and foot percussion compliments Jimmy’s conversational singing style and intricate guitar work. From the beautiful and melodic guitar in track 4, Army Bearing Down and Track 5, Down My Worn Out Old Street, to more get down stompin’ blues and slide on some of the other tracks. There is a surprising amount of variation in what Jimmy does with his instrumentation and choice of song subjects. Lets hope he keeps writing songs, performing, recording and flying high like the final track on the CD. This is someone who believes totally in what he is doing and has a great future with his music. For more information on CDs and upcoming performances check out [top]
A Wee Nippie Sweetie CD Review by Anne Bourne Celtic Twa is a duo consisting of David McConnell and Brisbane singer-songwriter Mark Davidson. As explained in the CD notes, Celtic Twa formed in 2003 to play to audiences at retirement villages, nursing homes and the like. On this CD they are joined by Don Nichols on double bass, and Ryan Elder on didgeridoo. The CD was recorded, engineered and mastered by Mark Smith at Real Productions in Brisbane, and Mary Brettell created the artwork with a very Celtic flavour. A Wee Nippie Sweetie contains a good selection of five Scottish folk songs and one Irish song (which also has Scottish versions). David McConnell sings the lead vocals in all but one (I’ll Tell me Ma), when Mark Davidson takes the lead. David sings his version of the beautiful old gaelic song Come by the Hills, followed by the stirring Flower of Scotland and The Haughs of Cromdale. Next is Leezie Lindsay, followed by the Irish song I’ll Tell me Ma, and finally, Tie the Ruck. All these songs lend themselves to audience participation in a hearty sing-along. The beautifully picked guitar played by Mark Davidson is particularly well done on Leezie Lindsay – however it is so far in the background most of the time that I’d have to describe it as a discreet pleasure to hear. Maybe it’s my stereo or my ears, but I was also disappointed that I could not hear Don’s double bass at all, and I think I could just hear a hint of the didgeridoo a little in Flower of Scotland - which I thought added a delightful touch of irony, it being such a Scottish song - but giving the didgeridoo greater prominence might improve this track. When I listened to this CD I found myself constantly wanting to increase the tempo. Perhaps the slower, deliberate pace on all tracks is for the benefit of the older audience, but my preference would be to take them all a little faster, which would also obviate any perceived need to fill in at the end of each line by holding the last syllable so long (especially the consonants). As well, I would have liked to hear more of the lead guitar, backing vocal harmonies, double bass, and didgeridoo; for me they were either too much in the background, or inaudible, which was unfortunate. However, A Wee Nippie Sweetie remains a good selection of Celtic songs, some of which may be less familiar, so having your own copy would provide an opportunity to amend that. It’s wonderful that Celtic Twa have been playing to audiences in local aged care facilities for so many years; I expect their performances are enthusiastically received and greatly appreciated. [top]
This is Bob's first dive into the world of CD recording. He has chosen a range of great traditional and contemporary songs, including one written by himself titled Wine and Water and a fine John Warner song Anderson Coast. Bob's deep resonant voice is featured well on the CD and ably backed up by the talents of Penny Davies and Jordan Davies-Illot on backing vocals, and has Roger Illot playing 12 & 6 string guitars, banjo, mandolin, keyboards and contributing to the backing vocals. Bob recorded this CD at Penny and Rogers' Restless Music studio at Stanthorpe. Tracks on the CD are : The Lark In The Morning, Wine and Water, Come Day Go Day,
CD available by phoning Bob on 07-4685-2072 or email [top] Penny Davies & Roger Ilott Moon Caller Review by Bob Wilson This new recording from Penny Davies & Roger Ilott turned up in my mailbox like a welcome letter from an old friend with new stories to tell. Penny and Roger have been producing independent music from their home studio near Stanthorpe for more than 20 years, and with at least a dozen of their own recordings behind them, the experience shows. Like Big Water (released 2006), this CD has a folk-rock feel with drums, bass, Dobro and Roger’s Rickenbacker 12-string electric guitar adding a Byrds’ flavour. Moon Caller is a family affair, with son Jordan Davies-Ilott playing drums and dobro. It must have been a special moment for him to hear Mum and Dad’s original song, Goodbye To Your Schooldays, at his high school awards ceremony. The 15 tracks on Moon Caller include old favourites (Joni Mitchell’s Circle Game and J.C. Stewart’s tribute to the 1969 moon landing, Armstrong), and one of the few unpublished collaborations between Roger and the late Bill Scott (The Goldfield). Penny and Roger’s eight originals include the nostalgic Aurelia (about Penny’s experiences emigrating from England) and the wistful opening track, She’s Like a Tree. Jed Hudson, who played with Roger in Sydney folk-rock band The Rusty Dusty Bros in the 1970s, collaborated on this album, playing bass, mandolin and adding backing vocals to some tracks. Although this is a “band” album, Penny’s distinctive, gentle vocals and Roger’s under-stated harmonies are always to the fore. O’Mara’s Front Verandah is a nostalgic ballad featuring Dobro, mandolin, pedal steel and acoustic bass, but the instruments are well back in the mix, allowing the listener to focus on the words, harmonies and feel of the song. Other highlights include Song of the Artesian Water (A.B.Paterson/C.O’Sullivan), the droll Wet Season Blues and the duo’s climate change protest song, Crazy Weather. This is a well-produced, listenable album with a lot of heart. Available from Restless Music P.O Box 438, Stanthorpe 4380. www.restless.com.au [top] Parliament of the Birds CD Review by Lonnie Martin Our community never ceases to amaze me with the spectrum and wealth of talent we encompass and this EP release, Parliament of the Birds, from Mzaza is my case in point. Utilizing the talents of Pauline Maudy (vocals), Stephen Cuttriss (accordion), Bill Anderson ( Ud, Irish Whistle, Kaval, Ney), Greta Kelly (Violin, Kemanche), Miranda Deutsch (guitar), and Jordan Stamos, (Dohola, Darabuka); this beautifully presented five track recording (by the wonderful Mark Smith), presents a musical smörgåsbord of traditions and instrumentation combining the sounds of East and West with sultry ease. Each track displays such a high level of musicianship and Mzaza's repertoire spans from classical Turkish tunes fused with jazz-style improvisation vocals, to French chanson, and interpretations of Sephardic/Spanish songs. I was particularly impressed by Pauline's easy vocal style which belies her level of skill and technique and astounded by her capability to sing in such a range of languages. I have rarely heard such diversity and versatility in a World "Fusion" band. Mzaza's driving rhythms and haunting melodic lines made me yearn for exotic places and adventures. Mzaza are launching this recording on the 22nd of April at the Press Club, and they are playing at the Woodford Tree Planting on May 3rd. You may also see Mzaza at the next FO&N Concert on May 16 at Morningside School of Arts hall. For more details visit www.myspace.com/mzaza, or [top] CD Review by Anne Infante I love this album! Bright, punchy, compelling African rhythms that speak to the joyful, elemental soul within us all; I suspect it’s true that in the dim mists of the past we all did come out of Africa - my heart certainly relates and responds to the heart beat of African music. Okapi Guitars are: Bernhard Huber - guitar, vocals; Chris Bright - drums; John Laidler - guitar, vocals and Sigi Huber - bass, vocals. Their music flows, blends, swings and shifts, coalescing into a bright and happy whole which makes the listener tap, sway and dance along. The vocals are delivered with appealing spontaneity, swinging from African to English to French with equal proficiency. The nine songs on the CD aren’t all African - they include Kelly & Carmody’s From Little Things... (big things grow), the story of the Gurindji’s struggle for land rights, and three original Okapi Guitars tracks. Live@CutSnake was also engineered and mixed by Laidler and Huber. I’m not sure a studio recording counts as ‘recorded live’ but wherever and however Okapi Guitars recorded Live@CutSnake it’s all good news for the listener, providing an enchanting and happy experience. My favourite tracks? Well, all of them ... but especially: So, get happy, give them money and get Live@CutSnake from www.okapiguitars.com And now, excuse me – I’m going to listen to it all over again!
Review by Julie Minto This is real authentic American toe-tapping bluegrass and roots music direct from the USA. You just have to look at the cover photo of the two inbred looking fellows and the title to realise this band has a fine sense of irony and humour which almost, but not quite borders on bad taste. Apart from that, The Hillbilly Potentates are a band of consummate and very potent (as their name suggests) musicians on banjo, fiddle, guitar, dobro, harmonica and double bass. The opening track sets the tone with a blistering bluegrass instrumental showcasing all the instruments and the exceptional skill of the players. These guys are not just technical players they also manage to play with “feel’, something that often gets lost when playing at such fast speeds. Many musical styles are covered from fast picking bluegrass instrumentals to ballads to western swing to songs about hobos, love, broken hearts and drinking. If you were lucky enough to see the Potentates on their recent Australian tour, they took great delight in heckling the audience and each other during the show. They have injected this recording with that same infectious goodtime feeling. The CD almost sounds as if it was recorded live- maybe it was- I’m not altogether sure - as all that seems to be missing is the applause! Jay Castleberry’s lead vocal is husky and warm toned and he sounds like he’s having loads of fun hamming it up with the band which puts the listener right there at a live show. Before launching into a wailing harp solo he says “I think I’m gonna blow” which is just loaded with humorous innuendo. The rest of the band is not left out joining in on chorus vocals and each showcasing their talents in solos introduced by Jay’s whoops and enthusiastic asides like - where’s that fiddle and tear it up Tim. It Takes One To Know One - It’s fingerpickin’ good! Jay Castleberry - banjo, lead vocals, rhythm guitar, harp, Tim McCasland - dobro, lead & rhythm guitar, & vocals, Ron Green - stand up bass & harmony vocals, Richard Bowden - fiddle (CD) / Chuck Hugenberg (Australian tour) - fiddle. For more info go to www.thehillbillypotentates.com or listen to free streaming mp3s at www.myspace.com/thehillbillypotentates [top]
A review from Lonnie Martin Firstly, a disclaimer, I was intending to buy this album, having been thoroughly enchanted by SÚNAS's live performances. I was expecting to be delighted and as such I wasn't disappointed by their CD, A Breath Away From Shadow. The album is a grand showcase for this up and coming band, beautiful arrangements, haunting vocals, and gorgeous instrumental work combine to form an unforgettable and haunting first recording. SÚNAS are Sarah Calderwood, Bridget Masters, Paul Brandon and Mannie McAllister. This beautifully presented album is full of original material, (with one Rankin Family ring in, Turn That Boat Around), and traditional and original tunes. The songwriting is remarkable for its range and diversity, and displays a maturity and self possession that is rare and quite beautiful. I particularly love their arrangements, the sound is identifiably SÚNAS's own. My favourites are Night Faeries, (Sarah Calderwood), Travelling Times, (Paul Brandon), and Travelling Man, (Paul Brandon, Sarah Calderwood and Mannie McAllister), for their lyric content and the way these songs linger in my ears. When hearing SÚNAS live, there is a sense of joy and delight which pervades their music and this is beautifully captured in this recording. I found myself smiling from the first track to the last. The one thing I would change about this album is the mixing and mastering. On occasion the vocal harmonies sound mushy rather than crisp and are too far behind the backing instrumentation. The instrumental tracks could be cleaner and the use of effects being reduced overall would have been my choice. I will say here and now though, that they have improved as a band since this recording and this album does not reflect the best of SÚNAS as seen live now. Needless to say this CD rapidly became a favourite and I am eagerly awaiting their next offering. Visit www.sunasband.com to obtain your copy! [top] CD Coming….
MaryB has a new CD out soon. All songs on the album have been written by someone local: friends and acquaintances. Mary is off to the UK again in May and June and wished to take the CD with her to showcase the talents of our local songwriters and musicians. Mary says, This CD is not meant to say 'Look at me, I can sing'; it is instead being produced to say, 'Look at what talented songwriters and musicians I have as friends'. There are 10 tracks - The Valley, written by Sue Wighton, Annie Wheeler by Dermot Dorgan, Courting The Net by Bob Wilson, Cowboy Hat by Tony Miles, Good Cleaning Man by Anne Infante, Sithah by Colin Dryden (who also wrote The Factory Lad (Turning Steel)), The Pedestrian Crossing at Post Office Square by Andrea Baldwin, Stillwater Boys by Mark Davidson and This is Love by Linzi and Rhys Owen. The final track, Danish on the Deck is written by Mary herself and came out of a desire to write a song in praise of her many talented friends, almost all of whom have enjoyed some sort of beverage on her back deck at some time.
Musicians who have kindly agreed to participate are Rhys Owen (guitar), Michael Tully (double bass), Robin Etter-Cleave (flute), Ian Dodd (mandolin), Hughie Curtis (fiddle), Rose Broe (accordion), Sue Wighton, Lonnie Martin and Helen Rowe will add vocal backing.
Review - MaryB WOW! I LOVE this CD – I just can’t get enough of it! OK, you may ask why? Where to begin - the first thing you will hear is the guitar work – what a great guitar style Luan Baldwin has - a clean, easy feel with great chord progressions played by magic fingers. I get a warm fuzzy feeling from the first note. Then to hear the voice, oh yes, sooo easy to listen to. I sit in rapture. Now … the content. The songs are wonderful. Lu is a great songwriter. He writes of his time out at sea on board the K. I. Ross. He writes of the places, the work on board, the crew and the relationships between all of these things. To say Lu is a modern-day Harry Robertson underestimates his talent. Like his big sister, Andrea, Lu is a master of observation and has the creative ability to express his experiences in song. I can’t say which track is my favourite yet - I just love them all. There are so many of his guitar licks or lines in his songs that bring a smile to my face. If I feel my spirits need a lift this is the CD I put on. Just buy it and you will be as rapt as I am. Contact Luan Baldwin on 07-4979-2640 or c/- [top]
House of Cards ~ Mark Cryle A review from Anne Bourne After Notches on the Wall, I expected to like House of Cards ... well, I absolutely love it! This is amongst the very best CDs I have ever heard: one of those very rare CDs where every single track is a good one – there are no fillers. And it only grows on you even more with repeated listening. Anyone who listens to this will become a Mark Cryle fan if they weren’t already. The flawless sound quality of this production is the work of brilliant guitarist Michael Fix. As you might expect after Notches on the Wall, there is great diversity in terms of both lyrics content and musicality. House of Cards includes songs about life, love and relationships – from the optimistic Someday and the joyful excitement of She’s Got Everything to the sadness of Nadine and fragility of Blow Me Away; and stories such as The Granville Train and Glebe Point Road that hook into Australian shared cultural knowledge and memories. Outstanding delivery of Mark’s insightful, sensitive lyrics and beautiful melodies wrapped in a variety of musical styles – country, bluegrass, bluesy, even reggae – with touches reminiscent of Jackson Browne, Ry Cooder and Paul Kelly and many others, make this CD’s initial appeal only deepen as it remains interesting and enjoyable over many repeated listenings. It begins and ends with upbeat, optimistic songs. Inspired arrangements and a team of superb musicians complement the lyrics so well that these songs take the listener’s emotions along with them. Kerobokan takes you straight back to the heartache you felt for the parents of Scott Rush; Rainy Day just softly feels like one of those gentle, lazy, guiltily self-indulgent days; and the sparse keyboards and that gorgeous harmonica in Johnny Cash is Dead evoke a stark loneliness. The Longing is masterfully put together – a beautiful melody, such romantic (in a blokey kind of way) lyrics, exquisite guitar, subtle keyboards, fabulous backing vocals … is this my favourite song on the CD? At the House of Cards CD launch, Mark and this talented team - Silas Palmer, Richard Evans, Andrew Heath, Michael Fix, Helen McGreevy, Keith Megson and Joe Cryle – demonstrated what true professionals they are with a polished live stage performance of the songs themselves, with just the right mix of interest and humour in song introductions. If you weren’t fortunate enough to end up with a copy of this magnificent CD in your Christmas stocking, go and treat yourself to it now!
Following on from his highly acclaimed 2006 release Notches on the Wall and his award winning work previously with Spot the Dog, Mark Cryle has galloped out of the blocks and upped the ante with the release of House of Cards. This superbly crafted effort sees Mark confirming his status as one of Australia’s leading songwriters. House of Cards combines powerful elegies to love and desire with documents of contemporary Australian life. The album kicks off with Someday, a bright, optimistic, hook-laden anthem for new found love. Rainy Day and The Longing sustain the intimate mood. Kerobokan tells of a parent’s heartache when faced with a child’s transgressions while Glebe Point Road, based on a true story, is a modern tale of elopement. The Granville Train shows that Mark has not lost his capacity to delve into Australia’s past to unearth powerful stories. The 13 songs here are unmistakably bedded in the Australian urban way of life and speak easily of places, events and cultural ticks which we all recognise. The lyrics are bundled in powerful, insistent melodies which draw the listener into the stories. On House of Cards Mark’s songs are supported by and encased in high quality tasteful production from guitar maestro Michael Fix and a superb cast of musicians including Spot the Dog alumni Richard Evans (guitars and harmonica) and Silas Palmer (keys and fiddle). The Flood’s Scott Hills is in the drummer’s chair while Tulca Mor’s Andrew Heath extends his virtuosity to the bass guitar for these sessions. Mark’s son Joe makes a recording debut here too on pedal steel and dobro. The powerful and distinctive lead vocals are wrapped in the warm blanket of the twin female voices of Helen McGreevy and Renae Suttie. House of Cards is a tour de force. It deserves pride of place in the collection of astute music lovers everywhere. Available through www.markcryle.com & www.myspace.com/markcryle
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Review - Lonnie Martin Fans of The Poms From Oz will be absolutely delighted by their latest offering, Ripples is their finest recording to date. I always expect high standards from this family of fine harmony singers from Northern Queensland, but on this recording their careful arrangements and precise vocal performances are matched by clean and clear production values and integrity in approach. This recording contains a wide variety of material and styles, from folk classics, such as Sally Free and Easy, Cruel Mother (Child #20), and Come All Ye Fair and Tender Maidens, through gospel, Let Me Fly, Respite for my Soul country Dolly Did Ya, and a trademark touch of vaudevillian silliness in Nellie the Nudist Queen. The arrangements - mostly by Judy - are precise and elegant without detracting from emotion and intent of the song - the song remains the main focus. Each voice is beautifully balanced and I particularly enjoyed the handful of solo songs as we tend to focus on the Poms outstanding harmony singing and forget that they are all very fine solo singers. If I have a criticism, it is the Poms' tendency to be a touch theatrical in approach, however this is also what makes the Poms distinctive in our Folk scene. I do however believe this theatricality works better live than on recorded material. If you never miss a Poms performance you will be totally captivated and completely pleased with this recording You may purchase a copy of this CD via: www.tradandnow.com Poms from Oz website: www.pomsfromoz.com
Review - Lonnie Martin I love a live recording. I enjoy being part of an experience and being taken for a journey with a performer and with their audience. Live at the Irish Club from Brisbane band, Murphy's Pigs, gives me that sense of "being there" and the immediacy that I love. If you harbour a secret love of Irish pub bands you will be delighted with this CD. Tracks like Fiddlers Green, Black Velvet Band, The Rare Old Times, Rare Old Mountain Dew, Leaving of Liverpool, evoke pub bands of old. This is an utterly charming recording. It is an unashamed romp, without pretensions or affectation. There are moments of brilliance (a wonderful piper and flautist and the viola under some really lovely vocals), and moments of ouch (some of the harmonies and a few not quite in tune bits), but what one really hears and remembers is joy - the band is obviously having such a grand time and the audience is so involved that the listener is swept away. This is a pub band having a great night. If I have any criticism, it is that some of the chatter between songs is obviously in house jokes and as such a little off putting to some one who is new to the band. I absolutely enjoyed this recording, warts and all, and heartily recommend a listen. Email to obtain a copy: or phone - John 0438-866-478 or Peter 0410-499-773 [top]
Review - Lonnie Martin Firstly, in reviewing this album, I must admit to being a little out of my depth - not being an aficionado of purely instrumental music. However the more I listened, the more I had to say about this first recording from two of our local scene's finest young performers. So I hope you will forgive my lack of technical expertise. George Jackson and Davydd McDonald have produced an album that absolutely screams potential. The album contains mostly original tunes with varied instrumentation that are deeply rooted in our traditions and forms, as well as some twists on traditional tunes that led me to re-examine the old in the light of the new. I expected to hear beautiful fiddle and guitar work but was surprised by equally fine banjo (from George) and flute (Beth McCracken) as well as some clever use of vocals. I was astounded at the creativity and innate joy on this recording and thoroughly enjoyed all tracks. The CD attempts to use their shared Celtic backgrounds as well as their New Zealand and Australian cultural backgrounds and influences to create a distinctive sound. This synergy is nowhere more apparent than in the Song of the Tui (a solo fiddle piece that evokes NZ and the beautiful bird) and the treatment of the traditional Dinky's Reel (using banjo and guitar). From the more traditional sounding Euphoria and Foolish Epiphanies to the sultry Spinning Her, (which is my favourite track, an evocative piece using subtle vocals to underpin the harmony), funky Death Metal, the jazz influenced variations on Not So (E)tholl Highlanders, to the more percussive Trading Set and the whimsical Granpa Dickson Set, surprises await at every turn. The production is clean and uses simple effects that enhance the work rather than overpower - the tune itself remains the focus. Occasionally I felt there was a tendency to be a bit self indulgent, however the incredibly high standard of musicianship and equally high level of empathy in the recording makes it difficult for me to find fault. The CD itself is well presented - though the font is a wee bit small for my aging eyes - grand photos and charming notes on the tunes. This is undoubtedly only the beginning from this talented pairing and I, for one, can't wait to hear what they will grace us with next. You can now purchase a copy of this CD via: www.tradandnow.com
By David De Santi The Wongawilli band, based in the Illawarra, has been promoting, preserving and performing a rich tradition of Australia folk music, song and dance since 1987. Over the past twenty-one years, Wongawilli have re-energised the old songs and tunes of the Australian settlers and continue to re-invigorate the tradition with new tunes and songs. In recent years the band has performed internationally, throughout China, Denmark, Sweden, Finland, Germany and New Zealand. At home in Australia, Wongawilli has also been performing to acclaim at folk festivals including Woodford, Port Fairy, Illawarra, Victor Harbour and has now performed a phenomenal 18 times at the National Folk Festival in Canberra. The band was in Europe once again in July and performed in Berlin, Denmark, Scotland and north England. The band name was inspired by the heritage coal mining village of Wongawilli which is at the foot of the Illawarra escarpment, south-west of Wollongong, NSW. The village has a community hall at which the band members still play for a weekly bush dance. The band has 7 recordings to its credit including the newest selection - Australia Street. The previous song based recording was Live at the Local in 1999 so it's been awhile! Australia Streets are scattered across the cities, suburbs and towns of Australia. In them generations of Australians have made their homes, expressing their sense of who they are and where they come from. The songs and tunes on this new recording form part of a folk music tradition now part of that expression. The recording includes 18 tracks with 4 instrumental medleys. The songs range from an arrangement of Waltzing Matilda using the Marie Cowan / Buderim Queensland and Craigielee March tunes to new songs about coal mining, beer, trains, the environment and migrants. There are also new songs and tunes found in the depths of the National Library of Australia that have not been heard for 50 years. You can buy this CD online from www.illawarrafolkclub.org.au/store, www.tradandnow.com,
or www.folktrax.com
STOCKADE’S Common Man Review by Julie Minto Stockade is Chuck Euston on vocals, mandolin, slide guitar and guitar; his wife Chris on vocals, harmonica, accordion, & mandolin and their son Ben on percussion. They are joined by the talented Geoff Carwardine on vocals and bass guitar. The instrumental skill of these musicians is a standout feature of the CD, and the members of the band performing backing vocals in tight harmony also creates a significant part of Stockade’s sound. Chris’s wailing harmonica sets the mood with the up tempo opening track by asking you to Enjoy The Ride. It is a nice ride full of witty observations on life but never dwelling on the pessimistic side for too long. Although the album has an upbeat mostly positive theme, the lyrics are cleverly crafted and pack a punch. There is quite a green flavour to many of the tracks such as Geoff’s contemplative Antarctica and also the witty Its All About the Money and Clean Green Line, which ask us to think about what we are doing to the environment. Its All about the Money and the almost zydeco sounding Public Liability cover the subject of man's greed and the problems it creates. In contrast the aptly named Café Columbus has that cruisy sitting in a café feel complemented by the lovely smooth and mellow tones of Chuck’s vocals. This is a quintessentially Australian folk album which includes an ode to Ned Kelly in Mother Kelly’s Son. This is one of the few songs I have heard that does not grant Ned hero status but rather touches on a fatalistic view of his life and the choices he made. As said in the line, Live by the gun die by the gun. This is certainly a different approach to Ned Kelly's life than that taken by other song writers. The ballad Western Plains is a beautiful melodic waltz. It is wistfully sung by Chris and is about moving to a dry and arid region of Australia to follow the man you love. Ah…a bit of romance never goes astray! Indigenous clap sticks and didgeridoo feature on Out Of The Dreaming which travels again to the Western Plains. The ghostly Min Min lights are a part of the Australian local folklore. The final and title track of the album is the up lifting anthem-like Common Man, which brings a feeling of completeness to the end of the album. We’re all together and on the same page - you can’t help but join in and sing along with this one! CD or booking info: call Chuck & Chris on 07-3829-9724 or
Havona Shores Belle Époque Ensemble by John Holmberg What do you get when you cross Bella Fleck with a Frenchman who has Gypsy-swing and ragtime running through his veins? You get Jean-marc Andres and his Belle Époque Ensemble. A couple years ago I reviewed Andres' first CD Lucettina in these pages, and his new CD Havona Shores is a very nice follow-on from this first unusual and eye-opening CD. Andres is a masterful banjo player using the melodic three-finger style to bring his compositions to life. Belle Époque Ensemble is a tight string-swing and ragtime band featuring violin, guitar, upright bass and mandolin. Their engaging sounds are somehow very Gallic although they are principally American genres and do evoke an earlier epoch. This CD has a great variety of song styles, from (by Andres’ description): klezmer waltz, to slow ragtime, to latin jazz, to easy blues, to a shuffle and a boogie to a couple swing barn-burners. He has a great feel for syncopated tunes, but many of the tunes on this CD are slower or moderate tempo (several waltzes) with richly-ornate melodies. He does write lovely melodies and there are nice violin, accordina (a wind instrument played like a harmonica but with an accordion keyboard), guitar and mandolin solos to add variety to the banjo lead. Andres has had an interesting life in music, having toured the USA with his band Transatlantic ending up playing in Woodstock New York for several years. He then lived in Florida and the Caribbean performing in local acoustic bands before moving back to France to form Belle Époque. His ensemble music does have a transatlantic feel, having elements of musette and gypsy music as well as Yankee swing and ragtime. Very interesting listening, and it just may let you see the banjo in a new light :-) You can check out Andres and Belle Epoque Ensemble (and arrange
to buy a CD) at www.cdbaby.com/jeanmarc It’s
a big wide-world of music out there and Andres takes you on an interesting
journey through genre time and space. Check it out for some different and
delightful tunes played by a corker of a string band.
Soul Stories and WiseWays Native songs and stories presented by Denise Miller Review by Anne Infante Denise Miller is a superb story teller. She recently toured Australia and totally charmed the Kookaburra Folk Club audience with her wondrous renditions of Native American and Inuit tales, using her Living Drum to illustrate and underline as she drummed out heartbeats, Coyote lolloping along and the rhythms of her ceremonial songs. Soul Stories and Wise Ways is an absolute delight for anyone with an interest in traditional folk tales, myths and legends. Denise opens as she begins all her sessions, with the Cherokee Blessing Song Windayaho. Then she weaves her magic in the stories of First Man and First Woman, a Cherokee legend which reminds us to forgive conflicts in relationships; Skeleton Woman, and Inuit legend of the renewal of love and trust; Tashunka Whitco, a true Lakota history which tells of the boyhood vision of their great leader (known to the West as Crazy Horse) and his determination to help his people and The Breath of Love, an emotional and tender folk tale of the acceptance of love –reminiscent of The Taming of the Shrew. Denise closes with a Lakota ceremonial song The Gratitude Song then reprises Windayaho, this time as a live concert recording. Denise’s skill as a teller of tales makes her performance totally absorbing. Her Native North American and Celtic ancestry gives her an inherited feel for the language and drama of the stories she presents; stories that teach, heal, guide, advise, empower and, of course, amuse and entertain. Soul Stories and Wise Ways is available from Denise Miller: Web: www.SwanSong.ca & Email: Denise@SwanSong.ca
by Robin Etter-Cleave A review by Mary Brettell Beautiful, mellow, soothing music, by one of the best flute players I have had the good fortune to hear. This is how I would describe the first CD by Brisbane’s own Robin Etter-Cleave (she was born in Canada but we now claim her). The CD is called Notes From Squire Street, the street she grew up on. It is a CD to put on and chill out with - pour yourself a nice glass of wine, get comfortable, close your eyes and listen as her fingers glide smoothly or dance dexterously over the keys to produce beautiful sounds. This CD has been a long time coming for Robin but it was well worth the wait. It is a collection of songs that have influenced her and her flute playing throughout her musical career. Some talented musicians accompany her including Brian Brett (guitar), Steve Stiller (percussion) and Ian Evans (bass guitar), who with Robin are collectively known as Silken Thomas playing, primarily, Irish music. Other very fine musicians on this CD are Briony Luttrell (cello), Richard Farmer (guitar), Elise Crawford (piano) and Guy Bursle (cello). Robin plays alto flute, C flute and has previously played as a studio musician on CDs, including Anne Infante’s Love Is A Circle and Mark Davidson’s Laughter In the Clay. She not only plays beautifully, she passes on her knowledge through teaching. Find out more about Robin, her music and hear samples from
the CD on her website at www.altoflute.com.au
Rosella Red by Chris While Review by Ray Downes Australian folk and roots music devotees will be familiar with the warmth and power of Chris’s live performance through her many visits to this country with Julie Matthews. Of the ten tracks on this solo album, eight are Chris’s own compositions. Chris has a great love of the Australian landscape and people and has appropriately titled her solo cd Rosella Red which has a splendid cover painting by Jill Swarbrick-Banks. Two of the songs relate to her Australian experiences. There’s a superb arrangement of Michael Kennedy’s composition, Pennyweight Hill concerning the cemetery near Castlemaine where 200 children lie who died in the severe conditions during the 1850s Goldrush. Safe in Your Arms is a gentle song concerning Chris flying to Australia and leaving a loved one behind and contains some perceptive lines like to rest in the glow of Australian smiles and the horizon would glow with rosella red. She has gathered about her some talented musicians. I particularly like the sound of the cello from Emma Capp on a couple of the tracks and the string arrangements from producer and good mate Joe Broughton which doesn’t intrude on the stunning vocals to which daughter Kellie adds some top harmony. Chris excels when she is delivering biting, bluesy lyrics and her composition Walking in My Shoes is the perfect song to demonstrate her skills. There are a number of songs of relationships, some with interestingly mysterious themes such as When I Watch You Sleep. You Didn’t Think It Through Did You is just so well written and has such general appeal it deserves daytime radio play. My favourite track on the album is Falling Ashes a song about her hometown of Barrow in Furness that vividly relates the story of the shipyards demise and the resident’s pride enabling the town to recover. Joni Mitchell’s song, Both Sides Now has been covered by many singers and Chris is up there with the best of them with her interpretation with minimal instrumentation and her voice well forward in the mix. There’s been a ten year wait for this superbly crafted solo album
from one of England’s finest female singers. It comes highly recommended.
Available from Amazon UK for 9 quid plus postage. Fat
Cat Records FATCD020
Review by Andrea Baldwin Russian Doll is the latest creation of Stephanie Barros-Lees of Moot (Brazilian-flavoured folk-jazz) and maudlin (ambient-industrial trip-hop) fame. With such a diverse range of musical interests, it's not surprising that this offering from Pear and the Awkward Orchestra is tricky to define, genre-wise. Steph's jazz roots are showing, but each song is an intriguing journey which yields more surprises the more times you listen. Travelling in Circles moves like a dream carousel - slightly warped, slightly out of control, a touch psychedelic. Steph's vocal virtuosity, from sweet high gasps to sudden low rasps, enhances the fairground feel, backed by autumnal bassoon and clarinet, and sassy percussion. Noah's Song is lyrically simple but musically ironic, the understated choppy acoustic guitar laying down a bumpy bed for laid-back slow-jazz vocals and cool harmonies. Steph's tonal creativity impresses anew in Light of Love. Old Friend pulls off the remarkable trick of telling a familiar story (a woman recovering from broken love) in myriad subtle shades of mood and feeling, ultimately proving that the story is always unique to the teller. Tingly percussion and harmonics introduce Small Things, another delicately introspective exploration of mood. Fallen Woman pushes further into the territory of soundscape - slow, smooth, mesmeric jazz vocals dancing a tango with the electric guitar, sometimes gliding in perfect unison, sometimes confronting each other before slowly stepping back into the groove. Beautifully produced; vocally and musically elegant, complex and satisfying. To obtain a copy of Russian Doll call Steph on 0431 185 086
by The Slimy Brothers Review by Lonnie Martin For the uninitiated, The Slimy Brothers (Mick O’Halloran & Ross Roache) are to contemporary folk music what The Castle is to contemporary Australian film. Filled with laconic and understated humour, this recording captures images and stories familiar to many of us. I love live recordings for their honesty, immediacy and what the performance tells us about the artists, and this recording is no exception. The recording catches the feeling of the concerts and the audience response confirms the authenticity and humour of the stories. These original songs demonstrate a great affection for the foibles of our existence as well as considerable songwriting ability. These songs are sharp and funny and delivered with considerable charm by Mick and Ross Roache. I wish there had been some stage chatter left in the recording because having seen the Slimys live that is also an endearing part of their performances. The vocals are clean and sweet throughout with an emphasis on the storytelling. There is great vocal compatibility and a comfort in the instrumentation which speaks of long association and empathy. Particular favourite songs of mine are One Rissole or Two, Our Song, My Religious Song, and Surrey Hills Again. If I have a complaint, it's that similar arrangements through the album make it a bit same-y, though I concede that with a duo this is difficult to avoid. Slightly out of tune instruments mostly add to the ambience but occasionally irritate. It is an affectionate and sardonic observation of Australian suburban life worthy of admittance to the pool room. To pick up your copy call Mick on 02-6688-0178
by The Pirate Brides CD review by John Thompson The latest Pirate Brides album is a delight. Broken Hearts Ride Free follows on from their earlier releases Cutlass Wedding and Walking the Planxty and represents a delicious development in the sound, confidence and style of this stand-out Queensland four-piece. There's been something of a resurgence of the old-timey feel on the Australian acoustic music scene in the last few years, with acts such as The Horse's Leotard, Bluegrassy Knoll and Dev'lish Mary appearing in the Southern states. While The Pirate Brides play similar material, they bring a confidence and comparatively laid-back feel to their work that is both soothing and very, very sweet to the ear. The Pirate Brides cover some classic material on this album, from Gillian Welch's Back to Wichita to Paul Kelly's Song of the Old Rake. All four members of the band comfortably master the instrumental demands of their old-timey/bluegrass/swing material, but it is vocally that the Pirate Brides really excel. Their harmonies are perfectly structured and beautifully executed, with gorgeous interweaving lines and a great tonal cohesion. The band is not afraid to stretch their sound, with harmonies on the Ryk Rostron original, Jenny being reminiscent of This Guy by The Beatles. The lead vocals are handled well by John Holmberg and Ryk Rostron, but it is when the harmonies kick in on the choruses, that the Brides make you sit up and smile, with Rose Broe and the addition of the band's new bass-player, Markus Karlsen filling out the sound magnificently. (Markus also adds some particularly good bass lines on Blue Train and Jenny.) Papa's on the Housetop perfectly represents the tight harmonies, quirky interpretation and overall sweet satisfaction of the Pirate Brides sound. I did feel that a couple of tracks might benefit from a little more compression to bring the voices to the fore, and the inclusion of track times on the sleeve notes would have been useful, but these minor production issues don't stop this from being a great album. All in all, Broken Hearts Ride Free (the title comes from the chorus of Dave Allan's Blue Train) is a great selection of songs, sung with skill, enthusiasm and a consistently high level of musicality. There is a sense of fun evident in the selection and performance of these songs and tunes that I just love. This is a joyful, exciting, well-produced album from a world-class local band. 2007, independent release, www.piratebrides.com
CD review by Anne Infante Lonnie really wanted her CD reviewed by someone who didn't know her and was therefore unbiased. As such a person would be almost impossible to find, I was delighted to be asked instead. I should confess up-front that I am a died-in-the-wool Lonnie Martin fan and totally biased – sorry, Lonnie - but surely it would be impossible for anyone not to be captivated by A Moving Hand. Lonnie's extraordinary, beautiful voice is powerful and compelling and strikes to the very soul. She is a superb performer and A Moving Hand is a superb CD – Lonnie at her best - sad, thought-provoking, touching, funny, inspiring and – moving. All my favourite Lonnie songs are here: Sleepless Sailor, Black Muddy River, Peg and Awl, Cobweb of Dreams, Lies, I Can't Stand Up Alone and Lifeline (Harriet Tubman). Add to these Canaan's Land, Geraldine and Ruthie May, Dillard Chandler and So Say the Vikings and you have a wonderfully comprehensive collection of her songs. She has also gathered together the cream of the folk family to add their incomparable talents to hers. Helen Rowe, Ros Roche and Rhys Owen provide most of the stunning backing vocals that complement and enhance with tight, spine-tingling harmonies. Other vocals come from Cloudstreet (John Thompson and Nicole Murray) and Pirate Brides (Rose Broe, John Holmberg, Ryk Rostron and Michael Tully). Rhys Owen provides additional guitar; Helen Rowe, viola and fiddle; Ryk Rostron, guitar and mandolin; Don Jarmey, guitar and octave mandolin; Bec Wright, cello; Rose Broe, accordion; Michael Tully, bass; John Holmberg, banjo; Jamie Caulfield, fiddle and Matt Kealley, percussion. The arrangements are excellent and Cloudstreet, Jigger and Pirate Brides provide three of these. The CD was sensitively recorded and engineered by Mark Smith (Real Productions) and Martin Pearson provided the artwork and cover design, thus completing the who's who? of folk involved in this wondrous production. Thanks to Lonnie for finally getting around to recording this CD and giving us the very great pleasure of having it to listen to for many years to come. I love it! A Moving Hand is available from Lonnie by or at her performances.
CD review by Mary Brettell When asked to review Cascades by Paris Dreaming (Ewan Mackenzie & Kay Sullivan), I just wanted to say … mmmm, I love it, I love it, I love it, I love it… but I guess you might want to know why. It’s just a feeling, really. If you have ever seen Ewan and Kay live and loved them, as I do, you will not be disappointed in their latest CD of beautiful gypsy jazz style music, including several original tracks. The sound is entrancing. At times you can imagine yourself sitting in a French café sipping a glass of red and watching the passing trade. At other times you will close your eyes and hear the water trickling in the nearby creek, dancing over stones on the creek bed. Ewan’s wonderful guitar work can not be surpassed and Kay’s passion for the music and mastery of the accordion is the perfect complement. This pair just blend. As I listen to it I can see Ewan’s rapt smile and Kay’s twinkling eyes in an otherwise serene expression (under that red cap). The tracks reflect the settings in which they were rehearsed, including The Cascades of Borumba Deer Park, on the banks of Yabba Creek. Always with that Django Reinhardt influence shining through, the mood is relaxed, mellow, light-hearted, romantic, warm and always very, very tasty. If you need a CD that will make you feel all of these things then this is just what the doctor ordered. 15 tracks of pure bliss. Cascades is available at www.parisdreaming.com.au or call Ewan 0419 680 356
Tom Bolton (Sensible Tom) a review by Anne Infante Tom released close
to the river, a 4-track CD of songs from his new album when
I cross the river, as a preview (reviewed in the November
2007 Folk Rag) – now finally the full album has been completed
- and is predictably enjoyable.
Available from
www.sensibletom.com
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Way Above Here  What struck me most about this recording was the high
production values and Lance’s excellent musicianship. An album filled
with guitar virtuosity, (he sings lead and most harmonies and he plays
guitar lead and rhythm, bass, mandolin, ukulele and resophonic guitar),
slick arrangements and all original songs, Lance shows himself to be a
gifted singer songwriter and a fine example of the caliber of acoustic
music in the Queensland scene. For my folkiefied ears – the album feels more suited to the modern country music scene, but the more I listened the more I liked the songs. Strong personal lyrics coupled with good melodic lines with tasteful harmonies are to be savoured regardless of genre. A feature of the album is the use of resophonic guitar (especially on Hole), and some very tasty mandolin. I wish the voices were further forward in the mix and I would have preferred less drums – but that’s my folk ears (and prejudices) showing I fear. The title track is my favourite with a catchychorus and a beguiling lyric life can only get better, it always works out that way and the obligatory train song Sound of the Train is also noteworthy for its catchy chorus and lead guitar. Little Out of Love features the mandolin and the ukulele and great harmonies. Somewhere in Between is a haunting yearning love song that I could hear myself singing. Way Above Here is certainly a worthy listen, especially for guitar aficionados and those interested in original, contemporary acoustic based music with heart. For more information see www.myspace.com/lancegalloway
Lonnie Martin
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Acoustic Caravan by Tom Bolton
(Sensible Tom) South East Queenslanders had the pleasure of meeting Tom during his recent (June/July 2007) northern tour, so have already heard and enjoyed his work. He won the hearts of his audiences with his gentle, quirky style of presentation and his offering of wonderful original music. Tom is a gifted song maker and Acoustic Caravan shines with the skilfully constructed rhymes, rhythms and tunes that we have come to expect from this talented modern minstrel. In Acoustic Caravan Tom has created a strongly rhythmic, beautiful blending of vocals (Tom, Min Flipo and Peter Haydon). In addition to their backing vocals, Min and Peter’s lovely percussion work underlines, lifts and enhances Tom’s appealing, honest, sometimes emotionally raw, always thought-provoking musings. … damaged by my own defences … stranded and disordered, aching to cross over, shaking from hunger, chasing the wonder, lost on the border of love …(from track 8 – Border of Love) Tom’s powerful lyrics come from the heart and are thoughtful, expressive, philosophical and poetic … he invites us on a journey through his exploration of life, love, loss and all the questions we wish we could answer as we travel though our own lives ... How much red in crimson rose? How much ice in a lonely soul? Where is love when it goes? The only answer – who knows? (from track 6 - Who Knows) Acoustic Caravan – 11 compelling tracks from a seriously talented musician, beautifully engineered by Peter Haydon at The Songsmith studio. Available from Trad and Now: www.tradandnow.com/shopping/ More info about Tom at www.sensibletom.com
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by Anne Infante The Honey Eaters (Clytie Binder and Roo
Friend) are fine musicians with impeccable credentials. Although new
to the Brisbane folk family, they are seasoned performers in other configurations
with other players. Six Songs in a word? Charming!
Six Songs is available from The Honey Eaters – Web: www.honeyeaters.com Phone: (Roo) 07 3391 1514 - or at their performances. The Honey Eaters will be the guest act at the Kookaburra Café on October 10, 2007 – see Kookaburra Folk, this edition. [top]
I love a new CD, especially one with songs I already know & love. But it’s a risk, that first listen, hoping they haven’t gone wild in the studio, bending songs into unrecognizable shapes. Sometimes I listen to a CD once & never again. I first listened to this one four times over, and after a month I still listen to it twice in a row because of its entrancing, evocative sensitivity. Since he started singing again after a 25 year hiatus, Tony Eardley has crafted a handful of exceptional songs, recorded here for the first time. Some are already performance favourites: the nostalgic reverie of Portugal Beach; the refreshing honesty of Footsteps on an Empty Road; and the astute observation of Before The City Wakes - a tribute to a woman of the streets. There are a few carefully selected covers, by luminary songwriters Nick Drake, Jackson C Frank, and Ian Telfer. As a mark of a gifted songwriter, these don’t stand out from Tony’s originals. There are also two songs originally composed for other groups: Come Away With Me, a lover’s lament, for Ecopella, and Taken, a powerful call for justice, written for Touchwood. The standout offering is Water From The Well, an anthem of creative perseverance. Its lyrics deliver a potent wake-up call about living each day to its fullest - an important teaching for all of us who make music as part of living a full, fragile life. Tony’s sometimes reserved vocal delivery has real warmth and brightness of tone in this recording. The arrangements, recorded with musicians of the highest calibre, are delightfully tasteful and blend seamlessly - remarkable given the different instruments involved. The whirling & weaving harmonies are particularly poignant and clear (including those of our own Helen Rowe), and there are lots of singalong options for the resolute folkie. Generally, I recommend seeing a performer live before buying a recording, but in this case the CD’s quality stands alone. I recommend you buy it right now (www.tonyeardley.com) and follow the trajectory of another important artist on our Australian (folk) music desire-line. Maree Robertson, Tasty Music Australia [top]
by Gibb Todd, Windaroo August 2007 Sharon Shannon’s new release RENEGADE is her first studio album since 2003. She is joined by Michael McGoldrick on flute and whistles, Dezi Donnelly on fiddle and Sharon’s longtime guitarist Jim Murray, and has a guest list that includes Justin Adams, John Reynolds, 2Play, Roachie, saxman Richie Buckley and Donald Shaw. RENEGADE, a heady mix of traditional Irish with hip-hop beats, reggae, jazz and world music inflections, features new original material by the quartet and will be featured in their September-October tour of Australia and New Zealand. Fellow musician and touring performer Gibb Todd gave it the thumbs-up. The definition of renegade as given in Chambers Encyclopaedic Dictionary; A person who deserts religious/political group etc. to which they belong, to join enemy/rival group. Laying that definition onto the musical world from which this band comes, they have not so much joined a enemy/rival group as to have re-defined the tradition to which they belong, in a glorious, riotous celebration of their roots, and created a musical vision all of their own. Listening to this CD it's hard for me to believe that it's a studio recording, their enjoyment of the shared experience of playing together is almost palpable. It feels and sounds like an almighty session, and they are no strangers to almighty sessions! I've known this band as members of other ensembles over the past 10 yrs or so, and have always been a huge fan of each of them, but this combo. just takes the cake. I heard and experienced them last year on their first Australian tour together, at the Brisbane Irish Centre. After listening to many great bands over the past 45 yrs (even considering my advancing senility) I can't remember feeling so lifted and exhilarated by a live musical experience, as much as this one did, and I have to say the Renegade CD endorses everything I remember. Finally, I was knocked out by the debut vocal excursions of Michael McGoldrick and Jim Murray, but then I ask myself, why am I surprised with anything they do? Makes me wonder what is next - just how much better it can get than this! Don't miss them, if you do you'll be sorry. [top]
and other enchanted tales by Jenni Cargill-Strong Review by Andrea Baldwin Of course there's only one way to review a CD of stories for 4-9 year old children - play it to kids! I put The Mermaid's Shoes on (so to speak) in the car, heading up to The Planting at Woodford, and sat back to hear the reactions of my eight year old son and seven year old daughter. Hands-down favourite was Two Russian Goats, the character voices for which are provided by the storyteller's own adorable three and six year old children. This is a delightful bringing to life of the old adage about the grass being greener on the other side of the fence - or, in this case, valley. Other special mentions included The Mermaid's Shoes, an original story set in Byron Bay; The Rat, a traditional Chinese allegory about being happy with who you are; and The Seal and the Baby, a lovely selky-tale in the Irish tradition. Jenni tells a story with clarity and conviction, and the enchantment is enhanced by accompaniment on traditional instruments - lyre, harp, zyladrum, darabouka, djembe, tabla and cavaquinho, to name a few. This classy production by The Story Tree Company will be enjoyed by kids and adults alike. The cover notes point out that there are no scary stories here, just beautiful ones - so if you want to gift a very young person with some happy magic, this might be just the present you're looking for. Contact: The Story Tree Company [top]
Mary Brettell needs no introduction to Brisbane audiences. She is an outstanding performer with a lovely, expressive, strong voice and an enviable repertoire of songs which cross many different styles and genres from traditional and contemporary folk through country and bluegrass to raunchy 1920's classics. Mary B, her debut album (and about time, too!) is a comprehensive, delightful and true musical portrait of Mary, containing a popular selection of the songs she sings so well to which she gives her own special interpretation. MaryB opens with a simple a cappella rendition of Convict Maid, attributed to Mary Reibey (whose portrait adorns the Australian $20 note), then swings into Ray C Abbott's And When They Dance. The Australian theme continueswith Brisbane Ladies (also known as Augathella Station – apparently from the imagination of Bert Lloyd who changed the song to make it more colourful.) Mary has created her own hybrid by returning to the original Saul Mendelssohn version and adding a chorus which is a truer interpretation of the better known chorus usually attached to this song. She follows this with Banjo Patterson's Clancy of the Overflow, set to music by the band Wallace and Matilda. The beautiful Dancing at Whitsun (written by Austin John Marshall) refers to the Morris dancers who dance in the English springtime each May and is a lament for the lives of the men lost in battle. Mary's perceptive treatment is superbly backed by Helen Rowe's lovely viola. The country girl in Mary breaks out in Buffy Sainte-Marie's I'm Gonna Be A Country Girl Again - we've sung this as a duo since the 1970s and I was delighted to be asked to join her on the CD – followed by Emmy Lou Harris's Boulder to Birmingham which Mary sings with warm compassion. Cars are also represented – and why not? – by Tiffany Eckhardt's wonderfully nostalgic Toyota Corolla and Jeremy Taylor's Red Velvet Steering Wheel Cover Driver. Tony Miles' Comfortable Screw is a favourite of Mary's and her version is from a recording that Tony taped for her one night in a local folk club. Mary completes her musical portrait with two ‘musts' – Long Playing Daddy by Ruth Wallis, American's Queen of Bawdy Ballads and Woman Be Wise written by Sippy Wallace in the 1920s – wonderful songs and very Mary B. The finished recording, produced by Mark Smith of Real Productions, is stylish, sensitive, uncluttered and professional – an eclectic collection from an exceptional performer. Backing vocals are by Anne Infante and Helen Rowe. Guitars by Mary, Rhys Owen and Michael Flanders. The cover design and graphics are by Mary. MaryB is available from Mary Brettell: www.brettell.com.au [top]
For Cloudstreet fans who miss John and Nicole when they are off touring the UK and other far-flung Corners of the Commonwealth (there was even a reputed Cloudstreet sighting in a back-alley pub in Hong Kong a couple years ago), here is a live CD that takes you along - without your having to take out a second mortgage on your banjo to pay Qantas. Clouds on the Road was recorded in various concerts in NZ and back in Oz while touring early this year. There is something elemental about these two in concert: much of their warmth and wit, charm and chops come through in this well recorded live. One thing that struck me after listening to these 14 tracks was the wonderful variety and uniqueness of good folk music, well arranged and well performed. There’s not a thematically or musically formulaic song on the list! Among the unique gems is The Wooden Spoon penned by Nicole. It was written for her mother who marked important family occasions with loving gastronomic creations. It is both very personal and vividly picturesque, all served up with John’s rhythmic guitar. Nicole’s Violet Sarah again has vivid word pictures that in this case made this blue-water sailor want to switch to a canal boat and the close waters and cosy companionship of the British canals. Several of the songs are done as a’ capella duets where John and Nicole really shine. These are interesting - sometimes unusual - harmonic lines that come together and resonate. I really like that! (happened to me once) Additionally there are tasty bits of Nicole’s flute and whistle (and yes she is still beating on her signature cardboard box…not a Fosterphone but equally emblematic) and John’s guitar and concertina. The on-stage repartee between songs is classic Cloudstreet and another reason why a live album suits them. They are joined on a few numbers by their Big Band: Rebecca Wright (cello and vocals) and Belinda Ford (fiddle, flute and vocals). The clever covers on the album are by a broad range of rascals and iconoclasts from Henry Lawson to Tom Waits, and from Tom Paxton to Ewan MacColl. Many of the songs were chosen with a fine ear for lyrical twists and delights, wit and humour. In John’s The Van Song he spruiks the glories of their old Renault 1.4 van that they must sell but also say a tearful goodbye to at the end of a UK tour. There are many clever words, harmonies and tuneful bits to savour on Clouds on the Road so y’all go out and get a copy. Visit: www.cloudstreet.org [top] Blokes Sound Off ~ Bloke'apella
One of the highlights of this year’s National Folk Festival was watching the rest of Australia discover Queensland’s own Bloke’apella. By the festival’s end you had to be early to get into their packed out venues - even earlier if you wanted to sit down - and their CDs quickly sold out leaving them copying more on computer and putting them together at their concerts! Bloke’apella consists of four blokes – Mark Cronin, Darren Cheasley, Mark Shortis and Simon Wells who perform, as their name suggests, a cappella (literally in church style.) The blokes have a full, rich sound with tight harmonies and will not be fitted into a convenient niche for anybody. They are equally happy singing gospel, mediaeval and traditional Irish and European music as covering Billy Joel or Alex Campbell or writing their own merciless parodies or frighteningly short versions of popular folk songs. Blokes Sound Off opens with a little insane philosophy in Been Glad To Know You then swings into Billy Joel’s The Longest Time (lead vocal by the sweet - voiced Darren Cheasley). Just when you thought you were in fairly safe territory, the blokes launch into The Russian Song, a soul-stirring, deeply meaningful (possibly) song in which nearly every word is Russian – but don’t worry, you’ll understand it all perfectly. Lola is the next to receive special treatment; Bloke’apella acknowledges Swan Arcade for this version. The blokes’ harmonious rendition of Qual Si Pud Dir’Maggiore by Monteverdi is lovely. Stuck On You reveals the blokes’ sensitive if frustrated side and is followed by the dark, moody, morbid, self-pitying Nobody. Bad Verse unashamedly makes a sow’s ear out of a silk purse (Mad World). The final track, The Parting Glass is beautifully delivered with all the moving simplicity of this traditional leave-taking Irish traditional song. BlokesSound Off is available from the blokes: Simon Wellsor phone him on 0408 762 473. [top]
Review by Anne Infante Mark Davidson needs no introduction to Brisbane folkies. Laughter In The Clay is his long-awaited debut solo album and it’s a sheer delight – gentle listening; wondrous pictures in rhyme; lilting, lovely tunes - exactly what we expect from this multi-talented performer and songmaker. Mark writes strongly appealing songs about real people and places, involving us in his life’s experiences which mirror so many of our own. His music charms, lifts or soothes with its peaceful images (Dancing Down the Isle of Skye), its playful creativity (Pasta Banquet Blues), its heart-tugging remembrances of lost friends (Mr Arthur, Jean d’Lyons) and of family legends and laughter (Apple Cake Rag, Little Girl Dancer, June’s Gift). Devotees of Mark’s music (and there are many) will discover old favourites (Dance Time Susan) as well as lesser-known treasures waiting to be enjoyed (Ahoy Watchman!, Laughter in the Clay, With the Wind – lyrics by Paul Sherman). As well as lead vocals, Mark plays lead and rhythm guitars and many of Brisbane’s talented folk family have added their outstanding talents. Support vocals are by Ross Roache, Rose Broe and David Logan and Maxine Chisholm joins Mark singing lead vocals on Jean d’Lyons. Rose Broe also plays piano accordion and keyboards; Paul Cannon contributes mandolin, guitar and tenor banjo; Michael Tully is on bass; Matt Kealley, percussion; Steven Lake, fiddle; Robin Etter-Cleave, whistle; David Logan, lead electric guitar. Laughter In The Clay is yet another excellent production from the incomparable Mark Smith’s Real Productions studio, mixed by Dave Neal at The Refinery. And once again, Mary Brettell’s fine hand is seen in the excellent cover design, layout, artwork and photography. Laughter In The Clay is available from Mark Davidson: ---o0o--- review from Lonnie Martin I have been hearing the music of Mark Davidson in various incarnations since I became involved in the Brisbane folk scene some 20 and more years ago. So, it was with great delight and not small expectations that I jumped at the chance to review this CD. I was not disappointed. Every song an original (lyrics included) – range from whimsical, gentle humour, (Pasta Banquet Blues and Apple cake Rag) through nostalgia, (Danctime Susan) to history, (With the Wind), to the personal, (June’s Gift and Mr. Arthur), and world issues, (Ahoy Watchman). I especially enjoyed the Brisbane references – it’s gratifying to hear songs about the familiar places in our lives. Mark is supported by some of our scenes’ finest musicians - Ross Roache, Rose Broe, Michael Tully, Matt Kealley, Davy Logan, Paul Cannon, Steven Lake, Robin Etter-Cleave and Maxine Chisholm. I particularly enjoyed Ross Roache‘s support vocals – the vocal blend between them, is a delight to hear. It was a pleasure to hear Maxine Chisholm’s voice on Jean d’Lyons, as I have very pleasant memories of Mark and Maxine performing together as Tapestry. Davy Logan’s electric guitar on Ahoy Watchman is another highlight, as are Rose Broe’s keyboards throughout. Filled with beautifully arranged, finely crafted songs, and very high production values, (Mark Smith’s Real Productions, of course, and Mary Brettell’s superb cover design) this recording is a delight for those of us who know Mark’s work, and it will be a revelation to those who are, as yet, unfamiliar. This album is truly an enjoyable and pleasant listen. Contact: Mark Davidson Websitefor copies of his CD So lovely to be able to say nice things about an album that is filled with friends and fine music. [top] MARTIN'S BAR - Pantastic - a review by Andrea Baldwin Defn: "Steel drum" - take percussive
instrument without permission. Seriously, DID YOU KNOW they are not steel drums, they are steel pans. From the 1940s, steel pans were made in Trinidad from oil cans abandoned during WWII. You cut off the skirt (ooh la la!) and sink the metal, before creating and tuning the notes with hammers, punches and magnets. Also FYI, steel pans are not classified as drums - they are struck idiophones: instruments which create sound primarily by way of the instrument's own vibrations, without strings or membranes. The evolution of the steel pan, and its role in converting street fights among rival gangs into the musical extravaganza of Carnival, makes a fascinating read - www.toucans.net and www.nalis.gov.tt/carnival What, you ask, has inspired all this net-surfing for obscure and fascinating facts? Answer: Martin's Bar - the new CD from steelpan ensemble Pantastic. From five players in early 1998, Pantastic has grown into a ten-piece band, with instruments like triple cellos, double guitar and tenor bass. Working with Lennox Madman Jordan, a second generation Trinidadian steelband arranger, maker and tuner, the band has produced a diverse CD featuring well-known tunes, original songs, and calypso classics. Martin's Bar, Maracas Lime, and Your Place Naturally! have that cheerful, laid-back, tropical feel we associate with steel bands, while Samba D'Orfeo, Mi Paramour, Pantastic Parang, and Nature Boy, combine Caribbean and Latin influences. Caravan evokes the Arabian Nights, the thrumming steelpans lending an anarchic, dangerous edge. I enjoyed the melancholy feel of Carnival Done Gone, and had a laugh at the calypso take on Over the Rainbow. The standout tune for me though - introduced so delicately, then rocked up into a syncopated joyous dance number - is the classic, Amazing Grace. A nice party CD. [top]
CD Review by Anne Infante Dreams of Flying is a double CD album – 23 tracks - unusual for a debut recording. Dave Burton comes from a rock/gospel background and, while this certainly influences his writing, his songs often tend towards complex jazz/blues rhythms, as well as leaving the odd echo of country/bluegrass. Dreams of Flying stylishly blends guitar, bass, violin, piano, saxophones (tenor and soprano), flute, bodhran, drums/ percussion and backing vocals from a team of Dave’s friends and fellow musicians who work together in the band Dreams of Flying which gave the album its name. Dave’s songs come from his personal experience and observation of life’s many situations and dramas. Born in Gympie, he moved to Brisbane in 1967 but left again for North Queensland. He spent time in Victoria and London, returning to Brisbane in 2003. He is a prolific songwriter with a natural talent for expressive, descriptive poetry and his songs demand your attention, empathy and compassion; they draw the listener into Dave’s world with no equivocation or apology for the offering of his experiences, warts and all. Brisbane seems to draw to itself excellent singer/songwriters and Dave is a welcome addition to our folk family. His songs are sophisticated, his lyrics powerful and profound, his tunes strongly melodic and his rhythms appealing and diverse. This is excellent late-night listening music and was beautifully recorded and engineered with Marly Luske at Alchemix Studios, Woolloongabba, Brisbane. Dreams of Flying is available from Dave:
phone – 07 3870 3019, mobile – 0400 127 218 -
[top]
review by Dale Jacobsen After many years performing in the music scene, and appearing as backing musician on various albums, John Wright has finally stepped to the fore and produced Industrial Strength with fellow musician Steve Lake. In what has ended up an extended Demo of six tracks, the pair (who perform as Ironstone) cover a wide range of styles from traditional Celtic to Celtic/rock. I was completely won over by their treatment of the Scottish Rosslyn Castle. With imaginative ornamentation, Steve takes the air and bends the notes and timing to make it his own. Those who know John's finger-style guitar playing will appreciate the subtle backing here – it's what he does best – sometimes echoing the melody, sometimes providing a counter-melody. It's a nice change to have two male voices singing in harmony, as John and Steve do on Better be Home Soon, and in North Sea Holes, they capture the excitement that is expected from any performance of this MacColl evergreen. Not quite sure what to make of the final track, which intermingles Lord Mayo with one of John's originals: Ballina. Rock? It takes me back, I'm just not quite sure where to; however, it is a very interesting treatment of Celtic and Rock. Vocally, John is strongest when performing his own work. The Chance contains such poetry: We took a chance in the still of the night, to open like a flower to the sun... Our wings slowly dry as we stretch our legs, in the warm light of love's early rays... with sensitive fiddle supplied by Steve. As for me, I wait for the CD that features John's originals. He is such a talented songwriter. In the meantime, I play Industrial Strength, and swoon over the sensitive tracks and tap my foot to the driving reels. A terrific recording by Pix Studios of two guys who blend so well together. Available for $15 by : [top]
John Colville - The Best View of Australia by Julie McGonigal
At first glance, the cover of John Colville’s
new CD appeared to be an outback airstrip seen from the cockpit of a light
aircraft. I was swiftly informed, and realised almost at the same moment, that
it was actually an outback road viewed from the windscreen of a truck. In any
case, The Best View of Australia is exactly that – a wide-screen
view of Australian bush and rural life captured in song.
John brings an easy style to this unashamedly country album. He has a lyrical voice that you’d call gentle rather than strong, but has the knack of injecting sincerity and passion into the songs (and you can hear every word). His selection of material is predominantly contemporary, from the pens of some of Australia’s best writers, with a couple of traditional bush songs added into the mix. Three tracks written by the late Tony Miles sit very comfortably beside songs by Aussie writers Ted Egan, Eric Bogle and John Williamson. Tony’s songs deserve a high profile – as Brisbane folkies will loudly proclaim. The Best View of Australia paints a varied picture of life in the bush, from the hopeful mother waiting for the return of her children (When the Children Come Home by Henry Lawson, sung to Tom Blackman’s Waltz) to the desperation of a cockie forced to sell the family farm when it became financially unviable (Leaving the Land). It’s not all doom and gloom, however, not by a long shot. I’ve seen the greatest country underneath the southern skies, wrote Tony Miles in the title track of this CD, a long-distance truckies’ opinion that he has just the best job. In another of Tony’s songs, Pineapple Pie, a warm Caribbean feel brings to life the joys of tropical Queensland. Continuing the Queensland promotion, John has included a fresh interpretation of Chris Buch’s well-known Johnny Stewart, Drover. The tree-change exodus currently sweeping the country is evident in John’s selection of Tony’s Getting Away From It All; the lure of the bush is strong in Mulga Fever and A Bushman Can’t Survive (on city lights); while the secret of happiness is revealed in Stan Coster’s Catching Yellowbelly (in the muddy old Barcoo). The final track is an old bush standard, Billy of Tea. There is a personal connection here for John, originally from Dundee in Scotland - the delightful tune for this song is a waltz-time version of the well-known Bonnie Dundee. John presents a far more colourful rendition from the norm by using the B part of the original tune for the chorus. I'd always thought there should be more to Billy of Tea than just the 16-bar tune! Having made the tree-change himself a few years ago, John has first-hand knowledge of the benefits of moving from the city to the bush, and this is more than evident in his choice of material. John is an accomplished accordionist, having played Scottish dance music both in Scotland and in Australia for many years. On this CD he draws on his multi-instrumental skills, backing his songs with accordion, harmonica, tin whistle, lagerphone and vocal harmonies. Recorded at Marc and Vicki Lea’s Regency Sound Studio in south-east Queensland’s Lockyer Valley, this CD boasts an excellent standard of production, mixing and musical arrangement. Marc provides guitar, bass, drums, harmonica and vocal harmonies, as well as engineering the album. The Best View of Australia has a gentle, easy-to-listen-to
feel, and should find a place in your New Year's collection!
[top]
MOOT - Dead Fly
Brisbane based folk/jazz quartet Moot - Steph
Lees, vocals and guitar; Josh Hatcher, tenor sax, flute and vocals; Helena
Redmond, cello and Dave Bell, percussion - have released their
first recording. A seven track EP of poetic original songs, called Dead
Fly.
This clean recording features Steph’s extraordinarily brave vocal style coupled with clever arrangements and outstanding instrumental performances. The recording has a distinctive jazz sensibility and the silky laid back feel of a dimly lit coffee house. The soulful sax and moody cello emphasize this sensual quality underpinned by subtle percussion. The lyrics are sophisticated and expressed with passion. The standout feature of the recording is Steph’s vocal performance. Her technique allows her to tonally match the sax, flute or cello effortlessly. Reminiscent of Bjerk, she is unafraid of using all the tones she is capable of producing; even sounding ugly if that is what the lyric and feel requires. All the arrangements and the instrumental performances serve the song rather than being clever or flashy for their own sake. If I have one growl about this CD it is with the levels in the mix. Backing vocals are sometimes louder than the lead, occasionally the cello or the percussion is so far back in the mix it seems they are in another room. My other growl is a small cosmetic consideration – without looking up the website I would have had no clue about who played what or the full names of any of the members of the band due to the complete lack of information on the CD itself. I recommend having a listen to this idiosyncratic and entertaining CD and enjoy a look into a passionate moot world. Dead Fly is available from Moot – who will be playing at the Folkies Old and New Concert on the 24th of February [see Article] – or from their website www.myspace.com/mootlings Lonnie Martin [top]
The Selkies By Anne Infante The Selkies are Andrea Baldwin and Karina Berry. Making Waves is their debut CD, an attractive mix of traditional, contemporary and Andrea's original songs with an underlying flavour of the ocean - as you'd expect. The songs mostly seem to have been chosen for their lovely melodies, enhanced by The Selkies intricate harmonies and the gentle, minimal use of instruments: Andrea on guitar and percussion and Karina on accordion. Of the songs: Quare Bungle Rye, General Taylor and Yeller Girls are not usually 'womens' songs so the Selkies' treatment gives them a new feel. Other traditional songs are My Johnny (the shoemaker who went to sea); As Thou Were a beautiful, 17th century Scottish air and John Hamilton the frivolous tale of a rogue who made a strange wager and won the money and the girl - just through singing! Andrea is already a noted songwriter with her own CD on the market. Her contributions to Making Waves are the delightful Jeremy Kelly about the inevitable consequences of falling in love; Donal O'Donal a brisk catalogue of reasons why not to fall in love (the girl obviously does, though); My Mother Said based on the children's skipping rhyme, carried to the natural conclusion of what can happen when you do play with the gypsies in the wood; The Selkie, a lovely seal skin/soul skin ballad based on the haunting film The Secret of Roan Innish and Women Do a darkly honest look at how men and women handle conflict. This delightful mix is nicely rounded off with Alistair Hewlett's empathetic Drinking Man's Wife; Dorothy Hewitt's sensitive love poem Cock Of The Morning (tune by Karina's dad Bill Berry); Spinning Wheel (John Francis Waller) and Barbara Fordham's tender Foolish Woman. Making Waves was engineered by Mark Smith at Real Productions. The graphic design is by Mary Brettell, and Ian Redpath and Christine Jones supplied the photography. Making Waves is available from The Goodwills - Loungeroom Legends
Calm Blue Ocean: a delightful metaphor for making a sea change and letting go of life's stresses for a less secure existence - if we can bring ourselves to take the plunge. Crossroads of Love: Looking for Directions and the Meaning Of Love and generally getting in everyone's way while struggling with endless possibilities. Impressions of New Zealand: A lovely, poignant song about Bob's mum - a strong, courageous woman determined to make a go of life in a strange country, and create a favourable impression, whatever the disappointments and set-backs. Women of the West: The touching GE Evans poem (music by Sandy Whybird) about pioneer women bearing their troubles and desperate isolation with fortitude and grace. Tapestry provides spine-tingling backing vocals. Little Deeds: Sometimes our indiscretions come back to haunt us. A brilliant exposition about the outcome of a forgotten night of passion. Bob swears it's just a story. She's Apples: Nature knows how to produce wonderful fruit, in the right season, without our interference. Crisp, organic and clean. Small Frog Song: The appalling consequences of mistaking a little green tree frog for a cane toad and forgetting your dog's 'cane toad-in-the-yard' bark and the dreadful guilt that a nature-lover suffers as a result. A very funny song with a very serious message. (The poodle stars in the second verse.) Think Outside the Square: How to succeed (or not) in the corporate world. Put on your lateral thinking cap and you'll go anywhere! Featuring Laurel's kazoobugle rendition of Bye-Bye Blackbird. At the Dentist: Philosophical and perspicacious observations while in the dreaded chair. If anyone can lighten the experience of a visit to the dentist, Bob can! Sit Right Down (and write myself a letter): I always loved this song (I don't mind showing my age). This rendition is in a smooth, swinging style with Silas Palmer's wonderful honky-tonk piano delightfully partnering Laurel's kazoobugle solo. (Poor) Wayfaring Stranger: A popular traditional song in a smooth swinging style. Un Canadien Errant (The Rambling Canadian): Laurel's lovely version in French of this poignant song of a French Canadian banished from his homeland in the 1830s by the British for insurrection. As he sits by the seashore, he begs the water to flow to Canada and remember him to his friends. StealAway: Tapestry superbly renders this lovely old spiritual. Courting the Net: Classic Goodwills! The perceptive, funny/sad story of a woman losing her lover to the enticements of the Net. Bob's wonderful humour is at its best here. PoliticalScience: USA songwriter Randy Newman's whimsical suggestion on how to deal with the vexed question of that country's friends and foes. Definitely politically incorrect! IrishBlessing: Tapestry has the final word on the CD with the familiar Irish blessing for good fortune on the road. Beautiful. Anne Infante CDs can be ordered from the Goodwills at P.O. Box 264, Maleny 4552 or via the website:
www.thegoodwills.com
See advertisement for launch dates and venues.
[top] Penny Davies and Roger Ilott - BIG WATER
There are surprises on this album - including a Procul Harem cover of "The Angler" (G.Brooker) and a very Byrd's arrangement of "Turn! Turn! Turn!" (Ecclesiastes/P.Seeger). This 1970's folk rock sound carries over onto other tracks and in my opinion, gives a dated feel rather than a modern punch to some of the arrangements. This is an enchanting CD filled with their trademark clean tight vocals, excellent musicianship and high production values. Well worth the listen and guaranteed not to sit on the shelf gathering dust! Lonnie Martin
For more information: [top] Pirate Brides - Cutlass Wedding
[top] Shawn Riley's CD - The Whistling Gypsy Review by Caroline Williams Some of us were fortunate to catch a taste of Shawn Riley at a 2005 Folk Rag fundraising house concert at KTB's. Subsequently, witness I was to the initial his shy and intimate CD launch in May at the Irish Club .... Shawn is into playing music, singing, arts, a recent digital photography exhibition .... and cycling! T A L E N-T!!! To boot, this sensitive young lad gives amazingly grounded folkie hugs. Shawn has self recorded and produced his CD, including an intricately detailed CD cover artwork, descriptions and lyrics booklet. The many instruments which Shawn played include recorders (tenor, alto and soprano), guitar, bass, synthesizer and, of course, vocals. Part 1 includes folk songs and traditional tunes, collected from sessions, tune books and the likes of Clannad, Planxty and The Fureys. Part 2 provides us with a sample of Shawn's own self penned tunes and lyrics Diamantina Drover has been recorded with multi-tracked vocals. I especially appreciated the slow airs. Shawn's sense of fun and adventure is explored with his accelerated speed of a few. A dash and splash of Ger Fennelly's Irish voice introduces the mystical sounds of the air, The Lonesome Boatman For the tunes, I would only play down the guitar and invite sharing around the essence of other folk instruments and performers. Having said this, with the talents of this lad and capabilities of learning new instruments, watch out, he may challenge himself to learn bagpipes! Shawn can be seen busking at flea markets and in the Queen Street Mall, and playing at the Irish Club, O'Malley's and Dooleys. The good and bad news is that he is seriously saving to travel to Ireland in the near future. Will Brisbane have what it takes to attract him back home? [top] Jack Mancor debut CD Looking For Something... Review by Matthew Hirtes @ musicshopper.com,
June 04/2006
[top] CD: Wild Spirit - from Johnny Langford & the Undefeated
For more info see: Johnny Langford And The Undefeated [top]
website:
www.sheepdogmusic.com [top] Touchwood: Between two doors (Fra Due Porte)
Kate Andrews, Terry Clinton and Christina Mimmocchi who make up the Sydney based singing group Touchwood have only one Italian speaker in their midst, but that did not stop them recording a CD in Italian language. And it's a ripper. I believe the project concept began at a Folk Alliance convention when Kate was listening to a session conducted by the then curator of Oral History and Folklore at The National Library, Mark Cranfield. Mark was talking about the vastness of the collections and how easy it is to access them. The group were already aware of some collected Italian material and in her rational way Kate decided as the group already had one Italian speaker the other two (including herself) could sing in the language. As one of the Library's folklore collectors I have long been aware of the effect of 'cultural lag' retaining traditions in Australia (through isolation) whilst the same material has been 'lost' in the 'home country'. We collectors have thoroughly enjoyed going into various ethnic communities and recording their music and life stories. Touchwood have taken the time to listen to many of these songs, make their own interpretations and arrangements of the music and record their exciting CD Between Two Doors. Tony Colla, Domenico, Valentino and Lucia De Bortoli, Joe and Antonia Canto, Alf Buffon and Elio Rigo are but a few who have contributed their songs. The arrangements and harmonies that Touchwood perform are in my mind superb, giving the already vibrant songs a further lift. The group play a variety of instruments including guitar, ukulele, clarinet, vihuela and percussion and so complementing their vocal talents. The traditional songs' topics range from love to roosters and pipe smoking. Touchwood took time to research the field recordings of Italian performers in situ at the National Library. Well done Touchwood, you have taken the initiative and recorded a very listenable and musically interesting CD. One does not have to speak Italian to enjoy this recording as the tunes and happiness of the songs speak for themselves. Rob Willis [top] White Street by Chloe Hall
White Street is available from Shock Records Australia: www.shock.com.au Anne Infante
[top] WOMEN IN DOCS - LIFE IS "RED WINE AND POSTCARDS"
It's hard not to love women in docs. If they haven't already caught you in their web of fans, their new album, "red wine and postcards", will trap you with Roz and Chanel's delightfully effortless, yet powerful command over songwriting, with a dash of their ever present sense of energy and exuberance. Contact: Web: www.womenindocs.com 0408 730 551 (roz) / 0414 538 448 (chanel) [top] Rebecca Wright - All I See
There are 10 originals on this album, and each one of them stands as a tribute to her ever-increasing finesse as a songwriter. Rebecca is still so young - and yet she has developed her craft with care and acuity. She is committed to such a high level of honest introspection, it's sometimes hard to believe she's just barely out of her teens! Her lyrics are delightfully understated, and remind me of the best of James Keelaghan's dextrous word-patternings. So the first thing I would say is: if you are interested to see the future direction and potential of our youngest folk singer-songwriters, Rebecca's CD is a great example. The production of this recording is also a pleasure to observe. Rebecca holds true to her authentically Australian accent, and has clearly chosen, bravely, to please herself in her arrangements. With the generous, spirited help of Gary Ward and Mark "Sparky" Partridge, Rebecca has presented us with versions of her original repertoire in very different permutations than her live audiences will be used to hearing. Most of this is due to her new-found plaything..... "the band". The good news is, anyone going to the National this year will get to see Rebecca perform with this most lovely band (with Gary Ward on bass, and Jay Bishoff on guitar). There are two covers on this album - February by Dar Williams, and By Way of Sorrow by Julie Miller. The most honest thing I can say about these versions is: I knew, and loved, the originals of both these songs before I heard Rebecca sing them. Now, her versions are my favourites. I only have one criticism of this album. Some of it feels a bit rushed in tempo - but I suspect that's because in live performance, Rebecca is so grounded and solid, and maybe having the full band treatment has given her a little heady momentum. Which only means that you lucky folks who'll get to see her at the National will already get to hear the band versions before you take your CD home..... and I hope you will J Maree Robertson [top] Le Minibus The first CD release from eclectic band Le Minibus, from Newcastle, NSW. Music from the Balkans and Greece, the occasional klezmer tune, an American fiddle tune, and several French songs, are all stirred into the pot of this musical melange. The band's recipe, from the CD liner: "Take a bunch of musos of suspicious origins, make them listen to their grandparents' vinyl collection, add a trailer-load of instruments, (or anything that makes noise), stir well, do not add spices (too much already), and put a good dance floor under audience's feet - and what do you get - TAH DAH (trumpet call) - Le Minibus!!" This is a band, that as they imply, love to play live to an audience that's up for a dance, and in this they excel, producing good time dance music with swing and drive. Well known standards such as Bei mir bist du schön or Jesse James are mixed with the occasional original tune. There are three Greek tunes and a couple of Macedonian ones in the selection here, and for me the French songs featuring Bobby Pâquet are among the album's strongest arrangements. Dianne Lenham's clarinet and sax work adds extra zest to the balkan and klezmer tunes in particular, and Sonya Manzalini's percussion underpins these very danceable beats. Recommended, for both listening and dancing. Le Minibus are: John Papanis (vocals, guitar, slide, banjo, bouzouki); Dianne Lenham (clarinet, saxophone, recorder); Su Morley (vocals, fiddle, piano accordion); Sonya Manzalini (drums, percussion, zaghareet; Bobby Pâquet (vocals, guitar); David Morley (double bass, backing vocals). review by Malcolm Fielding [top] Ernie Gruner & Phil Carroll - Bohemian Nights This is lively passionate gypsy music to dance away your troubles by; played on abrasive fiddle and wheezy piano accordion. Bohemian Nights is reminiscent of Hungarian goulash, red wine, French bread, Gitanes cigarettes and sensuous painted ladies from the thirties. It is recorded mostly live; thirty-one full-blooded numbers of familiar old Bohemian songs and animated dance tunes, sung and played by two masters of the trade, Ernie Gruner and Phil Carroll, who as a duo call themselves Bohemian Nights. It goes on for seventy minutes. What a find for a theme party! Imagine the smoke haze of a workers' café in Paris between the wars; cares forgotten as men with slicked back hair whirl shady ladies around a dimly lit dance floor to tangos and waltzes. The frenzy of swivelling hips and slinky shoulders, the highs and lows of passion; the wild and exotic; a little yearning, a little joy, a little laughter; the theatrical and sensual; the dark and melancholy; the nostalgia of familiar old tunes that include well-known standards such as Dark Eyes, Padam Padam, Funiculi Funicula, Jealousy, Istanbul and Moscow Nights; tunes that might once have been recorded on seventy-eights or for old black and white movies. While most other titles are foreign to me the names don't matter because all the tunes sound familiar and are in the same gypsy style. Still, they represent a wide ranging repertoire from many different cultures: French, Italian, Russian, Hungarian, Turkish, Greek, Argentinean and Jewish, as befits the eclectic gypsies, or Bohemians. Highlights include: several atmospheric medleys representing different cultural styles; in particular the Russian medley that starts with Katyusha and as the momentum picks up blends into Moscow Nights; and Yuksek, Yuksek, a haunting instrumental featuring the Duduk, a traditional Armenian flute played by Phil Carroll. review by Jan Forbes for indie-cds.com 2005 [top] Mandy Breeze & Doug Kelly - Simple Folk Doug Kelly has been around the Australian music scene for years in a variety of bands. I first heard him playing with Tansey's Fancy years ago, and he's played with Sirocco and several other well known bands. His latest project is a back to the roots duo with NSW folk singer Mandy Breeze, who has a wonderful voice, and Doug's instrumental arrangements complement this well. Doug Kelly and Mandy Breeze have put together a very listenable CD of traditional folk songs, which manages that subtle trick of revisiting tried and trusted material and getting a result that sounds fresh and brings with it the individual artists approach. From the artists' website - "SIMPLE FOLK was inspired by reading about the tremendous struggles of the past from the viewpoint of the ordinary person. So much of history is written from the point of view of the aristocracy, the landed and powerful gentry, or the church. So very little recounts the experiences of the small, the powerless and the humble. When we finally did access authentic documentation relating to the many, the history was mostly collective - things like expected lifespan (woefully low!) parish taxation records and general diet. As the facts started to fall into some semblance of order the overwhelming feeling we had was to admire these people, for if life seems difficult at times for us, those difficulties are dwarfed by the burdens our ancestors bore. Doug and myself (Mandy) would discuss these issues long into the night, trying to imagine ourselves in their position, and tap into the emotions they might have felt. We found ourselves trawling through our favourite folk ballads, trying to 'marry' them to different times and different people groups. All of these songs are traditional, written by an unknown person (we call him Mr. Trad Anon) with the exception of track 4. Fogtown is a modern song written by an American woman, Michelle Shocked. We included this one song because its lyrics depict the modern urban struggle, sort of linking the past with the present. We completed the CD with a traditional Australian sea shanty, more recently used as a children's lullaby - Little Fishy. This beautiful song seemed so fitting as a closing number, and its haunting reprise of "Go home and don't cry" seemed so very right and in context." [top] HWYL - Yours musically with marimbas Yours musically with marimbas is the second solo album from Melbourne musician John Francis, performing as HWYL (which can be a solo act or band with a variety of members). This double album released in late 2005 is a very contemporary set of pieces, some purely instrumental, and some songs, with one studio album plus the bonus of a live performance CD. The mood of the pieces on CD one varies from fairly mellow and laid back groove based numbers, Hiraeth (I will wait for you) for example, to the Afro-beat style Over the river which sounds very Zimbabwean in feel. In fact there is no mbira on the album, but you imagine you hear it in this cut. The vocal tracks, several co-written by Francis & one of the two female vocal leads used on the CD, the singer Emily White, are strong. White features on What the doctor ordered which has a very dancy rock/funk beat. Quest starts off with a new age feel then reminds me in the vocal section of Massive Attack in their more laid back mood, which is partly down to style and partly the voice of Shakira Searle. The song Children have a voice has the potential to become something of an anthem given the right exposure. HWYL, as an ensemble, draws on the talents of a number of players, and there are guest spots by several fine musicians on this CD, adding colour to multitrack work by Francis himself who contributes a large variety of instrumental performances. Francis plays a variety of percussion as well as the core marimbas which are the feature of the CD, and he adds a variety of keyboard types. Other players include Emilie Ash, Russell Bratton, Rob Law, Nathan Farelly, Geraint Seren, Holly Forster, Kate Gordon. CD two in the set is different in that it is all a duo performance of Francis on marimba with percussionist Geraint Seren. This will please the percussion purist, is and works in it's own terms, though stylistically doesn't have the variety of the studio CD. The CD release is in association with the Starlight Children's Foundation. Indie-CDs.com - the independent music specialist Main site: Web page for retail and wholesale CD sales, webradio, reviews, info, links Indie-CDs is also on Amazon.co.uk at www.amazon.co.uk/shops/indie-cds Mail address 85 Oakford's Road, Wattle Grove, Tasmania, 7109, Australia ph. 03 6295 0735 fax. 03 6295 0835 mobile 0418 147134 [top] Steve Vella: Somewhere Here is a man and his guitar with his soul laid bare. Steve Vella has a husky voice that gets the high notes; low key, laid back singing accompanied by rhythmic melodic tunes. Steve's songs are about the simple truths of a humble and honest man and they tug at the heartstrings every time I hear them. Steve is a talented singer-songwriter and guitarist who's been doing the pub circuit in Victoria and NSW. He brought out this, his first CD, at the request of friends and supporters. The sound recording is as crisp and clear as crystal. The ballads are of travel and the sea, of setting off and getting free, of being at one with him self and with life; of overcoming and breaking through. Steve is a poet like Leonard Cohen or Bob Dylan, and yet he's of this time and this place; with a style, message and images of his own creation. The harmonious backing vocals and solid melodic bass are by Liz Frenchman, best known for her work with Jigzag, acclaimed on the international circuit and performers at most major Australian folk festivals. In track 2, Bless This Day, Steve sings "I'd put down my guitar/If the choice was one of two/No song could ever be worth/Losing you"; and from the way he's caressing it the listener is left in no doubt how much this man loves his guitar; the effect, deeply moving. In track 9, , Steve in seeking to inspire someone to fly higher sings, "The wounds will heal again you'll laugh/And see the mirror turn to glass"; a powerful image of transformation. When I first heard this CD I felt myself resisting it. I didn't realise how much Steve was pulling at my heartstrings and that I wasn't sure I wanted to go along for the ride, to let myself be carried along by the powerful feelings that awakened when I allowed myself to open up to the man and his music and allowed myself to be touched and moved by his songs. review by Jan Forbes for indie-cds.com 2005 Steve's website [top] Soleluna: Sephardic Fusion The songs on this CD are sung in Ladino, the language of a Jewish people without a homeland, who were expelled from Spain in 1492 and fled to the Ottoman Empire . The result is a compilation with an Eastern flavour originating from countries like Bulgaria , the Balkans, Greece , Turkey and the Middle East . Some of Melbourne 's finest folk musicians play songs about fate and longing, heaven and earth, the sun and the moon; it's the sort of music that gets into your blood and warms your soul.. Sephardic Fusion introduces a blend of cultures: Spanish, Turkish, Greek and Hebrew. The sound is tantalisingly familiar and yet I'd never quite heard any of these versions before. Deep guttural lead vocals are by Sarah Mandie who has a special interest in Jewish music. Sarah chose most of the work herself. Some of the instruments are presumably traditional for Sephardic Jews although clearly poetic licence is also at play. The musical talent brought in by Sarah includes some of Melbourne's finest improvisers: Harry Williamson (guitar, piano, dulcimer) who arranged most of the music and is noted for his collaborations with Anthony Phillips from Genesis and Sting; Ernie Gruner (violin, viola, mandolin); Kate Neal (recorder, backing vocals); Martin Mackerras (clarinet, backing vocals); Tunji Beier (two drums of Persian origin, the zarb and tavil). Track 2, Durme, Durme, is a lullaby where voice harmonises with recorder lamenting the fate of the people of Zion : 'My wings have been clipped and my voice has been silenced'. Track 7, La Sirena, has a medieval sounding rhythm where the drums in the background are like rumbling thunder, as Sarah sings: 'Yet into the sea I will throw myself if the sirens call me.' The last track, called Morenica Sos goes 'Your blood is so sweet it enters my soul'- the sweet resonant music of the hammer dulcimer, or cimbalom, from the Balkans, ending the CD on a high point . - review by Jan Forbes for indie-cds.com 2005. Ernie Website [top] Like Jacaranda - Alan Mackey - www.alanmackey.com.au Part Celtic folk, part Nashville, a dram of Gram, a pint of Lindisfarne. Alan has waited 24 years to make his second album. Like Jacaranda is his blossoming. Focussed in content and cohesive in production, this CD is the album Alan had to make. Backing vocalists Ryk, Helen and Mark drip class into the grooves and the musicians work with love, care and panache. Producer Mark Lea has brilliantly captured the intimacy of Alan's voice, so that the tales the songs tell are coherent and moving. Alan has written all the songs on the CD, and they are drawn from a lifetime of experience. Standouts are Gypsy Wind, Lady in the Window, Elenore and, my favourite, Like Shakespeare Said - but there's lots more. A finely crafted album. Ewan Mackenzie [top] Blind Contour - Jamie Clark - Email Jamie the perfectionist brings us his nearness to perfection - none of us attain it - and bloody close it is too. From the opening Little Girl with Mower to the closer Let the Mermaids Play with Me, a Mississippi John Hurt tune featuring the only recorded Jamie vocal, this album is a celebration of acoustic roots guitar. Doc Watson, Norman Blake and Clarence White are watching on, and for those guitarists out there it's intimidatingly good! Leah Cotterell sings a tale of friendship lost in What a Friend I Had in You, another reason this CD belongs in all our collections. Ewan Mackenzie [top] Songs without Words - Mark Shortis The thing about someone who does comedy in public, and does it well, is that a serious album like this is unexpected and seemingly out of character. So it is with our man Marko, he of the funny faces and the politically satirical bent. He's made a BEAUTIFUL well played, well recorded CD of SERIOUS music - and it's excellent. It will captivate classical music fans and entrance folkies, and those of us to whom three chords is more than enough! The suite Songs Without Words evokes moods and memories galore. Simon
Monsour's production is clean and simple, and brings out the
warmth of acoustic instruments to perfection. Intricate, intriguing,
intimate. Marko where can we get this? Contact: or call 07 3217 2328 Ewan Mackenzie [top] Lucettina: Jean-Marc Andres Review by John Holmberg A banjo CD...Now before you indignantly turn the page, hear me out. Frenchman, Jean-Marc Andres plays masterful, melodic-finger-style, 5-string banjo. His Belle Époque Ensemble (Violin, piano, accordion, cello, bass and mandolin) gives a swinging setting for Andres melodic flights. The tunes cover many syncopated genres from ragtime to Gypsy jazz, with a bit of western swing, melodic 3-finger bluegrass, period waltzes and polka along the way. All are composed and arranged by Jean-Marc, a fine tunesmith. Jean-Marc has lived in New York, Florida and the Caribbean, as well as France, so the eclectic mix comes naturally (and musically informed). There are some swinging romps you will want to try to play along with (like 1924) if you have any inclinations toward string-swing. There is some very tasty swing fiddle throughout the CD and teasing bits of accordion and mandolin. These are good players who sound like they are having a good time in the studio. There is a definite "period feel" to many of the tunes, but with a contemporary vitality and accessibility. I did get a bit antsy during the second half of the CD. I would have liked a bit more playing by the other fine musicians in the Ensemble...I mean, you can never have too much banjo, but...:-) I have not checked local availability of the CD but you can Google Jean-Marc Andres with good links to web CD sellers. So get a copy, light up a Galloise, sit back with your feet up on the red-velvet Ottoman, pour yourself a cognac and enjoy. John Holmberg [top] Walking This Land - Noel Gardner Noel Gardner's been singing his songs around southeast Queensland and beyond for quite a few years. I first remember hearing him in the late 1980s, and being inspired and delighted by his issues-based songs. Since then, Noel has continued to write and perform and has made 2 'solo' CDs - Justice and Pride around 1997 and the EP Fraser in 2000. There have been rumours for a few years about the next CD, and at last here it is. Aptly titled Walking This Land, it takes us on a journey through geographical, personal, and political landscapes in contemporary Australia in songs that are characterized by thoughtful and evocative lyrics, and singable melodies and choruses. Central to Noel's music is how he writes about land. Like a painter he draws lines on a page, but the lines are words, and the colours and textures are the melodies, rhythms and musical arrangements of the songs. He takes us to familiar places, e.g. Stradbroke Island in the opening track Bare Dunes, and Fraser in Sunset Symphony a welcome reprise from the 2000 recording. In Walking This Land and In The Forest on the other hand, we experience very clearly the Noel's skill in writing from his own experience in a way that invites us into our own. Then, before we get too comfortable there, he brings us face to face with the challenge of walking in the history and footsteps of this land and the traditional owners, as the basis for making our own connections. Whispering Wind, for instance, begins with images of moonlight on granite boulders, then moves into the chorus - "Rivers of blood cross the lowlands". The rhythm here is also wonderfully disconcerting, especially given that the song is about seeking balance and equilibrium! It's a short distance from this sort of territory to Stolen Children, Refugee, and Reflections of War, with their references to contemporary and timeless concerns. Noel's songs have received wider recognition recently with Stolen Children having won this year's Australian Songwriters Association award for best lyrics and Reflections of War making it into the top 20. Last year Refugee was placed second in the Acoustic category. And hot off the presses is the news is that Happy Song has just got through to the top 5 shortlist in the 2005 MusicOz Awards Folk Category, with the winner to be announced in early December (Won last year, incidentally, by the wonderful Blackwood from Victoria). Happy Song continues in political territory, but with the ironic humour that is always part of Noel's live performances. Not quite so successful in this regard is One Equals Three which isn't strong enough lyrically to convince with its story, and for me, sits somewhat uneasily with the rest of the songs. I always think of Noel's songs as being built around his singing and guitar playing and that he holds his own comfortably as a soloist. When I've seen him perform in the last few years, he's generally been accompanied by Jennie Finnigan and Alex Bridge doing great backing vocals that give an extra dimension to the songs. But what are recordings for, except to give yourself a chance to do your dream versions of songs? So Noel has invited a great bunch of singers and instrumentalists to join him on the CD, enough to create a choir and orchestra if they were all performing together - which they don't - and to blow out the length of this review if I named them all. The success of the arrangements is that all these musicians make their unique contributions to the songs without overpowering Noel's voice and words. Instrumentally I especially enjoyed David Goldsworthy on uillean pipes for Sunset Symphony, Dave Burrows on dobro for Whispering Winds, and Linsey Pollak on clarinet for Refugee. Jennie and Alex do a consistently sensitive and polished job on the backing harmonies. The guest appearances of the other members of Maleny's famous Work in Progress is an added bonus, while Tommy Leonard and Lonnie Martin are just right for Humpback Whale, along with marine guest vocalist. Amidst all this collaboration, Noel's singing alone with piano as the main backing for Child's World sits very well. Along with Photos and Memories it was written for his sons. I'm sure that both songs will resonate with parents and any of us who are privileged to have children play an important part in our lives. Peter Gardner was in fact the sound engineer and co-producer for the CD, and he and his brothers all perform on it as well. On a couple of occasions there were songs where I felt that the words could have been edited to sit more comfortably in the structure of the melody, notably In The Forest and Whispering Winds. However, this didn't stop me from liking the songs. The same can be said of the cover and booklet design which has some great photos, an original drawing, several versions of Noels guitar case, a quote from Margaret Mead, and a couple of background images that overpower the written words. Could just be an opportunity to listen harder. This CD is a great marker of Noel's musical journey, a timely reflection on the current social and political climate, and a warm addition to a music collection. For information on how to get hold of it, you can go to Noels website www.noelgardner.com. Ann Bermingham [top] Dance Each Moment - Sean O'Brien 
a review by Steve Burgess I have followed Sean's music with interest for quite a few years, and I think that this latest CD from him represents an important move in the live performance of traditional Irish dance music. It sits solidly within the confines of the absolutely rigid tradition of tempo, rhythm, melodic line, structure and numbers of bars demanded by the world of competitive Irish dance. It is music designed to be played absolutely live with a few musicians in close rhythmical connection with the dancers that they are accompanying - absolutely ultra-traditional in all these respects. However, it shifts the early 20th century musette accordion and piano sound normally associated with this type of music 60 years towards the present with the melodic and rhythmic content of the tunes themselves, and the rhythmic and harmonic complexities of the keyboard accompaniment. This would be an unusual type of CD for most listeners. Its primary purpose is for dancers to practice to when they don't have access to live musicians. For a start, the tunes are arranged in order of which type of dance they were written for. I say written, because every tune on the CD bar 5 traditional set dances was composed specifically for this purpose. I counted 41 original tunes in all. The tunes push the boundaries of what a traditional melody is. Great! This is how new things happen. The accompaniments push the boundaries of what a keyboard accompaniment of a traditional melody should sound like. Great! I hope some of these ideas stick in the way that other people play and accompany tunes. Although still relatively young, Sean has a unique background that gives him considerable authority in experimenting with the boundaries of this type of music. A world class competitive dancer himself, he was a long time member of Riverdance, as a dancer, trainer and musician (keyboard). For at least the last five years he has been in demand all over the world as a solo accordion player playing for feis (dancing competitions) as well as working with contemporary folk bands. When you add the contemporary musical influences of being a teenager in Queensland in the 90's and playing and writing pop music in the UK in recent years you start to get an insight into Sean's music. I haven't danced to the sets on this CD, but I'm sure that they would all work well for their intended purpose. In fact, I think that some of these tunes don't sound complete without the sound of hard shoes dancing to them. When I listen to the accordion I hear more Bill Whelan and Sharon Shannon than Jimmy Shand. When I listen to the accompaniment I hear more Michael O'Suileabhain, Elton John and Stevie Wonder than ceilidh band piano. My favourite tune at the moment is The broken jig, mainly because the piano accompaniment reminds me of Philip Aaberg and Michael O'Suileabhain, two of my favourite pianists. The CD is available from Celtic Productions at www.musosean.com [top] Rachel Gadd : FOLLOW ME TO LONDON Review by Anne Infante I've just had the pleasure of hearing Rachael Gadd's delightful debut CD, Follow me to London. A joint recipient of the 2004 Stan Arthur Memorial Award, Rachael originally hoped to fund a small sample CD to take with her to London on her upcoming launch onto the international folk scene. Winning the award inspired her to record a full CD - and she has produced a really worthwhile recording. Follow me to London is a beautiful mix of styles and moods, showcasing Rachael's versatility and songwriting talent. It has a lovely, clear, crisp feel - a minimalist and pure sound born of the combination of Rachael's lovely musical voice, the deceptively simple guitar sounds of Rachael and Rory Sinclair and the soaring, dancing violins of Matisse Schubert and Colin Macleod. Rachael's melodies twist, turn and dance through 11 original songs, perfectly partnering lyrics, which are in turn thought-provoking, wistful, powerful and spine-tingling. Follow me to London sings of inevitable endings; Solitude yearns for quality time alone. The clothesline uses the metaphor of swinging around on a clothesline to describe the pleasure of 'getting your feet off the ground'. For the one she loved cries the pain of a tangled relationship. Some things weren't meant to fade reflects on what might have been. Another one and Tom's bride set remind us that Rachael is also a talented flautist and these two original tunes feature her on this lovely instrument. Old Tom is the tale of a fiddler's sad demise; This time reminds us that time moves uncontrollably on. My baby and the devil eerily mourns love lost. If I should die asks for remembrance beyond death. Rachael has deservedly acquired many fans in the past three years of performing around Victoria and Brisbane. They will be sad to lose her to the rest of the world, but delighted at the gift she leaves behind. Follow me to London is available from Rachael: Email [top] A TASTE OF GOOD MUSIC : Paul Lawyer and the Just Desserts Review by June Nichols At the September ABOFOTS, Paul Lawler the MC had his new CD on sale. The album's entitled A Taste of Good Music by Paul Lawler and the Just Desserts who are Richenda Bridge, Jenny Fitzgibbon and Carmel Givens. The CD begins with a calypso called Corrie's Coconut and Cabbage Soup. Paul and crew actually sound like they are from the West Indies and I should know as I originate from very close to there myself, the Bahamas; not really in the West Indies but close enough for the musical sounds. As you listen to the words you find that they are talking about the Upfront Club and a recipe. Each track that follows is a recipe set to music, quite an original idea. Yes... I know, some of you are going to say, "but Rian Anderson published a singing cookbook a few years back." Yes, a similar idea but Paul has taken the idea quite a bit further. Paul said "Many years ago my wife cooked a meal which I found so delectable that, being a singer/songwriter, I felt the dish was worth writing and singing about. I decided to create a song format which presented the ingredients and method of cooking such that a person could purchase all the requirements and then prepare a meal - just by having these catchy, and oft times humorous songs, in their head!! So I began to collect favourite recipes from my friends and set them to music, marrying each recipe with a musical style that best fitted the feeling and flavour of the food." Backing musicians are Andrew Higgins who produced and engineered the album as well as playing keyboards, electric guitar and drums. Jan Van Dijk plays fiddle, while Mark Higgins plays a bit of electric guitar. There are recipes for Rayner's Scallops, Sandy's Patent Leather Pie, Fillets of Sole St Germain, Pork Fillets in Apple and Guinness Sauce, M.P.'s Vegie Slice, Val's Cherries Jubilee, Throw it on the Barbie, Phil & Kylie's Sticky Date Pudding, And last but not least Chendie's Meatloaf Blues. This CD will make a great Christmas Pressie. Cost? About $25 mark and you can buy as many as you like by going to the website or call Paul on 07 5499 9190. Buy one for yourself even! [top] Mark Cryle: Notches on the Wall By John Hockings Mark Cryle wrote most of the Spot The Dog's magical songs and over the years has carved out a well-deserved reputation as one of Australia's best songwriters. Those who knew the band would already know his fine singing and would have delighted in his distinctive mandolin playing. His first solo EP CD, Notches on the Wall, is a collection of recently-penned material which puts Mark up front and solo as a singer-songwriter, and allows us to focus on these talents. His songs, which always possess that great quality of universalising an intimate experience, are perfect for solo performance, and give Mark the chance to speak directly to us. The six songs on the CD all have the strong warm melody and poetic lyric that we have come to expect in Mark's songs. As always, his songs are unmistakably bedded in the Australian urban way of life and speak easily of places, events and cultural ticks which we all recognise. How magic it is to hear this done in a way which is neither self-conscious nor chauvinistic. Add that to a real songwriter's ear for a great melody and a 'nailed-it' lyric and you have a very special debut solo album of beautifully and carefully crafted songs. We occasionally got to hear Mark sing with Spot the Dog but now he has the chance to let his voice as well as his songwriting talents shine, and he does this brilliantly on the album. Mark is backed on the EP by old partners in crime, Cathy Bell, Richard Evans, and Michael Tully, now known collectively as The Redeemers. [top] JIGZAG - Live by Maree Robertson I suppose you'd have to call this more of a testimony than a review. I can't pretend to be objective - I have the dubious honour of having laughed, cried and danced to Jigzag simultaneously. But it is unsolicited, unremunerated, and not even for Jigzag would I lie. Indeed, you could say that because of Jigzag I wouldn't. Their music has been a consistent source of inspiration and life guidance for me ever since first I had the joyful experience of meeting Liz Frencham at Woodford Folk Festival in 1997/98, and shortly thereafter became Jigzag's #2 fan (#1 honour goes to Jane Faulkner I believe). That was of course before they were Jigzag - when they were playing Celtic tunes and pop covers in a pub at Manly every Sunday afternoon. Even then they were inspiringly optimistic and energetic and great value live entertainment. So, this album has been long time coming, and for those of us who have loved Jigzag's music for many years, this compilation of their favourite live recordings could easily be a soundtrack to an authentic life. For that is what they offer - with no shame or embarrassment for not being 'cool' (although of course they are in their own perky way). They write songs that tackle issues that most pop artists wouldn't touch with a barge pole - with Liz's darkly powerful Stronger The Tree; Greg's no-holds-barred gentility in Take It Like a Man; and the intricacy of Caroline's auspicious first song writing offering Feel Like a Child - all illuminating life experiences that many of us have struggled with. And of course it wouldn't be a Jigzag album if it wasn't also filled to the brim with joyous, light-hearted celebrations of life - Liz's bluesy, smooth as silk Man of Wood and the cheeky romp of Little Things are testaments to Jigzag's ever present dedication to making love, not war. And then there are the tune sets, which more than anything highlight the sheer extraordinary musicianship of these three individuals - old favourites like Miserlou rejigged, along with new explorations of their musical capacities like The Chainsaw Wedding Arrangement (you had to be there J ). For someone like me who has been a long-time fan - what strikes me most about this album is how awesomely tight these three friends are. Instrumentally and vocally, it is clearly evident how much music they have made together over the past 9 years. And more than this, there is a clear reflection - an almost palpable sense - in this album of the warmth, camaraderie and generosity of spirit that characterises their playing together. Jigzag are touring less these days - with Liz spreading her solo wings with her exquisite first recording Jericho (yes folks, there's finally a chance to get a recorded version of this most beautiful song), (and moving to Melbourne and soon touring overseas with her sister Karen Lynne) - but don't be mistaken, Jigzag is still a vibrant, shining entity. Greg, Caroline and Liz are just honouring the maxim that 'making a living is best undertaken as part of the more important business of making a life'. We hope to see them back in top gear later this year, and they'll always get together whenever they can (see www.jigzag.com). If you know how much joy Jigzag offer us in their music, and miss seeing them play more often, buying this album is a great way to keep musical company with them in the meantime. [top] Missusisyphus - Shemozzle by Malcolm FieldingShemozzle's latest release Missusisyphus is the band's third CD and their most accomplished and satisfying production to date. Shemozzle have their own unique brand of "psycho-gypsy-cabaret" - I think I'd call this magical surrealism. Drawing on Latin jazz and central European influences, this CD is, except for two tracks of gypsy/klezmer, all their own original material. The leading light of the band and the person most responsible for its general style(s) and direction, guitarist/singer Michael Shrapnel, wrote a number of the songs on this new CD. Significant contributions in the writing department also come from the bass player Russell Dobie, and accordionist/vocalist Astrid Notarangelo. Russell Dobie and percussionist Sean Brady provide a tight and responsive underpinning to this music which has many variations in pace and mood. Bonita is a lovely gently paced song sung in Spanish with a simple acoustic guitar accompaniment, one of three tracks on the CD sung in Spanish. Abras Sus Manos is a full bore Shemozzle production, without a Spanish translation I'd only be guessing as to what it's about, and I have been warned that it's better not to try and translate (!) but it sounds great. Der Badkhen Freylakh is a traditional tune in central European gypsy/klezmer style, with the viola and violin pairing of Suzie Gosling and Duncan Marshall cutting loose after a floating intro from Astrid Notarangelo's accordion. Also in this general style is the final track, another traditional piece, Sultan's Throne. One of Notarangelo's compositions, Ich Bin Ein Dummkopf is a bleak Brecht/Weill cabaret-style tale of the discovery that one's beloved is using one, ah, the age-old story. Her abilities as a satirical vocalist come to the fore here, as she sings in faux-Germanic English. Additional background madness, vocal and otherwise, is contributed by the rest of the band. There's no real shortage of that on the whole CD. The band have an ability to address universal themes in their songs in an original and effortless way. Perhaps the tracks that are most characteristic of the band in this mood are the strangely haunting magically surrealist creations such as Dance of Life or Around and Around and Around - this is a rich song of life and its mysteries and absurdities. Highly evocative images sung in waltz time accompany this journey into ... ? Do any of us know? A classic. Find the band at http://www.shemozzle.com.au/ Malcolm Fielding indie-cds.com [top] Clear This Planet Immediately! - Smoky Finish by Tigdh O'Glesain, Turas
Obvious influences: Silly Wizard, The Shoogs, Martyn Bennett, Moving Hearts, Runrig, and dare I say it, The Pogues, with some of their 'punk' motifs getting a guernsey. Yet there is a newness that emerges. Smoky Finish are a five piece celtic folk-rock group from Austria, (surprise!), and feature: Paul Dangl (fiddle, guitar, mandolin, vox), Esch (bouzouki, guitar, mandolin, vox), Klara Schiffermüller (fiddle, e-cello, vox), Bernhart Ruso (flute, whistles, bodhrán, darabouka, cajón), Andy Neumeister (guitar, bass, vox). All play superbly, and with a conviction that you don't normally associate with bods who aren't the first born of the 'royal' lineage from the celtic/folk/rock tradition. This from their web site: "Five musicians, five types of music. Celtic folk from Ireland, Scotland and UK, rich and golden like single malt whisky. Irish power folk and Scottish battle songs, singing of anger, blood and victory. Longing love songs. enriched by blues and rock 'n' roll. Some say it is folk or folk-fusion, some say it is folkrock or fast folk. We call it rock and reel. Traditional but very up to date. We use fiddles, bouzouki, guitar, bass, flute and bodhrán. We enjoy playing music in Irish pubs, like "Fiddler's Green" and "Paddy's", at folk festivals, Irish Nights, for weddings and all kinds of parties. At home in Austria , on tour through Germany and the rest of Europe . Soon in the States, Australia and Asia . Let there be folkrock! Rock 'n' Reel rules" Andy Neumeister describes himself, of among other things, a 'blatherskite'. There is nothing the least bit blatherskite-ish about Clear this planet Immediately. This particular Smoky Finish CD was released in 2002 and is a feature rich album, with some luscious renderings of many traditional session tunes (i.e. The Lads of Laois/Siobhan O'Donnell's), some classic songs very cleverly re-arranged, and a bar-full-o-fun in evidence throughout. The standout tracks for me include, in order, The Mullah Set, (a funked-up kopenitza set with a crankin' version of 'name that tune' played in 11/16), an ode to Silly Wizard with The Queen of All Argyle, and a groovy Maggie's Pancakes squeezed into The Trooper and The Maid. That's not to say I didn't enjoy the rest of the album, 'cos I bloody did, and you have to admire any band that can screw George Dubya, the Mission Impossible theme, and a toddlers questioning baby talk into the one song/tune set. Smoky Finish present a thoughtful bunch of tracks, and they are obviously enjoying taking the 'genre' of celtic folk/rock into ever more creative climes. Smoky Finish - put it on - crank it up - enjoy ! CDs available from www.indie-cds.com Tigdh O'Glesain, Turas Available from Indie-CDs.com -
the independent music specialist |
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Live at the Irish Club from Murphy's Pigs
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Broken
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Loungeroom Legends comprises 16 highly enjoyable tracks
including nine of Bob's originals in his melodic style with
honest, no-nonsense, insightful lyrics, combined with wicked
tongue-in-cheek rhymes. He has a special gift of describing exactly
what's going on in our minds and constructing bright,
intelligent, real songs about real people and situations, which read
like prose but sing like very good songs indeed. 
It is always a pleasure to hear new music from this talented couple who
have been almost "fixtures" on the Australian folk scene
for longer than I will admit to remembering. Stylistically, Big
Water - their sixteenth album - presents a departure from their
earlier work with more folk rock type arrangements and heavier
orchestration than I have come to expect from a Penny and
Roger album. However, the carefully crafted lyrics, narrative
impetus, and beautiful close harmonies that I love about their work
are still strong features of the overall sound.
All aboard me hearties for the Pirate Brides have
finally hauled anchor and released their long awaited second recording - an
EP titled Cutlass Wedding. The current Pirate Brides are
adding to our treasure chests with 6 finely crafted songs recorded
live and engineered by Mark Smith in his excellent Real
Productions Studio. Earlier Pirates, Nicole Murray and Rachel
Lacey have both become blushing brides and walked the planxty
sometime ago. Both CDs have in common the trademark close harmony
vocals and instrumental excellence that have delighted our ears in
their live performances over the years. 
A mechanical fitter by day, nighttime sees Jack Mancor
metamorphose into an antipodean version of Billy Bragg. Currently
he's traveling his native Australia with his wife and young
daughter, performing at, in his own words, folk festivals, pubs,
folk clubs and camp fires along the way. It's no great
surprise then to discover that Mancor's debut album Looking
for Something recalls the Bard of Barking's collaboration
with Wilco on [i]Mermaid Avenue which saw Bragg and Jeff
Tweedy join forces to write music to lyrics left by Woody
Guthrie.
Johnny Langford wrote the original songs and re-arranged Celtic
songs into a contemporary format to mix present day activism with activism
through the ages. Joined by other musicians in Maleny, in South-East
Queensland, where a number of activist/musicians care to live and
express their passion for the world through music. The original tracks
on this album were born out of the spirit and actions of protest drawing
their inspiration from experiences and actions of the author - Johnny
Langford who is passionate about our precious environment and about
our indigenous people and their recent turbulent history.
In an effort to capture their live
sound, The Sheepdogs decided to record a Sunday afternoon
session at the Apollonian Hotel and take the best of the recording
to produce a live CD. 
Chloe Hall, who won her first songwriting award
at age 14, is a fine new talent on a well-deserved fast track to success. White
Street is her first full length CD and I found it a great listening
pleasure.
To consider a label like "Australia's hardest
working act" might be giving too much credit to some acts, but
for women in docs it's a label that fits like a glove. As the
girls release their sophomore album, "Red Wine and Postcards",
(beautifully produced by Darren Middleton, guitarist Powderfinger /
Drag) their achievement and continued dedication to their craft has
never been more marked.
This CD is one that's been a long time in the
making. Rebecca made her first EP in 2000, and has been steadily gaining
a dedicated following since she first made a splash in the Australian
folk scene by winning the Declan Affley Youth Encouragement Award at
the National Folk Festival in 1999 when she was just 18. She had been
singing, playing guitar & writing songs publicly for two years
before that. So part of what's most remarkable about this young
woman is how long she's been active in the folk scene, working
fulltime as a music-maker.