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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 A 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 |
Notes
From Squire Street 
RUSSIAN
DOLL 
Live
at the Byron Vista Social Club 
Broken
Hearts Ride Free
A
Moving Hand by Lonnie Martin
Cascades by
Paris Dreaming
The Honey Eaters ~ Six
Songs
desire lines ~ Tony Eardley 
SHARON SHANNON: RENEGADE
THE MERMAID'S SHOES
Dreams
of Flying by Dave Burton
Industrial Strength - Ironstone
Making Waves
Bob and Laurel Wilson are the Goodwills. Their latest CD
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.