JEANETTE LEECH has a Wee Tam and indeed a Big Huge and is ready to deconstruct the latest folk releases.
Folk music and noble obscurity. They go together like Robin and Barry Dransfield. Back in the day, it might have been because Ye Olde Public were too distracted by the yelping of Tom Jones to discern the flute-organ of Dolly Collins, but nowadays that noble obscurity is achievable simply by unleashing a CDR of stunning music in miniscule quantities. Such is the case with the fantastic pastoral psych-folk concoction Cuffern (Reverb Worship) by WYRDSTONE, the nom de plume of West Sussex folk guitarist Clive Murrell. The 10 instrumental tracks – two traditional, eight self-penned – are simply lovely hand-hewn musical sculptures. The nearest modern comparison is probably Voice Of The Seven Woods, although Wyrdstone goes far further in evoking rural details of corn dollies and well dressing without uttering a word. You’ll have to be quick to get it though – it’s limited to an extremely skimpy fifty copies.
Another incredible album comes from one of the very best acts in the British Isles today – UNITED BIBLE STUDIES. The Jonah (Camera Obscura) is their third album proper and it’s just sublime. Built around the 16-minute title track, UBS cut up folk and prog and cross-stitch them back together in a way no-one else even could ever hope to. This album has beauty, ugliness and ingenuity, and demands endless late night crawling into its deep crevices.
I’ve eulogised on her charms elsewhere in this issue, but it does bear repeating - ELLEN MARY McGEE, formerly of Saint Joan, has come up with a cracker for her first solo album The Crescent Sun (Midwich). Her voice is a tremulous, searing one with a hint of menace to it and the often murder ballad content of her songs is intent on showing folk music up for the powerful, unorthodox, messy beast it can be. Her rendition of ‘He Is No Earthly Man’ is one of the most potent tracks I’ve heard all year.
The Holyground record label, which started up in ’66, put out some of the most obscure psych-folk artefacts of all. After a period of inactivity the label has been revived with a slew of new artists onboard seeking to emulate that sound. Privileged Vagabond by CREEDY is the first fruit and contains some nice Ian Matthews-style vocals and, on ‘Ninety Eight Percent’ at least, a gentle acid-folk vibe. Accompanying the re-launch is the various artists collection The Holyground Sampler that mixes in the new artists with coveted tracks from the back catalogue, including the country-folk ‘Riders Of My Love’ by Bill Nelson.
THE HAND use nine different instruments from kora to ukelele on their album Berries From The Rubble (Angel’s Egg), and that’s even more impressive given that they boast only two members. These tracks are delicately spun and considerably complex, the banjo work particularly nifty, and is the kind of quiet, intense record that will really appeal to those of a geeky persuasion. Naturally, I love it.
The ever-reliable Static Caravan label delivers again with their two latest releases. First up is an EP from ERLAND AND THE CARNIVAL and although the lead track ‘Was You Ever See’ is a firm enough piece of indie-folk, I prefer it when they lose their cool a little on the final song, ‘You Have Loved Enough’, with its dual vocals and whistling interlude. The other release from the label – STARLESS & BIBLE BLACK’s Shape Of The Shape – is far dronier and dreamier. It sits somewhere between the Cocteau Twins and Trees and that’s not a bad thing at all, especially on the compelling, rhythmic ‘Radio Blues’.
JUDY DYBLE, the original female voice in Fairport Convention and one half of Trader Horne, returns triumphantly with Talking With Strangers (Brilliant/FiXiT). She’s called in a few favours to boot, as Ian McDonald, Robert Fripp, Simon Nicol, Celia Humpries and Jacquie McShee all contribute. Dyble’s voice, such a featherlight, nimble tool in the Fairport days has gained a little more audible wisdom but has lost none of its high-kicking freshness. She can do spooky and heartfelt like few others and, particularly on the psych-folk of ‘Jazzbirds’, really shows the young whippersnappers how this folk lark should be done.
Reissue round up time and the best is Release The Sunshine by THE FOLKLORDS (Pacemaker). Released in ’68 and looking like textbook Free Design-ish summer pop from the outside, it’s actually an incredibly dour record with songs of homelessness, mortal sin and corrosive sexism. The lyrics are matched by downbeat rhythms and sombre vocals, held together by a drummer who makes Moe Tucker sound like Phil Collins. It’s remarkably ahead of its time.
Far more traditionally psych-folk are the two Sunbeam reissues of THE CAROLYN HESTER COALITION albums. Hester, a fairly conventional genteel folkie decided a bit of a wig out was in order and in ’69 she teamed up some hairy fellas and made The Carolyn Hester Coalition. It opens with two absolute killers – ‘Magic, Man’ and ‘East Virginia’ – with Hester’s pure tones being dragged through the psychedelic mud to blistering effect. However, the rest of it is bland and it’s probably the second, Magazine from ’70, that’s the better album.
The powerfully intimate Live At The Folklore Center NYC, March 6 1967 (Tompkins Square) finds TIM BUCKLEY in confident mood, on the brink of releasing Goodbye And Hello and previewing several songs from it alongside highlights from his debut. Although this is a very stripped-down acoustic set, there’s always something about Tim – whether it’s the defiant guitar during ‘Troubadour’ or the gnarly mixture of rebellion and contrition on ‘Just Please Leave Me’ – that tips over any box you’d care to put him in. Presented with text from a contemporary interview.
www.reverbworship.com, www.cameraobscura.com.au
www.southern.com, www.ontheholygroundlabel.co.uk
www.myspace.com/thehandand, www.staticcaravan.org
www.myspace.com/judydyble, www.lionproductions.org
www.sunbeamrecords.com, www.tompkinssquare.com |
