Every folk fingerpicking guitarist longs to make a raw, naked, warts-and-all album at some point in their career – an album of single takes with zero overdubs that showcases their extraordinary talents, while at the same time worming their way into their listeners’ affections enough to entice them back again and again for the songs as much as the wizardry. It’s a tall order; very few manage it, and yet here comes young Jack Rutter with his debut solo collection, Hills, ticking nearly all of the boxes at the first attempt. In fact, the only box he seems to have missed […]
For those of you who have been enjoying the Grizzly Folk blog and accompanying Youtube channel since it was launched in December, I’m pleased to be able to say that I’ll be “taking it on the road” (so to speak).
Most fans assumed it couldn’t happen, but this morning Marry Waterson announced the re-release of a true classic: Bright Phoebus – Songs by Lal and Mike Waterson will see the light of day once again on August 4th (and can be pre-ordered in a variety of packages here).
There’s a tendency for young(ish) people in the UK to scoff at Morris Dancing, dismissing it as a rather embarrassing pastime better left to the elderly and/or inebriated. Given this unfortunate presumption, it’s surprising to find that it continues to exist – which makes the longevity of the Bampton Morris tradition, and others like it, even more intriguing.
Like most modern performers, I think I first heard ‘When First I Came to Caledonia’ sung by Norma Waterson, Martin Carthy and Eliza Carthy on their first Waterson:Carthy album. For years, in fact, it was pretty much the only song I’d return to again and again. The melody is haunting, and given that I was in my early twenties and living in southern Japan – an old mining and coastal region, warmer but not dissimilar to the place in the song – there was something very familiar about the story of a young man working far from my family, homesick but fascinated in […]
When we met Doc Rowe earlier this year, we turned up with a list of questions and an hour set aside. We’d have been better advised to burn the notepad and clear our diary for the next month. Boy, that man can talk. But, then, when you have so much to say, it’s hardly surprising. The wealth of knowledge and experience Doc has amassed over the best part of 60 years documenting folk culture and heritage is staggering, and his stories as varied, engaging and downright daft as the events he has so diligently attended over so many years. Make no […]
If there was ever a case of a folk song hiding in plain sight, this was it. I first heard ‘My Old Hat That I Got On‘ as a recording on Voice of the People, performed by an old Oxfordshire chap named Tom Newman. It struck me as a song with potential for a slightly bluesy guitar arrangement so I began hacking away at it, slowly chiseling it into something performable, much to the annoyance of my family (that chorus played 20 times a day will wear down the hardiest of people).
I first heard Lisa Knapp when I came back from living in Japan. In the decade I’d been there, I’d found myself drawn into a musical scene that centred around a duo called Tenniscoats – a couple who mix fragments of acoustic performance into weird and wonderful soundscapes. I was keen to find someone in the UK doing something similar, and Lisa’s name kept cropping up. I was instantly taken with her wonderful sound poem, ‘Shipping Song‘, which takes the words to the old shipping forecast and places them into something that verges on the avant garde.
There’s an irony to ‘The Unquiet Grave’ that I find delicious. Here we have a traditional folk song that warns its listeners that excessive grief and ghost-bothering can really piss off the dead. That’s pretty rich advice, coming from a genre that spends most of its time wallowing in death and misery. It can be a contrary beast, this folk music – yet another reason to love it so.
It took yonks to track Sam Sweeney down, but only a few minutes to realise why that was. Just take a look at this interview. The man is involved in a million things at once and incredibly passionate about doing them without half-measures. He joined Bellowhead on the cusp of adulthood, and he seems to have been involved in pretty much every folk-related project over the following decade. His current obsessions, as you’re about to find out, include his work with Leveret and his position as artistic director with the National Youth Folk Ensemble (NYFE) – his first ever ‘proper job’, about […]