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Album/EP Reviews British Folk Music Historical Sea Folk Traditional

Reg Meuross – 12 Silk Handkerchiefs (album review)

Let us turn to Reg Meuross and his new album and project “12 Silk Handkerchiefs”.

Constructed and composed alongside Brian W Lavery (who is the author of “The Headscarf Revolutionaries: Lillian Bilocca and the Hull Triple-Trawler Disaster); the album is a remembrance of the great Hull fishing tragedies of 1968 (of which there were three in quick succession). The album turns its gaze to many of the individuals involved and has a part dedicated to Lillian Bilocca. Lillian Bilocca worked in the fishing industry and courses through her family’s blood; the album pays tribute to her extensive and sustained work to improve safety legislation for fishermen following these tragedies.

So it is true to say that this was a tragic series of events, and a dark passage in Hull’s history.   

(Creator: RACHEL SNOWDON )

In this disc,  Reg Meuross doesn’t just create an effective memorial but also an artifact as it is one of his most living, breathing albums of his recent work. This takes some doing, especially when taking into consideration his “Faraway People” album, itself a great disc and chronicle of modern living. Like a quiet summit, the album communes and hears the voices of singers locals to Hull as Sam Martyn and Mick McGarry join Meuross on the disc. Their inclusion is a good one. Alongside Lavery’s narration these three form the foundations of local history by bringing their social knowledge to the compositions. Surprisingly, Meuross rarely takes vocal lead; he allows these connected voices to breathe life-affirming wind into a work of family, community and heartache. This decision is central to the album and it’s concept, though certainly not due to any lack of skill on Meuross’ part. Lesser artists might have felt left out, but Meuross is selecting “realness” over “ego” and the album is all the greater for it.

There are thirteen tracks on the album with roughly half being narration. The spoken word tracks set the scene and welcome you with to the context of each song. It is atmospheric and builds understanding. Even if for some reason, the theme of the album wasn’t for the listener; it is an excellent work for seeing the art of songwriting. The narration sits next to the songs like a beautiful ash wood next to a hunting bow, you can see the structure and design side-by-side. The spoken word adds a lot by generating a rather poetical ambience, in some ways like  “Under Milk Wood”. The descriptions carry to the time and place and you feel for the people it talks about. More than entertainment for it’s own sake, the CD is a time capsule and valuable memory of history.

Creator: RACHEL SNOWDON

Looking at the tracks there is much to enjoy here. A thread that runs throughout is Reg’s excellent acoustic tones that are like grand Egyptian hieroglyphics; recognisable, solid and stand the test of time. Their levity compliments the sometimes sadder aspects of the stories being told.

“Wash Her Man Away” is a superstitious number, as the wives of fishermen will  touch no laundry while they are out or their man will be washed away. Wife and “Ray”. It is a calming number that, much like the figures of the song, mask a niggle of anxiety and worry. McGarry’s voice conveys these themes well with his layered presentation. God-fearing and cracking in mild fear the track is almost a prayer, which no doubt those washing women had on their lips and in their hearts.

Creator: RACHEL SNOWDON

In “I am a Fish House Woman” we see the character of workers in the industry again; this time they are gutting fish and plunging their hands into warm water to fight off the bitter cold.  Martyn’s voice has a fragility reflecting the emotional core of the fish house woman who present a tough armoured exterior that can “give as it gets” and appears to be “getting on” with a strong inner resolve for what seems like difficult and cold work. The sense you get is that the fishermen were at great risk but the other parts of the industry weren’t a rosy picnic either. Each song on the album paints a little corner of the tragedies and the many faces of it. Martyn has been described in other publications as being “reminiscent of Maddy Prior”. I cannot argue with this assessment, it is very apt and she is a credit throughout the album.

As is the case in some of the best folk (you might not agree), the happiest tune often has the gloomiest or saddest of context that sits in the lyrics themselves.  In “John Barry Rogers” we see this in example as the title character goes to lengths to save the first mate Harry Eddom; the song laments as McGarry reaches the notes of woe while the acoustic guitar skips to the beat of a lively pub discourse. Similarly Reg’s vocals on “The Man The Sea Gave Back” is especially true of this with the rousing hummingbird of woodwind that plays through the dire warning, “When you go fishing from the sea. Beware the sea does not catch thee”. It is a great number, a melodic joy whose gentle laps at your ears belie a raging and invisible terror from the deep blue. 

Creator: RACHEL SNOWDON

Do we recommend “12 Silk Handkerchiefs”? Yes We Do.

Reg’s album is a gift to Hull and as essential to fans of maritime history as the fishing net is to the trawler. It is realistic and in places sombre without being a dirge. Held fast by Meuross’ light and playful instrumentation; a devilishly difficult balance of seriousness, respect and a positive tone is struck in the album. This is an essential purchase for fans of Meuross, especially as several of his hallmarks can be seen here. A difficult subject matter is here treated with care not so much a solo work; to the great credit of Meuross but more a work of community and history.

And this makes it very valuable indeed.  

Reg is bringing the album on tour, check out the website to make it to what will be a great addition to folk history and performance at http://www.regmeuross.com/events/

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Acoustic Americana British Country Dark Folk Debut Festival Folk Music Folk Pop Gigs Political

Hebden Bridge Folk and Roots Festival 2018 – What you missed

Hi I hope everyone’s good and enjoying the sun!

So it’s been a few weeks since the Hebden Bridge Folk and Roots Festival, where the sun started to emerge and the musicians came out to entertain. We had quite a few highlights from the festival with (for us) an array of new talent and artists to share with the world.

Stay with us a while and have a read and listen to some of the acts that you missed!

THE LANDLUBBERS, MORRIS AND.. BACK TO THE FUTURE?

The weather was as fine as could be, so a little outdoor song and dance always goes down well.
Near the bridge in the Town Centre we came across a motley group of Landlubbers (we wonder if they hate the sea or they were the tailend of an insult and the name stuck). However their name came to be they were as briny a crew or shanty singers as you could want. We thoroughly enjoyed their singing so much it made us wonder if their boat was on the river behind. A good crowd, and a great part of the festival.

There was some Morris Dancing as well! You can’t have a Folk Festival without a bit of Morris (knowing my luck I won’t have to  sit too long at my computer desk and await a festival without Morris to get in touch!) It was good to see an all-woman Morris Dance, and here they all are.. I presume as washerwomen. That reminds me, I have some shirts to dry! Heres a video to whet your dancing needs.

Ok.. we know that Chuck Berry did it long before it featured heavily in that 80s sci-fi comedy classic, but I’m a relatively young guy.. it’s the first thing that comes to mind. I have to sadly regret that I did not get these guys’ names as we were just passing, but we seriously felt that it was a great energetic aside to the day.

TRIXXI CORISH

 

On Sunday we got to see a few artists in the excellent Trades Club where the beer flowed liberally. It was also a fine place to be eating a bit of Thai food that was on the go as well. One relatively new artist was Trixxi Corish a singer-songwriter covering a number of different genres including folk and country, but intriguingly she brought some spoken word as well. Despite a disclaimer at the beginning of the set that she had a bad throat, she went on to sing a number of traditional tunes as well as an excellent cover of “Fields of Gold.” Her monologue about a Southern Irish woman managing with anxiety and depression was really thoughtful and natural; she has strengths in song and in word. A great up-and-coming artist and spoken word performer, we saw some magic there, and we raise our glass to her future successes (especially if this was not her running at 100% !).

LOGAN & MANLEY

There were many fine artists to be seen amongst the picturesque surroundings and the old cobbled paths, it is a mammoth task narrowing it down. But as the mind’s eye roves back over the festival the clear breakout from the festival for us was Logan and Manley. As soulful as a spicy tea and a demonstration of a charging elephant into the music scene, Logan & Manley were something else indeed. Breaking the civility of Folk Gigs and getting people dancing to their sultry, emotional beat they kicked serious ass. As we said on Twitter:

“The most interesting duo we have seen live in recent memory. Exceptional presence and burning talent. Logan & Manley stole the show in many ways at Hebden Folk Roots Festival. Soulful and energetic they work it with unfettered talent.”

Their simple pairing of vocals and guitar with added flourishes of percussion and a good use of looping vocals brought the house down. Some favourites of what they performed included the “Tell Him (Her)” a cover of Lauryn Hill, the warm rush of frothy milk on expensive coffee of “Meteor Shower” (the opener), and “Wait a While”, a jazz/funk backing which should do plenty to cement the pair as icons.

Forward in style and approach, a ferociously dynamic presence, and great musicianship could be enough to convert this website to “Soul Phenomena.” Do not miss under any circumstances.

HENRY PRIESTMAN, LES GLOVER AND THE MEN OF A CERTAIN AGE

As the day turned to night, Henry Priestman et al. reminded us that in a rather jolly fashion that in  that transitional stage of life akin to being a teenager, things can stop making a lot of sense. In fairness, it wasn’t a set that dwelt on the twilight years experience as there were plenty of politics (Goodbye Common Sense, Not In My Name), folk (Ghost of a Thousand Fishermen), and fatherhood (He Ain’t Good Enough For You, We Used to Be You). With songs that are always something different and a good connection with the audience you are always on to a winner.

From what we saw from the festival of a whole, Priestman and band were of the most energetic and delightfully irreverent in all the best ways. Accessible, catchy and pop-infused it was supported by songwriting not unlike strong, thick treated timber cladding. If the music garden of your mind requires something extra, these guys are the shed you have been looking for.

THE HARMONY JAR

 

For the cheery, dream-like “in between” time from the early morning entertainment and the build up to the evening showstoppers we had the pleasure of listening to the trio known as “The Harmony Jar.” Rather melancholic but also soothing and touching, The Harmony Jar excel as Americana, perhaps how you imagine the killer knots on a barbed wire of a fence. Singing about love, the prickling apologies of loss and leaving a husband (How We Part), angst through ukulele (Before You Are Through) and a more than serviceable cover of “The Way it Goes”, The Harmony Jar bit off a lot, but it wasn’t more than they could chew on. One of our favourites, we look forward to hearing from them in the future.

WILL KAUFMAN

https://www.willkaufman.com/

At one point during the festival it felt necessary to go rustic.

In terms of American Folk, you can’t get much more old-timey than some Woody Guthrie, who was as much a symbol of protest and liberty as a singer. This is definitely something we can say we like from our folk from time-to-time and Will Kaufman did not disappoint. As his page declares he is, “widely regarded as the world’s leading authority on Woody Guthrie” but it wasn’t just his academic credentials or his musicianship that impressed. He’s a thoroughly nice, extremely knowledgeable guy who told tales of Trump of old (Trump’s father) who was a less than stellar property landlord (with the song, “I ain’t got no home”), Mexicans and about a remarkable individual “Stetson Kennedy” a folklorist who infiltrated the KKK and gave away their secrets and codes to the radio.

There is something incredibly apt about an expert on a pioneer of folk following in his footsteps through both word and song.. Will Kaufman does that and does not disappoint.

And Many More..

There were many, many more great acts too.

Off the top of our heads: Reg Meuross (one of our perennial favourites) was playing his heartfelt, socially conscious brand of acoustic song to great effect, Steve Tilston brought the backbone of folk to the stage, and his daughter Molly Tilston performed a great dark folk set which much, much promise. The Roger Davies Band was one of the most confident and slick on stage and the Jon Palmer Band pretty much cleaned up with their jaunty songs that at times explored the best part of folk-pop. Here are some final clips to get you in the mood.

All-in-all Hebden Bridge was a good time, a great slice of local talent and a testament to West Yorkshire.

This year we liked the central location and how close the venues were to one another meaning it is very difficult to miss the acts you have been dying to see! Great shopping, great food and atmosphere, we’ve barely scratched the surface of what went down at the weekend beneath the warming sun but we hope this brings you a bit of a flavour.

We raise our glasses and hope to see you there next year! Keep your eyes peeled on the website https://www.hebdenfolkroots.org/