This post has absolutely squat to do with the picture above, but it is a feast of British folk, therefore I thought that the picture was fitting; just ignore the artist listing. I shall start with a confession - I am entirely rubbish. I am a terrible procrastinator and someone who often does things at the very last opportunity. And that is the case here. I feel slightly shame-faced tarnishing such a wonderful blog with my efforts, but honoured to have been offered the privilege, therefore I could not resist posting just a little something.
Due to time constraints and slight inebriation, I have limited this post to talking about only three of the darling dames of the very much thriving young British folk scene (hey, maybe Boyhowdy will invite me back some time to introduce a few more?!). It is my understanding that, despite these times of t'internet and music easily accessible to all, often folk music does not seem to cross borders and oceans very quickly. I am continually surprised when I converse with fellow bloggers from the other side of the pond, people I consider to be far more musically-knowledgeable than me, to hear that they are not familiar with even the 'bigger' names. I am here, therefore, to begin the process of rectifying that!
Due to time constraints and slight inebriation, I have limited this post to talking about only three of the darling dames of the very much thriving young British folk scene (hey, maybe Boyhowdy will invite me back some time to introduce a few more?!). It is my understanding that, despite these times of t'internet and music easily accessible to all, often folk music does not seem to cross borders and oceans very quickly. I am continually surprised when I converse with fellow bloggers from the other side of the pond, people I consider to be far more musically-knowledgeable than me, to hear that they are not familiar with even the 'bigger' names. I am here, therefore, to begin the process of rectifying that!
All of the songs included below have one common theme - they are traditional songs; songs that have been sung and loved by many over the years, that have done the rounds with folk festival crowds and back-room-of-the-pub singalongs. The particularly interesting thing, then, is these ladies' interpretation of these well-known tunes, their very understanding of what is at the core of each song, and how they may make it their own.
First up is Kate Rusby - a charming Barnsley lass (that's South Yorkshire FYI) with a strong northern accent, a down-to-earth attitude and a love of sea shanties and other traditional songs. Accordingly, you will often find her sweet-as-apple-pie voice singing tales of lost love, violence and death! Courtesy of parents that were in a ceilidh band, she grew up around folk music and folk music festivals.She is perhaps my very favourite of the set, her voice almost tear-inducingly beautiful. She is also immensely likable and is absolutely brilliant live if you should ever have the chance - I have seen her twice to date, and her performance was astounding on both occasions. Rusby has truly mastered the art of inter-song banter and the whole stage presence conundrum, which I believe to be almost as important as the music itself in a live environment.
Rusby is getting on a bit now, in terms of this theme, at age 34 (ha!), but started out waaay back in 1995 and has since released eight solo albums, in addition to releases with Kathryn Roberts and her former band The Poozies. She has garnered much praise from the British press at large, and even more in folk circles, resulting in her receipt of four BBC Radio 2 Folk Awards (including Folk Singer of the Year in 2000). She was also nominated for the Mercury Music Prize in 1999 - a contest that spans many genres and that often makes highly influential, independent choices. Here she is with a sea shanty and one about fighting a dragon!
The Wild Goose - Kate Rusby (trad.)
(from Sleepless)
Ruth Notman was only 18 years old when she released her debut album, Threads, last year, which only made it all the more impressive. Less well known, to date, than the others in this post, she is definitely a name to watch. Notman hails from Nottingham, in the Midlands of England and started performing in folk clubs in her home county and neighbouring Derbyshire at the age of 13.The most consummate thing about the traditional songs (and cover songs in general) on her album is her interpretation; her arrangements evidence a wonderful musical maturity and a solid understanding of composition and tune. Yet just as tenable is that 18 year old spirit - despite the tradsong, you can hear that this is a young woman equally familiar with modern music and pop sensibilities; someone who knows Independent Woman and other such fluff, just like her peers. Oh, and she is also a cracking pianist (and multi-instrumentalist).
She, too, has been noticed by the BBC Radio 2 Folk Awards people, reaching the final of the Young Folk Award in 2006.
Present here is the usual happy folk subject matter of neglect, beating, and suicidal ideation! Fause Fause is one that you can also hear by the likes of Kris Drever and Kathryn Tickell.
Still I Love Him - Ruth Notman (trad. arr. Ruth Notman)
Fause Fause - Ruth Notman (trad. arr. Ruth Notman)
(from Threads)
Another lass with a love, and sound understanding, of the traditional is Northumberland's Rachel Unthank, who has released two albums with The Winterset - her sister Becky (who actually appears as a co-lead vocalist), Jackie Oates (the viola player who was replaced last year by Niopha Keegan) and Belinda O'Hooley (who is also impressive as a solo artist and is a stunning pianist).
Another lass with a love, and sound understanding, of the traditional is Northumberland's Rachel Unthank, who has released two albums with The Winterset - her sister Becky (who actually appears as a co-lead vocalist), Jackie Oates (the viola player who was replaced last year by Niopha Keegan) and Belinda O'Hooley (who is also impressive as a solo artist and is a stunning pianist).A lot of the music that Unthank delivers is very closely tied to the region - a region which has a very strong folk identity, with Northumbrian dialect and tales of border battles with Scotland. It is also startlingly untrendy, in the very best possible way...this is honest, unfussy, bare bones tradfolk. In fact, Rachel and Becky Unthank started out performing as an a capella duo. But tradfolk does not tell the whole story. For example, there is a Will Oldham (Bonnie Prince Billy) cover on their second album The Bairns (which is even better than their debut Cruel Sister...just the kind of trend we like to see!). Just to clue you in, "bairn" is Northumbrian and Scottish dialect for 'child'.
Again the folkies at the BBC are impressed, and she/they were nominated for three awards just this year, winning the Horizon Award. Rachel, pre-Winterset, also reached the finals of the Young Folk Award. Do you see a theme starting to develop here?
Like many, the Unthank sisters come from musical stock - their parents are both singers, and father George is part of North East folk group The Keelers. I love that the music they choose is so intrinsically about the region in which I live. The first track below is an amalgamation of several traditional songs (The Wedding O'Blythe, When the Tide Comes In, Blue's Gaen Oot O'the Fashion, The Lad With the Trousers On, The Sailors Are All at the Bar). Rachel, in the liner notes of the album on which it appears says,
"The songs provide a snap shot from a period of history when the shores of the River Tyne saw the hectic comings and goings of press gangs, soldiers, sailors and tall ships."
Blue Bleezing Bling Drunk is, on the other hand, a good old domestic violence ditty! It is also, apparently, one of the very first songs to depict a drunken Scottish woman...I'm sure that there must have been many more since!
Divinyl holds forth on a broad assortment of music from folk to Feist at Ceci N'est Pas un Blog. She is also the sole female member of the collaborative at Star Maker Machine.
