Hello! This page is part of an opinionated overview of Celtic and British folk music, with record reviews by me, Joe Sixpack... This is not meant to be taken as a "definitive" resource, but rather as a record of some of the music which has caught my interest. I am always looking for more good music to explore, so your comments and suggestions are welcome.
The Halliard - see Nic Jones discography
David Hammond & Donal Lunny "The Singer's House" (Mulligan's Music, 1978)
A nice set featuring an obscure Irish singer from Belfast... Hammond's reedy voice has that half-tinny, half-craggy leprechaun tone that can, with the right backing, be a real treat. Well, you don't get much better musicianship than that of Donal Lunny, Kevin Burke, Jackie Daly, and their pals... This is quite a nice record; if the copy I found hadn't been a wee bit warped (rats!) I'd still have it today. Several lovely tracks on here, notably "The Flower Of Sweet Strabane" and a few of the slower, more sorrowful numbers. Anyone know more about this fellow?
Owen Hand "Something New/I Loved A Lass" (World Serpent, 1999)
Born in Ireland, but raised in Edinburgh, singer-guitarist Owen Hand was part of that city's '60s folk boom, an early contemporary of Bert Jansch and Brits like Davy Graham. This CD reissues two of his albums on the Transatlantic label, Something New (1965) and I Loved A Lass (1966), which are said to have been prized for years by Britfolk collectors. The first album is, as Hand points out in the new liner notes, pretty standard earnest-folkie fare, at least in retrospect. It reflected Hand's club and pub shows of the time, and is full of American-style social protest songs -- lots of civil rights material (with the British twist of addressing South African apartheid as well as Mississippi murders...) The performances aren't necessarily that remarkable, but it's a fine album by the standards of the time, leaning more towards the Eric Andersen end of the spectrum. He includes a couple of nice Tom Paxton covers, along with several songs by two homegrown songwriters named Mo Japes and Cyril Tawney; Owen also tackles a tune by Archie Fisher, who was apparently his patron at the time. The debt to Fisher became more pronounced on the second album, which concentrates on Scottish folk material, and is much lovelier than the protest stuff. Nice and understated, with solid renditions of many classic ballads. The contrast between the two albums also anticipates the tectonic shifts in the British and Celtic folk scenes that would come with the decade's end, with a renewed emphasis on trad material and innovative guitar work. Recommended.
Mick Hanly "A Kiss Early In The Morning" (Mulligan's Music, 1976)
Following a stint with future Bothy Band guitarist Michael O'Domhnaill (together in a band named Monroe), guitarist and songwriter Mick Hanly recorded a lovely pair of albums for the esteemed Mulligan label... This is his first solo album, an utterly lovely set of traditional songs drawn from Colm O Lochlainn's Irish folk folio, More Irish Street Ballads. These ten delicate, sparingly arranged tracks feature gorgeous, flowery guitar work by Hanly, along with contributions by a number of esteemed Irish musicians, including Paddy Glacklin on fiddle, Triona Ni Domhnaill, Donal Lunny and Matt Molloy. It's a great lineup, top-flight younger musicians making great music -- Hanly favors pretty melodies and sweet playing. On balance, this is probably Hanly's best album, or at least the most consistent... As I Went Over Blackwater (reviewed below) has several individual songs that are more striking, but this album plays better from start to finish. Simply delicious... and highly recommended!
Mick Hanly "As I Went Over Blackwater" (Mulligan's Music, 1980)
Sweet stuff from a fella from Limerick, Ireland -- in fact, one of my favorite modern trad-folk albums. I'm afraid this lovely set of Irish ballads may be a bit hard to find, as are most of Hanly's records, but it's certainly worth the search. It features several tastefully rendered tradional ballads, as well as what may be the definitive version of Colm Sand's "Every Circumstance," one of my favorite modern trad-folk tunes. Also, for a waggish glimpse into modern pub culture, check out the a capella "Scourge Of The Nation," which laments the growing prevalence of TV screens in Ireland's once-gabby local taverns. A warm, understated album that really should get re-released on CD someday.
Mick Hanly "All I Remember" (Ringsend Road, 1989)
This later album, produced by Donal Lunny, finds Hanly more in a contemporary, contemplative singer-songwriter mode, opening with a brisk, surprisingly full-on country number, "Still Haven't Managed," and then devolves into droopier folk-pop stylings. I prefer his traddier side, but as these things go, this is a fine set. Also features his version of the song, "Past The Point Of Rescue," which American country star Hal Ketchum took to #2 in the Billboard charts... (Bet that helped subsidize a few nice, relaxing afternoons on the Galway coast!)
Mick Hanly "Warts And All" (Round Tower, 1991)
Mick Hanly "Happy Like This" (Round Tower, 1994)
John Wesley Harding "Trad. Arr. Jones" (Zero Hour, 1999/Appleseed, 2001)
A curious, but thoroughly charming, tribute to the work of elusive English trad-folker, Nic Jones. Initially, when you hear this folk-rocking power-popster tackle these songs, you may shake your head and wonder what's the point -- Jones had already done them so wonderfully, and Harding's best intentions may seem a bit daft. But repeated listenings bring out the charm. For one thing, this is all such great material, a canny distillation of the off-kilter folk stories that Jones specialized in. Star-crossed lovers follow their hearts and are slain by jealous husbands, drown in raging rivers, and die of broken hearts while their love is away at sea. Harding's delivery is admirable as well -- many of these songs are from Jones' impossible-to-find early albums, and will be unfamiliar to most folks. However, Harding approaches the material with the same richly melodic, reflective style that Jones had developed late in his career, which in many cases rather offsets the briskness of the original, early '70s recordings by Jones. Harding puts his own stamp on the songs, unraveling each story with a sense of wonder and freshness, so that the casual listener will be drawn in... He sings each line with with feeling and attention to the meaning of the words, a performance style which has, sadly, grown out of fashion of late. Until recently, this record has been rather hard to find, since the Zero Hour label went out of business about a week after this came out. The Jones legacy has been undone, however, by a recent reissue on one of America's most earnest new folk labels. The Appleseed edition adds a few new tracks -- clompy Celtic rock versions of four Jones classics, performed by Harding's playful new side project, The Minstrel In The Galleries. Highly recommended.
Martin Hayes "Under The Moon" (Green Linnet, 1995)
Martin Hayes & Dennis Cahill "The Lonesone Touch" (Green Linnet, 1997)
One of Ireland's most soulful fiddlers, Hayes is also one of the most striking exceptions to my "no instrumentals" preference. Under The Moon is a stunning solo work -- just him and his fiddle, and thirteen absolutely beautiful, moody tunes, arranged by Hayes with a delicate, profoundly melodic sensibility. This is a record that you can play on quiet days -- not sappy New Age stuff, just really, really nice. I can't recommend it highly enough. The duet album with guitarist Dennis Cahill is also quite lovely, only slightly less magical than the solo material. Also highly recommended.
Julie Henigan "American Stranger" (Waterbug, 1997)
One of those charming, out-of-the-way, low-key albums that can only be found in the cottage industry backroads of the folkie scene. An American multi-instrumentalist (dulcimer, banjo and guitar), Henigan also has a lovely voice and an appreciation for the calmer, more modest aspects of old-country music. A devotee of some of the best UK and Celtic revivalists, such as Mick Hanly and Len Graham, most of her repertoire is traditional, but this album also includes a few original tunes which match the sweetness of her source material. A modestly wonderful little record -- recommended!
The High Level Ranters "Northumberland Forever: Traditional Dance And Song From The North East" (Topic, 1968)
A fine set of tunes from England's Northern provinces, lively accordion-led music with a distinctive regional charm. This edition of the band featured vocalist Johnny Handle, fiddler/pipers Colin Ross and Forester Charlton, guitarist Tom Gilfellon, and Alistair Anderson on concertina... This was the first album from this long-lived ensemble, and is features remarkable musicianship, particularly given the relatively rudimentary development of the British/Celtic folk scene at the time. A special treat is the inclusion of the Northumbrian small pipes, an instrument that is quite distinctive and (to my ears) quite lovely. This set may be a bit stark for some, but it's the real deal and it'll knock you over if you give it half a chance. Recommended.
The High Level Ranters "Bonnie Pit Laddie" (Topic, 1975)
Coal mining is a subject that holds a continuing fascination for UK folkies, both as folklore and as a topic fit for all upstanding class-conscious lefties. (The Thatcher-era miner's strike was one of the last great British labor struggles of the 20th Century... Scotland's gruff-voiced Dick Gaughan, who contributes several excellent performances to this disc, revisited the miner's plight on a couple of albums that came out in the mid-1980s.) At any rate, this is a fine album, featuring an celebrated Northumbrian ensemble anchored by Alastair Anderson on concertina, along with Johnny Handle, Colin Ross and Tommy Gilfellon. Gaughan growls his way through a couple of songs and Lancashire's Harry Boardman sings on a couple others -- the whole album is nice, with goofy, sprightly, humorous songs and lots of that oddball Celtic musical charm. I thought this record would sound really dry and academic, but was pleasantly surprised at how fun it was. Definitely worth checking out!
Steve Holloway "Next Stop, Seelie Court" (Self-Released)
Lots of squeaky fiddle and flute with rollicking, rumpa-ta-tumpa-ta bodhran playing by drummer Holland. Not earth-shattering or anything, but a nice indie album. (For more information, check out the artist's website at steveholloway.com )
Winifred Horan & Mick McAuley "Serenade" (Compass, 2005)
Solas may have disbanded some time ago, but the popular Irish-American supergroup continues to cast a long shadow on the contemporary Celtic folk scene... Here is about the bazillionth Solas solo/spinoff project, a typically virtuosic collaboration between fiddler Winifred Horan and accordionist/piper/guitarist Mick McAuley. It's a sweet set, mostly instrumental with an oftimes sugary feel and plenty of dazzling musicanship... There's a bit much of the jigs'n'reels, jigs'n'reels repetitiveness to it, although the vocal numbers break things up a bit. I could live without their overly-languid cover of Neil Young's "After The Gold Rush," although McAuley's lovely, soulful performance on "Adieu Sweet Lovely Nancy" is an album highlight. Certainly, if you're a Solas fan to begin with, this disc'll do you no harm. Worth checking out.
The House Band "Stonetown" (Harbourtown, 1991/Green Linnet, 1992)
The third album by the powerhouse trio of Chris Parkinson (melodeon), John Skelton (flutes, whistles and percussion) and ex-Battlefield guitarist Ged Foley, who also plays some wicked Northumbrian "smallpipes." In some ways this album is a bit dry and almost severe, but mostly it's soulful and compelling. Lots of well-chiseled trad, and a few surprises from out in left field, notably a very effective cover version of Elvis Costello's "Sunday's Best." The second half of the disc has an overabundance of shrill, somewhat grating pipe tunes, which may test the endurance of all but the most hardy and devoted of trad fans... But overall this is a noteworthy and admirable album.
The House Band "Word Of Mouth" (Green Linnet, 1993)
The House Band "Groundwork" (Green Linnet, 1993)
A best-of set drawn from their first two albums...
The House Band "Another Setting" (Green Linnet, 1994)
A fine, rich set of subtly evolved trad instrumentals and interesting vocal tunes. It's hard to put one's fingers on exactly what's unique and compelling about the House Band's sound, but, well, there it is. They just sound different, and they also sound great. There's a smoothness and relaxed quality to their work that's quite a pleasure... Their approach is new, but the music is firmly rooted in tradition, and while there's no overt poppification or other crossover shannigans, there's no mistaking the modernity of their music. Oh, blah blah blah. Just give the disc a spin: it's definitely worth checking out. Roger Wilson joins the quartet on violin and vocals; a fine addition to the tightly-knit trio of Foley, Parkinson and Skelton.
The House Band "Rockall" (Green Linnet, 1996)
The House Band "October Song" (Green Linnet, 1998) (*)
Ashley Hutchings - see artist profile
