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The Essential Topic
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Whether it was due to timing (ahead of the English folk-revival curve) or her own elusiveness (she released just one album in her early prime), singer Briggs never achieved the public stature Sandy Denny, Maddy Prior and June Tabor later enjoyed. But make no mistake: there was no female singer, — maybe no singer period — more instrumental in getting the folk revival going. The combination of her alluring, earthy voice and the ancient musk of the songs she interpreted added up to a seductive mystique. "She Moves Through the Fair," "Let No Man Steal Your Thyme," "Rosemary Lane," "Blackwater Side," "Reynardine" and others here all became standards in the Brit-folk repertoire via artists from Bert Jansch to Fairport Convention to Led Zeppelin, each explicitly drawing on Briggs' understated mastery. Her nearly 11-minute version of the murder epic "Young Tamblin" points to the full-on rock version later done by Fairport, but Briggs works with just voice alone. The reclusive Briggs withdrew from the circuit for the most part after making these recordings, with just a couple of lesser albums coming later. Though her name is unknown to all but the most devoted, her impact on the scene was immense.
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Without alcohol, there'd be a lot fewer British folk songs. And without Albert Lancaster "Bert" Lloyd (1908-1982), we'd have heard a lot fewer British folk songs of any kind. One of the key song collectors and scholars of the 20th century, he was a huge influence on and mentor to several generations of folkies and folk-rockers. This album, with accompaniment by Alf Edwards (concertina) and Al Jeffery (banjo and harmonica) nicely evokes the loose feel and sly vibe of an evening around a table at an English pub, songs of and for some friendly tippling — including key versions of such to-be folk standards as the fermented "John Barleycorn" and the bawdy boast "Rosin the Beau." And as for the jolly "Three Drunken Huntsmen" and "The Drunken Maidens," well, if not for alcohol, perhaps they could have found each other. Tally ho hawk away me boys.
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Tabor's husky, earthy voice stands as one of the most remarkable instruments in English folk music — seemingly able to capture and convey the sorrows and struggles of centuries in just a word or two. And with her 1977 second album — along with her debut Airs and Graces and her Silly Sisters teamings with Steeleye Span's Maddy Prior — she established herself among the field's elite alongside Prior, Sandy Denny and Shirley Collins. Arrangements run the gamut from the playful, a cappella "The Devil and Bailiff McGlynn" (with a Carthy-like staggered cadence) to ace guitar backing by Nic Jones to the almost country-rock band on Eric Bogle's "Now I'm Easy," though Bogle's haunted returning soldier tale "No Man's Land" is the emotional triumph. And yes, Jon Gillaspie's synth backing on "Lisbon" sounds dated today, but still makes for tasteful, atmospheric accompaniment to the melancholy tale and Tabor's broken-soul delivery.
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The Waterson/Carthy Clan
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The name Carthy figures heavily in modern English folk music, with Martin's 40-year presence as an unassuming titan foremost. All of his many albums and projects are rewarding, but this 1967 album with fiddler Swarbrick (later of Fairport Convention) may be the best starting point. In his voice and hands, the tales of working folk, farmers, punters and adventurers are not of some long-gone past, but of the moment. His odd-angled cadences and inflections, both with his masterful guitar work and in his naturale singing approach, remain to this day instantly recognizable. At the time of this album he was a pioneer whose impact (Bob Dylan took Carthy's version of "Lord Franklin" as the basis for "Bob Dylan's Dream" and he taught Paul Simon "Scarborough Fair") far outstripped his own modest fame. Highlights of this album include the pastoral "Brigg Fair," the morose "Lucy Wan" and one of several crucial Topic versions of "John Barleycorn."
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Though now sold as two separate albums, Red and Rice were originally released in one package, earning short-listing for the U.K.'s prestigious Mercury Music Prize. Besides being the daughter of Topic legends Norma Waterson and Martin Carthy, Eliza merits double consideration. Purists need not be frightened by her dyed-red hair on the cover. Sure, there are trip-hop blips on the tune "Red Rice," but by and large these are organic recastings of English folk music with a global scope. Red kicks off with the calypso fling of "The Accordion Song," while "Billy Boy" gives the traditional song a folk-rock-reggae twist before a lively electric guitar solo and spirited fiddle conclusion. Rice takes a sparer approach, the opening "Blow the Winds" building as a stern, erotic epic with acoustic backing that sounds like a skeletal Fairport Convention.
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Here's that Carthy guy again, teaming with concertina player John Kirkpatrick (the two did a late-'70s stint together in folk-rock band Steeleye Span) and, yes, a horn section — though think Salvation Army more than Muscle Shoals. Brass Monkey came out in the '80s with a vibrant mix of traditional folk, Morris dancing rhythms and the silver and brass band sounds associated with the outfits sponsored by worker's organizations throughout industrial England. This set gathers pretty much all of the combo's '80s recordings (they reunited for several more recent albums) and it's essential listening, notably for the heads of steam built in the frisky epic "The Maid and the Palmer" and "Jolly Bold Robber" and the sorrowed tones of "Sovay."
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The cover echoes early Beatles shots, fitting since this group is often termed the Beatles of English folk music. That's an odd designation for a quartet (Mike Waterson, his sisters Norma and Lal and their cousin John Harrison) who performed songs of rustic life largely a cappella. But their injection of idiosyncratic edges and a regional accent (from the Yorkshire County village Hull to the Beatles' proud Liverpudlian diction) indeed made them a Fab Four in their own right. The rough country tones may be a bit of a shock, but the intricate, familial weavings of melodies and harmonies are astounding. Early Days is exactly that — bringing together the group's revelatory mid-'60s albums The Watersons and A Yorkshire Garland, tracking the hardships and joys of working life ("The Greenland Whale Fishery"), rootlessness ("I Am a Rover") and profligate indiscretion ("The Wanton Wife of Castlegate").
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The Old Masters
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Along with Lloyd (with whom he collaborated on the landmark "radio ballad" folk-theater productions in the '50s), Scotland's MacColl (1915-1989) stands as a founding father of modern English folk — as well as having earned unlikely pop immortality as the writer of "The First Time Ever I Saw Your Face," penned for wife Peggy Seeger. MacColl was among the first to bridge the gap between preserving traditional songs and adding new compositions to the repertoire. This assemblage of '50s and '60s recordings covers both, with old ballads such as the emigrant saga "Van Diemen's Land" (his version inspired later renditions by Shirley Collins and U2) and his own soot-coated lament "Dirty Old Town" (eventually revived in fine fashion by the Pogues) clearly showing the undeniable force of his voice and words.
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The way Charlie Christian, Les Paul and Jimi Hendrix revolutionized the guitar, Irish icon Rowsome broke the mold for Uillean pipes, the series of drones and chanters powered by a bladder squeezed under arm (rather than blown into a la Scottish Highland bagpipes). And unlike the axemen, he didn't even have to electrify his instrument. These recordings from the '20s, '30s and '40s are astonishing for Rowsome's virtuosity and imagination in renditions of tunes collected from throughout the Emerald Isle. The jig "Gillians Apples," the reel "The Sligo Maid" and others may sound familiar to anyone with the slightest acquaintance with Irish music, but if you've never heard them played by Rowsome, you've never heard them like this.
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New and Renewed Traditions
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From song-collecting trips in the American south with John Lomax to seminal '60s folk-boom collaborations with guitarist Davey Graham to folk-rock recordings guided by maverick Ashley Hutchings, Shirley Collins and her earthy voice have been a constant force in English folk music for nearly 50 years. But her essential work is her recordings with her late sister Dolly Collins. Shirley's charmingly wavery singing and Dolly's flute organ (a small pipe organ) blend as if one instrument on the best of the early '60s recordings collected here, rural casualness meeting classical formality and ancient melodies made immediate. These versions of "Rambeleaway" and "The Blacksmith Courted Me" set standards for several generations of performers, her praises still being sung by Beth Orton and Devendra Banhart among many loyal devotees. But nothing tops the original.
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For rising star Jones, this 1980 triumph was the career-maker — or would have been, had his career not been cut short when he was seriously injured in a 1982 auto accident. Even without that tragic punctuation, Penguin Eggs stands as a landmark in the wave of English folk that followed the '60s/'70s explosion. His prodigious acoustic guitar talents here flower in an original, dexterous approach as distinctive as Martin Carthy's while his sturdy singing and song-sense had evolved to heights comparable to Dick Gaughan. Opener "Candee-I-O" and "Planxty Davis" show off his sturdy-yet-lithe picking. "The Drowned Lovers," putting forward his command of the traditional repertoire as his earthy delivery of the tragic tale is balanced by Tony Hall's jaunty melodeon. "Courting Is a Pleasure" is nicely understated glee. And the closing "Farewell to the Gold" would be poignant even had it not proven a literal farewell to his golden talents. Billy Bragg and John Wesley Harding (whose album "Trad Arr Jones" is an homage) have kept his spirit and name present through the years. It's easy to get lost in the might-have-been with Jones, but better to revel in the what-was and what-is in the musical treasures he gave us. And this album is very much worth the reverie.
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His forthright voice and foursquare guitar prowess made Scotsman Gaughan a stalwart standout in the '70s and '80s, arguably the successor to Ewan MacColl in the way he combined traditional material with worthy originals. Having well-established himself as a member of the progressive-folk bands Boys of the Lough and Five Hand Reel as well as with solo albums, he hit a peak with this 1981 set, notable for the range of material — from Robert Burns' idyllic "Now Westlin Winds" to Leon Rosselson's social criticism "World Turned Upside Down" to the solo guitar turn "Scojun Waltz/Randers Hopsa" — and for the ace backing by Lough-mate Phil Cunningham, Brian McNeill and Stewart Isbister. Bookending are two distinctive highlights: The traditional "Erin Go Bragh" would appeal to fans of Jethro Tull's "Songs from the Wood," while the simmering original "Both Sides the Tweed" favors Cunningham's keyboards and a mordant, spare electric guitar solo.
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Life In Britain and Beyond
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Without toil and the exploitation of the working class, there'd be a lot fewer British folk songs. Be they feudal serfs, indentured servants or the cannon fodder of the industrial revolution, their travails have been exposed, celebrated and championed in song for centuries. This anthology focuses on the industrial age, as a new class of miners, mill workers and factory drones were churned out by the very machine they fueled. There's not a lot of joy in these songs, with such tragic turns as "The Trimdon Grange Explosion" (performed here by Louis Killen) and "The Auchengeich Disaster" (Dick Gaughan). But there's an overflow of spirit and pride, along with resolute belief that together the workers can prevail, as in the forceful account of "The Durham Lockout" (Maureen Craik and Colin Ross) and the more-or-less triumphant "I'm Glad the Strike's Done" (the High Level Ranters). These are the songs true to Topic's founding mission.
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Without sex, there'd be a lot fewer British folk songs. Expanded from a 1966 E.P, shared by A.L. Lloyd and the fabulous Anne Briggs, "The Bird in the Bush" moves puts the coy back in coitus — a shock in these X-rated times, perhaps — with a wealth of naughtiness and ribaldry woven into sometimes very involved tales a la the opening "The Two Magicians" (performed by Lloyd with Dave Swarbrick). So it's not always subtle (you mean "The Bonny Black Hare" is not really about a rabbit? "Gather Roses in the Month of May" is not about picking flowers?) Say no more. Noteworthy that in deference to the morality of the times in which these songs originated, many of the dalliances and temptations of these ballads lead tragically to destitution, violence and death, as in "Pretty Polly," heard here in Briggs' fine voice. Of course, without destitution, violence and death, there'd be a lot fewer British folk songs.
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What's this Brooklyn cowboy/hobo/folkie doing on Anglo-centric Topic Records? Well, just as the former traveling companion of Woody Guthrie had indelible impact on Bob Dylan, Pete Seeger and countless other of his countrymen, his mastery of the vast repertoire of American folk songs helped spur many British counterparts to explore their own roots. And, of course, many of those roots are the same. A healthy bit of this 24-song collection of some of Elliott's first recordings, drawn from three albums released by Topic in the early '60s, evolved from tunes and tales brought over by immigrants from the Isles who settled in both rural and urban America — the very things English folkie Shirley Collins explored as she traveled the States with musicologist/song collector Alan Lomax. Of course, by the time much of this came through Elliott's romanticized-yet-unsentimental sensibilities and droll delivery, it had traveled a long way from those origins, literally in the case of Guthrie's "Talking Dustbowl Blues" and pointed gangster saga "Pretty Boy Floyd" or Jesse Fuller's Delta-California "San Francisco Blues." But the banjo sing-along "Rich and Rambling Boys" would be nearly at home in a midlands pub as on an Appalachian porch and in the height of the folk boom, Elliott's approach made for something of a universally influential language with his strengths continuing right up through to his recent albums.
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