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The eMusic Dozen: English Folk

English Folk by Chris Nickson

The folk tradition in England -- which is completely separate from the Celtic music of Ireland, Scotland and Wales -- manages to be both complex and bluntly unadorned. There's a venerable history of epic, bloody ballads along with songs and dances, especially the Morris dances, whose origins remain shrouded in mystery. Long looked down upon as a pursuit of the rural working class, English folk music was first seriously collected by Cecil Sharp at the beginning of the 20th century. After a period of neglect, there was an English folk revival in the '50s, led by singer and activist Ewan MacColl, who saw the richness and expression in the form.

By the end of the '60s, young English bands like Fairport Convention and Steeleye Span were making folk-rock, bringing electricity to the party, while others such as June Tabor, Nic Jones and Pentangle continued to pursue an acoustic path. Those proved to be heady, creative days, setting a course for present times where a new generation has introduced influences from many other styles of music (and cultures), reinvigorating and revitalizing the tradition, as fresh blood always should. But, as ever, the big ballads sweep cinematically, and the dance music will always set the feet twitching.

The father of the English folk revival in the '50s was also a gifted songwriter with a clear eye for social conditions, as he shows on his classic "Dirty Old Town." But there was also a gentler side to the Socialist, expressed beautifully on "The First Time Ever I Saw Your Face," which has transcended the folk genre to become a much-covered standard. His singing might be too hardcore for some, but he was the true benchmark of his era.

An excellent snapshot of English roots music in the '80s. June Tabor slides gracefully through "The Doctor Calls" while Barely Works take a meditative approach to the epic ballad "Byker Hill." Former Pentangle guitarist Bert Jansch shows his remarkable chops on "Step Back," and Ancient Beatbox with Anglo-Indian vocalist Sheila Chandra introduce shades of modern multiculturalism on "Raining (My Eyes Are Filled With Clouds)." The inclusion of the unclassifiable Robert Wyatt shows that the definition of folk had finally become happily expansive.

By the time of this 1979 live disc, Fairport had been deep in English folk music for a decade. Although the early linchpins of Richard Thompson and Sandy Denny were no longer involved, they remained a formidable unit, as a rocking "Matty Groves" proves in its relish of lust and blood. Their take on "Sir Patrick Spens" brings an upright nobility to the song, while "Flatback Caper" and "Dirty Linen" show a downright alarming tightness and instrumental prowess.

Emerging during the '80s, the Oysterband prove how elastic the definition of folk can be, as this greatest hits collection veers from the traditional "Hal-An-Tow" through their own (and others') material to a wonderful cover of New Order's "Love Vigilantes" -- a version that proves beyond doubt that it's a folk song. Their own compositions draw on old songs as inspiration (as with "The Oxford Girl") while bringing an electric excitement to the music.

Recorded when Tickell was just 16 years old, her debut album focuses on tunes from her native Northumbria, up near the Scottish border. She's a virtuoso on the Northumbrian small pipes (a distant, diminutive relative of the Scottish pipes) and isn't afraid to show it on jigs and reels like "The Peacock Followed the Hen." On "Billy Pigg's Hornpipe," she pays tribute to the man who was Northumbria's greatest folk musician, and Tickell does him proud.

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