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fR422 PAGES 130-131-133-135_Layout 1 27/08/2018 15:00 Page 1 f 130 1 Fisherman’s Friends Sole Mates (The 1 Ntóni Denti d’Oro Batuque & Finaçon Orchard) Latest offering from Cornwall’s (Ocora Radio France C561132). The Ntóni shanty crew is a mixed bag. Straight a cappel- Denti d’Oro ensemble (voices, guitar, one- la they’re brilliant; instrumentation when string cimboa fiddle, percussion) was the last used is tastily managed; and they strike a proponent of the batuque and finaçon ver- credible balance between musicality and bal-contest and praise-song genres of Cape tourist-friendliness – except when occasional- Verde, as cultivated by descendants of those ly overdosing on silly “me-hearties” cod-the- who escaped slavery. Recorded in 1997; illus- atricals. thefishermansfriends.com trated notes in French and English. 2 Bob Pegg The Last Wolf (Talking Ele- editions.radiofrance.fr phant TECD401) About time someone resur- 1 Géza Frank & Jean Damei Event Hori- rected this treasure. The last recorded work – zon (Event Horizon 191924668138). Inspired to date – of the folk/rock genius that is Bob by Irish/Scottish tradition, compositions by Pegg. Five-star OTT gothic-rooted 18 certifi- Géza Frank (whistles, uilleann-pipes) and cate ballads, include epic The Last Dance, in Jean Damei (guitar) are immersed in electron- which the ghostly inhabitants of a drowned ic beats and soundscapes to create folk- valley boogie on to Armageddon. Just bril- infused electronic dance music. Fans of liant, own it. talkingelephant.com Asturian bagpiper Hevia or the Mike 1 Various Artists Luz De Luna: The Best McGoldrick Band will enjoy this. Boleros From The Costa Chica (ARC Music eventhorizonproject.com EUCD2776). Fans of Alvaro Carrillo or Trío Los @ Bill Lloyd Heavy Duty – Ballads Of The Panchos, who appeared in dozens of films Unfree (Wildwood WILD CD 20171) A range The albums – good (2), adequate (1) and during the golden age of Mexican cinema, of authentic and enterprisingly adapted bad (@) – which didn’t get the full-length will recognise the tender repertoire of Mexi- songs that make a political point, presented treatment, contributed individually by a co’s Pacific coast, as performed by Pedro Tor- by Cumbria-based singer and multi-instru- selection of our various reviewers cowering res, Fidela Peláez, Chogo Prudente, Los Trea mentalist. A worthwhile exercise, but Bill’s under the cloak of collective anonymity. Amuzgos and Las Hermanas García. instrumental proficiency is sometimes com- arcmusic.co.uk promised by singing that’s either strained or 2 Various An Island Story: Biguine, Afro 2 Cecilia Zabala The Color Of Silence too literally heavy-duty. billlloyd.co.uk Latin & Musique Antillaise 1960–1972: (Acoustic Music 319.1582.2). Argentine 1 Maimu Jõgeda Pühendus (Maimu Jõge- Vol. One (Strut STRUT187CD) Entrepreneur- singer-acoustic guitarist-composer Cecilia da). Estonian piano-accordeonist plays her bandleader Henri Debs founded Disques Zabala’s work with Baden Powell and Jaques own compositions with a reflective feel. Debs in the late 1950s to record the créole Morelenbaum, and evident immersion in While she studies folk music at the Estonian music of Guadeloupe and Martinique. This Brazilian popular song and the music of Vio- Academy, they don’t show particularly Baltic excellent set is the first of three volumes com- leta Parra, make for a fresh and captivating roots, and are more part of a wider European piling the label’s best, featuring early big solo art-song outing. ceciliazabala.com.ar folk-influenced music world. maimu. band meringue, gwo ka, biguine and bolero, 1 Chancha Via Circuito Bienaventuran- [email protected] with archival photos, interviews and discog- za (Wonderwheel). Argentine Pedro Canale 1 Méabh & Tiarnán Smyth Méabh & raphy. strut.bandcamp.com serves up a heterogeneous percussive mix of Tiarnán Smyth (Méagh & Tiarnán Smyth @ Alba Griot Ensemble The Darkness Andean folk, dancehall, beats and electronic 191924562825). Méabh (fiddle) and Tiarnán Between The Leaves (Riverboat effects, global rave with a spiritual bent, (guitar, concertina, vocal) are a sibling duo TUGCD1113). Excruciatingly awful hippie- some gaita perhaps, but assertions of cumbia from Co Armagh who perform traditional vocalled twaddle that attempts to spin the influence are notional at best. Irish reels, jigs, hop-jigs, hornpipes, barn- psych folk of the Pentangle/Fariñas era with a @ Angelique Kidjo Remain In Light dance and slow ballad in a vigorous, rustic, bit of ngoni, kora etc. How on earth Toumani (Kravenworks B07CZ4P3P7) Benin’s Kidjo old-timey style. Concludes with the beautiful Diabaté got mixed up in this mess is any- redoes (sorry, ‘reimagines’) Talking Heads’ slow air Moran’s Return. body’s guess, but the name Albarn is men- classic 1980 album in its entirety. And it really cdbaby.com/cd/meabhsmyth tioned in the notes… worldmusic.net doesn’t work. kidjo.com @ Terence Blacker Enough About Me 1 Birds Of Chicago Love In Wartime (Sig- 1 James Duncan Mackenzie Sròmos (Talking Cat TCCD1801) Genially perceptive, nature Sounds) Bittersweet country-soul- (James Duncan Mackenzie JMMCD002). Isle sometimes quirky and offbeat, his songwrit- roots from collective built around the inter- of Lewis flautist and bagpiper’s second album ing takes as obvious role models Thackray personal chemistry of vocalists Allison Russell contains entirely self-composed melodies and and Lehrer, with splashes of contemporary (Po’ Girl) and Jeremy Lindsay (aka JT Nero). is a mellow jazzy take on the Highland tradi- awareness à-la-Baynham or Digance. Little to Original songs, shot through with a mellow, tion. Mackenzie’s wooden flute and bagpipes inspire a revisit after initial mildly amusing relaxed passion (though not without its are accompanied by drums, percussion, key- play through. terenceblacker.com rough edges) and rather tastily energised. boards, guitars, bass, melodeon, banjo, man- 1 Little Jimmy Dickens The Singles Col- birdsofchicago.com dolin and fiddle. jamesduncanmackenzie.com lection 1949-62 (Acrobat ADDCD3244). An early adopter of extravagantly fringed and Birds Of Chicago rhinestoned stage garb, Dickens specialised in ultra-catchy schmaltz and novelty songs with titles like Stinky Pass The Hat Around and When They Get Too Rough (They’re Just Right For Me). Proper country! discovery-records.com 1 Joshua Burnell Songs From The Sea- sons (Misted Valley MVR18A) York-based Joshua embarked on a year-long project to “arrange and digitally release a traditional song a week”; this CD gathers up just 10 of these (and four instrumental treatments). Thoughtful, respectful reimaginings, couched in old-school-brand folk-rock-meets-early- prog settings. joshuaburnell.com 1 The Salts Brave (Braccan BRCD9001) Landlocked combo delivering a contempo- rary folk-pop slant to fresh rocking arrange- ments of salt-encrusted shanties and suchlike; they just about get away with it due to their brio, enthusiasm and energetic musicianship. But probably better as live entertainment than repeat listening. thesalts.co.uk 1 Alan Catton Albion (Alan Catton) Col- lection of gentle (if somewhat samey) acous- tic-based instrumental vignettes by guitarist from Hull outfit Beggar’s Bridge. For the most part, inspired by his travels or historical episodes or legends. beggars-bridge.co.uk fR422 PAGES 130-131-133-135_Layout 1 27/08/2018 15:00 Page 2 131 f 2 Various Artists Resound: A Musical 1 Esszencia Produkció Elindultunk A Tribute To Alan Surtees (Shrewsbury Folk Nagy Útra (Fonó FA404-2) Any ensemble fea- Festival) In tribute to Shrewsbury’s recently- turing Róbert Lakatos and Kálmán Balogh is deceased Director, a compilation of choice always going to intrigue. But their aim of inim- tracks (including Surtees’ personal favourites) itably combining Bach, Bartók, jazz and the from artists who have strong links with SFF. authentic folk music of the Carpathian Basin All profits to Alan Surtees Trust, to give only fitfully struggles free of a drowsy fin de grants to young/emerging musicians and new siècle Budapest cafe atmosphere. fono.hu musical projects. shrewsburyfolkfestival.co.uk @ Serious Child Empty Nest (TCR Music 1 Phil Hare A Stranger I Came (March TCRM75099) Soon after experiencing his first Hare MHPCD02) Respected guitarist and lyri- taste of songwriting at Boo Hewerdine’s cist presents a typically all-encompassing trip workshop, Alan Young was encouraged to for his seventh album. Unlikely to win Phil record an album of his own songs with Hew- new admirers, but it’s a convincing (if down- erdine at the helm. Result: somewhat one- beat) set; basic, stylishly laid-back guitar-and- paced contemporary pop with a personal vox is enlivened with occasional banjo and angle. seriouschild.com dobro. phil-hare-guitarist.co.uk 1 Conor Caldwell To Belfast (CC 01) An 2 Various Artists Cat Scratchin’ (Koko- innovative homage to the Edward Bunting Mojo KM-CD 10). Ladies In The Groove is the collection by prominent Belfast fiddler and subtitle to this collection of mostly forgotten member of Craobh Rua and Slow Moving female performers who could give their male Clouds. Mixing solo fiddle tracks with elec- counterparts a run with their own brand of tronic loops, poetry and phased voicings but fun, funky and often wild R&B. 28 ’50s and never sacrificing the melodic musical core. ’60s tracks by 28 artists like Baby Joy Hamil- facebook.com/conorcaldwellmusic/ ton, Dimples Jackson, Mary Coleman (a voice 1 Sangre De Muerdago Noite (Neuropa) to rival Big Mama Thornton’s), and Peppy Leipizig-based folk quartet injects some Prince. Ain’t nothing shaking? Could have Gothic gravity into their Galician-flavoured fooled me! koko-mojo.com tunage. By turn sweetly melodic and emi- 1 Blair Dunlop Notes From An Island nently rustic, it crosses Celtic and Medieval (Gilded Wings GWR005) Latest collection of borders with a finely tuned sense of melody songs brings an intelligent mix of socio-politi- and style. sangredemuerdago.com cal comment and tender love songs, under- 1 Jon Budworth We All Share The Same pinned by his ever-impressive virtuoso guitar Sky (Flying Folkie FF01CD) Bright-eyed, confi- playing.
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    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of

    “Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve.
  • Punk Aesthetics in Independent "New Folk", 1990-2008

    Punk Aesthetics in Independent "New Folk", 1990-2008

    PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames