Part Five: Folk Music

Until recently I was in a long-term relationship and my partner and I regarded this next song as "our song." I have no idea why, now. John Martyn had a Belgian Jewish mother and a Scottish dad, both opera singers who split when John was 5. Though born in England, he spent most of his childhood in Scotland and could deliver a seriously good Glaswegian accent. This song was recorded in 1973. Fifty years later, it still sounds great.

Another Scottish folk singer-songwriter I enjoy is Kris Drever. Not so long ago, younger daughter and I went to a gig in a Hertford church—and very good he was too. This one's called Steel and Stone.

There's something primordial about the sound of bagpipes—something that really stirs the blood. If I were going into battle, I would want to be accompanied by a piper to strengthen my resolve. I love Scottish bands which incorporate the pipes. One of my favourites is Breabach. This song is called Knees Up, and I have absolutely no idea what it's about—and it doesn’t actually matter!

The next up is a song of rare power about the apartheid system in South Africa. The singer-songwriter is yet another Scot, called Eric Bogle, who emigrated to Australia. This never fails to give me goosebumps and is called Singing the Spirit Home.

Another offering from Bogle, but this time delivered by the Irish folk singer Liam Clancy. He brings an acerbic bite to this anti-war song about Australia's involvement in the First World War. Powerful storytelling.

Having been born in Northern Ireland with Irish blood in my veins, it’s unsurprising I developed a love of Irish traditional music—particularly when it's played fast and furious by a favourite band, Four Men and a Dog. I partly measure the quality of the playing when the accordion and fiddle are playing in unison and I cannot distinguish the one from the other, as in this track, Lucy Campbell's.

Last one for today is a young band, Fullset, who were pretenders to the throne. Excellent young musicians who set a driving pace. A special shout-out for the young guy on the Irish pipes. Stirring stuff.

If you have lasted this long—congratulations. Hang on in there. 6 more episodes left!

The first four tracks are examples of the best that the American folk scene has to offer. Eric Bibb is a great folk blues artist with a gospelly rendition of Needed Time. Here he is aided and abetted by legendary blues singer Taj Mahal and a lap steel guitarist. Looks to have been recorded in a changing room, which must be a first!

Kelly Joe Phelps was another folk/blues singer-songwriter and fine acoustic guitarist who died 2 years ago on my birthday. I can't think of a song on the topic of schizophrenia apart from this one. And magnificent it is too.

Americana, a mix of roots music, country, blues and folk, is a genre I enjoy. An exponent is a duo known as Mandolin Orange (now known as Watch House), who usually play on their own but are here joined by the eTones very effectively.

This next singer, Jimmy LaFave, was considered one of the finest interpreters of Bob Dylan's songs. This track is not a Dylan song but is a song about the restorative power of music. Great accordion and acoustic guitar solo. Superlative!

I must have been about 4 years short of 50 when two English guys formed themselves into a folk duo called Show of Hands. Phil Beer, a multi-instrumentalist formerly of the Albion Band, and Steve Knightley, a singer-songwriter (and incidentally one of my favourites of any genre), were the mainstays of the group—though they were joined by a female bassist for some years.

I have been an unashamed groupie, going to their gigs all over the country, though never to any of their Albert Hall appearances. Here's a track from their first AH show along with fellow folkie Polly Bolton.

They also played another of Steve’s songs, Caught in the Rain, with Polly, but I have chosen a different version with Steve’s protégé, Jenna Witts.

This final song is a traditional folk song with aforesaid bassist Miranda featuring on vocals. Their live performances were full of life and soul—though this studio version is not half bad. Just this year they have decided to disband the group as they are no longer spring chickens. So sad when they have played such a big part in my life.

Here's the last of the folk episodes. There's been an active folk scene in the UK for many decades, with folk clubs scattered all over the place. Here's a band that broke into the mainstream in the seventies called Steeleye Span. Note the fiddler in the orange shirt—he also features in the next video.

Another favourite group is called the Gigspanner Big Band, who I went to see along with both daughters last year. Remember that fiddler in the last video? He's here again, as the founder and leader of this group, but maybe unrecognisable from his younger days.

The Northumberland Pipes’ finest exponent is the wondrous Kathryn Tickell. Love her!

A big fan of Canadian female folk trio the Wailin’ Jennys, but cannot find a space for them. Instead, I'm going for an English female folk trio called Lady Maisery who create an unusual but, to my ears, delightful sound. The track is called Bagpiper’s—but no bagpipes are featured!

1995 was a great year musically, as it was the start of a great TV series called Transatlantic Sessions, where musicians from Scotland, Ireland, and America joined together to produce wonderful music over several years.

First up is Cara Dillon, who was raised just a few miles from where I hailed from in Northern Ireland—so an area which produces quality human beings! Here's her rendition of a song by Scottish folk singer Dougie MacLean. It's a great combination.

Liam Ó Maonlaí may not be a household name but is a fine Irish singer, formerly lead singer of pop band Hothouse Flowers (more of whom later). This for me is Irish soul music—even if it is somewhat unusual.

The last track from the sessions is delivered by American country singer Alison Moorer, maybe best known for her appearance in the film The Horse Whisperer where she sings A Soft Place to Fall. Here she tackles a traditional Irish ballad, Carrickfergus. It's a bit of a dirge-like song, but the crescendos are just wonderful.

Last track, and we're returning to Dougie MacLean with his own song, Caledonia.

He wrote this song as a young man on a Normandy beach, feeling homesick for his native Scotland. He said he wrote it in 20 minutes. Extraordinary. A song for exiles everywhere!