Nerdsongs and Nerdy-Gurdies

Self-produced and Small Label Celtic, English and Related Music

by Celtonerd Steve Winick

[From Dirty Linen #56 Feb/Mar '95]

Okay, so I'm cheating. This column usually introduces lesser- known recording artists, and this time I'm starting with some heavy hitters. You see, a "self-produced" album can sometimes be the very best in the genre... when the producer and the self are both Phil Cunningham. In this case, Portobello's accordion ambassador has produced an album of himself and Aly Bain cementing their nine-year musical partnership with their first recording. In the world of Scottish music, few people are as widely known or as universally admired as these two -- Cunningham's work with Silly Wizard, Relativity, and as a solo musician and record producer is matched by Bain's achievements with the Boys of the Lough, and as a successful television host. The Pearl [Whirlie CD 3] features Bain's fiddle and Cunningham's accordion, piano, keyboards, cittern and whistle on a whole slew of excellent tunes. Mostly, the music here is from Scotland, though a few tunes are from Ireland and Canada, and there's even a Cajun set. All of it is instrumental, and all of it is excellent. This is the kind of album you can get absolutely lost in. The subtleties of Bain and Cunningham's musical interactions, the variations and micro-variations they spin out, are simply awesome on the quicker tracks. The slow airs, mostly written by Cunningham, are achingly mournful.Cunningham's bouncy piano playing makes the infectious rhythms of the dance music inspiring. The touches of cittern and whistle add a bit of variety... try as I might, I can't think of a single complaint. For any and all Scottish music fans, this is indispensable. [Whirlie Records/ Greenside House/ 25 Greenside Place/ Edinburgh EH1 3AA/ U.K.]

So much for the superlatives. Now on to other stuff. McDermott's 2 Hours are an angry young Irish group in England. Their album, The Enemy Within [HAGCD2], was a great inspiration to the roots-rock group The Levellers upon its original release in 1989. Five years later, Hag Records decided to reissue it on CD, with one track changed. The album stands up pretty well, all things considered. The sound is not scintillating, but that's like complaining that you can't really hear the bouzouki at a Pogues concert; it just ain't the point. The influence of the Pogues is apparent here; the mix of punk irreverence and political messages in the lyrics is quite similar -- indeed, they're far more political than the Pogues. Songs like "Dirty Davey," "Prisoner," and "The Fields Round Ballyclare" tell of the perils of political dissidence in open, often brutal terms. "Fox on the Run" has the same message, but is couched in not-so-subtle analogy. "Boys of the Black Stuff" celebrates the working class over the fatcats, and "Rosa" celebrates labor activism. Nobody could accuse these guys of being vague as to their feelings on these issues; at times, they seem to be clobbering you over the head with the message. Fortunately, they also boast a good fiddler and decent instrumental work all around, gravelly, gutsy singing, and some excellent lyrics. Folk/punk enthusiasts are sure to like this. [Hag Records/ 363-5 Harrow Road/ London W9 3NA/ U.K.]

After a healthy and much-needed sock on the ear like The Enemy Within, I often like to re-ground myself with some traditional music. I can't think of a better way to do this than with Joe Hutton's Northumbrian Piper [East Allen Recording EAR 015-2]. Hutton, a retired shepherd from the west of Northumberland, has played music since acquiring a set of pipes at 12. He has played at various festivals and has appeared on many albums, including one previous solo record. He was also a member of a threesome that included Will Atkinson and Willy Taylor, and that was referred to in jest as "Joe and his two Willies." Now Joe, sans Willies, is back with an album of solo piping on this sweetest of bagpipes. His expressive tone and the depth of his playing make him a joy to hear. His eclectic repertoire of tunes is likewise impressive; his core Northumbrian repertoire is augmented by many Scottish tunes, and a few French Canadian and Irish ones to boot. In addition, many of the tunes were written by Hutton's friends and are not commonly heard; tuneseekers take note! For quieter times, I recommend this most highly. [ADA Distribution/ 4 Riverview Business Centre/ Riverview Road/ Beverley HU 17 0LD/ U.K.]

Remaining for the moment in the realm of instrumental music from England, another album that deserves mention is Street Dance by Les Cloches. Readers with long memories will be reminded of early Blowzabella; accordion and hurdy-gurdy are the main instruments, and the music is mostly continental in style. Emma and Guy Heape are the main members of this group; she plays the hurdy-gurdy and he adds accordion. It's no surprise to find two former Blowzabellans aboard; Nigel Eaton plays hurdy- gurdy in addition to recording and producing the album, and Ian Luff backs everyone on cittern. Richard Collins's banjo is a somewhat unusual companion for the instruments featured here, but it's welcome nonetheless. The hum and buzz of the hurdy-gurdy can be a most seductive sound. There is some excellent, smooth hurdy- gurdy playing on this album, as well as some lovely new tunes, which make for a refreshing and pleasant listen. Most of the tunes were written by Emma Heape, with a few covers and a few traditional pieces thrown in. Another gem for tune-hungry people, but only if you like continental European styles. [£8.80 in cheques made payable to Mrs. Emma Heape/ 1 Warren Crest/ Froxfield/ Peterfield, Hants GU32 1BL/ U.K.]

For those who prefer their tunes Irish, there's a band from Ohio called Inisheer. Led most of the time by Deborah Colon's fiddle and Morton O'Kelly's flute, the music on their album Rainbands [Amerisound AMR1977500] consists mostly of dance music played very fast. Neither Colon nor O'Kelly is a master, but both are reasonably proficient. John Sherman, whose guitar and bouzouki back the group up, should be allowed to emerge more often and lead some tunes... he's an excellent musician, and the band's sound could use the variety. On the other hand, they make heavy-handed use of Eddie Cotter's bodhrán, which could be profitably tucked a wee bit lower in the mix. The slower tunes, which feature Christine Fraser Ramsey's clarsach along with the rest of the band, are the album's highlights for me. "Cuillins of Rhum," "Logan Water," and "Waulkin' o' the Fauld" are all lovely airs and give the listener a chance to relax from the album's more energetic side. [Amerisound/ 1331 Chesapeake/ Columbus, OH 43212]

But suppose you like music from all over? Then try out Tania Opland, whose latest album is called Bonnie Rantin' Lassie. It blends ballads from Britain with renaissance music from France, English country dances, and Slavic folksongs. On the British songs, which include "Death and the Lady," "When I was in My Prime," "The Hunt is Up," and "The Female Ramblin' Sailor," Opland sings in a powerful, resonant American voice. On the tunes, including "Torch Branle," "An Cailín Fion," and "The Black Nag," she plays recorders, hammered dulcimer, guitar, fiddle and cittern. She is joined by guest musicians from around her Pacific Northwest home. Notables include William Pint (guitar and voice) Felicia Dale (hurdy-gurdy and voice) and John Peekstok (percussion, bass, guitar). The overall effect of Opland's voice and repertoire joined by this group of instrumentalists sounds like "Joan Baez meets the John Renbourn Group." Add to this the Russian song "Otdavali Molodu," The Scottish Gaelic "Chì mi na Mórbheanna," and the Ukranian "Podolyan ochka," and you have a truly unique combination of diverse elements. In this regard, it reminds me of some of those Oscar Brand and Cynthia Gooding albums from the '60s, when American folksingers did "Love Songs of Many Lands," except that its arrangements are clearly influenced by the last 30 years of developments on the folk scene. Opland does a marvelous job singing and playing a lot of good material, and I recommend this to anyone with eclectic tastes who particularly enjoys English folksongs. [Tania Opland/ P.O. Box 322/ Suquamish, WA 98392]

And that, dear nerdlings, brings me to the end of another column. See you next time!

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