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Tudor Folk Club
Chesham, Bucks, England
Archive January 2001 to 23rd April 2001
English by birth, Martyn first developed his great interest in folksongs of the outback when he went to Australia in the early 1960's.
His intimate performance combines songs, humorous bush poetry recitations, stories and anecdotes of outback life and comments on Australian history and culture.
Personally, I'm really looking forward to the return of these two. Their infectious, boyish enthusiasm... their snappy, entertaining songs... their general good vibe. They're truly a one-off act, totally off-the-wall. I love the way Gerry talks of "making up" his songs. This should give you an idea of their approach. No room for pomposity! Many of their songs are only two or three minutes long: so be prepared for a fast-moving night. I love 'em! Also see Tudor web site archive
Polish-Ukrainian-Irish-American Katrina Rublowska grew up in the suburbs of New York City. Thanks to her father's work at Columbia Records in the 60s, she was immersed in the political folk scene, as well as her family's traditional music.
"One of the UK's best acoustic singer/songwriters" The Guardian
"Katrina sings from the heart with a voice like a ringing bell, clear precise and beautiful." - Barb Jungr
"Infectiously exuberant voice and performance" - Robb Johnson
19 February 2001 - Janet Wood
is a singer/songwriter with a rich, resonant voice who sings from the heart. Her songs, covering a range of issues relevant to life today, are immediately accessible and engaging for the listener, with their strong melodies and memorable choruses. Songs to make you laugh, songs to make you cry, songs to make you think and songs for you to sing along with.
"Allan Taylor is one of the more literate and sensitive of contemporary songwriters in terms of words and music, and one who is capable of exploring more complex subjects than most of his contemporaries. Less prolific than most, he has so far compensated for lack of quantity by sustained quality, and he should probably be regarded as potentially the most important songwriter of his generation." (Dr Frederick Woods writing in The Oxford Book of Traditional Verse)
Allan Taylor is internationally recognised as a songwriter's songwriter. With over forty covers of his songs, from Fairport Convention, De Daanan and Dick Gaughan to Don Williams and Frankie Miller he is known throughout Europe as "The Song Poet". His reputation as a songwriter and performer has been established over the last thirty years, during which time he has played all of the major festivals, clubs and concerts throughout Europe, America and New Zealand.
Here's an extract of a review of a gig at The Alison Arms in June 1998. It's by David Jones in Folk North
West, Autumn 1998 edition:
"Allan Taylor continues to be a tour de force, after more than 30 years as a singer/songwriter. He knows how to bring the very best out of an audience, from first note to dying strains. ... It's not hard to see why Allan continues to be in demand the world over"
"widely regarded as one of the finest and most distinctive acoustic guitarists working on the current British folk music circuit" says The International Guitar Festival of Great Britain site.
Also there's an article by Phil about life on the road on the Folk Buzz site
After serving a 'local apprenticeship' with many well known names in the North West of England, Phil became a solo performer at the end of the 1980's, taking to the road with a powerful, self-written song selection; prompting Paul Adams from Fellside to sign Phil to his record label in 1990.
Following a busy spell at Fellside, during which time Phil was regarded as the 'house guitarist'. Teamed up with his old ally Mike Johnson. The resulting album, 'Common Ground', received some great reviews and confirmed Phil's position as one of the foremost guitarists and song-writers around.
Phil has completed numerous British and European tours in the last few years, winning many friends with his combination of finely-crafted and often socially aware chorus based songs, a rich, husky voice, a humorous line in stage banter, and, quite simply, some of the best guitar playing you are likely to hear anywhere.
The New York based magazine Dirty Linen wrote: 'This guy is clearly a world class player.'
My pal Anne up at Crystal Folk in Stourbridge reckons Robin's her all-time favourite folk act. So he must be good ('cos she's heard me, after all...)
Robin is a folk singer/songwriter well established on the Scottish Folk scene. He is becoming well-known further afield, in England and in Europe, both as a performer and a recording artiste. Robin strives for excellence and variety, and this is reflected in his stage act which has the following three main strands . . .
Own Compositions. Robin's biggest success has undoubtedly been in the songwriting department. A number of his songs have been sung and recorded by other artistes - songs such as 'The Isle of Eigg', 'Ulysses' and 'The Union Canal'. Edinburgh Skyline was produced as a showcase for his own songs.
Traditional Material. Robin has a strong regard for traditional songs, especially the old Scots ballads. He is a fine interpreter of traditional songs and works hard to promote the revival. Traditional tunes are also frequently given
a professional treatment on the guitar.
Humorous Songs. This is not just to balance the more serious material, but has a lot to do with a real mischievous streak in Robin's personality. Humorous songs have a long and hallowed place in the folk scene, but Robin prefers to use contemporary (and therefore new) material - some of which, of course, is his own.
Geoff Agar, writing in the January-April edition of Shire Folk says of his 'Imaginary Lines' (Greentrax CD Trax 185):
"Robin Laing's latest collection is characterised by catchy melodies and lyrics, as you may well expect from one of Scotland's leading singer/songwriters. However I didn't expect to be overwhelmed by such an urge to join in and sing the choruses. The songs are mostly self-penned, although 'The Wife of Usher's Well' throws a glance at tradition, and brings a Scottish perspective to life, love, the passing of time and a world in transition. There are one or two real gems here, with 'Where Did the Morning Go?', and 'Black Clothes' my own highlights. They have that instant simplicity and lyrical depth which could give them a wider audience beyond the covers of this CD. 'The Secret Song of Time' gives the collection its title and describes watchmaker John Harrison's struggle to quantify the concept of Longitude"
Here's an extract of a review of a gig at The Wooden Horse Folk Club in November 1998. It's by David Jones in Folk North West, Spring 1999 edition:
"Robin Laing hails from Stirling in the Scottish Borders (sic. I don't know if he's from one or t'other. But, to the best of my knowledge, Stirling's not in the Borders. Ah well. But I digress...) and his success as a performer is undoudtebtly in his versatility, with both words and songs. The introductions he affords the audience with are both eloquent and informative, while his songs often make you look at things from a different perspective.
"... Robin Laing is a quality performer, who once again produced a perfromance of quality."
...also see www.mgl.ca
...and www.folkmusic.net
23 April 2001 - Huw and Tony Williams.
Their penultimate gig!!! This is their farewell tour: so catch 'em while you can. Wonderful songs, beautifully delivered, and a nice line in giggly humour. (I dunno what happened to that web site that seemed to be theirs... Can't find a decent one anywhere...)
I've seen them twice - the first time a few years ago at Tudor, and again about eighteen months ago in Tamworth, and they are THE BUSINESS.
Here's an extract of a review of a concert at Northwich Folk Club in February 2000. It's by Lewis Jones in Folk North West, Summer 2000 edition:
"The non-brothers Williams have created a niche for themselves as fine musicians and songwriters. They also bring a sense of humour to the stage that is universal yet peculiar to South Wales. ...They met each other at school 25 years ago and have gone from strength to strength ever since ... The duo continues to show why they are in such great demand at folk clubs and festivals up and down the country. They combine a lyrical sensitivity and peotic imagery that lends itself to love songs as well as thought provoking social and political issues. The serious nature of many of their songs is counterbalanced with a dry wit and natural humour that makes their live and recorded performances a pleasure to behold."
...and here's what Ralph McTell said in 1995:
"Huw and Tony Williams (not related but closer than brothers), first got together at school in South Wales and have been involved in music ever since. They first entered my world as special guests on my '92 tour, and I booked them on the basis of hearing just one song: the beautiful 'Gabriel's Carol'. I am seldom impressed so deeply, and to my delight there were more beautiful songs to come. In performance great songs create an aura of reverence from the stage, but Huw and Tony's 'mateyness' showcases their songs in a totally unpretentious way and as an audience we are still laughing at one of their funny songs when our breath is taken away by one of their beautiful, moving ones, such as 'I Can Jump Puddles' or 'Rosemary's Sister'. They entertain us and if proof were needed for this, even at the end of my tour the road crew that weren't otherwise engaged could be found at the side of the stage, continuing to enjoy their performances. This is probably the essence of Huw and Tony, they genuinely look as though they enjoy each other's company and spontaneous ad libs. There is an uncanny way they anticipate each other musically. They love their time on stage, and bring an unaffected warmth to their shows.
Huw is a wonderful songwriter and the amount of cover versions of his songs would make many seasoned songwriters jealous. Both Huw and Tony are excellent guitarists, and Tony's bass playing and harmony singing gives the boys an instantly recognisable sound that is very much their own. Tony is also an excellent writer and one of their collaborations 'We Stayed Awake' remains a favourite of mine. I am personally delighted with the steady progression of their careers and I'm proud to have been associated with their growing success.
When I was told the boys didn't drink that much I was quite worried, but the 'constant kettle' and cups of tea were a great comfort on the road.
To summarise: Great songs, good humour, terrific rapport with their audience, great tea makers and they even tap dance!"
...also more links here
Here's a review of his album "All My Winding Journeys" (Spring Records SCD 1035) by Anthony John Clarke in Folk North West, Autumn 1999 edition:
"Prompted by the fact that Colum Sands has appeared in the North West in recent months, it is only fair that the folk music community in this part of the world should be introduced to 'All My Winding Journeys'.
"Mention the words 'folk music' in Northern Ireland and someone will immediately mention Colum Sands and his brother Tommy. Between the two of them they've been responsible for some of the most heart-warming tunes to grace the airwaves in recent years. The songs reflect seriously on the situation in Northern Ireland but not exclusively.
" 'All My Winding Journeys' is a jewel. For Colum Sands to appear so comfortable in the contemporary and traditional genres and to consistently produce songs of such high quality is indeed of great credit to this modest Irishman with the most distinctive voice in the country. It's wonderful. In 'The Night is Young' the company is friendly and the house has a smile on the door. Mandolin, guitar, harmonium and whistle relax together here to produce a quite wonderful opener to a quite wonderful album. Is this a contemporary song with a traditional treatment or a traditional air given a contemporary feel? It's both and that's what gives the work of Colum Sands its unique appeal to his fans all around the world.
"A short rollick and frolic with the 'Boys of Tandragee' takes you nicely to the third track, 'Buskers' which is quite breathtaking. Here Colum honours the efforts of those street musicians who have entertained in all weathers or in the face of adversity as was the case of Vedran Smailovic, the 'cellist from Sarajevo who, following the death of many of his fellow musicians in a shell attack, took his 'cello to the streets believing that music could bring hope to a scene of destruction. Smailovic himself guests on 'cello here. 'Buskers' is followed by 'Directions', a light-hearted look at the problems the traveller in Ireland can face if they should stop to ask directions from a local. Men with bags of coal on bicycles with smoke coming out of their noses. I grew up seeing men like that. But do you see that road you're coming from that's forking to the right? Whatever you do don't take that road or you'll drive about all night.
"There are many delights to mention here in this lovely collection. The simple grace and charm of O'Carolan's 'Eleanor Plunkett' preceded by 'Cease-fire', Colum's uncompromising attack on the arms trade. 'Good Friday Never Changes' seems the most beautiful troubadour song for many a day. A really wonderful song.
"So, what makes Colum Sands so special and this album so special? Well, to me this is what you buy an album for (and I got the last copy in Premier Records in Belfast). The songs are excellent and they matter. This guy is singing about what he knows. The winding journeys belong to him and those he has known and loved. He is the singer songwriter and he's inseparable from the songs. Add Liam O'Flynn on pipes and Kieran Goss on guitar and the recipe for a feast of music is complete."
Hot hot hot... If you haven't heard or heard of Bill, then you haven't been paying attention. Come and find out what all the fuss is about, or, if you already know, then you don't need telling!
Bill Jones was cover girl of fROOTS in October 2000. Colin Irwin said:
"a fast rising English folkster...
"I know we've put her on the cover and everything but don't feel bad if you've never heard of Bill - or even Belinda - Jones. Until 18 months ago nobody had beyond her family, friends and a small devoted following of a very strange hippy cult band called The Wild Wound.
"That was when she decided to try and make a go of this singing folk songs lark. March, 1999. That was her first real solo gig. Meteoric rises just don't happen in this neck of the woods and Bill herself will cheerfully agree she's still at the apprentice stage but her progress over the last year has been swift and exciting enough to raise genuine hopes that we may have unearthed another outstanding young performer of traditional songs to further inspire a new generation and oil the wheels with her freshness and spark.
"Since that first solo outing she has already made remarkable ground while developing an accomplished style built on a voice of uncluttered purity, subtly alternative arrangements and an uncompromising repertoire of song that blends the tried and trusted with wilful obscurity and invention. It nails her securely to an evolving tradition that sounds fresh, alive and vital, but still clearly displays its debt to the roots planted by those great old singers who kept
the music alive through the last century... Her arrival is indeed something to celebrate"
Here's an extract of an album review by Steve Henderson in Folk North West, Autumn 2000 edition:
"... [her] bubbling enthusiasm is infectious ... a wonderful touch with her arrangements ... the fabulous voice ... The rise of this lady will be meteoric"
Stop press... She's just won the Horizon Award for best newcomer in the BBC's 2001 Folk Awards.
18 June 2001 - Bob Fox.
I love this guy. Wonderful voice + great songs. And such a nice bloke, too. I saw him late last year up at Bromsgrove - a nice club - and thought "Now, he'd be really good at Tudor." He'd been a bit of a favourite since I heard him do a session on the old Jim Lloyd Folk on 2.
Of course, you may have seen him in the spotlight, opening for Fairport on the Y2K tour. That says all you need to know, really.
Nick Beale in November 2000's fROOTS says of his latest album, "Dreams Never Leave You":
"His first solo album and a strong offering. If there's a theme here it's The North, what with Jimmy Nail's Big River, Jez Lowe's Greek Lightning and a heartfelt Water Of Tyne. For that matter From Me To You (in a suprisingly successful rendition that substitutes quiet reflection for the original's explosive exuberance) is published by Northern Songs. Month Of January is especially good with Dave Pegg and Gerry Conway doing just enough to lend atmospheric depth to the song without overwhelming a sensitive reading from Fox and delicate ornamentation from Norman Holmes' flute. The instrumental side is consistently imaginative and even the familiar songs aren't treated in familiar ways, a decidedly funky White Cockade for instance. The eight minute Galway Shawl challenged my attention span but I was never exactly wild about the song in the first place. Otherwise a thoroughly creditable record. "
...and I say "He's mostly right, but wrong about The Galway Shawl. It's stretched to eight minutes by a wonderful recurring fill from the Fairports, and works for me. I hadn't even realised it was that long... Good album"
The album's also reviewed by Peter Fyfe in Folk on Tap (Winter issue, 2001).:
"It's been some time coming, but the wait has been more than justified... The superlatives I could indulge the reader of this review with would be enough to service an entire dictionary..."
Some good pictures of Bob - including the attached one which I've "borrowed" - at Folking.com which is a pretty useful folking resource. Click on the pictures on that site for good quality larger images.
aka Jenny Crook and Henry Sears... "astonishingly good musicianship on harp, fiddle, mandolin, guitar and voices" it says on our current flier. I've now found their web-site... "A captivating set of traditional and original music; from heart melting ballads and airs to bold and fiery instrumentals, viewed through a kaleidoscope of wide ranging musical enthusiasms. Performed with guts and grace on Celtic harp, fiddle, low whistle, mandolin, guitar and voices"
They're half of Madigan, who played Tudor in May, 1999. See the entry in the archive. And they were pretty good as I remember. Glowing praise indeed!
Here's an extract of a review of a gig at The Wooden Horse Folk Club in October 1998 by Norman Wilson in Folk North
West, Spring 1999 edition:
"Throughout the whole eveing we had ample evidence of Freeman and Opland' being very talented musicians with an eclectic selection of tunes and songs, ranging from Irish reels played on the fiddle by Tanya to some fine guitar accompaniment by Mike on some of Tanya's songs...
"As diverse as Mike and Tanya's programme was, it was surpassed by the bewildering array of instruments which they (mostly Tanya) played to deliver it...
[also mentioned - hammer dulcimer and recorder]"
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