Tudor Folk Club
Chesham, Bucks, England

Archive January to ... 2003

13th January 2003 - Bob Fox

Bob is blessed with one of the best voices you will ever hear. He is also a very talented guitarist and has a full and varied repertoire of traditional and modern songs and plenty of good 'crack' and you can be sure of a good night.

A welcome return. Bob is absolutely fabulous. He gave us one of those nights where everybody was buzzing, and a unanimous "we must have him back soon" was the universal view.

"...as soon as I heard Bob Fox sing I realised he must have one of the best voices in England, I have always regarded him as an artist of great ability and integrity."

27th January 2003 - Colvin Quarmby

Gerry Colvin (guitar & vocals), Nick Quarmby (bass & vocals), Martin Fitzgibbon (drums & vocals) and recently expanded to a quarter with the addition of (shock, horror!) electric guitar and electric mandolin, this bunch of (un)likely lads will grab you by the scruff...

...with a heady and potent mixture of driving acoustic rhythm laced with liberal helpings of folk, country, skiffle, an inherent and intelligent use of the pop sensibility (yes, the dreaded'P' word), topped off with some simply irresistible harmonies.

The first thing that strikes you is Gerry Colvin's hugely entertaining and frankly hilarious personality. It is impossible not to like this guy. You have never seen a performer with such enthusiasm and undying excitement for performing, and considering he's been in the business for close to twenty years that's rather impressive.

Nick Quarmby along with his 5-string bass and close harmony singing serves as the perfect counter-balance to Gerry. They work seamlessly together and the magic is both spontaneous and fresh.

10th February 2003 - The Tannahill Weavers

Scotland's finest traditional band, the Tannahill Weavers' diverse repertoire reflects the duality of Scotland's musical heritage. It embraces both the mystical quality of the Highlander's Celtic music, and the rollicking, sometimes even brawling qualities of the Lowlander's Anglo-Scots tunes. The Tannahill Weavers' arrangements blend the beauty of the traditional melodies with the power of modern rhythms. The penetrating sound of the Highland bagpipes is a thread of ancient memory running through it all.

3rd March 2003 - Suntrap

Another very welcome return... If you want performance ranging from sweet melancholy to out and out power; if you want to be wooed, thrilled, moved and above all entertained then you must see this band!

Featuring some of England’s strongest young singers, Suntrap will dazzle you with their big harmony sound. Sometimes spiky edged, sometimes achingly beautiful. Their material ranges from the richly textured to stripped back solo a cappella.

This is handcrafted music played by a double fiddle section, guitars, accordion, bohdran, whistles and harmonica, carefully woven around shimmering, slipsliding vocal harmonies.

24th March 2003 - Noel Murphy

So, I was doing some surfing for Noel, and came across this fabulous picture taken in the late '60s at The University of Surrey's picture archive (have a look for Derek Brimstone and Jasper Carrott, too!). Sorry, Noel, I couldn't resist!

...a very long overdue return for our favourite Cornish Irishman. Noel is a great entertainer: and we've got him only a week late for our St. Patrick's night bash.

Noel Murphy is a Kerryman.

Born in Killarney in Nov. '43, his family moved to Dublin in '50, where he was educated, and where his family still live.

He set out on his travels in '62 and settled in London. Whilst working at various jobs he started going to folk-clubs, and having spent a short apprenticeship as a floor-singer, became a full-time folksinger in '64. He was well-prepared for his vocation - in his schooldays he'd been an actor, a drummer and a goalkeeper.

His easygoing humorous style soon got him plenty of work, including being the first resident at the all-night 'Les Cousins' club in Soho, where he compered and performed alongside the likes of Alexis Korner, Ralph McTell, Sandy Denny, Bert Jansch, Alex Campbell and many, many more good companions.

At this time, folk-clubs were sprouting up all over Britain, and Noel was soon travelling extensively opening many of these clubs. He started going abroad in '65, when he busked to Greece and back, and has since taken his songs and stories to over 50 countries.

His first recording came out in '66 on Columbia, and he subsequently recorded albums for Fontana, Village Thing, M.F.P., Plant Life, and RCA. In '87 he had a hit with his single 'Murphy and the Bricks', and nowadays runs his own label 'Fine Hairy Rope Records'. He was joined in '68 by the 16 year old banjoist Davey Johnstone, from Edinburgh, touring for 2 years as Murf and Shaggis, until they were joined, on double bass, by The Strawbs' Ron Chesterman, and they became the much-loved and legendary Draught Porridge. Davey, via Magna Carta, went on to become Elton John's lead guitarist and bandleader, and remains such.

He now looks more like this. Except not in black and white.

Noel has appeared on over 300 television programmes and has broadcast on radio, his favourite medium, over 2000 times. His television appearances included 2 comedies, with his dear golfing partner Eric Sykes, for [TV, partnering Ian Woosnam on Pro-Celebrity Golf, and playing a daft navvy in 'The Gathering Seed', both on BBC2. He also recorded one-man shows for Grampian, Trinidad, Southern and Danish TV.

Noel has always loved sports, especially golf, Gaelic games and Rugby Football. He was a caddie as a youngster, his first handicap was 5 and he became a scratch golfer, playing for both Surrey and Middlesex in the '70's. He has held or shared 6 different course records and has had 14 holes-in-one. For many years he played in

31st March 2003 - Kate Rusby

Here's Bob Templeman's review of the gig:

"Monday 31 March saw a sell out crowd at the New Elgiva theatre to see the Kate Rusby Trio, presented by the Tudor Folk Club.

"Barnsley born and bred Kate Rusby has won awards from BBC Radio and a Mercury Nomination for her album, "Sleepless". She was ably supported by BBC Radio 2's Folk Musician of the Year, John McCusker on cittern (based on a mediaeval instrument related to the lute), fiddle and whistles and Andy Cutting, who is one of the finest melodeon players in the land.

"The past few months have been spent recording a new studio album and this the last night of their current short tour has enabled Kate, John and Andy to get back on stage and to develop both old and very new material.

"The evening kicked off in style with Kate's arrangement of "Fairest of all Yarrow Men", Kate's simple, but strong guitar style supported by a swelling and rhythmical accompaniment by John on cittern and Andy on melodeon. The first half developed with self-penned and rearranged traditional material presented in a technically flawless but passionate manner. The possible highlights of the first set were a beautiful arrangement of "Botany Bay" and a fantastic set of traditional and new tunes, with titles as unlikely as "Purr the Orang-utan" and "Waiting For Janet (Jackson)".

"The second set started with Kate on her own, with an excellent self penned song "I am Sad" and "The Sweet Bride", which is featured along with a wide selection of material from Kate and John written and recorded for the forthcoming film "Heartland."

"All of Kate's material is thought provoking and powerful. Her interpretation of Richard Thompson's "Withered and Died" and her own classic in the making, "Who Will Sing Me Lullabies?" stand out for Kate's ability to twist fascinating and emotive images around John and Andy's fantastic musicianship. Coming from a musical family Kate is able to draw on a vast array of material, finishing the evening on a song heard as a child at many family sing arounds, the folk anthem "Canaan's Land". However the 300 strong crowd had other ideas and after a long and loud ovation the trio returned to bring the evening to a close with "Bold Riley."

"Individually Kate, John and Andy are three of the best musicians and performers on the folk and roots music scene. Kate has the clarity of voice and expression that possibly only happens once or twice in each generation, John and Andy's technical ability and musicianship are of equal measure. They succeed where many talented performers fail, by supporting each other unconditionally, playing with passion and economy, making each note count and each song unique.

"The audience, some of whom travelled from as far away as Wiltshire, included a major recording artiste and a similarly well known record producer, and they enjoyed a night to remember. Special mention should be made of the brilliant sound quality, the man who lent the trio a pair of speakers when one of their own blew up and to the volunteer stewards who helped to make it all happen."

Last time Kate was with us, she was a mere "up and coming". Well, it doesn't seem so very long ago, but she's certainly arrived now. So much so, that we're putting this concert on at The Elgiva Theatre. Phone Jeff on 01494 872859 for advance bookings.

She's still only 20-something, but Kate can't be described as a rising star any more. Not when she's had two albums Hourglass and Sleepless selling like Yorkshire puddings. Not when she's been played on mainstream radio and established an ardent following among people who'd previously sworn blind they hated folk music. Not when she's had everyone from Bonnie Raitt and Richard Thompson to Andy Kershaw and Jo Whiley singing her praises. Not when she's topped folk and roots charts all over the place and headlined major festivals all over Europe. Not with three wondrous solo albums Hourglass, Sleepless and Little Lights. Underneath, Kate remains wonderfully unaffected by all the acclaim and crossover attention heaped on her. As she told those nice people at the Mercury Music Prize ceremony, she's a folk singer first and foremost and always will be.

Kate will be playing in her usual trio: John McCusker on fiddle, whistles and cittern and Andy Cutting on melodeon. Undoubtedly two of the finest musicians on the planet.

In truth, you seldom see a fiddle player with a Mohican haircut. In truth, you seldom see anyone with Mohican haircut. Even Mohicans. He's a one that John McCusker, eh? Some may know him only as Mr Kate Rusby, the cheeky wee Glaswegian who affectionately takes the rise out of her rambling song introductions on stage and provides those gently sympathetic accompaniments. Others may even think of him as a producer and arranger. A few may regard him primarily as the nutter with the jagged Mohican.

The reality, of course, is that McCusker is a superbly gifted fiddle player and was acknowledged as such long before he even set eyes on Kate Rusby. The young scamp was almost a child star, so prodigiously gifted that at the tender age of 16 he was plucked from the relative innocence of informal sessions and family party-pieces at home in Glasgow and launched into the big bad world on the road with the Battlefield Band.

Colin Irwin, fROOTS, March 2003

...and of course, he's now been acclaimed as Musician of the Year in the BBC Radio 2 Folk Awards

Here's some reviews of their recent albums which you may not have spotted:

First off, Kate's "10"

The title, '10', signifies the career span of the youthful Kate Rusby. Hard to believe, isn't it? Rather than celebrate with some sort of 'greatest hits' collection, she's taken the opportunity of presenting some old favourites in different settings and giving a second outing to some of her more obscure recordings. As the sleeve puts it: live, re-mastered and new versions.

'Botany Bay', a live favourite, here presented in a new version with Lester Simpson on backing vocals, sits side by side with the 'Cowsong'. The latter has only been available on an EP until its re-mastered appearance here. Other obscure tracks, such as 'Night Visiting Song', are pulled in from 'Yella Hoose', a solo record by her husband, John McCusker. Other tracks by John and Kate from the soundtrack to 'Heartlands' make an appearance. Guests pop up all over with Alison Brown of bluegrass fame and Francis McDonald of Teenage Fanclub showing Kate's wide appreciation of music. However, Kate's most treasured guest must be the much missed Davy Steele singing on the closing track, 'Bold Riley'.

So, where does this leave us? Fans of Kate Rusby, like myself, will enjoy the usual high standards shown. Newcomers to Kate - where have you been? - will find this a useful starting point as it demonstrates all her facets. If you sit somewhere in the middle, you might find it better to complete your Kate Rusby collection first before adding '10' as it could duplicate a song or two from your other records.

Steve Henderson, Folk Northwest, Spring 2003

...next, John's "Goodnight Ginger"

At 29, John McCusker already seems to have a lifetime of experience under his belt. A few moments of conversation with him reveals that this is a seasoned professional. He spent 10 years touring the world with the Battlefield Band, has been guest on over 150 albums (Eddi Reader, Linda Thompson, Tim O'Brien, etc), had compositions borrowed by Sharon Shannon, The Poozies, Natalie MacMaster, etc., and squeezed in courtship and marriage to Kate Rusby.

'Goodnight Ginger' is his second solo album and draws deeply on his wide range of pals. Amongst them, Ian Carr, Andy Cutting, Simon Thoumire, Michael McGoldrick, Brian Finnegan and his other half, of course. There are some lovely tunes reflecting his Irish heritage and Scottish upbringing with the usual sweep of jigs and airs. If you like this style of instrumental music, John's not going to let you down with this one.

Personally, I always struggle with instrumental records, preferring to hear the music in a live setting where the energy and personalities of the musicians come across more. Mind you, 'Goodnight Ginger' also contains the 'The Bold Privateer' supplied by Phil Cunningham for Kate Rusby to sing. A tempting prospect for any Kate Rusby fans out there. So, all in all, high quality tunes from a young man of great talent and experience. Its appeal dependent on whether you're comfy with a CD mainly based on instrumental tunes.

Steve Henderson, Folk Northwest, Spring 2003

Finally, Andy (1651, "Cast a Bell"):

"To open the book is to enter a country where melodies unfold as landscapes." -- Mark Emerson, sleeve notes

1651, so called from the date of John Playford's "English Dancing Master" on which this album is based, is Mark Emerson on violin, viola and piano, Tim Harries on double bass and Andy Cutting on button accordion. Emerson is best known for backing June Tabor; Harries has been with Steeleye Span on electro bass since Tempted and Tried as well as participating in jazz and rock projects; and Cutting played with the legendary dance band Blowzabella, more lately pairing with Chris Wood's fiddle.

The album is an interpretive tour de force, folk-style music from the Renaissance interpreted with modern classical, folk and jazz "influences". The musicianship is excellent, the triad pulling their diverse histories into the current edge of English folk. The album is meant to be taken as a complete work, but can easily be used as favoured tracks. Instruments shift position, not necessarily in cadence, in the renaissance-modern continuum throughout the album as a whole. Often Cutting's melodeon plays the most traditional role, but sometimes it will jump out as passionately abstract. Though Emerson's violin often has a Early Music-folk based influence, his major contribution to this album is creating a sound similar to that of June Tabor's The Quiet Eye, with improvisational violin and contemporary jazz piano. Harries plays stand-up bass, usually unobtrusivly, drawing from a jazz background.

Individually, some of the tunes, like the opening "Kettledrum" and the raucous "Kemps Jig" are strongly traditional, good-natured improvisations. Others, appearing initially in the middle of the album, like "Lady Lie Near Me," "Once I Loved," and Emerson's composition, "Under Alder" are slow and introspective piano tunes. The 16-minute "Millfield" / "Grimstock" / "Cast A Bell" medley is both. In the world of broad musical perspectives, this is a brilliant album, because of the shades of mix and improvisation. For folk listeners, as with A Quiet Eye, some tracks may have just too much of a subversion into the modern urbane abstractness of jazz; too much of that is simply antithetical to folk music. This album, like England, starts out with country dances and ends up in a piano bar at 3 AM. Whether you enjoy that or not depends on what your scope is as a listener.

Judith Gennett in The Green Man Review

14th April 2003 - Feature night

Dave and Avril are moving to Norfolk so to recognise their musical talents and thank them for their stalwart service to the club over the past couple of years we're turning over the last half hour of the evening to showcase them. Dave has also become adept on the sound system, and Avril has been an invaluable committee member. We'll miss you - don't forget us, keep in touch and come back soon!

28th April 2003 - Paul Downes

Paul's sensitive and yet fun approach to his live performances puts him among the most respected artists on the British acoustic music scene today.

He has been introduced (much to his embarrassment) as one of the greatest acoustic guitarists in the world. It is easy to see why when you see the dazzling array of styles he performs with effortless brilliance, but at the same time he considers himself as a singer of songs, rather than a guitar technician.

Paul has a rich musical background that has progressed through working with Phil Beer, The Arizona Smoke Revue, Pete Seeger and The Joyce Gang.

Here's some stuff from The Joyce Gang site:

Paul spent his youth playing Classical guitar, Rugby, Soccer, Cricket, the field and looking at maps. He played a solo recital in Westminster Abbey at the age of sixteen and subsequently took up folk music.

From the age of 12, Paul's best friend was Steve Knightley, then at 16, they met Phil Beer. However, despite these drawbacks, Paul was reasonably well-balanced until, after giving up a promising academic career, he went on the road as a professional muso. "Was it the women or the curry houses?" Paul was once heard to rhetoricise.

A few years touring as Downes and Beer, all around Europe and the UK, playing sessions on hundreds of albums, four records of their own and two solo sets for Paul... and they met Bill Zorn and formed the now legendary Arizona Smoke Revue.

A meteoric rise into TV, radio, major European festivals, world tours and four albums... that was enough! Paul was asked to stand in on a Joyce Gang gig (their first!) and the rest, as they say, is mystery.

Paul Downes now still gigs extensively in the UK and USA as a solo artist, made his third album, enjoys shopping and cooking, supporting Exeter Rugby Club and getting a suntan.

And here's Phil Beer's slant, from Phil Beer's site:

Downes and Beer became a working duo in 1975/76. Paul was originally at school with Steve Knightley and they had been in a band together. Paul was widely regarded as the the area's hottest acoustic guitarist and he introduced me to the music of Martin Carthy and Dave Swarbrick who were his idols. I was working at Exeter University at the time and gigging locally with Colin Wilson, another excellent guitar player from the area. Steve had gone to college in Coventry and Paul was in Brighton at Falmer teacher training college and he suggested that I move up there and we attempt to make a living by playing gigs. (ha ha ha)

Paul and I started the rounds of the local folk clubs (the days when there was a folk club every night of the week!) and quickly managed to get a few gigs. Brighton was a great place generally for music at that time with lots of stuff going on...

(The picture of Paul at the Phil Beer/Paul Downes gig in Banbury on 28 February 2002 is borrowed from Shogem: there're loads more great pictures there.)

12th May 2003 - Jez Lowe and the Bad Pennies

Jez Lowe has spent the last twenty years taking his songs of his native North East of England around the world, often finding his songs have touched audiences before he gets there. It's a couple of years since Jez appeared at Tudor as a solo artist, and we're delighted to welcome him back with the band.

Acts like Fairport Convention, The Dubliners, The McCalmans, Gary and Vera, Gerry Hallom, Gordon Bok, Mary Black, Cherish The Ladies and hundreds more have all recorded songs by Jez Lowe.

One song alone, The Bergen, has been covered 23 times at last count, while others like Back in Durham Gaol, Old Bones, London Danny and Coal Town Days are fast catching up and becoming folk standards.

Simon Haworth has a strong reputation within the UK folk scene as an excellent session guitarist and band musician, but his signing with the Fellside recording label has meant a blooming career as a songwriter and solo performer. With traditional roots and diverse country influences, he underpins the band sound on bass and keyboards.

Kate Bramley is a female harmony vocalist and fiddler with the Bad Pennies. A solo singer-songwriter in her own right and ex-fiddler for US bluegrass/folk band Sweetgrass, Kate is also pursuing a high profile theatre directing career, while adding light and shade to the Bad Pennies.

Andy May is the band's newest recruit playing Northumbrian Pipes, accordion, keyboards and whistles. Andy is a highly skilled exponent of Northumbrian piping at its best. He is a nine-time winner of the Northumbrian Pipers Society Annual Open Competition, currently a record, and has recently recorded with internationally acclaimed piper Kate Tickell.

2nd June 2003 - Mike Silver

Mike's probably Tudor's all-time favourite singer-songwriter - no, make that "our all-time favourite act".

His wide experience drawn from over thirty years of travelling and playing his songs is what makes him a singer and writer of the present. Although he continues to write and research ideas, more recently collaborating with other writers, it is often the case that if Mike leaves one of the older songs out of a performance he’ll be asked for it the next time around. A fine song will always stand the test of time.

Often labelled "the singer’s singer", the combination of his natural song-writing ability and remarkable guitar and vocal styles is unique. His ability to write songs which cross over many musical styles means his performances are always full of light and shade, Silver can rock with the best of them but alongside the spirited up tempo songs there will be ballads, songs of social and political comment with hard hitting lyrics and strong melodies.

Phil Beer wrapped it up nicely when he described Mike as: "One of England’s greatest singers and songwriters, he possesses that unique ability to sing and play the guitar in a way that the two things combine to form a sublime musical entity". Although Mike is dedicated and serious about his work there is a tremendous humour in the man as well. He delights in sharing a joke or a story with his audiences and builds up such a rapport that they invariably go home reflecting on an evening spent with a good friend.

16th June 2003 - Shave the Monkey

...whereas "Shave" are looking like being our all time favourite band. They are currently: Duncan Moss (Hurdy Gurdy, Flute, Saxophones, Bagpipes and Vocals), Carolyn Sheppard (Lead Vocals, Bass and Acoustic Guitar); Bryan Causton (Mandolin, Mandocello, Electric Guitar, Acoustic Guitar, Violin and Vocals); Guido M Rincón (Keyboards, Electric Guitar, Electric Bouzouki, 12 String Guitar, Electro-Acoustic Mandolin, Electro-Acoustic Double-neck Bouzouki and 6 String Acoustic Guitar, Percussion and Vocals); Kevin Neaves (Drums); and relative newby Fran Broady (Violin and Vocals).

Over the course of the last fourteen years and 4 Cds, Shave the Monkey have developed an International following for their eclectic mix of Folk, Rock, Jazz and dance music played on an equally varied selection of instruments.

Refusing to be pigeonholed within any particular genre they draw their fan base from across the musical spectrum.

Live, they are equally at home holding an intimate club audience spellbound or driving a festival audience wild. If you've heard the band either Live or on CD you'll already know this.

Playing songs and tunes on instruments spanning nine centuries, they have played at many of Europe's major festivals including Fairport Convention’s Cropredy Festival, Cambridge Folk Festival, Dranouter and Deerlijk Folk Festivals in Belgium and Skagen Festival in Denmark

Their command of over twenty five instruments coupled with superbly crafted songs makes for what can only be called an electric performance.

30th June 2003 - Pete Morton

"not only impressive but a revelation......totally original"

- The Guardian

"....this guy is amongst the best the British roots music scene has produced in living memory"

- fRoots Magazine

"the performance at the live radio show was nothing short of brilliant"

- Rich Warren ,The Midnight Special WFMT Chicago

I was lucky enough to go to Bridgnorth Folk Festival in 2002, and amongst the very many fantastic acts I saw and heard, Pete stood out as being just right for Tudor. A class act: a bit daft, a bit socially aware, knows his roots but places his material firmly in the present. I booked him as soon as I got back.

He’s not a political songwriter in the Robb Johnson sense (although there is plenty of personal politics in his footnotes); neither is he a traditional performer in the usual manner (although he worships Martin Carthy and loves performing the big ballads). His whole approach on stage, energetic and boppy, flies in the face of all customary images of singer songwriters, reflecting his apprenticeship playing in the streets of London (and Manchester and virtually every other city in Europe). He fits no established precepts of folk singing but has never had the slightest inclination to pursue fame and fortune in a pop environment and loathes rock with a vengeance.

"I don’t mind being called a folk singer, I really don’t. There was a time when you had to find another word for it, you just had to. But people’s perceptions aren’t quite so bad now and, well, it’s what I do. I sing traditional songs and I write songs and I play an acoustic guitar and I go to folk clubs and folk festivals and I feel very comfortable in that whole lineage to anyone who’s ever slung a guitar over their backs. I don’t want to have to pretend it’s something else due to the dictates of fashion that says it’s this or that. It’s what I do and have always done. I’m a folk singer."

- interview by Colin Irwin, fROOTS Magazine, December 2000

14th July 2003 - Christina Smith & Jean Hewson

Traditional music from Newfoundland. Fantastic voices, fiddle/cello and guitar.

Well, we get some pretty dodgy CDs to review. And then we get some stonkers. I was so blown away by these two that I took the ghetto blaster into the committee meeting which happened to on that week and they were comprehensively and unanimously right behind me: "We gotta book these guys!"

Since 1985, Christina and Jean, both native Newfoundlanders, have dedicated themselves to the preservation and performance of Newfoundland music. Their long-standing friendships with the older generation of singers and musicians have given them a unique repertoire of songs and tunes that are rooted in the traditions of "The Rock". With their instrumentation of voice, guitar, fiddle and cello, they shape this material into unusual and engaging arrangements. A performance by Jean and Christina will run the gamut from rollicking dance tunes, to hilarious ditties, to chilling murder ballads; all mixed with liberal doses of the humour and wit for which Newfoundlanders are so justly famous

Christina:

In 1978 Chistina got a summer job with the folklore department at Memorial University of Newfoundland. Her mission? To interview elderly musicians playing at the Newfoundland and Labrador folk festival that summer. Her assignment? Legendary fiddler Emile Benoit. When Emile found out that Christina was a classically trained voilinist, the interview turned into a fiddle lesson!

She has been playing Newfoundland fiddle music ever since that life altering experience.

Jean:

When Jean was 16 years old she got a classical guitar for her birthday. When she picked it up, it was as if she had found an element that had been missing all her life. And when she turned 18, two things happened: a friend introduced her to the folk rock sounds of Fairport Convention and Steeleye Span and Martin Carthy became an obsession... and she heard Figgy Duff (a Newfoundland traditional singer) and she realised that she didn't have to do Carty covers if she wanted to play traditional music.

The music:

Newfoundland dance music is unique. It has a driving rhythm but often an unusual meter, with an extra beat or two added to occasional bars. It reflects the mix of cultures which settled the island (English, Irish, Scottish and French). Whereas the songs come from the still living oral tradition which survives in rural Newfoundland.