The Tannahill Weavers, who started as a band 20 years ago, occupy a unique position among the groups on the Scottish folk scene. Stalwarts Roy Gullane and Phil Smillie have surrounded themselves with a rotating cast of great musicians. Their music, which uses the Highland bagpipe, flute, and fiddle as its melodic core, is tighter, more intense,... [+] Read More

The Tannahill Weavers, who started as a band 20 years ago, occupy a unique position among the groups on the Scottish folk scene. Stalwarts Roy Gullane and Phil Smillie have surrounded themselves with a rotating cast of great musicians. Their music, which uses the Highland bagpipe, flute, and fiddle as its melodic core, is tighter, more intense, and harder-driven than the Battlefield Band, Silly Wizard, or their other contemporaries. Despite their mostly acoustic sound, they're the closest thing to a rock & roll band in intensity and attitude that the traditional Scottish music scene has to offer. Green Linnet Records has been the major force in promoting the Weavers, releasing more than a dozen albums over three decades. In 2000, the label continued that trend into the next millennium by releasing Alchemy.~ Steve Winick, All Music Guide [-] Hide

A.L. Lloyd is probably not the name that comes to mind first when the subject of English folk music comes up -- at least not for anyone under the age of 40. As a singer, collector of folk songs, and arranger, however, Lloyd is one of the most important 20th-century figures in English folk music, in many ways Britain's answer to the Weavers' Lee... [+] Read More

A.L. Lloyd is probably not the name that comes to mind first when the subject of English folk music comes up -- at least not for anyone under the age of 40. As a singer, collector of folk songs, and arranger, however, Lloyd is one of the most important 20th-century figures in English folk music, in many ways Britain's answer to the Weavers' Lee Hayes or Pete Seeger.

Born Albert Lancaster "Bert" Lloyd, A.L. Lloyd was the son of an East Anglian fisherman, born in London during the first decade of the 20th century. He learned numerous songs from his parents, especially his father, but didn't become actively interested in folk music until after he emigrated to Australia in the 1920s, where he mostly made his living by "sheepminding" and collected lots of bush ballads during the nine years he spent there. Lloyd subsequently went to sea and learned far many more songs. He returned to England in 1935 with some 500 songs collected and a deep and abiding insterest in folk songs. In 1937, he went to sea with a whaling fleet, sailing to Antarctica and learning more sea shanties along the way. After returning to England, he chanced to hear a program about unemployment in America, and suggested a similar program to the BBC, which led to his being employed as a scriptwriter and reporter.

In 1944, he published The Singing Englishman: An Introduction to Folk Song, the first serious volume on the folk songs of England in nearly 40 years. In 1947, Lloyd unexpectedly began a singing career when he won the National Folk Singing Contest. In 1952, Lloyd published his first collection of folksongs and ballads, Come All Ye Bold Miners, but continued to be deeply involved in radio as well, including the series Ballads and Blues, which included performances by Big Bill Broonzy, Alan Lomax, Jean Ritchie, and Ewan MacColl, and eventually to a long-term partnership with MacColl. Lloyd began his recording career during the 78-rpm era with "The Banks of the Condamine"/"Bold Jack Donahue" on the Topic label, but it was during the 1950s, with albums recorded in collaboration with MacColl, in the Radio Ballads series, that he entered the long-playing era.

In 1956, Lloyd made a film appearance in the role of the shantyman, singing in the inn where Ishmael goes to sign aboard the Pequod in John Huston's 1956 film of Moby Dick. Lloyd concertized throughout England, and also made numerous appearances in radio and television, becoming one of the country's leading authorities on folk songs and folk dance. Lloyd also made field recordings throughout the 1950s of native singers of Romanian, Bulgarian, and of Albanian folk songs, many of which were released on the Topic label. Most important of all, in terms of English song, he collaborated with composer Ralph Vaughan Williams (1872-1958) in the editing of The Penguin Book of English Folk Songs (published 1959), which became the best-selling reference book in the field (50,000 copies in print by the 1980s).

During the early '60s, Lloyd became a mentor to the entire new generation of folksingers, recording for Topic with accompaniment by Martin Carthy, Dave Swarbrick, Anne Briggs, and Frankie Armstrong, even as his books provided Carthy and Swarbrick -- and their eventual colleagues in Fairport Convention and Steeleye Span -- with the core of their repertory. Carthy, in particular, built on Lloyd's work while crediting him fully and prominently. Lloyd's own recordings consisted of old drinking songs, sea shanties, labor songs, and the entire range of material he'd learned from Australia to Antarctica and back again.

Lloyd's work as a performer was dedicated to preserving the authentic performing traditions of the folk song in its native environment. His style of singing is rough-hewn and direct, and his use of language is uncensored and forceful, with none of the prettified adaptations typical of more pop-oriented recordings of folk songs and sea shanties. Some 40 years older than most of the folksingers who achieved popularity in the 1960s, his music sounds as though it is of a different age from the work of, say, Martin Carthy, or Bob Dylan, or even Woody Guthrie, and worlds apart from the performances of Steeleye Span or Fairport Convention. ~ Bruce Eder, All Music Guide [-] Hide

Ewan MacColl may well have been the most influential person in the current British folksong revival. From his early manhood until his death in 1989, he remained passionately committed to folksong, though not exclusively; he was also a poet, playwright, organizer, activist, songwriter, husband, and father. MacColl was born in Scotland in 1915.... [+] Read More

Ewan MacColl may well have been the most influential person in the current British folksong revival. From his early manhood until his death in 1989, he remained passionately committed to folksong, though not exclusively; he was also a poet, playwright, organizer, activist, songwriter, husband, and father. MacColl was born in Scotland in 1915. His father was a lowland man who spoke Scots English, his mother a highlander who spoke Gaelic. Both of his parents were singers. MacColl left school at fourteen to busk and act in the streets and was quickly discovered by the BBC. Soon he was not only singing, but also writing programs for the radio. He founded the first folk club in England, the Ballads and Blues Club, as well as the Critic's Group, an influential early singing group that included such singers as Frankie Armstrong, Anne Briggs, and John Faulkner. He himself was one of the foremost interpreters of traditional songs ever recorded. The most ambitious project he undertook was to record a representative sampling of Professor Francis James Child's English and Scottish popular ballads. While his early repertoire was mainly of street songs and traditional material, he has always also been an important songwriter. Most impressive was his competence in producing expressions that had appeal for all levels of society; his songs have been covered by performers as diverse as Dick Gaughan, the Pogues, Roberta Flack, and Elvis Presley, and many have been collected in several versions from the oral tradition. They range from savage political satire to tender love songs and are supremely effective at producing the desired emotions. Beyond his activities as a singer and songwriter, MacColl was an actor and a playwright. In 1947, George Bernard Shaw commented, "Apart from myself, MacColl is the only man of genius writing for the theatre in England today." His playwrighting and songwriting joined seamlessly in his "radio ballads," radio plays that bordered on ballad operas. Many of his most lovely and best-remembered songs were written for these plays, some of which have been released in album form. MacColl was married to Peggy Seeger, herself a singer of folk songs (and half-sister to American icon Pete Seeger). Together MacColl and Seeger, sometimes accompanied by their children, who are also skilled musicians and singers, have recorded quite a few albums as well. Many of MacColl's albums are out-of-print products of long-defunct record companies. Some, however, are readily available. All, like MacColl himself, are important factors in the history of the folk revival, to be cherished by all who encounter them. This great singer made many, many albums over many years. All of them are recommended for fans of great singing, though some may be a bit specialized (i.e., unaccompanied singing in broad Scots dialect) for some listeners. ~ Steve Winick, All Music Guide [-] Hide

More than a decade since Scottish harpers Patsy Seddon and Mary MacMaster's first collaborations, their duo, Sileas (pronounced: She-less) remains the only duo of its kind. While they remain rooted in traditional Scottish folk music, Sileas' combination of nylon-strung acoustic harp and brass-strung electro-harp creates a lively, exciting and... [+] Read More

More than a decade since Scottish harpers Patsy Seddon and Mary MacMaster's first collaborations, their duo, Sileas (pronounced: She-less) remains the only duo of its kind. While they remain rooted in traditional Scottish folk music, Sileas' combination of nylon-strung acoustic harp and brass-strung electro-harp creates a lively, exciting and contemporary sound. Although Seddon and MacMaster have recently focused their attention to the Poozies, the eclectic band that they share with accordionist Karen Tweed and guitarist Kate Rusby, their harp duo has been a regular feature of The Poozies' concerts.

The inspiration for Sileas was initially conceived when Seddon, who studied harp for four years with Alison Kinnaird, and MacMaster, who was mostly self-taught, played together in a short-lived band, Sprangeen. Named after a 17th century female poet who wrote in Gaelic, Sileas released their debut album, Delighted With Harps, in 1986. Produced by Freeland Barbour, the album showcased the two women's unique harp playing and their silken vocal harmonies with songs sung in both Gaelic and English. Sileas' second album, Beating Harps, released in 1988, continued the high-quality of its predecessor. The duo's third album, Harpbreakers, released in 1990, was their weakest effort, concentrating too heavily on an electronically-enhanced sound. Six years passed before the release of Sileas' fourth album, Play on Light, in 1996. Produced by Jim Sutherland, the album signaled a return to the acoustic sound of the duo's first two albums and included a medley of Bill Withers' "Ain't No Sunshine" and MacMaste 's instrumental composition, "The Flawless Juggler."

Seddon and MacMaster recorded an album, Sail On, with Clan Alba, a band of Scottish musicians assembled by Dick Gaughan, in 1996. Play on Light followed three years later. ~ Craig Harris, All Music Guide [-] Hide

Generally considered the world's finest performers of traditional and contemporary Scottish music -- and with good reason. Silly Wizard's music is at once driving and sensitive, powerful and poignant, at times hypnotic, often humorous, with sensitive group interplay and virtuoso-level musicianship, particularly from brothers Phil (accordion,... [+] Read More

Generally considered the world's finest performers of traditional and contemporary Scottish music -- and with good reason. Silly Wizard's music is at once driving and sensitive, powerful and poignant, at times hypnotic, often humorous, with sensitive group interplay and virtuoso-level musicianship, particularly from brothers Phil (accordion, keyboards, whistles, guitar, vocals) and Johnny (fiddle) Cunningham. Their repertoire includes centuries-old instrumental dance music along with traditional and contemporary narrative ballads: tales of joy and woe, of men and women, of time and travel, of love and loss. Silly Wizard is not just another folk music group; they rank with the greatest creators and performers from any country from any time.

Several members of the group, particularly the Cunningham brothers and vocalist Andy Stewart, have made solo and duo recordings and have performed and recorded with other artists, primarily Scottish traditionalists. These recordings are also well worth investigating, but get the Silly Wizard stuff first. ~ Niles J. Frantz, All Music Guide [-] Hide

A phenomenal collection of sea shanties and sailing songs performed by two of Great Britain's most outstanding musicologists. MacColl recorded a great deal during his career, which is fortunate, though he might well be best remembered by some for writing "The First Time Ever I Saw Your Face." Lloyd performed a great deal and was highly regarded... [+] Read More

A phenomenal collection of sea shanties and sailing songs performed by two of Great Britain's most outstanding musicologists. MacColl recorded a great deal during his career, which is fortunate, though he might well be best remembered by some for writing "The First Time Ever I Saw Your Face." Lloyd performed a great deal and was highly regarded for his research and his attention to old, almost-lost songs, but his recordings are sadly few in number, and mostly unavailable -- there are a few songs on CD via a Riverside reissue, a cut on a Rhino compilation, and this Tradition reissue. Some of the songs included in this recording are familiar; "The Handsome Cabin Boy" has been recorded many a time, with notable performances including one by Kate Bush. Many songs are less familiar, however, and are quite deserving of attention. MacColl and Lloyd's performances have enthusiasm and vigor, and are given able support from a small ensemble. The CD reissue has been cleaned up nicely, with no obvious artifacts or loss of musical quality. If you can find it, Blow Boys Blow is a worthy album to have in hand. ~ Steven McDonald, All Music Guide [-] Hide

A beautifully remastered CD edition of this bleak MacColl release, which opens with the tale of Craig and Derek Bentley and closes with "Go Down Ye Murderers," which relates the story of Timothy John Evans, convicted and executed for murders he did not commit, both true and awful stories from the annals of 20th century British justice. While... [+] Read More

A beautifully remastered CD edition of this bleak MacColl release, which opens with the tale of Craig and Derek Bentley and closes with "Go Down Ye Murderers," which relates the story of Timothy John Evans, convicted and executed for murders he did not commit, both true and awful stories from the annals of 20th century British justice. While MacColl, in collaboration with partner Peggy Seeger, visits a number of traditional ballads of criminal misfortune, the underlying theme here is one of protest against the vagaries of the justice system in both England and America. Despite the odd attempt of levity, the unremitting darkness of the material is likely to put some listeners off. For all that, this is a vital piece of work from the British folk movement of the 1950s-1960s. ~ Steven McDonald, All Music Guide [-] Hide

Harps have been a part of Celtic music for over 1,000 years. Ireland has been famous for its harpists (one of the best known was Turlough O'Carolan), as has Scotland. Two Scottish harp players/vocalists who have been doing their part to keep Scottish/Celtic harp playing vital and fresh are Mary Macmaster and Patsy Seadon, who comprise the duo,... [+] Read More

Harps have been a part of Celtic music for over 1,000 years. Ireland has been famous for its harpists (one of the best known was Turlough O'Carolan), as has Scotland. Two Scottish harp players/vocalists who have been doing their part to keep Scottish/Celtic harp playing vital and fresh are Mary Macmaster and Patsy Seadon, who comprise the duo, Sileas. Play on Light isn't a CD for Celtic purists; Sileas combines Celtic harp playing with elements of modern folk, pop and rock, and the duo's risk taking pays off. Macmaster and Seadon are obviously well-versed in Scottish/Celtic traditions -- they know their way around traditional Gaelic language songs like "Buain a'Choirce," "Pi Li li Liu," "Domhnall Dubh" and "Laill Leathag." But what they do with such songs isn't entirely traditional; for Sileas, learning from tradition doesn't mean you have to be enslaved by it. One of the high points of Play on Light is Sileas' take on Bill Withers' 1971 soul classic, "Ain't No Sunshine," which works quite well in a Scottish/Celtic setting. Play on Light is a forward-thinking CD that has a lot going for it. ~ Alex Henderson, All Music Guide [-] Hide

Really only the best of their Shanachie releases, it's still a great compilation. ~ Steve Winick, All Music Guide

Really only the best of their Shanachie releases, it's still a great compilation. ~ Steve Winick, All Music Guide [-] Hide

Another lovely outing from the Battlefield Band, with a nice mixture of traditional tunes and originals -- one of which, "The Beaches of St. Valery," is a tragic tale of those who did not make it home after the debacle at Dunkirk; the kick in this is that the song is based on a piece written for the wife of composer Chris Wood. Consistently... [+] Read More

Another lovely outing from the Battlefield Band, with a nice mixture of traditional tunes and originals -- one of which, "The Beaches of St. Valery," is a tragic tale of those who did not make it home after the debacle at Dunkirk; the kick in this is that the song is based on a piece written for the wife of composer Chris Wood. Consistently expert (and enthusiastic) playing meshes with a careful approach to Scottish music to provide a splendid disc. ~ Steven McDonald, All Music Guide [-] Hide