Customer Reviews

Awkward Annie

5 star:		(13)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

"I am wandering now.
Through this world
I am wandering, wandering,
These are the days I live now."
(from "Planets")

AWKWARD ANNIE is beautiful and melancholy. I don't want to read too much into the music knowing how difficult the last two years have been for Kate. I can imagine, though, it must have been as tough as her liner notes indicate. It's funny how you want artists you love to be happy and free from the heartaches which plague most humans. John McCusker must have been a tough genius to live with. The good news is that Kate has made one helluvah debut as producer and arranger. Definitely not adrift without the guiding brilliance of John.

The poignancy is potent in many places in the record--most strongly in "The Bitter Boy," "Farewell," "Planets," "Andrew Lammie" and "Daughter of Heaven." How many of the lyrics and sentiments are meant to be autobiographical I don't know--hard to avoid thinking so with "The Bitter Boy." As to her usual high standard, she mixes lovely traditionals (for which she's written music) and several gorgeous originals which--as is always the case with Kate--sound somehow old and new at the same time.

One characteristic, I think, of her producing and arranging is a new emphasis on instrumental interludes in the midst of the songs. I count eight songs in which the magic combination of instrumentalists are allowed to do their own thing for extended periods. How beautiful those players play. Several songs have a whole group of string players and several others a great mix of horns. The banjo figures in several songs more than in previous albums. And what a group of harmony singers: Eddi, Chris, Joe and the amazing deep voice of John Hudson. The latter and Eddi Reader work such choral magic in my favorite song on the album, "Blooming Heather," that I get goosebumps every time I listen to it. This--in spite of all the versions I've heard and liked of this song under its more common name, "Wild Mountain Thyme." This is the best version, the most moving one, I know of this great song. Overall, my favorites are "The Bitter Boy," "John Barbury," "High on a Hill," "Planets," "Daughter of Heaven," and, of course, "Blooming Heather." One signature moment--Donald Shaw's gorgeous piano work in "John Barbury." Exquisite. And Kate and Eddi were made to harmonize.

I hope the artistic achievement of AWKWARD ANNIE and the support of her family give Kate much solace.

Kate Rusby is one of the foremost musicians in the English-Celtic Traditional Folk group. If you've once heard her light, feathery voice, you won't forget her. It's light as a feather, but with the subtle tremolo that can send a listener soaring with joy or to the tissue box to wipe away a tear or two. From reading the liner notes, it appears Ms. Rusby's been through some tough times and that may be reflected in the selection of traditionals and composition of original music chosen here, particularly "Daughter of Heaven" and "Bitter Boy."

This collection of 12 songs, which runs about 52 minutes, includes four of Rusby's own compositions. They are "Awkward Annie", "The Bitter Boy", "High on a Hill", and "Planets". What amazes me about Rusby's own writing is the strong traditional sentiment. You can listen to "High on a Hill" right next to "Blooming Heather" (more commonly known as "Wild Mountain Thyme") and not realize that one of the songs was written today.

The remaining traditionals feature Rusby's arrangements, which are subtle and graceful. I've heard "Wild Mountain Thyme" from a wide variety of performers, both live and recorded and her "Blooming Heather" is one of the most beautiful.

My favorites from this CD have changed every time I listen to it. "Blooming Heather", "Daughter of Heaven" and "Planets" are the three selections that have gotten the most repeats so far, but that can change as times do.

Kate Rusby's a soothing companion on a day you just need to kick back with a cat or two in your lap and a cup of tea. If you're not familiar with traditional folk, she's a great artist to begin with. If you are, you will appreciate her elegant and evocative treatment of your old favorites.

Rebecca Kyle, May 2008

Kate has once again captured my heart with this amazing album. She seems to share more of herself, more of her sorrows, and more of her own self-expression in this delicate work. The same beautiful voice is there, the same intricate melodies... and yet after listening to this album, I feel like I know Kate just a little bit better. For those of you who love other albums by Kate Rusby, this one will not disappoint.

Kate Rusby has a beautiful voice. She has a way of picking and arranging beautiful songs. She has a great way of finding some of the lesser known traditional songs. This CD is full of beautiful melodies. I have been a fan of hers for about 10 years and this is one of her best CDs.

I'm familiar with some of Kate Rusby's earlier music because she gets airplay, from time to time, on BBC radio folk music programmes - but this is her only album that I have. 'Awkward Annie' seems to follow an established pattern - a seamless mix of self-penned original songs and traditional songs from the British Isles.

THE VOCALS : KR's voice is difficult to describe (but I'll try). If you took away the American accent and country twang from Dolly Parton's vocals, and replaced it with a decidedly Yorkshire-English accent, you'd get something which comes close to KR's vocal style (listen to how she pronounces words like 'come', 'money', or 'love'). Depending upon the song, her vocals oscillate between dainty delicacy and haunting poignancy. As with Sandy Denny, her voice has an innate quality to make clocks stand still; even though Kate's alto is higher up the scale than Sandy's, I think she sings with a little more warmth. Sandy Denny had folk vibrato 'down to a fine art' and KR also uses this technique, but not quite as frequently; and, when the song demands it, KR adds a touch of understated humour to her delivery. Three songs feature some outstanding harmony vocals courtesy of Joe Rusby, Eddi Reader and Chris Thile (ex. Nickel Creek). 'Blooming Heather' ('Wild Mountain Thyme') includes vocals from operatic tenor John Hudson - you'll have to decide for yourself about the inclusion of his vocals, but I thought they sounded rather out of place.

THE SONGS : Some are melancholic, with a few conveying a real sense of loss. However, there are three or four songs with a much lighter and/or humorous mood. Many songs have a distinct 'English' character, but 'John Barbury' (var. 'Willie O Winsbury'), 'Andrew Lammie' and 'Blooming Heather' are traditional Scottish songs; whilst 'High On The Hill' has a Bluegrass influence. The second half of the album contains a couple of real 'tear jerkers' - 'Andrew Lammie' and 'Daughter of Heaven'.

THE PLAYING : The playing by the session and guest musicians is nothing short of exemplary. Instruments featured include : acoustic guitars, banjo, violins and several other stringed instruments, piano and harmonium, accordion, flute and traditional brass band instruments. The music is, essentially, semi-acoustic - only one track has electric guitar and only one other has percussion. Many songs have short instrumental bridges (something which I haven't noticed with KR's earlier music); notable performances come from, amongst others, Ian Carr (guitar), Chris Thile (mandolin), Leon Hunt/Andy Seward (banjo) and Donald Shaw (piano & harmonium) - also, John McCusker's continuing influence should not be overlooked.

Highlights for me were : 'Awkward Annie' and 'High On a Hill' - both up-tempo songs with lilting melodies and fine playing (and some super harmony vocals on the latter); 'The Bitter Boy' and 'Daughter of Heaven' -two haunting songs with poignant lyrics; 'John Barbury' - a traditional song featuring some beautiful piano and flute playing; 'The Old Man' - I liked this song for it's humour, it's about an accident prone farmer whose animals ('Tidy the Cow', 'the littlest pigs', and the 'speckledy hen') seemingly conspire to give him a hard time.


This is a fine album indeed. Although the music/production has a contemporary veneer, it is still very much folk music in a neo-traditional style - it isn't folk-rock, so don't expect something along the lines of Fairport Convention or Steeleye Span. It's easy to understand why other reviewers give 'Awkward Annie' 5 stars; but, purely from a subjective point of view, I feel the album's balance would have benefitted from the inclusion of a couple more songs with a lighter mood. Additionally, I thought the harmony vocals were exceptionally good, and a little more of these would have lent some extra texture to the music. Nevertheless, highly recommended for all lovers of British folk music; fans of Sandy Denny and The Wailin' Jennys might want to 'give this a twirl' also - 4.5 stars.

I must admit it was Rusby's version of Ray Davies' "The Village Green Preservation Society" that brought me on the trail of her music.

As a big fan of Davies, it's nice when new artists are able to bring new life to his wonderful songs - and this I think is really what Rusby has done in this case.

The fact that the song is quite atypical of her music does not really matter. I would compare the experience of hearing this CD to the first time I heard Sandy Denny's (Fairport Convention) version of "The Deserter" - incredibly beautiful and unspoiled voice.

Most songs are classic British folk music, although most songs are actually newly written originals by Rusby.

It can be difficult to emphasize some songs over others, since most songs are great and moving..

Title song "Awkward Annie" is in its simplicity, both charming and catchy.

"John Barbury" sounded very familiar when I first heard it. It is listed as a trditional, but actually it's the same melody as Richard Thompson's "Farewell Farewell" from "Liege and Lief" - could also Thompson borrowed a little from a traditional songbook. Great song at any rate.

Many songs are written in a style which is close to Sandy Denny's - this goes not least for the fine "Stream of Lovely Nancy."

"Daughter of Heaven" is almost unreasonably beautiful and touching.

Overall a very strong album with no songs falling through.

Kate Rusby has been prolific in releasing Traditional English Folk albums for a number of years. She never disappoints either, taking you on journeys through the country and Englands history. She has a beautiful voice which at times is mesmerising and this album continues the tradition of a mix of traditional songs and her own compositions. She rightfully has her place among the top current English Folk musicians such as Show of Hands and Seth Lakeman. If only out of curiosity this album is worth a go.

I bought this originally for the theme for Clatterford. I was blown away by Kate's voice and tender approach of each song. Favorite songs are Awkard Annie, John Barbury, The Old Man, Daughter of Heaven, Blooming Heather and of course The Village Green Preservation Society (theme from Clatterford). But my favorite song is probably Bitter Boy. Just an amazing CD all around. I've been looking for music just like this and can't express my appreciation and admiration for this artist enough after just one CD. I'm now looking forward to ordering everything I can from Kate.

Kate Rusby is a wonderful find! I love all the songs on this album, but especially Tracks 3, 4 & 5. Lovely voice, and lovely songs-- some traditional and some original.

In most cases, it takes me a few times to listen to one of Rusby's albums to fully appreciate it. This one is different. Some of the songs ("Blooming Heather/Wild Mountain Thyme") take a little bit of listening to get used to but others ("Bitter Boy," "High on a Hill," and others) grabbed me a almost immediately.

This is one of Rusby's best albums, and if you are looking for a first album to hear this outstanding artist, this is THE album to listen to. This is probably paired with "Hourglass" as my favorite albums of hers of all time, though they are extremely different.