Customer Reviews

Freedom And Rain

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

 

 

I am quite surprised to see that this disk is marked "limited availability" and had not been reviewed. This collaboration between June Tabor and the Oyster Band is possibly her most accessible work for those outside the traditionalist ghetto. On it they cover songs by a variety of well-know writers (Lou Reed's "All Tomorrow's Parties," Richard Thompson's "Night Comes In," Billy Bragg's "Valentine's Day is Over," Shane McGowan's "Lullaby of London," et al.) They also perform traditional tunes ("Dives and Lazarus," "Susie Clelland"), and Si Kahn's "Mississippi," probably the least well-known of the covers, is gem.

Unlike some of her other forays into pop music, this one seems to work, presumably because the Oysters are a working band with a distinct approach and sound, and not just a collection of musicians hired for a one-off project. Not everyone will love every one of the covers (I suspect that the breakneck tempo "Night Comes In" will not be everyone's favorite). Nevertheless, this is a very strong collection and I am really surprised by this recording's apparent lack of visibility.

June Tabor is a reclusive British folk singer with a sadly regal voice that evokes world-weariness coupled with inner strength. Her credentials go back to the 70's when she collaborated with Steeleye Span's Maddy Prior on the album Silly Sisters. Through the years she has produced a number of bleak, starkly arranged albums of traditional music such as Aqaba, that made her one of the most important exponents of this musical form in the tiny but dedicated British folk scene. Here she goes popular-modern on interpretations of dramatic material by the likes of Billy Bragg (Valentine's Day Is Over), Richard Thompson (Night Comes In), Shane McGowan (Lullaby of London) and - an inspired choice - Lou Reed's All Tomorrow's Parties. There are three traditional songs, of which Bonnie Sue Cleland is the best, and two songs in a modern folk idiom where fiddle and accordian are used to great effect on a light rock beat. June's rendition of All Tomorrow's Parties is resplendent with spooky fiddle expertly complementing the wistful quality of her voice - reason enough to get this album.

I am new to both June and to the Oyster Band (I don't get around much, I guess...thank goodness for my friend Jim Clark of Missouri who turned me on to both of them.) This is a delightful album. There is another review posted for this one which seems quite sensible to me, so read it. The traditional "Susie Clellan" and the punkish "Lullaby of London" by Shane MaGowan of the Pogues are my favorites, I think...but it's all good.

Superb!!! No dark dirges here. Lively collection of songs well played and sung. Inspired choice of material from Richard Thompson, Shane MacGowan, Billy Bragg and even Lou Reed. In terms of spunky tempo, think indeed of the Pogues material. A perfect marriage of a fine multi-talented band applying just the right instruments to each song, and June's earthy singing overlays it all sublimely.