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Staff Picks Category: Folk music

The Ditty Bops by The Ditty Bops []

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I enjoyed this band so much the first time I heard them (live, at Pearl Street) that I bought five copies of their self-titled album; I kept one copy for myself and gave the rest as Christmas gifts. This is fun music. Amanda Barret and Abby DeWald excel at quirky lyrics and tight vocal harmonies, and these two very competent musicians (in addition to their fine singing Abby plays guitar and Amanda plays mandolin and dulcimer) are backed up by an excellent band that really knows how to swing. They play in a variety of styles; swing, blues, and ragtime are among their more obvious influences.
I love the sound of this album, but I also love the words to many of the songs. The lyrics can change from nonsensical, to mundane, to profound all in the course of a song, and a song like “Walk or Ride” does all of these while addressing an issue that is dear to my heart.

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Spooked by Robyn Hitchcock []

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In 2004, Robyn Hitchcock recorded one of his finest albums with folkster heroes Gilllian Welch and David Rawlings. The trio set up shop in Nashville, TN and created this very sparse and absorbing recording. The album is filled with rich textured harmonies, picking acoustic guitars and a refreshing amount of open space. Though mostly an acoustic record, the album also features spots of electric piano, minimal drums, electric sitar for psychedelic touches and Eastern flavor and a couple electric bass guest spots by NRBQ man Joey Spampinato.

On the dobro led “We’re Gonna Live in the Trees”, Hitchcock’s famed clever lyrics bounce the literary reference of Virginia Woolf had a troubled mind, it was never at ease with the song’s title/refrain. He also shows a softer side with the slow and outer-spacey “English Girl”. Her skin was clear and her mum wore pearls/I fell in love with an English girl/ She asked me for an almond whirl/ I was obliged to the English girl.
Robyn Hitchcock is one of the few recording artists whose catalog has remained consistently inspired throughout a lengthy career. Spooked, in particular, stands out from his recent output due to the stunning contributions from Welch and Rawlings.

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A Portland selection []

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This CD is a companion to the very excellent tune book The Portland collection. On it you will find recordings of 36 of the tunes from that collection. The tunes are played simply with a small ensemble, but are full of energy; these recordings will be appreciated by all lovers of contra dance music, but especially by those who wish to learn and play the tunes themselves. George Penk is on fiddle, Clyde Curley on mandolin, octave mandolin, and tenor banjo, and Susan Songer on piano.

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fRoots []

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fRoots (formerly Folk Roots) covers modern and traditional music with roots from around the globe. Feature articles, CD and concert reviews, and even advertising span world music from Scotland to South Africa and from ukulele to sitar. Some issues include a CD sampler. With its broad coverage of past, present and the cutting edge and its passion for folk as a constantly-evolving genre, fRoots is the last, best roots music magazine.

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Rise Up Singing []

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One of the first songs I learned to play on a musical instrument was “Blowin’ in the Wind” by Bob Dylan. All it took was four simple chords, my dad’s Guild acoustic guitar, a moderate amount of diligence and a copy of Rise Up Singing. This anthology is the perfect songbook for a beginner guitarist. It boasts holding words, chords and sources to 1,200 songs! Arranged thematically (though there’s an index if you’re looking for something specific), it includes traditional and more contemporary folk songs, blues music and pop tunes. Songs are displayed in the simplest manner possible reducing the musical notation to the most basic chord progressions.
Rise Up Singing also comes in handy for singsongs, parties and campfires. I keep a copy near my bed encased in glass with hammer attached via a string for unexpected musical emergencies.

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Songs of our fathers by Andy Statman and David Grisman []

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This is a wonderfully joyful, sorrowful, simple, virtuosic, and just plain fun recording. Statman and Grisman, together with their very talented band (which includes Edgar Meyer on bass!) play traditional and original acoustic Jewish music with strong klezmer roots. Statman is a fine clarinetist, and both Statman and Grisman are masters of the mandolin; it’s a treat to hear them play!

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Appalachian Journey by Yo-Yo Ma, Edgar Meyer, and Mark O’Connor []

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Yo-Yo Ma, Edgar Meyer, and Mark O’Connor play with ideas drawn from traditional American fiddle tunes on this album; the results are great fun. The traditional tunes on this album are often played at a slower tempo than that which you may be accustomed to hearing, but this fantastically talented trio fills the resulting space well, using harmonies and polyphonic lines that give the music an almost classical feel.

Yo-Yo Ma, cello; Edgar Meyer, bass; Mark O’Connor, violin. James Taylor and Alison Krauss join the trio for a song and a tune each.

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Red Rose Speedway by Paul McCartney & Wings []

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Sandwiched between the hastily recorded and yet magically off kilter Wild Life and the triumphant, triple platinum Band on the Run album lives a recording called Red Rose Speedway. This second Wings effort bridges the gap between freak outs and radio friendly hits. We find the number one smash “My Love” sitting side by side with the nonsensical jam “Big Barn Red” and the minor key piano ditty “Single Pigeon”. Mac and the gang also attempt a nod to the second side of the Beatles’ Abbey Road with a four song medley. As Alan Partridge once retorted to a person ignorant of McCartney’s second group, “Wings are the band the Beatles could have been.” So very true.

Next week we take a closer look at Ram.

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Big Old Life by Rani Arbo & Daisy Mayhem []

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Local (western MA and CT) musicians Daisy Mayhem create something truly unique which they jokingly call “Agnostic Gospel.” With folk roots, rich vocal harmonies, sophisticated arrangements and passionate attitude, they make music that is original, moving and fun.

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Fire & grace by Alasdair Fraser and Natalie Haas []

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A fantastic collection of new and old Scottish fiddle tunes, with Alasdair Fraser on fiddle and Natalie Haas on cello. Alasdair Fraser is a master and Natalie Haas’s cello playing his perfect complement. Natalie plays beautiful counterpoint, but she has also mastered the fiddler’s “chop”, and uses it effectively in her driving rhythmic accompaniments. Having listened to this recording I find it difficult to understand why the cello is not used more often in this style of music!

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Dans Les Airs by Le Vent du Nord []

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I picked up this CD because of the album cover—I was intrigued because one of the band members was shown playing the hurdy gurdy. As it turns out, there is some great hurdy gurdy playing, but there is much more: wonderful vocal harmonies, great fiddling, Québécois foot percussion, and always infectious melodies and driving rhythms. A great album.

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Strangest dream by Popcorn Behavior []

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A local contra dance band, Popcorn Behavior plays wonderfully danceable tunes drawing from a range of traditions. This album also contains some songs, which are every bit as good as the dance tunes which surround them. A great album.

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