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They also create an attractive pastoral envi-
ronment with various mellifluous strings and
things that go bump in the night and…
what… what else do I like about it? The art-
work is brilliant… the occasional backing
harmonies are lovely… Andy Letcher’s
English bagpipes on Gallina and Uncle Tom
And Sally are glorious… the jazzy guitar
rhythm behind Otmoor Forever is arresting…
and some of Andy Letcher’s material is
potentially outstanding, both for its lyrical
and melodic value. Weighed down as it is by
a leaden production, Playing At Gypsies cer-
tainly has a compelling chorus; while Pil-
grim’s Progress, Otmoor Forever and Apple –
especially Apple – are fine songs which I’d
love to hear an outside producer take in
hand to save them from themselves.
Apart from the cello overload, some drea-
ry arrangements, a stifling preciousness and a
suspicion of ‘nu folk’ leaning towards style
above substance, I guess my main problem is
with Letcher’s vocals, offering a chummy non-
chalance that, sorry, just sounds fake. I keep
thinking that when Damon Albarn decides to
do English folk – as one day he inevitably will –
this is the sort of thing that will ultimately
Eleni Vitali
emerge. Not that Letcher sounds like Albarn
(others have suggested Nick Drake is a more
nian Bin Geol, or Xenitia in its Greek title, ear- given radical facelifts and, not that her regu-
pertinent likeness) but I just don’t believe him
lier arranged by Ara Dinkjian for Eleftheria lar job with Bellowhead could ever be consid-
and the opening track Saddle The Hare is start-
Arvanitaki to sing. Here, Yazdjian, Vitali and ered a comfort zone, she’s clearly striving to
ing to make me feel nauseous.
Ketime give a captivating performance. break out and create something uniquely dis-
Never mind, Verity Sharp’s just played it
We find Vitali covering some of her
tinctive and individual.
on Late Junction again and the postman has
favourite songs by composers like Akis The problem then is that you run the risk
just knocked to say he thinks it’s wonderful
Panou, Panos Gavalas and the modern of sounding contrived and there are times
and you know what they say about a tune
Prigkipesa by singer-songwriter Sokratis between the dramatic piano textures of The
you hear the postman whistling…
Malamas. She has also recorded two tradi- Gardener, the frantic percussiveness of The
www.tellingthebees.co.uk tional songs for the first time: Tzivaeri and Fisherman, the explosively funky My Johnny
Me Gelasan Mia Haraugi, the latter being
Colin Irwin
Was A Shoemaker, the jazz-rock of Maid On
one of this double CD’s best tracks, along The Shore and the moody Miles Weatherhill
with Haramada, Karavia Aragmena, Taheia, when the arrangements sound like they’ve
ELENI VITALI Prigkipesa and Halasia Mou.
been created by theory rather than genuine
Zontano Kyttaro Legend 2201159754/5
Alongside the live double CD, the recent
instinct. There’s a lot of talk at the moment
Eleni Vitali Anthology, a 4 CD retrospective,
that, when tackling traditional song, instru-
Anthology Lyra 3461196009
should also be noted. Here we witness how
mentation should always be in the service of
much her voice has evolved since her initial
that song and I’m not entirely sure that it’s
Eleni Vitali’s live dou-
recordings, which are never less than excel-
true of this collection. Drums, especially, have
ble CD Zontano Kyt-
lent. Traditional music is included next to
long been a bone of contention in this area
taro is a reawakening,
modern songs by well-known composers such
and while Rachael’s Bellowhead co-worker
as if she has come
as Mikis Theodorakis and Antonis Vardis,
Pete Flood has brought an enlightened
back from the dead.
through which Vitali’s voice moves from
approach to the field that borders on genius,
After a long period of silence, during which
naïve in Agouri Agapi to sensual in Alexandri-
the array of rhythmic patterns Adam Sinclair
time she’s been fighting depression and also
ani Felaha, from playful in Garoufallo St’Auti
is charged with here are sometimes counter-
having lost her husband amongst other hard-
to melancholic in Thalassaki Mou. Among
productive. It works when there’s subtlety as
ships in her private life, Zontano Kyttaro
other highlights are the Pontic song Xenitia
well as pace as on The Broomfield Wager and
reminds us why she ought to be regarded as
To Farmaki S’, Kanarini, O Kapetanakis, To
The Fisherman, but it stifles the impact of The
Greece’s best voice of her generation, with a
Marouli, Pio Ftohos Apo Senane. However,
Highwayman Outwitted and intrudes as
soulful character and strength breaking
choosing favourite tracks in this collection is
Shepherd Lad meanders from quiet sensitivity
through any musical style. This live album is
like searching for gold in among diamonds.
into rockist regimentation.
mature, very human and very real. Her reper-
toire of Greek folk, traditional, blues, pop
The compilation is a reminder not only She sings well, has unearthed a strong
laïka and Smyrna songs touches the heart of
of great classic Greek rembetika, folk and selection of material, weaves in some telling,
her listener. She simply means each syllable of
pop or laïka songs, but also a confirmation of funky brass, has Emily Portman and Richard
every word that she sings, with every cell of
why Vitali is a legend in Greek music as a Sutton on backing vocals plus a guest appear-
her body. The title of her album translates as
song interpreter and singer, baring her soul ance by just one member of Bellowhead, Sam
‘Live Cell’, and it obviously refers to the club
and heart no matter what lyric or tune she Sweeney. A bravely ambitious but perhaps
Kyttaro (Cell) where it was recorded. Never-
sings. Whether she chooses traditional or ultimately flawed debut.
theless, surely there can be no coincidence
contemporary songs, her voice is just as natu-
www.rachaelmcshane.com; www.navi-
about that choice of words to illustrate her
ral and effortless, expressing pain and joy
gatorrecords.co.uk, distributed by Proper.
comeback, which shows she is still so full of
with such directness and truthfulness, as it
life and fire as a performer!
was when she started her career in her twen-
Colin Irwin
ties, some 30 years ago.
Vitali’s cooperation with Haig Yazdjian
www.legend.gr;
www.lyra.gr
– a Syrian-born Armenian now living in ALISTAIR ANDERSON
Greece – gives a different flavour to the
Elisavet Sotiriadou
familiar Vitali songs and traditional Greek
Islands White Meadow Records
songs. But Eleni Vitali did not need Haig to
WMR2008CD
express her oriental inclinations and love for RACHAEL MCSHANE
With resonances of his milestone 1982 work
the Arabic music, according to Yazdjian’s
comments on the album sleeve. Vitali’s back-
No Man’s Fool Navigator 27
Steel Skies (recently reissued by Topic), the
Northumbrian concertina maestro assembles
ground is Roma and her parents, both musi-
Nobody could accuse Rachael McShane of a gorgeous instrumental evocation of the
cians, have without doubt been an inspira-
lacking ideas. They fly at you from all direc- sounds, spirit and people of the north-east of
tion from her very early years.
tions on an energetically industrious debut England. With him are some of the younger
The young Areti Ketime plays santouri solo album that finds her surrounded by guns associated with Northumbria through
and sings with her angelic voice, bringing a James Peacock (keyboards), Jonathan Proud birth or degree courses: Swedish Northumbri-
source of tradition to the album. She first (electric bass) and Adam Sinclair (drums) on a an fiddle player Emma Reid, Scots clarsach
reached fame when she performed at the vaguely conceptual album reflecting women’s player Rachel Newton, Bellowhead cellist
opening ceremony for the 2004 Olympic experiences. Some well-trodden traditional Rachael McShane, whistle player Joey Oliver
Games in Athens. The track where the three songs like My Johnny Was A Shoemaker, Maid and two more fiddle players, Sophy Ball and
of them magically come together is the Arme- On The Shore and The Broomfield Wager are Shona Mooney. The redoubtable Martin
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