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There’s no shouting, groaning or wild
ÁGI SZALÓKI
emoting here. Apart from some unrestrained
trumpet soloing in the background, the music
A Vágy Muzsikál FolkEurópa FECD 041
is without flash or glitter (oh dear – instant
contradiction – at the very moment I write
She may be hardly known outside Hungary or
here’s an ominous burst of syndrums). This
the Hungarian diaspora but Karády (1910-
album has velocity and exhilaration, and a
1990) is a diva from a bygone era on a par
lyrical approach we do not enjoy in British
with Dietrich, Lenya, and Piaf – in other words
pop. Homespun and brooking no backchat,
that special kind for whom no forename will
here’s what the girls say: “Just because you’re
ever be necessary (in stark contrast to the cul-
losing weight, it doesn’t mean you’re HIV
tural manoeuvring of a name like Madonna).
positive. There are many reasons why a per-
Szalóki’s live repertoire has long included a
son might lose weight so think about that!”
sprinkling of Karády material but here she has
expanded on threads in her concert repertoire
www.gallo.co.za
to create a whole themed album based on
Rick Sanders
Karády. Karády even gets the torch or jazz,
folk-jazz or lounge jazz treatment that slides
into Latin territory on Ma Éjjel. Szalóki invigo-
GILZENE & THE BLUE
rates Karády’s songbook afresh.
LIGHT MENTO BAND
It is a matter of great regret to me that
most Anglophone commentators on Hun-
Sweet Sweet Jamaica World Village WVF gary’s folk-related music are content to stay
479037 within their safety zone ringed by Márta
Sebestyén and beat the drum for swing-your-
Jamaican mento shares much with topically
partners Magyar-style táncház (the truly won-
oriented traditional string-band musics found
derful ‘dance house’ living tradition). Clearly,
from Costa Rica, Nicaragua and Belize to New
this album is aimed at a Hungarian-speaking
Orleans, the Bahamas, Grenada and Trinidad.
audience. However, to say that this music’s
Founded in Trelawney district in 1986, Gilzene
only audience is Hungarian is a bit like saying
& The Blue Light Mento Band cover a variety
that sean-nós is for the Irish-speaking few.
of traditional tunes, including some that
Ági Szalóki Great music, like this, communicates regard-
found resonance in the roots reggae reper-
less of one’s facility for language.
toire, along with original compositions that
ing bookend is a powerfully dark triptych: a
carry the mento sound forward. Play songs
www.hangveto.hu,
www.szalokiagi.hu
compulsively dramatic tribal-trance take on
like Brown Girl In The Ring take their place
The Bitter Withy with a spine-tinglingly eerie
Ken Hunt
next to a reprise of the reggae hit Sweet And
tintinnabulating coda, leading to the intense-
Dandy (featuring original Maytal Toots Hib-
ly fragile, emotionally charged pleading of
bert on vocals and harmonica), the Rastafari
From A Coffin (by Rebsie’s songwriting friend
FIONA J MACKENZIE
anthem 10,000 Years and Gilzene’s reworking
of the traditional Wings Of A Dove, readily
Miriena Jayne) and closing with Lyke Wake
A Good Suit Of Clothes – Songs Of The
recognisable to Bob Marley fans. Sweet Sweet
Dirge – here a sweeping processional through
Emigrant Gael Greentrax CDTRAX339
Jamaica has all the raw vocal harmonies and
the Imagined Village accompanied by distort-
Fiona won the Ladies’ Gold Medal at the
unpretentious spirit of mento’s rural founda-
ed electronic ghosts.
National Mod in 2005. She has twice been
tions, featuring Lanford Gilzene on guitar and
Between those extremities, there’s a lush
lead vocals, backed by Donnett Leslie (vocals,
Let No Man Steal Your Thyme (illustrating
nominated for the Scots Trad Music Awards
shakers), Wesley Balds (banjo), and Courtney
Rebsie’s “impulsive creation of orchestrated
Gaelic Singer Of The Year, so I reckon this
Clarke (vocals, rhumba box).
folksong”), an exquisitely delicate guitar-
album should make her third time lucky. This
is Fiona’s second release on Greentrax, and it
www.worldvillagemusic.com
and-cello-flecked Perigee Organdie (replete
with hushed poetic imagery), and a flawlessly
displays a clear step-up in musical confidence
Michael Stone
harmonised rendition (in French) of a 16th
and judgement. Fiona’s singing has dignity
century Pavane, after which a chilling (post-
and poise, and there is excellent variety in the
holocaust?) version of Minstrel Boy brings dis-
selection and arrangement of these songs of
REBSIE FAIRHOLM cordant synth drones, treated vocals and dra-
emigration, which were composed in differ-
ent parts of the Highlands and Islands in vari-
Seven Star Green Sonic Spongecake CAKE
matic percussion effects, capped by a blister-
ous eras, from 1774 through the 19th and
0901
ing, swirling prog guitar solo (Dick Langford).
Rebsie also tosses a couple of serious curve-
20th centuries to the present day. Some songs
are well-known, while others are unfamiliar
The latest (second) release from reclusive
balls, in the form of her own Molotov
English psych-folk artist Rebsie sometimes Spongecake (an ominously edgy Magazine-
gems which will now gain a new lease of tra-
seems so wilfully weird (even mildly intimi- Eurhythmic-style confection set to a slow-
ditional life through circulation of this CD
dating, especially on first acquaintance) that chugging B52s riff) and a (priceless!) breezy
among Gaelic singers and musicians.
it might stem less from the “cornfield edge” electro-pop jingle in praise of the Central
This CD will have a universal appeal
of psych-folk that she professes to inhabit Line penned by beat poet Praveen Manghani.
through the originality and freshness of its
than from the alien crop circles within. No
All in all, a proudly wayward yet often
musical production. Even the well-known
two tracks sound alike, for Rebsie effectively
startlingly original record: one that won’t
songs are given a fresh makeover by producer
raises two fingers to genres (and listener
prove easy to ignore should it come your way.
Irvin Duguid’s inventive and graceful musical
expectations); yet the album’s unity is provid-
arrangements. Piano features strongly, along
ed by Rebsie’s haunting, mesmerising singing
www.rebsiefairholm.co.uk
with harmonium, clarsach, double bass, string
voice – ethereal and breathy but solid-tex- David Kidman
section (violins, viola, cello), accordeon, fid-
tured (a hint of Hope Sandoval perhaps), at
dle, whistle, pipes and guitar. I was reminded
once soothing and disturbing. It’s couched in
at times of the acoustic/ traditional end of
compelling, and sometimes quite radical,
MUSIC IS THE WEAPON
Sam Lakeman & Cara Dillon’s repertoire.
musical settings that form a well-defined The well-known songs here include
presence: a purposeful ambience that can’t
Music Is The Weapon own label MITW01
South Uist’s anthem O Mo Dhuthaich/ Oh My
be tagged merely ambient. Textures (created
Yup, more Afrobeat, this time from Sweden,
Country (here given a striking arrangement
in collaboration with Rebsie’s “alchymical
passionate land of rude tropical wonder. Un-
with harp and string section), and Duthaich
muse” Daniel Staniforth) are both adventur-
Nordically, this is a big steaming band and
MhicAoidh/ Land Of Mackay (composed in
ous and sophisticated, layers carefully nur-
they play the genre – own songs, all but two
1851 to revile the Duke of Sutherland for
tured from a slew of “synths and midi instru-
instrumental – with coherence, fun and zip,
clearing his people off his land to replace
ments”, cello and assorted guitars (acoustic,
though actually more like well-schooled
them with sheep). The tune of Duthaich Mhi-
classical, electric) yet neither swamping nor
dance-band jazzers than stoned rhythm
cAoidh was made world-famous by Michael
compromising the vocal input.
slaves. Arrangements are tight, bright and
Nyman in the soundtrack of the film The
The disc’s opening and closing sections
wide-ranging, taking in calypso, bullfight
Piano, and the accompaniment here uses
are outstanding, beginning with The Cursing
trumpets, and Cannonball Adderley. This is a
piano, drone and percussion to conjure a
Song (from the pen of R.J. Stewart), a sinister
fully-realised band of some quality and they
sense of physical and emotional desolation.
incantation set to a richly stately chordal pulse
have earned respect – I see that the first
One of the unfamiliar gems on this
with sparky, exotic touches. This is followed by
friend on their MySpace is the late Fela Kuti,
album Tha Thu Beo Nam Anamsa/ You Are
Rebsie’s atmosphere-drenched, sombrely gull-
followed by Tony Allen and… Ringo Starr.
Alive In My Soul tells of childhood sweet-
bedecked rendition of Our Captain Cried (the
first of the disc’s six distinctively visionary
www.musicistheweapon.se
hearts separated by emigration, never to
meet again, and the musical arrangement for
interpretations of traditional songs). The clos- Rick Sanders piano, violins, viola and cello lends a cinematic
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