renowned. The 11 tracks here, all self-penned as usual, range from delicate declarations of love for a child (Real Love) and nostalgic ditties (New Years Day, Long Lost Friends) to bitter refl ections of an unfulfi lled career path (Persona Non Grata) and his recurring subject – the devil (title song).


Most of the songs are instantly distinctly KH songs, and prime fodder to be covered by others, due to their original melodies, succinct lyrics and the atmosphere their combination creates. The fellow instrumentalists are well chosen and tick all my boxes, in particular Manfred Leuchter’s accordion on October Moon, and Percy Pursglove’s double bass throughout is superb. Jimmy Smith’s lead guitar solo on Year After Year is in the Jerry Donahue mould and perfectly complements the song – although I must refrain from reinterpreting ‘year’ as ‘beer’ in the chorus (I am not visiting darling I’m here for the year after year). Dunno if his gravelly voice will please too many of the target audience, but let the songs take you where they will and you will be royally rewarded.


An incredible 38 year career (I’m sure Kieran doesn’t need reminding) has resulted in his songs being covered worldwide by a variety of different artistes, but more importantly by the new generation of singer-songwriters, and there’s plenty of material here to be plundered – particularly as he has a new song book (his third) out soon, featuring all the songs off his last three albums. That should be a cracker too…


Grem Devlin BRIAN FRIEL


Karusell Private Label BF001


Yotanka, for instance, which even includes a key change.


Great music fi lls this album from start to fi nish. A lovely rumbling version of Tom Billy’s Jig gives way to the charming slow reel Bakgården - probably Swedish for something relaxing. Mick O’Connor’s Reel is as well played as I’ve heard recently, and I’ve played it with the man himself. There’s a driving version of Rory Gallagher’s Jig, Brian’s own Bonks Reel, and


a fi nal fl ourish on The Green Groves Of Erin. Brian even produces that rarest gem, a banjo waltz. He’s joined by various friends on guitars, drums, accordion, whistle, piano, and of course nyckelharpa. Karusell is a highly enjoyable album, solid playing and great tunes, plus some seriously psychedelic artwork: well worth a visit to www.brianfrielmusic.com for more information.


Alex Monaghan


BOOK REVIEW


EBERHARD BORT (EDITOR) ‘Tis Sixty Years Since: The 1951 Edinburgh People’s Festival


Ceilidh and the Scottish Folk Revival Grace Note Publications ISBN 978 1 907676 10 9


1951 was the year of the fi rst Edinburgh People’s Festival, established to counteract the perceived elitism of the International Festival of the Arts. The Festival Ceilidh, presented by Hamish Henderson, recorded by Alan Lomax and featuring musicians from the oral tradition, galvanised the audience. This collection of essays, edited by the tireless Eberhard ‘Paddy’ Bort, draws together diverse perspectives to refl ect upon the effect of the Ceilidh and more generally on the Scottish folk revival (or rather, to


use the term one of the essayists prefers, ‘survival’).


There are essays discussing the Ceilidh’s contributors such as Flora MacNeill, as well as Margaret Bennett’s exploration of Lomax’s song collecting in the Hebrides. The book also tackles the social and political overtones of the Ceilidh, which ended in 1954 after being proscribed as a ‘Communist front’. The momentum and direction of the ensuing ‘revival/survival’ of Scottish traditional music is amply and fascinatingly covered by Bort himself and others.


This Kerry banjoman, a former All-Ireland c1hampion, has been living in Sweden for a few years now, hence the unusual title of his fi rst commercial recording. He survived a year touring with the Furey brothers, so the Swedish air may be benefi cial as a de-tox, and it doesn’t seem to have slowed down his music. Brian plays in a no-nonsense style - this is banjo for banjo fans, following in the footsteps of fi ne old pluckers such as Barney McKenna, Kieran Hanrahan, Mick O’Connor and Tom Cussen, rather than the groovy fl amboyance of O’Connor, Kelly, Scahill or Maloney. Mostly: there are one or two fancier tracks, Totanka


Sponsored by BIrnam CD


The book wouldn’t be complete without exploring the formidable fi gure of Hamish Henderson, master of ceremonies at the Ceilidh and whose impact on Scottish culture is immeasurable. As well as Henderson’s own memories of the Ceilidh, we have essays which examine aspects of the man himself and his achievements, including Steve Byrne’s fascinating account of cataloguing Henderson’s archive. There is a plethora of approaches befi tting such a multi-faceted subject, but highlights include erudite contributions from Adam McNaughtan and Ewan McVicar, and a transcription of the 1951 Ceilidh itself. There is far too much to do justice to here: just read it!


Clare Button


These reviews and more are available to read from our website at: www.livingtradition.co.uk


The Living Tradition - Page 53


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