119 f SHINA WILLIAMS & HIS
AFRICAN PERCUSSIONISTS African Dances Mr Bongo MRBCD168
GYEDU-BLAY AMBOLLEY Simigwa Mr Bongo MRBCD175
Mr Bongo, the UK’s longstanding leading label of all things Latin American, have been branching out for a while now into reissues of a more varied type. Rare as hen’s teeth soul, funk, disco and as we have here, West African classics have all seen the light of day thanks to the label.
Given a very limited release in 1979 (copies of the original now go for £500 a pop), the Shina Williams album is a real find. Its chattering rhythms and call-and-response vocals are deeply rooted in Nigerian tradi- tion, but the arrangements and grooves are pure 1970s disco-boogie. Never mind folk- rock, this is folk-funk. There are just three extended tracks. The opening Cunny Jam Wayo clocks in at 16-and-a-half minutes and could happily go on for twice as long. Agboju Logun is probably Williams’ best-known tune, having been issued internationally as a 12- inch single by Earthworks in the early ‘80s. The original album version included here is slightly different to the Earthworks one, but in whichever version, it’s got a ridiculously hypnotic, low-riding groove.
Simigwa was released in 1975 and fea- tures six shorter, punchier tracks. Gyedu-Blay Ambolley was already a leading light on the Ghanaian highlife scene, having played in a number of the genre’s leading groups, includ- ing The Uhuru Dance Band, alongside Ebo Taylor, who writes and produces here. The influence of James Brown is strong through- out, with Ambolley giving it the full Godfa- ther of Soul scream and growl, even going as far as to holler “sex machine!” on the opener Kwaakwaa, whilst the slow-burning Toffie offers ample opportunity for testification. The album’s saved from being mere JB pas- tiche by the typically easy-flowing Ghanaian rhythms that are always bubbling away at the centre of things.
mrbongo.com Jamie Renton
STEVE TURNER Late Cut The Tradition Bearers LTCD1106
Late Cut is Steve’s eighth album release, the fourth in his consistently fine “comeback” series. Although the disc’s title bears a conno- tation of cricket (Steve’s biggest passion alongside music), many will take it to denote a mature artistic statement from a folk revivalist with a strong identity.
Steve remains very much in canny fettle here (one might say!), having consolidated his reputation as one of this country’s key exponents of the English concertina – nifty, intelligent and beautifully configured accom- paniment supporting and complementing his distinctive, commanding vocal presence. Yet although Steve’s playing and singing is (natu- rally) dominant on this nominally solo record, he benefits from commendably sympathetic, non-grandstanding enhancements courtesy of Sam Carter, Gina Le Faux, Riki Gerardy, Simon Dumpleton, Martin Simpson and Tim Yates, while Eliza Carthy and Bob Hallard contribute harmony vocals.
Although principally rooted in tradition,
Steve’s choice of material remains typically eclectic within that broad definition. Recog- nising that such material has opportunities
for flexible interpretation, he treats us to stylish takes on American tradition (Ain’t Gonna Work Tomorrow) and poignant con- temporary song (exceptional recent composi- tions by Paul Metsers, Les Sullivan and Tom Yates), while he delights in researching and presenting rarities – the Irish song On The Road To Tipperary and obscure anti-slavery number Babylon Is Fallen. Steve also reassess- es two songs from his 1979 Fellside debut Out Stack – The Two Sisters and Dylan’s Is Your Love In Vain? – with (arguably) consequent gains and losses in effectiveness.
A satisfying and thought-provoking col- lection from a versatile performer still right there at the top of his game.
steve-turner.co.uk David Kidman IAIN THOMSON AND
MARC DUFF No Borders Own label IAT003
DUNCAN McCRONE Land Of Gold Greentrax CDTRAX398
GEORGE DUFF The Collier Laddie Own Label BEAGCD005
Singer-songwriter Iain Thomson’s time living on the Isle of Mull earned him the title The Singing Shepherd, and there’s definitely a sense of place about his songwriting, inspired by many years living and working in rural Argyll. Here are songs about the clearances, modern day desperate attempts to migrate to a better life, the fragility of rural commu- nities, the ever present face of bureaucracy and even breaking down one night in a Glas- gow red light district.
Thomson has a lovely light and beguiling voice and an unobtrusive guitar style, and could quite happily just sing these songs on his own. But a judicious few musicians con- tribute suitably modest acoustic arrange- ments, while producer Marc Duff (yes, the Capercaillie founder member) decorates the proceedings superbly with uillean pipes and whistles, turning No Borders into something rather special. It’s a little more low-key than is
Steve Turner
perhaps fashionable these days, but all the better for it, and really rather lovely.
Duncan McCrone has been part of the Scottish folk scene since the ‘70s, with expedi- tions into folk rock, pop (under a pseudonym) and for 18 years as a member of The Clydesiders. More recently he’s been record- ing and performing with long-term musical partner Cy Jack, and they co-wrote many of the songs on Land Of Gold. McCrone has a pleasantly clear and warm voice, an engaging singing style, and is well supported with var- ied and tasteful arrangements by musicians of the calibre of Stevie Lawrence, Chris Stout and Sandy Brechin (to name but a few).
McCrone’s and Jack’s own songs tell sto- ries ranging from a Hebridean Klondyke Kate (the title track, with some lovely vocals from Kathleen MacInnes), hiding from the Excise, a local mystery about a lost honeymooning couple, and a sideways-looking Glasgow Christmas Carol (Resurrection Road sung with Rab Noakes). He also covers some other well- known writers, and while tackling Ewan Mac- Coll’s First Time Ever might be regarded as brave, Graeme Miles’ My Eldorado fares much better. Definitely worth a listen.
George Duff has long been highly regarded as a singer and interpreter of Scot- tish traditional (and not so traditional) songs, but The Collier Laddie is surprisingly his first album. After a long career as a mining engi- neer, it’s not surprising many of the songs are related to that, and consist of mainly familiar favourites. The same is true of the others – a few love songs, Burns songs, Child ballads. You know the drill.
Duff’s an accomplished guitarist and ropes in occasional help from the likes of Mike Katz, John Martin and Mark Dunlop. His voice is strong and clear, with an occasionally arresting edge to it, but perhaps lacking a lit- tle light and shade on the quieter numbers. The Collier Laddie is a fine album, well recorded and produced, but in a straightfor- ward traditional style uncommon these days. However, with sixteen songs running to a few seconds short of an hour, perhaps saving some of the favourites for the second album might have left one wanting for more.
iainthomsonband.co.uk greentrax.com
Bob Walton
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