f106 JIMMY ALDRIDGE & SID


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GOLDSMITH Many A Thousand Many A Thousand MATR18001


Album number three from two English blokes called Jimmy and Sid. Take a curso- ry glance – beard, banjo, waistcoat, concertina… and you’d conclude that they could have existed at literally any point in the UK folk revival since the mid-1960s.


You’d be wrong though. Jimmy and Sid are unequivocally troubadours of our times.


Take opener Hope And Glory – a song that highlights the insidiousness of national- ism cloaked in rural nostalgia by “those who seek to sow the seeds of hate, all on our com- mon ground.” Or A Monument To The Times, about Shirebrook in Derbyshire – a former unionised coal mine that is now the site of several monstrous Sports Direct warehouses employing people on zero-hours contracts. The traditional (via Martin Carthy) Working Chap addresses issues of poverty and work, while John Connolly’s The Last Ploughshare highlights ecology. When they do trad – on Reedcutter’s Daughter and Poacher’s Fate – they stick to their Norfolk roots.


Their singing (both take leads and har- monise) is sublime, and their musicianship is both unpredictable and entirely apt. Guests Tom Moore (violin, viola) Tym Dylan (double bass) and Fred Harper (drums) all contribute significantly whilst leaving plenty of space in the arrangements for the singers to tell their stories.


There’s something compellingly timeless about Jimmy Aldridge and Sid Goldsmith – both live and on this beautifully realised CD. Hailed in some quarters for their ability to evoke the spirit the of British folk scene’s past, the pair (more importantly) challenge the complacency of its present. Dig the new breed. Hear a track on this issue’s fRoots 70 set and read their interview elsewhere in these pages.


jimmyandsidduo.com Steve Hunt


NATHAN SALSBURG Third No Quarter NOQ 057-2


Nathan Salsburg’s a busy man. When he’s not touring or lending his considerable guitar skills to recordings by the likes of Joan Shelley, James Elkington, Jake Fussell, The Weather Station and Bonnie ‘Prince’ Billy, he somehow manages to still


find time for his day job as the curator of the Alan Lomax Archive.


One might assume that such an immer- sive knowledge of field-recorded, vernacular music might manifest in a markedly ‘Ameri- can Primitive’ style on this solo instrumental guitar record, yet Salsburg eschews the delta, seeking instead hidden, intimately melodic pathways.


While Timoney’s rippling triplets evoke memories of John Renbourn, it’s another English musician, Nic Jones, whose work is explicitly referenced with Planxty Davis – adapted from the “monumental arrange- ment” on Penguin Eggs. Salsburg’s deceptive- ly impressive virtuosity is readily apparent in The Walls Of The World (a tumbling waltz- time melody with notes shifted around the scale in a manner redolent of both medieval music and contemporary jazz) and Ruby’s Freilach / Low Spirits (in which the rhythmic


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