Threadbare

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Threadbare

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Nothin’ but good folk music

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JoSh RItteR

on life, love and writing songs

gReenLAnd IS MeLtIng folk Florida style

VoLcAno choIR with Bon Iver

Sept ‘10 / Issue 1

2.90GBP / 3.50EUR

PLUS: Jon Boden - A FoLk Song A dAy In the RecoRdIng StUdIo wIth MAtt hAywARd BRett PeRkInS - SongwRIteRS RetReAt

Contents

Issue 001

www.threadbaremusic.co.uk

JOSH RITTER The ulTimaTe genTleman and one of The greaTesT songwriTers of This generaTion; Josh Talk.

riTTer is all

pg 34

JOHN GORAJ

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making The Journey from sioux falls in souTh dakoTa To la Turned ouT To be a wise move for

‘possible’ singer-songwriTer John goraJ.

GREENLAND IS MELTING

meeT The besT Thing To come ouT of florida since since miami vice. This TalenTed Trio are Turning up The TemperaTure someThing roTTen.

pg 23

pg 42

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pg 20

pg 41 UPFRONT 9 dosey equIne...

Gary Lightbody reveals his pet project.

11 All About brAndon...

With The Kilers on hiatus, Flowers does folk.

13 A boden A dAy Writing a folk song every day for a year can’t be that hard can it?

CRITICAL EYE 42 Albums gAlore...

Philip Selway, Andy Cutting & more.

50 In the VAult...

A closer look at the 2006 album ‘What the Toll Tells,’ from San Francisco duo The Two Gallants.

54 CAmbrIdge Folk FestIVAl 2010...

The verdict is in on whether this year was a success or not.

17 A ChorAl oF lAVA sAng...

Bon Iver teams up with Collections of

REGULARS

FEATURES

19 dIAry oF A songwrIter...

Just what does it take to call yourself a lyricist?

26 hIghlAnd FlIng...

High energy folk from a mixed bunch.

30 remote ACCess...

Singer-songwriter Brett Perkins takes us to a island off Ireland.

58 In the reCordIng studIo...

Matt Hayward shows us the ropes.

60 equIpment reVIew...

Songstress Gráinne Donovan tests the new DPA microphone.

66 the InterrogAtIon room...

We ask Canadian singer-songwriter Garry Jackson a few questions.

THE FOLKY TIMES ARE HERE PEOPLE! The wait is finally over. At last a folk magazine all about, well, folk. For too long us lovers of the beautiful genre have had to put up with being ignored by mainstream music magazines, banished to the confines of a ‘Roots’ section, which usually was smaller than the parking space outside my front door.

So I’ve taken on the task of giving you exactly what you need to satisfy your musically-inclined needs. In this, our very first issue of THREADBARE we’ve got whole heap of all things folk that should keep you going until our second issue and third and forth... yes I have counted my eggs (I know it’s chickens but I had the pun below already planned) before they’ve hatched because THREADBARE is simply cracking (you laughed, admit it!). But yes, THREADBARE magazine is here to stay and will have you running to the newsagents at the start of each month you can get your folk fix. In this launch issue alone we have the one and only Josh Ritter (pg. 34) who continually blows me away with each record he brings out. And we’ve got some insider information from the talented Matt Hayward, owner of recording studio Sundance Crow (pg. 58) and as many reviews as you care to read (pg.42) and if you want more of anything just hit up our website www.threadbaremusic.co.uk. I could go on but I can’t be bothered.

Enjoy!

Aoife

Aoife O’ Connor, Editor-In-Chief

A round of special thanks (and drinks on pay day) to: Anna Kroeger, Antonia Charlesworth, Aidan Bonner, Fiona Griffin, Grace Bowman, Katface, Liam O’ Connor-Collum, Simon Bland, Simon Butcher and everyone else who helped to get Threadbare to this stage.

This month’s musician contributors: Gráinne Donovan Michael John O’ Conor

www.threadbaremusic.co.uk www.twitter.com/threadbaremagazine Threadbare playlist@ LastFM.com All original editorial content of Threadbare is protected by copyright.

Many interviewees have only agreed to limited distribution for university coursework purposes. For permission to reproduce in part or whole, contact Cathy Darby, Course Leader for MA Magazine Journalism on CMDarby@uclan.ac.uk

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Jumping in at the folk end

Lightbody and Buck try to confuse us

The brain child of Snow Patrol front man Gary Lightbody, Tired Pony has made it over the final hurdle.

W

hispers about Gary Lightbody’s side project started back in May 2009 after he revealed his secret wish to embark on a country music side project.

Speaking with NME at the time, the Northern Ireland man expressed his love for the country music, saying: “I always genre, saying: “I always thought I had a country album in me and it turns out I did.”

It’s hard to believe that Lightbody found the time with the hectic schedule of his alternative-rock band Snow Patrol who have shot to international fame after their single ‘Chasing Cars’ was featured on Grey’s Anatomy back in 2006.

With a cohort of talented contributors such as Zooey Deschanel, as well as an impressive list of band members that include: Richard Colburn, of Belle & Sebastian, Iain Archer, Miriam Kaufmann and REM’s Peter Buck, Tired Pony have created such such a stir athat are high have created stirexpectations that expectations are and highthe andpresthe sure is on Lightbody to deliver.

With the inclusion and input pressure is on Lightbody to deliver. With the inclusion and by Buck, who Lightbody has referred to as one of his "allinput by Buck, who Lightbody has referred to as one of his time heroes, ” critics werewere salivating at the awaited "all-time heroes, ” critics salivating at eagerly the eagerly awaited release of Tired Pony’s debut album ‘The Place We Ran From’ this summer.

Having played their first ever live show at London's Forum venue in Kentish Town on July 14, initial reports of the outing were wholly positive. Joined on stage by 2009 Mercury Music Prize nominee and fellow Irish singersinger-songwriter Lisa Hannigan who replaced American actress and songwriter Lisa Hannigan who replaced American actress songstress Deschanel on song "Get"Get on the the woozy and songstress Deschanel on song onRoad," the Road," the subdued sound was perfectly complimented with Hannigan’s woozy subdued sound was perfectly complimented with melodic voice.

However since the album has been reHannigan’s melodic voice.

However sinceitself the album itself ceived somewhat half-heartedly by the industry with mainhas been received somewhat half-heartedly by the industry stream music critics rushing to slate Lightbody’s decision to with mainstream music writers rushing to slate Lightbody’s dip his feet into the waters of folk music, the reaction from decision to dip his feet into the waters of folk music, the the general public has beenpublic encouraging. to the States reaction from the general has beenTaking encouraging. in October, Tired Pony are hoping for a less cynical reaction Taking to the States in October, Tired Pony are hoping for a to their efforts acrosstothe Atlantic. less cynical reaction their efforts across the Atlantic.

Tired Pony’s Pony’s debut debut album, album, ‘The ‘The Tired Place We Ran From’ is available Place We Ran From’ is available now from from Fiction Fiction records. records. now www.tiredpony.com www.tiredpony.com

In the firing line Not everyone likes The Killers Not everyone likes Bradon Flowers So what happens when he goes and makes a solo album?

T

he Killers are not folk. Far from it.

But front man Brandon Flowers has embarked on a solo venture after the band has taken a sabbatical from their hectic worldwide touring that has spawned over half a decade since the either-love-it-or-hate-it ‘Mr Brightside’ stormed the charts.

He doesn’t like doing interviews but it seems that Flowers is going to have to psyche himself up for the inevitable barrage of media requests he is about to receive pending the release of his debut album this month. The aptly named ‘Flamingo,’ which pays homage to the famous Las Vegas casino in Flower’s hometown is a definite move away from his rock ‘n’ roll persona.

A practising Mormon, who claims his devotion to a religion that frowns upon alcohol, tobacco, tattoos, premarital sex and body piercings, it isn’t all that hard to believe that Flowers have gone down the dusty desert trail of folk-rock. Though Flowers initially wrote these songs

for The Killers, there are few of the rollicking anthems the band is known for on the album.

For Killers fans, you’ll be glad to hear that this is not a long-term thing, the band in not on a definite hiatus, they plan to set a date to head back into the studio next year. Drummer Ronnie Vannuci has embarked on a similar solo move, part-taking in Mt. Desolation, a side project with input from Long Winters, Keane and Noah & The Whale. Produced

by Daniel Lanois, who worked on Neil Young’s last album, ‘Flamingo’ carries a distinctly more rustic and sombre tone that has the Threadbare team intrigued.

‘Flamingo’ is in stores and available to download online from September 6.

For more info and Brandon Flowers tour dates go to: www.threadbaremusic.co.uk

“Utterly mesmerizing.”

THREADBARE

All in a day’s work

Talent personified, Jon Boden.

A self-professed extrovert, Jon Boden’s latest musical venture is a turn-up for the books

A

fter being named 2010 Folk Singer of the Year by the BBC, front man of Bellowhead and solo artist Jon Boden decided to take on the ambitious and frankly somewhat daunting project of writing and performing a folk song every day for a year.

Aptly named A Folk Song A Day, Boden began the unique journey on Midsummer’s Day, which means between June 24 2010 to June 23 2011, he will be posting a traditional song online at www.afolksongaday.com as well as uploading tracks to iTunes in the form of a podcast where fans you can subscribe and receive the tracks automatically. Navigator Records will release the collection as 12 separate digital albums later in the year. Boden is most famously known for his role as the impressive front man of Bellowhead, the

multi-talented group of musicians that debuted in 2004 at the Oxford Festival whose sound is influenced by a plethora of styles from around the world. Voted ‘Best Live Group’ in the 2005 BBC Folk Awards, the band went on to reclaim the title this year again. The aim of A Folk Song A Day is to promote the art of social or communal singing which is no longer a common tradition in modern society.

Largely confined to football grounds and places of worship nowadays, Boden says, “It seemed high time I rectified that situation and afolksongaday.com is an opportunity for me to record my whole repertoire of songs without worrying about making any of them commercial, stylistically original, or fitting them in to a particular album concept.” The main idea behind the musical venture is to do his bit for raising the profile of the practice. “Most of the songs on the site are songs that I have sung for years but rarely on stage and never on album,” he says. A Folk Song

A Day also sees Boden providing a traditional folk song resource for those looking for inspiration.

“In the 60s and 70s the status of unaccompanied singing was much higher within the folk scene, and most of my favourite albums from the revival are albums where the majority of the material is unaccompanied. This approach has fallen out of fashion and the commercial pressure is for modern day folk artists to have, at most, one or two unaccompanied tracks on their albums, if at all.” Since the unveiling of A Folk Song A Day, interest has grown rapidly;

there were 6,000 hits alone for his opening rendition of ‘The Larks They Sang Melodious.’ “‘Knowledge is its own reward’ someone once said, says Boden, “and learning folk songs is one of the most rewarding forms of knowledge out there.”

For more information: www.afolksongaday.com www.jonboden.com www.bellowhead.co.uk www.itune.apple.com/gb/podcast/a-folk-song-a-day/

THE SETLIST SO FAR...

DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy DAy

1 THE LARkS THEy SAng MELODIuS 2 FARMER’S TOAST 3 yOung RODgER EquIRE 4 OnE nIgHT AS I LAy 5 EARL RIcHARD 6 WHITE cOckADE 7 ROSE In JunE 8 TynE OF HARROW 9 THE HunT IS up 10 I WISH THAT THE WARS WERE ALL OvER 11 BLAckWATERSIDE 12 BARBARA ALLEn 13 cRuEL MOTHER 14 cHIckEnS In THE gARDEn 15 AcROSS THE LInE 16 pRETTy cOck/ AS I STOOD unDER My LOvE’S WInDOW 17 BAnkS OF gREEn WILLOW 18 DAnny DEEvER 19 MERcEDES BEnz 20 RAMBLIng SAILOR 21 yELLOW ROSES 22 BIg STEAMERS 23 Lucy WAn 24 cOME WRITE ME DOWn 26 BLOODy gARDEnER 27 gO AnD LEAvE ME 28 RAIn IT RAInS 29 THE STOnEcuTTER BOy 30 SALLy FREE AnD EASy 31 yOung EDWARD In THE LOWLAnDS 32 THE DAyS OF ‘49 33 THA’ LOWkS A pROpER SWELL LASS 34 BAnkS OF RED ROSES 35 A BLAckSMITH cOuRTED ME 36 MAID OF AuSTRALIA 37 cHILD MOMS 38 THE OLD SOngS

DAy 39 TOM pADgET DAy 40 WESTLIn WInDS DAy 41TWO yOung BRETHREn DAy 42 THE LAnD DAy 43 gREEnLAnD WHALE FISHERy DAy 44 BROWn ADAM DAy 45 SHEpHERD OF THE DOWnS DAy 46 DERRy gAOL DAy 47 FRAnkIES TRADE DAy 48 cA THE EWES DAy 49 TWO pRETTy BOyS DAy 50 cRuEL knIFE DAy 51 nOSTRADAMuS DAy 52 ADIEu SWEET LOvELy nAncy DAy 53 BOLD SIR nApOLEOn DAy 54 LIvE nOT WHERE I LOvE DAy 55 pOLLy vAugHn DAy 56 SAucy SAILOR DAy 57 ABROAD FOR pLEASuRE DAy 58 THE OggIE MAn DAy 59 gOLDEn gLOvE DAy 60 cOunTRy LIFE DAy 61 ROLLIng DOWn TO OLD MAuI DAy 62 JORDAn IS A HARD ROAD DAy 63 LEAvE HER JOHnny DAy 64 DOLEFuL DAncE OF DEATH DAy 65 gOLDEn SpARROW OnLy 300 MORE TO gO...

A Bon Idea Fresh from the success of his debut album ‘For Emma, Forever Ago,’ Justin Vernon of Bon Iver has joined forces with Creative Colonies of Bees to form the eclectic-sounding Volcano Choir.

The face behind the name.

I

n terms of this new collaboration between Justin Vernon of Bon Iver and Collections of Colonies of Bees, fans will be surprised when they hear the end result.

Formed in 1998, the Bees have spent a decade polishing their act and aesthetic. Vernon is known for regularly gushing about them during his live set. Combined, the assembly of Wisconsinites have called themselves Volcano Choir, but let the listener beware. Fans of the sublime Bon Iver need not expect to hear a similar indiefolk sound that the world around has fallen for as showcased on his debut album ‘For Emma, Forever Ago.’ Volcano Choir spew an experimental sound that cannot be defined.

But one thing is for certain, it is without doubt a very definate move away from what you might be expecting.

They offer up something on their debut album ‘Unmap’ that might not be for everyone. With influences ranging from English singer-songwriter David Sylvian and American composer Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group’s influence is music itself.

While their formation does predate the worldwide success of the melodic sounds of Bon Iver, (they began writing and playing three years ago) it seems that they will inevitably benefit from Vernon’s success as a one-man

showstopper. “The record is really a culmination of a type of electronic that we did for a long time; since early 2007,” says guitarist Rosenau. “All of the ideas we had over all that time were traded back and forth, everyone adding and editing and subtracting and then adding some more, until late last year when we finally started to realize that we had a lot of material that we were all really digging.”

With his gut-wrenching voice that makes the hair on the back of your neck stand up, Vernon has become a household name in the past 12 months. But this time around Vernon is will not be singing about a lost love.

Recorded at Vernon’s studio, his unwavering falsetto does appear on the record but only on rare ocassions. “I sing on it, but there aren’t a lot of lyrics. It’s mostly choir stuff,” he says.

“It’s definitely more on the experimental side of things. I don’t know if we’ll play shows because it’s all really textural and landscape-y.” Created by musicians with rare gifts Unmap is An so the choir certainly worth a of volcanos sang. listen. Just don’t expect another ‘Skinny Love’.

Unmap is set for general release September 22nd from Jagjaguwar. www.myspace.com/volcanochoir

Win:

an exclusice signed vinyl copy of For Emma, Forever Ago What is your favourite Bon Iver song and why?

Enter online: www.threadbaremusic.co.uk/competitions Entries for this competition are online only.

The winner will be chosen at random by the editor whose decision is final.

Diary of a Songwriter

Writing a song can’t be that hard, right?

Threadbare editor-in-chief, Aoife O’ Connor finds out...

B

eing able to write flawless lyrics has always been dream of mine every since I was a teenager swooning over Celine Dion’s ‘My Heart Will Go On.’ Thankfully, I’ve outgrown Celine and her power ballads and have since moved onto singing (well attempting) songs more within my vocal range.

As you might be well aware, folk music is awash with talented lyricists who I have the utmost respect and admiration for. So I’ve decided to finally take the plunge and go about writing my very first song.

As a journalist words tend to come to me pretty easily.

You hit the odd brick wall, but give me a strong coffee and my old reliable iTunes playlist and before long I’ve hopped the wall, on the other side laughing at what seemed like an impossible hurdle.

This time round though, I’m not so sure I’ll be laughing all that soon. I’ve decided to sign up for a songwriting course which will take place over eight long weeks in which I will be personally tutored by the talented Mick Flannery who I’ve known since I first met him two years ago when he was on the road in Ireland promoting his second studio album ‘White Lies.’ A former stone mason, he’s proof that with the right attitude and dedication anyone can write wonderful lyrics.

My first assignment was to listen to my favourite artists and songs and write down the lyrics and what I like about them. In the lead up to this monumental decision I’ve been listening to a wide range of artists, examining the lyrics, the songs composition and making sense of the point or message of the story that they are trying to get across.

Since I was interviewing Josh Ritter for this launch issue of Threadbare (see page 34), I delved into his albums both past and present. To say the least his words are astounding. ‘The Curse’ on his latest album, ‘So The World Runs Away’ is simply captivating. The song tells the story so eloquently as he does, of a Egyptian mummy discovered by an archaeologist with whom he falls in love with. The song begins ever so simply, “He opens his eyes/ Falls in love at first sight/ With the girl in the doorway/ What beautiful lines/ Heart full of life/ After thousands of years, what a face to wake up to.” Emotion overflows from Ritter’s lyrics so much so my heart was heavy when the song came to an end. Since he has been named one of the Greatest Songwriters of our time, perhaps I was setting the bar a little too high.

Next up were Local Natives, who are slowly but steadily getting recognition for their stunning debut album ‘Gorilla Manor.’ Like the California lifestyle, these boys’ lyrics are laid back and effortless. Take their first single ‘Airplanes,’ which is an ode to lead singer Taylor Rice’s grandfather who died before he was born. The heartfelt lyrics give a fleeting glimpse of what the man was like, “The desk where you sit inside of a frame made of wood/ I keep those chopsticks you had from when you taught abroad in Japan.” After clicking repeat a couple of times, the whole prospect of putting pen to paper and writing my own song, be it inspiration from imagination or memory did seem less daunting.

Turn the page so you can see for yourself the lyrics of Josh Ritter and Local Natives!

(Oh and turn to page 64 to learn how to play the songs on the guitar).

NEXT MONTH: Aoife checks in with a progress report.

Aeroplane

AIRPLANES The desk where you sit inside of a frame made of wood I keep those chopsticks you had from when you taught abroad in Japan I love it all so much I call I want you back I did not know you as wellas my father knew you Every question you took the time to sit and look it up in the encyclopedia I love it all so much I call I want you back It sounds like we would of had a great deal to say to each other I bet when I leave my body for the sky the wait will be worth it I love it all so much I call I want you back

L O C A L N A T I V E S

THE CURSE Josh Ritter He opens his eyes, falls in love at first sight With the girl in the doorway What beautiful lines, how full of life After thousands of years what a face to wake up to He holds back a sigh as she touches his arm She dusts off the bed where till now he's been sleeping Under miles of stone, the dried fig of his heart Under scarab and bone starts back to its beating

The days quickly pass, he loves making her laugh The first time he moves it's her hair that he touches She asks "Are you cursed?" He says "I think that I'm cured" Then he talks of the Nile and the girls in bullrushes

She carries him home in a beautiful boat He watches the sea from a porthole in stowage He can hear all she says as she sits by his bed Then one day his lips answer her in her own language

In New York he is laid in a glass-covered case He pretends he is dead, people crowd round to see him But each night she comes round, and the two wander down The halls of the tomb that she calls a museum Often he stops to rest, but then less and less Then it's her that looks tired, staying up asking questions He learns how to read from the papers that she Is writing about him and he makes corrections It’s his face on her book and more and more come to look Families from Iowa, upper West-siders Then one day it’s too much, he decides to get up And as chaos ensues, he walks outside to find her

She's using a cane, and her face looks too pale But she's happy to see him, as they walk he supports her She asks "Are you cursed?" but his answer's obscured In a sandstorm of flashbulbs and rowdy reporters Such reanimation, the two tour the nation He gets out of limos, he meets other women He speaks of her fondly, their nights in the museum But she's just one more rag now he's dragging behind him She stops going out, she just lies there in bed In hotels in whatever towns they are speaking Then her face starts to set and her hands start to fold And one day the dry fig of her heart stops its beating Long ago on the ship, she asked "Why pyramids?"

He said "Think of them as an immense invitation" She asks "Are you cursed?" He says "I think that I'm cured" Then he kissed her and hoped that she'd forget that question

“Honest music from honest dudes”

F

rom the ‘hot, sweaty, awesome town’ of Gainesville, Florida, Greenland is Melting are setting temperatures soaring with their foot-tapping rhythms and smooth-asbutter harmonies.

While Greenland might actually be melting, this trio are pretty solid having been together for over three years now.

They met through mutual friends back in the college days and fulfilled every student’s dream of forming a band.

First things first, introductions: Karl Seltzer is the tall skinny guy with glasses and a banjo, Shaun Pereira is the big guy with the checked shirts and a guitar and Will Dueease is the other guy with glasses playing the standup bass, (he also plays the suitcase bass drum). They all sing.

And for those wondering how they came up with the band’s somewhat irksome name, the story behind its origins unfortunately isn’t all that interesting. “We thought

about telling a different story to each person that asked us this ‘cause there really isn’t a good story behind it” admits Seltzer, before on cue delivering with conviction that it was the last thing Leo DiCaprio said before he was lost at sea in the movie Titanic. “Seriously, go watch it again and see. You gotta turn the volume wayyyy up.” This is the kind of grinworthy humour you get when talking to the Greenland boys.

Gainesville is the home of the University of Florida and has a strong history of punk rock with such big name bands as Against Me!, Hot Water Music and Less than Jake all emerging from the place. It’s also the same place Tom Petty started off. So while folk music mightn’t’ immediately spring to mind when you think of Florida, places like Gainesville have got a rising folk presence with the likes of Michael Claytor making a name for himself in the wider folk circle.

And these boys hope the upward slope continues.

Talking to Seltzer, who grew up listening to Led Zeppelin and other classic rock bands, “Honestly, I was the kid in high school with the long hair, no friends and wore the

Three-piece troubadours. black Zeppelin shirt to school every day,” he admits that the influences of Greenland’s music is pretty varied, ranging from Ryan Adams to The Avett Bros. Seltzer started playing guitar around 10 years ago before then deciding to take lessons a few years ago to hone his skills. He soon transferred his playing ability to the banjo when Greenland took shape.

Like so many other artists out there, the trio can’t afford to call the band their full-time job despite committing over 40 hours each week to making music. All three have other jobs to pay for the costs that crop up in order to keep Greenland on the road and making music facing “whatever other black hole of money the business side of the band decides to throw at us” he adds.

Both Pereira and Seltzer write the band’s lyrics which are usually a stripped down version of a song. “The song then usually goes through at least one transformation with everyone giving some insight. We then practice it a shit ton of times, trying to get decent harmonies thrown in and little kinks worked out,” says Seltzer.

The trio recorded their latest album ‘Our Hearts are Green, Our Grass is Blue’ last September and are working up to releasing it on a split 7” this autumn. Deciding to make the record available free to download via the band’s website, while didn’t pay off in the literal sense has allowed Greenland’s music to get out there into the wide world and found them new fans and followers. “The music business is changing and a lot of smaller bands like us are able to make fans in this changing landscape,” says Seltzer philosophically.

“If someone were to say to me, 1000 new people are going to download our album and not pay a penny that would make us all happy. If a certain number of those people didn’t like

the album, I’m sorry we wasted your time and we appreciate the chance you gave us. But hopefully, there will be a few who actually like it...and those are the people who are going to come to a show. And buy a shirt or vinyl. And stand up front with us and sing along and make all the hard work worthwhile.”

Quoting Vinnie Fiorello (of Less Than Jake), who owns and runs Paper + Plastick records to which Greenland are signed, “There will come a day when bands won’t charge for music, labels become just a hub of ones and zeros to be downloaded and siphoned off to other places on the web then onto the listening device of choice. Casual listeners become fans, and fans buy physical product like deluxe packaged records and concert tickets. In a perfect world talent and hard work are rewarded and bands grow exponentially from the initial songs given out for free.” The Greenland boys are a chip off the old block really.

Their entire album was recorded live without any auto-tuning, which means ‘Our Grass is Green, Our Hearts are Blue,’ is completely original in every sense especially when sometimes you can hear a slight note shiver. “For that reason,” explains Seltzer, “I would probably say our signature sound is an honest set of three-piece harmonies. Honest because there are sometimes imperfections and I think there is a certain beauty and honesty in that.” To sum up the band in one sentence? As Seltzer so eloquently puts it, “Honest music from honest dudes.” Enough said.

‘Our Hearts are Green, Our Grass is Blue’ is out now. www.greenlandismelting.com www.myspace.com/greenlandismelting

No copyright clearance

Always up for the craic

High energy fusion folk - is that the sound Fling originally wanted to create?

The sound we have is something that we all have difficulty describing! It’s definitely high energy but at the same time it is very melodic. We are all very well-travelled and we all have a keen interest in folk music from around the world and this is reflected in the music we create.

How did you find each other?

All of us met on an amazing scheme in Galway called The Access Music Project. This project brings together 12 musicians from different genres and sends us on an extremely steep learning curve for a year during which we all have to take exams in musical instruments that we are not normally familiar with.

Who are Fling’s musical influences?

Broadly speaking we are influenced by everything from Planxty, Bothy Band, Lunasa and Solas to Woody Guthrie, Bob Dylan and Rory Gallagher. We are all into rock music and every one of us is moved by beautiful trad music from all over the world.

Where does Fling stand in the genre of folk?

We definitely see ourselves as Celtic but we are part of a new generation of well-travelled Paddys who have embraced many cultures from outside our own. Our Irish identity is very important to us but so are our influences from around the world. We want everyone, no matter where they come from, to find something in our music that they can relate to.

Favourite instrument?

Between us we have a huge collection of instruments. Liam Carroll collects instruments every time he travels. He has several mandolins, guitars and a hammered dulcimer. He says that Uilleann Pipes always bring a tear to his eye when he is away from home. Liam Conway is also a big collector of instruments, in particular guitars. He was once asked how many guitars are in his house and he genuinely couldn’t answer the question! We all have many instruments in our homes ranging from Peruvian flutes to acoustic basses of all descriptions.

Have you been touring over the summer or have you plans to do so in the next few months?

We’ve been gigging all over Galway and have a number of big gigs on the horizon. There is a tour to Germany in the pipeline and we are touring the USA next summer. At the moment we are focussing on recording an album which will be released later this year.

Fling are: Paul Burke Liam Carroll Liam Conway Dessie Harrington Maeve Kelly www.myspace.com/flingfolk

SONGWRITING COMPETITION 2010 To coincide with the launch of THREADBARE, we are offering the secret and not-so-secret songwriters out there to enter our fantastic competition to be in with a chance to work with Josh Ritter and see him perform your song on stage.

Simply go to our website, www. threadbare.co.uk/competition. enter your details and upload your song being performed, (if you’re shy, get a friend).

All original content please, no plagerism.

No copyright clearance on images used

SONGWRITERS RETREAT This October, songwriters from all over the world will flock to a remote island off the West Coast of Ireland to enjoy some peace and quiet and pen some new lyrics

The man himself, Brett Perkins.

G

rowing up in sun-soaked Southern California during the 60s and 70s it’s hard to imagine anyone wanting to leave. But the suburban life of manicured lawns and white picket fences was not for Brett Perkins who decided to embrace life for all its worth.

“When asked to name my greatest or most lasting influences, The Beatles still rank number one, with early Elton John, Jackson Brown, David Bowie and a few others,” he says. Growing up, Perkins enjoyed a huge range in the diversity of music on LA radio that has left lasting impressions with him and has lead him down the creative path of songwriting. He enjoys a successful career as a songwriter, with several of his songs having being recorded

“A large part of attending an event like this is breaking the isolation of the writing process which can often be a lonely process for many writers.” by other artists. “I’ve also been fortunate with extensive live play of co-writes with additional performers of greater international renown,” he adds. The list includes Irish songstress Úna Healy, Faroese artist Teitur and Greenlandic artist Simon Lynge whose profile is rising in the folk scene

here in UK at the moment.

Based in Copenhagen, it seems he is the quintessential romantic. It was falling in love with a Danish girl he met in Dublin that brought him to the city back in 1997. That relationship didn’t work out but he’s still there, happily married to a different beautiful Danish woman, Amalie, who

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also is a musician. They met seven years ago at a songwriting event where a friendship blossomed and they started doing shows together. Before long they were co-writing songs and getting married in the Elvis Chapel in Las Vegas after she popped the question.

Wanting to spread the joy Guitar solo. that comes from songwriting, Perkins created the Listening Room International Songwriter Retreat back in 2002 having been a participant of other retreats for a number of years. These retreats gave him the chance he explains: “to experience both the joy and power of community and also come unfortunate elements of competitiveness and hierarchy.”

The latter more negative experience is something he found to be counterproductive to the creative process which served to encourage him to go ahead with founding his own more nurturing structure and environment. The retreats take place four times a year in four different locations: California, Denmark, Ireland and Sweden, each lasting one full week with each retreat location being chosen for unique and inspiring, isolated natural settings. “The nature and the quiet,” says Perkins “But choosing has also been a largely intuitive process about certain facilities having the right vibe for hosting a group of writers since we can be a bit quirky.”

What participants can hope or expect to get out of any one retreat understandably differs from person to person.

For many it’s a chance to take some time to recharge their passion and commitment to the art and craft of songwriting.

Perkins goes on to explain that, “A large part of attending an

event like this is breaking the isolation of the writing process which can often be a lonely process for many writers.”

A chance to meet similar-minded people, the retreats along with writing some great songs have also resulted in strong friendships being formed and new recording and touring opportunities arising. “Many of the songs written over the past 35 retreats have also ended up on commercially released albums.”

Having being a songwriter for over 30 years, Perkins admits that the process has become a whole deal easier. “I can write on assignment, but what inspires me is often a feeling first that is lacking words, until a melody comes along to draw them forth,” he says. For those who are self-doubting and unsure that they are capable of the challenge, Perkins firmly believes that, “that everyone has the need for self-expression and that songwriting is a path that’s available to virtually all to follow.”

A maximum of 20 participants can partake on any retreat so it’s advisable to book early to avoid disappointment. For any queries or more information go to: www.myspace.com/ listeningroomretreats.

What Past Participants say: “Brett Perkins’ Listening Room Retreats have created some of the most magical and productive moments in my life as a songwriter. I would recommend it to anyone who want to grow as a songwriter/artist and human being.” - Simon Lynge.

THE THE INTERVIEW INTERVIEW

PUTTING PEN TO PAPER HIS WONDERFULLY EMOTIVE LYRICS HAVE EARNED HIM THE RIGHT TO BE MENTIONED IN THE SAME SENTENCE AS BOB DYLAN AND NEIL YOUNG. BUT JOSH RITTER TAKES ALL THE ACCLAIM WITH A PINCH OF SALT

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hen you mention the name Josh Ritter, you might see some blank faces. For some he is an unknown. For other’s he is one of the most talented and underrated songwriters of this generation.

It’s been over a decade since Josh Ritter first started recording music.

His self titled, self-produced first album ‘Josh Ritter,’ remained relatively undetected when it was released in 1999. It wasn’t until the following year when, for a meagre $1000 he recorded and again self-published ‘The Golden Age of Radio,’ his life would change forever. A chance meeting with Jim Olsen, head of independent record label Signature Sounds whilst promoting the album turned into a record deal and a chance to remaster and re-release his work. That same year the song ‘Me & Novelist and singer-songwriter, Jiggs’ was released in Ireland, a decision Josh Ritter. that signalled Ritter’s arrival into the hall of fame. build the hallway and put in all the doors leading off into Perhaps it was the luck of the Irish rubbing off on the different directions and people decide to walk through those Idaho-born singer songwriter. “I grew up in a way playing doors.” This latest body of work serves to confirm that Ritter music in Ireland and for that reason our connection is is a magnificent lyricist. Unlike previous ventures, love is a really strong,” he says with affection in his voice. “You get prominent theme this time around, perhaps owing to the fact up on stage and instantly it’s a conversation and it feels

“I got asked to judge a song contest the other day and I just can’t imagine a worse thing to do.” real, important and fun.”Ritter became a household name when he was first noticed by Glen Hansard, lead singer of Irish band The Frames and later of Oscar glory for the song ‘Falling Slowly,’ which he wrote for the film ‘Once.’ After securing a spot supporting The Frames on their nationwide tour across the emerald isle, audiences were wooed by his soft, melancholic voice and soothing instrumentals.

Ten years on, Ritter is now promoting his fifth studio album ‘So the World Runs Away,’ an ambitious record that simultaneously stays true to his unyielding talent for penning exceptional lyrics. “A song is like a hallway,” he says. “You

that he married fellow singer-songwriter Dawn Landes last year. “She’s phenomenal,” he gushes. But one would expect no less from a man who was named one of the 100 Greatest Living Songwriters in 2006 by Paste magazine alongside literary geniuses like Bob Dylan, Bruce Springsteen and Neil Young. When asked what it’s like to be canonised in a way by being put into the same sentence of such revered greats, Ritter is distinctively modest and clearly still humbled. “Just to be remembered as somebody who writes songs and has been doing it their whole life would be fantastic,” he says before adding “That’s where the comparisons to Dylan and

Springsteen fall short because they don’t take into account that those guys have been doing it for so long and I’ve just been doing this for ten years, not forty or fifty so really comparisons don’t work that way.” But behind the modesty, Ritter is undoubtedly proud of making the list. “To be mentioned in the same sentence of Dylan is amazing... He’s the first person that really made me realise that I could do this. He changed my life”, he says. While that may be true, it can’t be said that Ritter ever was or will be in the same league of Dylan as a persona. While Dylan blurred the line between rock n’ roll and folk music, Ritter is a folk artist despite his refusal to be pigeon-holed to one genre.

When asked if he thinks folk has changed in the past ten years he impressively avoids giving a direct answer explaining: “I never really knew what folk music really was so I feel like it’d be hard to say that it has... I really don’t keep tabs on acoustic genres and don’t really listen to a lot of strictly acoustic music.” But one thing he does have in common with the ‘Subterranean Homesick Blues’ legend is the erratic and unpredictable direction he can take on a record. “Eclecticism is phenomenal,” he says with unbridled eagerness and passion. “I mean it far outweighs the alternative which is canonisation and narrowing.” He puts this into context before getting a chance to ask for an explanation, “I got asked to judge a song contest the other day and I just can’t imagine a worse thing to do.” Refreshingly honest, it’s hard to find fault with his character.

The son of two neuroscientists, it might seem like a no-brainer that any offspring would inevitably be scientifically inclined when it came to choosing a career. But it seems that Ritter preferred to use the right, more creative side of his noggin and head down (pun intended) the artistic route and earned a degree in American History through Narrative Folk Music.

The motivation behind the decision to study such a particular subject stemmed from his desire to get beyond the obvious when it comes to such a topic, most notably Woody Guthrie. Ritter’s logic is the fact that there are musicians besides Guthrie who exemplify a period in American History. “It’s more about social movements through music,” he says.

“As soon as we have an experience we have a need to talk about that experience with other people, so who rises to fulfil those needs for those songs of experience?” He goes on to rationally decipher that, “Whether it’s the labourer songs or cowboy songs singing about trains there’s a reason why that stuff gets done and there’s a lot of history that’s really fascinating and fun to look at behind those songs and why it was important to people.” He doesn’t’ stop there. “It also reminds you all the time that music is not about selling records, it’s not about making money at all.”

Josh Ritter (1999) Ritter’s self-released debut.

KEY TRACK: Letter from Omaha

Golden Age of Radio (2000) The album that got him noticed.

KEY TRACK: Me & Jiggs

Hello Starling (2003) Airy and accomplished.

KEY TRACK: Snow is Gone

The Animal Years (2006) His breakthrough album.

KEY TRACK: Girl in the War

The Historical Conquests of Josh Ritter (2007) A more mature and melodic Ritter KEY TRACK: Mind’s Eye

So Runs the World Away (2010) Breathtaking.

KEY TRACK: The Curse

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Ritter on stage at Cork’s Opera House, Ireland.

A valid and poignant sentiment no doubt, but coming from a successful recording artist, it’s hard not be sceptical.

The music industry rakes in an eye-watering $130billion globally, an amount that increases year-on-year and with record labels clamping down on illegal downloading more

it’s due, he got around that one pretty spectacularly.

While Ritter is most famously known for his un-distilled American music which is always beautifully supported by his Royal City Band; his sound is never generic and unoriginal.

Whether consciously or subconsciously, he makes a noted

“There are so many more interesting things to write about than trying to make your diary rhyme.” forcefully popular music in its entirety, across all genres and sub-genres is arguably fuelled by money and powerful industry moguls. Ritter takes the floor and with a wry smile finds the silver lining in the dark capitalist music cloud.

“That’s the great thing though; there is so much music out there and I love that people can hear whatever they want whether it’s Bollywood or Joanna Newsome.” Credit where

progression with each album he produces, a trait that endears him so intimately with his legion of loyal fans. As for the song-writing process he goes through, he admits it’s completely cathartic. “It’s a little bit like putting stuff in boxes in your attic and eventually if you don’t empty your attic it’s going to collapse,” he says. That’s the perk it seems of being a songwriter according to Ritter who ritually clears

out ‘his attic’ ever couple of years and gets to repeat the process of hoarding emotions, stories and thoughts all over again. But that doesn’t necessarily mean everything that he writes and records happened to him. Ritter is a storyteller of fiction only. Autobiographical song-writing is something he expressly avoids and detests. “I would never write a song and claim it to be about me because I feel like there’s so much of that stuff out there already and I don’t like the sound of somebody’s self-emulation or martyrdom,” he says. “There are so many more interesting things to write about than trying to make your diary rhyme.”And it certainly cannot be said that Ritter writes anything that could be construed as self-indulgent as clearly demonstrated by the song ‘The Curse’ on his latest musical venture which is a frighteningly beautiful song of a love story between an archaeologist and her mummy. Taking his penmanship a step further, Ritter recently completed his first novel which is due to be published in 2011. The writing process he admits was a completely different experience to that of song-writing.

“I feel much more naked with this novel than with song writing,” he says. “It’s a lot harder than I thought.” But it’s fun to push the boundaries of human comfort it seems. Further probing leads to a confession. “I don’t know the rules with this and didn’t feel completely at ease,” he says. “I wrote some stuff, but nothing I ever showed to anybody.” Thankfully he found the courage to showcase his work which was in turn picked up by publishing house Random House/Dial Press.

Titled ‘Bright’s Passage,’ Ritter’s debut novel tells the story of a young man from West Virginia who goes to World War One and comes home with an angel that tells him to do things. “It’s a funny little book about their adventure over a week or so,” he chuckles.

Slightly apprehensive about the reaction he will receive when it hits the shelves, Ritter agrees that some critics might argue that the story could have been summed up in a four minute song; something he has proven his ability in doing with conviction on every album. Not many artists that can release a volume of work like Ritter has done and keep the quality consistent throughout, but if you hadn’t gathered by now Ritter is no ordinary man. A freewheeling intellect as well as the ability to articulate thoughts and opinions poetically on a whim is extraordinary. “A great thing about doing records rather than singles is that whatever obsessions or hang-ups you have at a particular time go into it no matter whether you want it to or not.” That’s as close to an autobiography fans are going to get it seems.

Josh Ritters fifth studio album ‘So The World Runs Away’ is out now.

Go to www.threadbaremusic.com to get your own copy now!

One of the greats.

39

STYLE ICONS:

MUMFORD & SONS Four smartly-dressed young men in their early twenties, Mumford & Sons are the epitome of stylish

I

t all started in 2007 when these West Londoners started to create music that would propel them to international stardom two years later.

And it wasn’t just their heartfelt lyrics and powerful sound that caught the attention of the masses. Attire so sharp and effortlessly worn, Marcus Mumford, Country Winston, Ben Lovett and Ted Dwane have become style icons. At Glastonbury in 2009, the band played to 300 people on the Greenpeace stage. A year later the foursome walk onto to the John Peel stage with what can only be thousands of fans, packed tightly as sardines in a tin, as far back as the eye can see. Front man Marcus Mumford tells the crowd “This has been the year of our lives” before his voice is rendered inaudible by an enormous rapture of cheers and screams from the sea of sardines. And it truly

has been. Mumford & Sons debut album ‘Sigh No More’ quickly gained momentum from its October 2009 release in the UK with regular airtime on radio stations and rave reviews across the UK and Ireland with BBC Radio One DJ Zane Lowe naming their first single ‘Little Lion Man’ the “hottest single in the world” that same year. When it comes to their style, Mumford & Sons embrace the crisp and clean look with vintage clothes, like collarless shirts, suspenders and vests.

Their ragged and worn, sometimes even theatrical-looking garments serve to further captivate and enhance the powerful lyrics which are delivered in Mumford’s raspy, almost distraughtsounding voice. While synonymous with other and somewhat equally stylish artists such as Laura Marling and Johnny Flynn, Mumford & Sons are certainly leading the way in terms of well-turned out young men.

REVIEWS REVIEWS

John Goraj John Goraj

Possible Possible LITTLE FLOWER RECORDS LITTLE FLOWER RECORDS T T T T T T T T T T

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ioux Falls, South Dakota that I needed to go somewhere else ioux Falls, South Dakota my music with new people and that is where this 24-year-old and share my music with new people is where this 24-year-old place just happened to be California.” calls home. But now a and that place just happened to be calls home. But now a resi- Signed to Little Flower Records, his resident of Los Angeles, California.” Signed to Little Flower dent of Los Angeles, John debut album ‘Possible’ was released last John Goraj explains how it Records, his debut album ‘Possible’ Goraj explains how it was year but it is only now that it is being was a necessary move. was released last year but it is only a necessary move. taken notice of. now that it is being taken notice of.

Across ten tracks, acoustic guitar Across ten tracks, acoustic guitar A self-confessed dreamer, Goraj’s and vocals are the main unwavering A self-confessed dreamer, Goraj’s and vocals are the main unwavering ambitions forged the way for him to dreams forged the way for him to make elements which are supported, as often make the move to the City of Angels. elements which are supported, as the move to the City of Angels. Not con- in folk music, by banjo and cello. “I often in folk music, by the banjo Not content with the confines of a think the cello is the most gorgeous tent with the confines of a small town, small town, he knew he had to get out. and cello. According to Goraj, the he knew he had to get out. “I’m not sure sounding instrument created,” accord“I’m not sure exactly why I moved to cello is the most gorgeous sounding exactly why I moved to LA, I just knew ing to Goraj. For a man who exudes an instrument created. For a man who LA, I just knew that I couldn’t be in that I couldn’t be in Sioux Falls anymore. unreserved shyness, he exerts a formiexudes an unreserved shyness, Sioux Falls anymore. Not because I Not because I don’t like it there, because dable force on ‘Possible.’ Recorded in don’t like it there, because I love South he exerts a formidable force on I love South Dakota and miss it a lot,” he Sioux Falls, the overriding composition ‘Possible.’ Recorded in Sioux Falls, Dakota and miss it a lot,” he says. says. “There are many talented musicians theme is reducing each track to their Goraj manages to reduce each track “There are many talented musicians and songwriters there and I’m blessed to core to get to the heart of music. This and songwriters there and I’m blessed to their core to get to the heart of call them friends. It was just time for me reduction can be heard in the impresmusic. This reduction can be heard to call them friends. It was just time to leave. I had done everything I needed sive ‘Across Your Mountain’ or the alfor me to leave. I had done everything in the impressive ‘Across Your bum opener ‘Woven.’ Both tracks stand to do there and I felt strongly that I I needed to do there and I felt strongly Mountain’ or the album opener needed to go somewhere else and share out because you think that you are

REVIEWS// REVIEWS//

‘Woven.’ Both tracks stand out really near to the music and the musibecause you think that you are really cian. Goraj considers himself to fall near to the music and the musician. into the genre of progressive folk music Goraj considers himself to fall into and this certainly is true. Through his the genre of progressive folk music emotive lyrics, you are invited into and this certainly is true. Through his Goraj’s world. He opens the door to his emotive lyrics, you are invited into deepest thoughts and emotions; you Goraj’s world. He opens the door to feel exactly what he is feeling. his deepest thoughts and emotions; Harmonies between different you feel exactly what he is feeling. instruments which are layered on top Harmonies between different of each other float over more complex instruments which are layered on songs, most notably the title track, top of each other float over more because it combines acoustic guitar, complex songs, most notably the banjo, cello and different singing styles. title track, because it combines What was the inspiration behind this? acoustic guitar, banjo, cello and “Since the songs cover so many years of different singing styles. What was my life, it was hard to figure out what the inspiration behind this? “Since the fuck these songs were even about? the songs cover so many years of So I had to dig a little, to find out what my life, it was hard to figure out I should call it I ended up calling it, what the fuck these songs were even ‘Possible’ because of the song “Possible,’ about? So I had to dig a little, to find which is mostly about my relationship

Goraj wears his heart on his sleeve. “There’re a lot of people in the industry that don’t give a shit about music, but care a lot about making money. But, I believe there are also a lot of people who work verythat hardI to surevery thatprofoundly beautiful, pasto God or a higher essence wasmake feeling music that we“It’s all need to explain, hear is heard. ” general at thesionate time,” he preaches. hard to but the Once upon a time, John Goraj dreamed of theme of the song and the album, are the feelings of getting shame, his acoustic songs of love andtranscended spirituality by outgrace. of coffee pain and sorrow being totally Butshops and bars of Sioux Falls and into classier, more refined those feelings never disappear. Also, the song expresses thevenues around world. dream might about toand come true. possibility ofthe good whenThat everything seemsbe destitute

but this time around he misses the mark when it comes finding the underlying spark to ignite the album. Featur artists are Kathryn Williams, Alasdair Roberts, Camille O’Sullivan, Eliza Carthy, Jim Causley, Bella Hardy, Jack L Julie Murphy, Eleanor McEvoy and Nat Johnson.

David Rotheray The Life of Birds Proper

KEY TRACK: ALMOST BEAUTIFUL T T T

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Incredibly folky and intimate, wait. Incredibly folky and intimate, it it offers offers up up eerily mesmerising balit offers upeerily eerilymesmerising mesmerisingballads such as ‘By Some Miracle’ which lads such as ‘By Some Miracle’ which ballads such as ‘By Some Miracle’ haunts the memory of anyone who haunts haunts the memory of anyone which the memory of who anyone listens to it with a striking melody listens to it with a striking melody who listens to it. What is possibly that easily featured on that could could easily be bethe featured on some some most surprising is undeniable orphan-themed horror movie.

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Original Folkster

J

ustin Townes Earle is an anomaly. He’s tall as the day is long, all angles and elbows and a hard stare, both welcoming and deadly serious.

He won the Best New and Emerging

Artist at the 2009 Americana Music Awards

and his new album ‘Harlem River Blues’ will surely

see him another nomination next year. The follow up to last year’s Midnight at the Movies features Calexico’s Paul Niehaus and a guest appearance from Jason Isbell.

Out September 24 on Bloodshot Records, ‘Harlem River Blues’ is more mature, while still embracing his raw voice and clean sound. The recently relocated New Yorker was inspired by the Manhattan body of water that he recently described to Paste as “the most desolate thing I’d ever seen”. Drawing inspiration from old time folk and country sounds Townes Earle has found yet another way to be a timeless original.

NEXT MONTH... y

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Nothin’ but good folk music

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Rollin’

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They might have gone their seperate ways but the Two Gallants are not forgotten. AOIFE O’ CONNOR looks at the record that changed everything for this San Francisco duo

S

an Francisco duo Adam Stephens and

make a stab at forging out solo careers.

Tyson Vogel better known as the Two

“What The Toll Tells” is a majestic, sporting a rich

Gallants didn’t cause a huge stir when

sound and some of the Two Gallants most energetic songs.

they debuted on the scene in 2004 with the

Their music is diverse; playing with dynamics such as tempo

none-too-fictional ‘The Threos,’ but it was

changes, violent drumming and harmonica-infused solos, as

in fact their best work to date.

well as mixing the genres of blues, country, folk and punk. All

The first album ‘The Threos’ was pretty much written off

of the songs tell affectionate stories with four songs passing the eight minute mark. Stephen’s whose vocals are raspy at

by critics, referring to lyricist Stephens as boring and lacking

the best of times can be taken to whole new levels of almost a

a storyteller’s intuition when it came to penning songs. But

distraught-sounding howl at times. ‘Steady Rollin,’’ a song that

carrying on regardless, songwriter of the pair Stephens

has become synonymous with the Two Gallants makes light

persisted with his literary fantasies and together with Vogel

of a murdering husband getting rid of his wife’s body: “I shot

they created ‘What the Toll Tells,’ in 2006; an album of such

my wife today / Dropped her body in the ‘Frisco bay / I had

emotive material they had critics eating their words. The

no choice, it was the only way.” The album’s emotional core is

album saw the San Franciscan musical twins receive some

especially strong on ‘Las Cruces Jail’ whose words are richly

much deserved credit and proved beyond any doubt that

defiant: “I write to the governor to hear my plea/ But he don’t

Stephens is in fact a master storyteller.

even answer me/ The judge said he’s bound to set my spirit

Named after a short story by James Joyce, the Two

free/ Sun, don’t you rise no more.” ‘Nothing to You,’ is a more

Gallants are deftly instrumental; Stephens on guitar,

upbeat and prose-like song with abrupt pauses like paragraph

harmonica and vocals and Vogel on drums and vocals.

breaks in a story. Stephens writes about being ‘”down by the

The band developed somewhat of a cult following since

riverside wasting away.”

the twosome decided to go their separate ways, with both Stephens and Vogel deciding to take a well-earned break and

Two Gallants are as much campfire storytellers as they are folk or punk musicians as proven by this epic album.

W

L

A V I T S

IE V E R

FE

2010

Thursday 29 July 2010 – Sunday 1 August 2010

T

his year’s Cambridde Folk Festival was always going to be one of the must-see events of 2010. Forget Glastonbury and Reading, Cambridge is where the real folk music is at.

the various catering vendors proved too difficult to resist.

An impressive move by the festival organisers has been to strictly enforce the use of biodegradable and recyclable trays and utensils by food stalls.

Threadbare have long been fans of the irrepressible Imelda May, the quintessential Dublin lass with perfectly coiffed hair and blood red lips. Having been across America One of the world’s longest running and famous folk supporting festivals, the atmosphere this year didn’t disappoint Jamie Cullum even if the weather did.Long before the rolling grey The Usual Suspects. and Jeff Beck clouds heavy with for the most rain opened up, part of the crowds of people year, this time were soaking up she sauntered the warm festival onstage in her ambience. ever memorising Kicking off and fashionable on Thursday, Ezio manner took to the stage. accompanied by Two lead guitarists the formidable in one band, it is Sharon blatantly obvious Shannon, a shining star in the realm of traditional Irish folk that these guys are music for a number of years. On stage the due delivered a pros at the festival unique sound to a packed and captive audience. May did scene. Around not disappoint with her energetic and fun on-stage persona since 1995, Ezio failing to show any sign of weariness from excessive touring Lunedei and Mark Joe Pug. . Shannon on the other hand showcased her instrumental Fowell are touring talents with grace and poise that can only be described as extensively until mesmerising.

December. Delivering raw and unique sounds that served Fresh from a stint of festival performances across the to quell the insatiable needs of loyal followers of the band as UK, the one and only Seasick Steve drew what seemed to well as drawing new and unfamiliar faces to the stage. be an ocean of people to the stage on Friday night. The Stiff bodies stumbled out of the sturdy and the notAmerican blues legend, although almost 70-years-old so-sturdy tents on Friday morning, when the aromas from

One man and his guitar, Seasick Steve. appeared sprightly and youthful in his casual shirt and blue jeans. The deafening cheers that rose from the audience caused this aged Californian with skin that can be likened to a dried Napa Valley grape to grin from ear-to-ear. Cracking jokes in between songs such as ‘Dog Boogie House’ and ‘Cut My Wings,’ the Seasick was clearly grateful for the warm British welcome he so often receives but never tires of.

As the dew began to settle on the leaves of the trees that surround the grounds of Cherry Hinton, an ambience of calm was felt all around. Actor, poet and songwriter, rustic troubadour Johnny Flynn with his band The Sussex Wit performed his trademark wholesome music on Saturday playing songs from his new album ‘Been Listening.’ Natalie Merchant held a captive audience as she brought the evening to a mellow close with numbers from her back catalogue as well as her 2010 release ‘Leave Your Sleep’.

Throughout the weekend music and craft workshops such as fiddle playing and song writing served to break up the monotony that can so easily come with a music festival.

On Sunday Dervish, who also played on the Saturday took it upon themselves to inject the crowd with some energy and enthusiasm. Playing their magical ‘session’ music it wasn’t long before they had everyone cheering and dancing an Irish jig, or at least trying to. Experiencing a surge in popularity throughout 2010, The Ukulele Orchestra of Great Britain is riding the wave of fame with sell-out dates across the country. Using a medley of instruments and vocal ranges huge numbers were drawn to the stage long before they graced it with their presence.

The man of the hour was the award-winning music icon Kris Kristofferson. Arriving on stage without fanfare, almost before you noticed he was there, he proceeded to play a 70 minute set unadorned. A few false starts here and there

Kristofferson on stage.

Breabach but he was soon serving up crowd-pleasers ‘Me and Bobby McGee’, the much loved and warmly cherished words and tunes just kept coming and coming: ‘Darby’s Castle’, ‘Best of All Possible Worlds’ ‘For The Good Times’, and ‘Sunday Morning Coming Down’.

Family-friendly, well organised, clean, safe and skillfully curated to balance the demands of the purist folk fans with the more generalist visitors, this truly is a great festival.

Let it be said that the Cambridge City Council Arts & Entertainment department have truly found the secret to a weekend that embraces world folk/roots/bluegrass music perfectly.

WANT MORE EXCLUSIVE PICTURES AND NEWS FROM THE 2010 CAMBRIDGE FOLK FESTIVAL? WWW.THREADBAREMUSIC.COM

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g n i d r o c e R e h t In with ' Connor

Words Aoife O

The sole owner a recording studio, the guitarist inowner Dublin-based hardstudio rock Sundance band and At twenty years ofofage Matt Hayward already is the sole of recording only twenty years of age, Matt Hayward already has quite the résumé. But then again a Crow as well as being the guitarist in a Dublin-based hard rock band. But then again a career career in music was always on the cards... in music was always on the cards...

I

f one had to select Matt Hayward’s doppelganger it would be without doubt the late Irish guitar legend Rory Gallagher. And similar to his long-haired lookalike, Matt joined his first band Honeycomb when he was just sixteen.

But going one step further, Matt embraced his entrepreneurial side at the same time knowing that the music industry was his calling and installed a vocal booth in the box room of his home. “I borrowed a 4-track and some mics and it snowballed from there really,” he says modestly. Sundance Crow, the studio itself came about in 2009 when he moved from the confines of his home-based recording booth

to Wicklow town, a forty-minute commute south of Dublin city.

Having studied Music Production, Hayward is adept at the ins-andouts of what is needed to produce a high quality sound. The equipment he uses in studio is a Protools set up. “I typically use the Rode NT1-A on vocals, depending on the voice but I find that to be a very good all rounder,” he says. And he’s right, the Rode NT1-A has become an industry standard with its ability to deliver an extended dynamic range with superior clarity. Other installations Hayward relies on include the Shure M57 microphone, “a very good goto mic for guitar, but can be brittle,” says Hayward. When it comes to amp mics, he relies on the E609 and for

the drums he’s been experimenting with Audix microphone. “I have a lot of Marshall half stacks for my dirty guitar tones,” he says. “Running a tube screamer through a JCM800 and getting the right EQ seems to suit me for distorted tones. For cleaner sounds it’s the Roland JC-120 he uses. Hayward proudly adds that Irish singer-songwriter, producer and instrumentalist Ciarán Brennan gave him an original from the 70s as a gift for working with him.

Despite all the equipment and the range of abilities studio producers can exert to manipulate sound, he explains that the recording process itself is wholly dependent on the attitude and the capabilities of those who come to record. Practice and preparation go a

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elpful ints process as its Matt gives some sound advice happening.

It’s really special when Know your material! you know “Seriously, know how you want the you’ve got record to sound, listen to records something.” you like and take notes on why you And when like it. Know what tempo your songs it’s not going are and make sure you change your strings on your guitars. Guitarists Rock star and entrepreneur, so well? “The spend time on getting to know your Matt Hayward best thing gear, meaning amp settings, pedals to do is just etc. I mean if you’re playing metal their sounddon’t andbring giving adviceTwin.” is a very a Fender either take a break or call it off until important part of the process to me,” he the next day,” Hayward admits. “There’s says. “Guitarists need to have the right no point in trying to make it happen Practice practice practice! guitar, amps and pedals and vocalists if no one is happy with it,” which is need to know how to keepis their “Pre-production a veryvoice imporwhy he is on hand to provide advice tant parthow of the process. in top shape and torecording warm up. ” to those who come into Sundance Demoing the songs weeks before the It seems that Hayward’s early elpful ints SUNDANCE DEALS to record. “Helping a band find real deal starts is a good idea.Listen induction to theand music was Matt gives some sound advice back makeindustry sure a composition lot of studios charge ridiculousno matter what. I do free mastering on a wise career move which has allowed is solid.” thatwant deal too. Practice practice practice! Demoing the prices which very unfair on you Know yourismaterial and how him to hone in on a talent that might a struggling band or unsigned artist.

Be prepared! the record to sound. Listen to records songs weeks before the real deal starts is have otherwise gone undiscovered.

As Mattyou says, culture like“There’s and take no notes on why you like a good idea.Listen back and make sure a Any regrets?

“When are a part, partguitarist of a “Gear is an you important without it. music whytempo makeyour it harder Knowsowhat songs are and composition is solid. needs to have the right guitar, record that really meant something toamp, for musicians?”

That’s why it’s so make sure you change your strings on pedals. Vocalist needs to know how refreshing to see independent recordthe artist and knowing you were a vital your guitars.

Seek out a good deal! A lot of studios to keep their voice in top shape and ing studios now offering deals on charge ridiculous prices which is very part of capturing to warmthat up.”last forever. That’s recording makingneed it less daunting Guitarists to spend timefor on getting unfair on struggling artists. hugely rewarding.” I’ll take that as a no. musicians to record EP.meaning I charge to know their an gear, amp set€150 a day and I also tings, pedals etc.do 6 songs for For more info: www.sundancecrow.com €500, that’s no set time. Six songs, long when it comes to getting the job done in the studio. “Pre-production is a very important part of the recording process,” Hayward admits. His personal preference when it comes to recording is to get the artist or band’s chemistry first. “I like to put down the rhythm to the song live, meaning for the most part, drums, bass and guitar live and maybe have the vocalist sing to get a guide track and cut it out afterwards.”

So is the recording process as hectic and stressful? “When it’s going well, there’s usually wires going absolutely everywhere and everyone is getting ideas. We’re trying to capture the

H

A

H

EQUIPMENT REVIEW THAT’S THE WAY I MIC IT Gráinne Donovan (formally of ‘Coachford Go’ and now a solo star in her own right) tries out the DPA 4099 Guitar microphone

Thumbs up from Gráinne Donovan.

DPA Microphone’s reputation for quality equipment precedes them as they’ve been making mics for a long time. The 4099 microphone attaches to the side of your guitar and has a miniature goose-neck clamp which is very flexible and easy to pin on, even with one hand.

I brought three acoustic guitars with me when I tried it out at Coachford Sound, including a Martin with its own built-in internal mics, which was handy for comparison sakes. Compared to the internal mic, there was a vast difference and a major improvement.

The sound was much more natural and well-balanced. There was no shortage of bass. The top-end was really clear and sweet then I tried it with a small, hand-made acoustic and that sounded really good too. I have a steel resonator guitar and I thought it would be interesting to try with this mic. I tried it in a couple of different positions – first in the standard position, then with the mic clipped onto the lower part of

YAMAHA’S NEW POCKET RECORDING UNITS The two new models of Yamaha’s Pocketrak (C24 and W24) incorporate 24bit/96kHz sound quality. They’re easy to use and give musicians all the recording capabilities they need. While sound quality has been the driving force behind the development of these pocket recorders, the practical side has not been ignored.

Both models have 2Gb of internal memory allowing 13 hours of MP3 quality recording and both models are expandable using standard microSD cards. www.yamaha.com

the front facing into the resonator. It gave a great sound. While I was trying it out, the lads at Coachford Sound recorded a few things through Protools, comparing it with my internal pick-up. The only thing I didn’t try it with was with a full PA set-up with a monitor wedge at your feet, the way a live performer might use it. I’m sure it would sound great though. Granted they aren’t cheap but that’s the way it is with mics. You tend to get what you pay for. I have to say the clamp arrangement is very easy to work with.

This mic would be great for anyone gigging regularly with an acoustic guitar. They’d be guaranteed high quality results every time.

For distributors:www.dpamicrophones.com

NEW RANGE OF VOC GUITARS Moog Music have reintroduced their legendary Taurus bass pedals, often regarded as the top bass synthesizer.

The new version reproduces the Taurus 1 sound engine and marries it to modern features at an affordable price.

Taurus Bass Pedals have been used by Rush, Police, Genesis, Phil Collins, Asia, Weezer and many more. Only 1,000 new pedals will be built. www.moogmusic.com

Gráinne’s new album ‘Scribbles’ is out now.

Go to www.threadbare.co.uk and join our discussion forum on all the latest equipment.

Favourite instrument

GUITAR OF THE MONTH TANGLEWOOD TW115-ST A touch of class, the new Tanglewood.

MICHAEL JOHN

Vocalist and guitarist with The Village Idiots They aren’t being ironic with the band name.

“I have about ten guitars, including a Taylor acoustic, but my all-time favourite is my standard Les Paul. I got it when I was sixteen and I can’t imagine ever parting with it. To get it I took two jobs for a year, a paper round selling ‘The Listowel Local’ and filling up petrol tanks in a garage. I saved up all the money and gave it to my parents who put the rest in, so the Les Paul became a Christmas present. I protect it like a baby, my pride and joy. When it’s not being used it stays in its hard case. Apart from the sentimental value, it’s also the guitar on which I really learned to play, in my bedroom for hours. It has a really fat sound with a big fat neck. It’s as if it wants to the blues to be played on it. I’d use a Marshall amp with it and I played it for a couple of solos on my album ‘I’m the Recession,’ and ‘Dromerin Road.’ Although I’m not really into the multi-effects thing, I like having a couple of stompboxes. I mainly use some form of a tube screamer, maybe an Ibanez and a flanger occasionally, or an echo pedal for a solo, but I try to keep the distortion low. My musical influences are Ryan Adams and Gemma Hayes.”

The Village Idiots new album ‘Fives & Co’ is out now. www.myspace.com/ thevillageidiots.

The V.I.

I

t’s bigger bodied than others on the market and it’s also got more bass end than a normal acoustic guitar, ideal for those who do a lot of finger picking.

A solid top guitar with a cutaway, which granted are not for everyone. Having a cutaway means you can play lead parts and get right up into the high frets on an acoustic. The back and sides are mahogany and it has Grover machine heads and a satin finish. A guitar that is good value for money, this Tanglewood is for those looking for quality sound on a budget, perfect for an intermediate player. A professional instrument that is nice to play.

Send us your comments and be in with a chance of winning a £500 shopping spree on www.tanglewoodguitars.co.uk

Go to www.threadbaremusic.co.uk/

equipment to enter.

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Guitar Tabs

Learn to play with online video lessons.

Go to www.threadbaremusic.co.uk/tabs

(from pages 20-21)

Aeroplane

L O C A L

AIRPLANES The desk where you sit inside of a frame made of wood I keep those chopsticks you had from when you taught abroad in Japan I love it all so much I call I want you back

N A T I V E S

I did not know you as wellas my father knew you Every question you took the time to sit and look it up in the encyclopedia I love it all so much I call I want you back

THE CURSE Josh Ritter He opens his eyes, falls in love at first sight With the girl in the doorway What beautiful lines, how full of life After thousands of years what a face to wake up to He holds back a sigh as she touches his arm She dusts off the bed where till now he's been sleeping Under miles of stone, the dried fig of his heart Under scarab and bone starts back to its beating

The days quickly pass, he loves making her laugh The first time he moves it's her hair that he touches She asks "Are you cursed?" He says "I think that I'm cured" Then he talks of the Nile and the girls in bullrushes

She carries him home in a beautiful boat He watches the sea from a porthole in stowage He can hear all she says as she sits by his bed Then one day his lips answer her in her own language

In New York he is laid in a glass-covered case He pretends he is dead, people crowd round to see him But each night she comes round, and the two wander down The halls of the tomb that she calls a museum Often he stops to rest, but then less and less Then it's her that looks tired, staying up asking questions He learns how to read from the papers that she Is writing about him and he makes corrections It’s his face on her book and more and more come to look Families from Iowa, upper West-siders Then one day it’s too much, he decides to get up And as chaos ensues, he walks outside to find her

It sounds like we would of had a great deal to say to each other I bet when I leave my body for the sky the wait will be worth it

She's using a cane, and her face looks too pale But she's happy to see him, as they walk he supports her She asks "Are you cursed?" but his answer's obscured In a sandstorm of flashbulbs and rowdy reporters Such reanimation, the two tour the nation He gets out of limos, he meets other women He speaks of her fondly, their nights in the museum But she's just one more rag now he's dragging behind him She stops going out, she just lies there in bed In hotels in whatever towns they are speaking Then her face starts to set and her hands start to fold And one day the dry fig of her heart stops its beating

I love it all so much I call I want you back

Long ago on the ship, she asked "Why pyramids?"

He said "Think of them as an immense invitation" She asks "Are you cursed?" He says "I think that I'm cured" Then he kissed her and hoped that she'd forget that question

Chords D

A2

A1

Bm

A

e ---|-x-|---|---|---| B ---|---|-x-|---|---| G ---|-x-|---|---|---| D ---|---|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

e ---|---|---|---|---| B ---|-x-|---|---|---| G ---|---|---|-x-|---| D ---|-x-|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

e ---|---|---|---|---| B ---|-x-|---|---|---| G ---|-x-|---|---|---| D ---|-x-|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

e ---|-x-|---|---|---| B ---|---|-x-|---|---| G ---|---|---|-x-|---| D ---|---|---|-x-|---| A ---|-x-|---|---|---| E ---|-o-|---|---|---|

e ---|---|---|---|---| B ---|-x-|---|---|---| G ---|-x-|---|---|---| D ---|-x-|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

D A7 e|-0-0-0-0-0-0-0-0-|-0-0-0-0-0-0-0-0-|-----------------| B|-1-1-1-1-1-1-1-1-|-1-1-1-1-1-1-1-1-|-0-0-0-0-0-0-0---| G|-0-0-0-0-0-0-0-0-|-0-0-0-0-0-0-0-0-|-0-0-0-0-0-0-0---| D|-2-2-2-2-2-2-2-2-|-2-2-2-2-2-2-2-2-|-3-3-3-3-3-3-3---| A|-3-3-3-3-3-3-3-3-|-3-3-3-3-3-3-3-3-|-2-2-2-2-2-2-2---| E|-3-3-3-3-3-3-3-3-|-3-3-3-3-3-3-3-3-|-3-3-3-3-3-3-3-0-| Bm A/D Bm A/D A A7 e|-------------------|-------------------|-----------------| B|-1-1-1---1-1-1-1---|-1-1-1---1-1-1-1-1-|-0-0-0-0-0-0-0-0-| G|-2-2-2---0-0-0-0---|-2-2-2---0-0-0-0-0-|-0-0-0-0-0-0-0-0-| D|-2-2-2---2-2-2-2---|-2-2-2---2-2-2-2-2-|-0-0-0-0-3-3-3-3-| A|-0-0-0---x-x-x-x---|-0-0-0---x-x-x-x-x-|-2-2-2-2-2-2-2-2-| E|-------0-3-3-3-3-0-|-------0-3-3-3-3-3-|-3-3-3-3-3-3-3-3-| Piano/Bass/Mandolin/Guitar Riff (NO CAPO):

Continue throughout

C

C/G

F

Am

Dm

e ---|---|---|---|---| B -x-|---|---|---|---| G ---|---|---|---|---| D ---|-x-|---|---|---| A ---|---|-x-|---|---| E ---|---|-o-|---|---|

e ---|---|---|---|---| B ---|---|---|---|-x-| G ---|---|---|---|-x-| D ---|---|---|---|-x-| A ---|---|---|---|---| E ---|---|-x-|---|---|

e -x-|---|---|---|---| B -x-|---|---|---|---| G ---|-x-|---|---|---| D ---|---|-x-|---|---| A ---|---|-x-|---|---| E -x-|---|---|---|---|

e ---|---|---|---|---| B -x-|---|---|---|---| G ---|-x-|---|---|---| D ---|-x-|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

e -x-|---|---|---|---| B ---|---|-x-|---|---| G ---|-x-|---|---|---| D ---|---|---|---|---| A ---|---|---|---|---| E ---|---|---|---|---|

F F Dm Dm Am Am C C/G --1-1---1-1---1-1---1-1---0-0---0-0---0-0---0-0---| --1-1---1-1---3-3---3-3---1-1---1-1---1-1---1-1---| --2-2---2-2---2-2---2-2---2-2---2-2---0-0---0-0---| ------------0-----3-----2-------------------------| ------3-----------------------0-----3-------------| 1-----------------------------------------3-------| This pattern repeats through the whole song F F Dm Dm He opens his eyes, falls in love at first sight Am Am C C/G With the girl in the doorway F F Dm Dm What beautiful lines, how full of life Am Am C C/G After thousands of years what a face to wake up to F F Dm Dm He holds back a sigh as she touches his arm Am Am C C/G She dusts off the bed where till now he's been sleeping

No copyright clearance

e|----------------|------------------|----------------| B|----------------|------------------|----------------| G|----------------|------------------|----------------| D|-------0--0-----|-------0--0---4-2-|-2--4-----------| A|-0--2-----------|-0--2-------------|----------------| E|----------------|------------------|--------------2-|

Chords

THE INTERROGATION ROOM

G

arry Jackson taught himself some guitar chords back in the seventies and realised his love for writing music and performing. Originally from Toronto, he’s now based in Nashville, Tennessee.

He recorded his first single, ‘Wounded Dove’ in 1981,

which was followed by the EP ‘Hearts Alone’ four years later.

Since then he has written over 500 songs. Jackson was signed No copyright clearance

to Wild Oats Records, “a small but great indie label,” in 2003 as part of their Singer Songwriter Series project, ‘Mighty Above All Things.’ Jackson has since gone on to record two CDs, ‘Songs Your Mother Never Sang’ and ‘Something’s Got a Hold on Me’. Inspired by the likes of Bob Dylan and Neil Young, he is currently working on a new record. A familiar face at the Belfast Nashville Songwriters Festival since its creation in 2005; he maintains that, “the more you are seen, the more the scene will see you.”

Favourite record?

Bob Dylan’s ‘Highway 61 Revisited.’ It is a timeless work of art. I love the sound and lyrics. I still get chills when I hear the song Desolation Row. Favourite book?

John Steinbeck’s ‘Grapes of Wrath.’

Favourite film?

My favorite film was the ‘Wizard of Oz’ but has since been replaced by the film ‘The Field of Dreams.’

Favourite musician?

Neil Young. I love his sound, lyrics and emotion.

Favourite song?

Van Morrison’s ‘Madame George.’

Last place you visited and loved?

Belfast. You can’t help but love this place. The people are warm and sincere. The countryside is beautiful and the music is so soulful and spiritual.

Dream gig?

The Royal Albert Hall in London, England with Bob Dylan, Van Morrison, Neil Young, Jackson Browne and Nanci Griffith, backed by the London Symphony Orchestra.

GARRY JACKSON If you weren’t pursuing your present career, what other career might you have chosen?

Pro baseball player.

Favourite space to write music?

It has always been in my home, whether it was in Toronto or in Nashville.

Biggest thrill?

When I was invited to perform as the support act for legendary folk artists Tom Rush and Eric Andersen at Hugh’s Room in Toronto.

Biggest disappointment?

Honestly I do not have any major regrets.

Favourite music festival?

The Belfast Nashville Songwriters Festival. I love the concept of sharing cultures through song.

Last album you bought/downloaded?

‘The Conjurer,’ by my friend and great Nashville, singer songwriter Dana Cooper. www.myspace.com/garryjacksonmusic www.wildoatsrecords.com