Search - Alan Lomax :: Folk Songs of England Ireland & Scotland: Songs of Seduction

What a treasure!

Tom Knapp | Lancaster, PA USA | 06/13/2005

(5 out of 5 stars)

"A title like "Songs of Seduction" conjures many possibilities for music. What I didn't expect when I first put this one on was a quavery, old voice stumbling through a few verses of "Blackbirds and Thrushes" before chortling hoarsely. But that's precisely how "Songs of Seduction," a new release from "The Alan Lomax Collection," begins. And there's more of the same -- 33 tracks in all, most featuring creaky, timeworn voices eroded by years of work and whiskey. What a treasure!



Alan Lomax is a beloved name in folk revivalism, capturing a dying style of music before it vanished and, as a result, helping to bring it back bigger than ever before. This album, and others in the re-issued series from Rounder Records, is the product of several years in the early 1950s which Lomax and a few others -- Peter Kennedy, Seamus Ennis, Hamish Henderson, Wyn Humphries and Sean O'Boyle -- spent traveling through the countrysides of England, Ireland, Scotland and Wales, toting their recording equipment down country roads to find music where it still thrived.



Fortunately for us, Lomax made these recordings before it was too late. Fortunately, too, Rounder Records hasn't allowed the music to disappear into the archives of old and scratchy vinyl -- this CD is an amazing piece of musical history.



The singers for the most part aren't professional musicians. They're laborers and craftsmen -- common folk. For instance, "Blackbirds and Thrushes" is sung by Dickie Lashbrook, a wandering chimney sweep who slept rough in Cornwall hedgerows. "The Foggy Dew" came from Major Philip Hammond, a Norfolk soldier. Tinker Jimmy McBeath contributed an "erotic fragment" of Scots diddling called "Toorn-a Ma Goon." "The Jolly Tinker" was from Thomas Moran, a 79-year-old Irish farmer, while East Anglian farm laborer Harry Cox, whose "repertoire of erotic lyrics was extraordinary," shared "The Long Peggin' Awl," "Firelock Stile," "The Maid of Australia" and "The Knife in the Window."



Charlie Wills was a "jovial country Englishman ... with a cider mug in one hand and a lusty ballad on his lips." His lively rendition of "Up to the Rigs of London Town" is particularly delicious, sung with schoolboy enthusiasm despite his 80-plus years -- and with ample assistance from the crowd around him. Johnny Doherty, an Irish Traveler and peddler, played "Bundle and Go" on a borrowed fiddle because he had none of his own.



There are women represented here, too, like Irish tinker Annie O'Neil on "The Thrashing Machine" and Perthshire's Belle Stewart on "The Overgate." Aberdeen balladeer Jeannie Robertson supplies a few: "The Bonny Wee Lassie Who Never Said No," "The Cuckoo's Nest," "Never Wed a' Auld Man" and "She is a Rum One." An all-night session in Belfast produced 17-year-old tinker Lal Smith's performance of "The Bold English Navvy."



You can hear generations in these songs. The voices are rough, unpolished, in some cases trembling with age -- but these are the songs they grew up singing and the words are worn into their souls like wheel tracks on a muddy road. Sometimes they cough, hesitate or stumble in the words. But there's also pride in the sound, and undisguised glee as they sing the bawdy words.



By modern music standards, there isn't much here to raise even a blush. Today, singers describe graphically what once could only be hinted at. But give me subtlety every time -- these tunes are a treat, and every time I listen I can see their faces, eyes twinkling and grinning broadly as they belted out the old songs.

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