Following on from his third album, Low Culture, Jim Moray has delivered another outstanding work which flawlessly mixes traditional song with modern sensibilities and musical arrangements.
In an entirely characteristically brave move Moray has taken the decision to pre-release In Modern History to a wide audience as a free 8 track CD through Songlines Magazine in April 2010, the full 10 track CD is realised in June. Never afraid to try something new Moray also taken the clever idea of asking for pledges through his website to help the release of the album, this included pledging for limited edition t-shirts, postcards and photographs as well as unique art works by Eddie Argos and even a signed guitar from the Low Culture tour. Most interestingly is the possibility to join the “Modern History Club” which provides pledgers with a copy of In Modern History and a year’s access to exclusive monthly downloads of new tracks and live tickets.
Moray has often been at the critical mercy of folk purists which is a shame and undeserved. It can be a dangerous road to travel; mixing the traditional with the modern, but when done successfully, as here, the combination can illustrate the best of both worlds. The album itself extends where Low Culture left off, but the sound is larger here with a rich mix of synth and orchestral arrangements which compliments the more traditional folk flavour of the material; mellotron, hammond organ and electric guitar sit well with the more customary melodeon and hurdy-gurdy.
Although Moray plays the majority of the instruments on the album he has also wisely enlisted a number of folk luminaries, including Eliza Carthy, James Delarre, Jackie Oates, Hannah Peel and Saul Rose, which helps root his song choices in tradition. He has also included some left-field choices including Portishead drummer Clive Deamer, Goldfrapp bassist Charlie Jones and Art Brut frontman Eddie Argos to bolster the album’s indie/rock/pop credentials. Moray is no gimmick though and his selection of material and arrangements reveals his deep interest and keen ear for folk ballads and history. Throughout, Moray displays the value and relevancy of the folk song tradition without the need for slavish imitation of the past. For example, the opening track “Bristol Harbour”, inspired by Tim Eriksen’s “Boston”, is a solid crashing introduction to the album, its mix of English folk-pop and Stateside grunge perfectly echoes the song’s narrative.
The album is often at its most successful when Moray reinterprets traditional folk songs. This is perhaps most notable on “William Taylor”. The track, which includes Eliza Carthy’s violin and Saul Roses’s melodeon is raised to grand rock anthem status with the inclusion of the Orchestra of Opera North. “Lowlands of Holland” demonstrates Moray’s warm folk voice and solid understanding of song structure, melody and atmosphere with a fine string arrangement by the aforementioned Opera North, whilst “Jenny of the Moor” provides the opportunity for a moody duet with Hannah Peel of The Unthanks; Peel’s voice providing a softer tone to Moray’s crisp vocals over a trotting drum rhythm. The creepy horror that is “Long Lankin” (more famous as a Steeleye Span track perhaps) is a masterful take on the traditional ballad and effortlessly captures the terror of the song’s narrative. The blend of Rose’s melodeon, Delarre’s violin and Moray on cittern suits the strange atmosphere and slowly builds the song’s tension to its tragic conclusion, delivering a final eerie warning to its listeners.
There is room too for Moray’s own compositions, including “Hard” (inspired by a new mandolin) with Moray accompanied on vocals by his sister Jackie Oates and “Home upon the hill” which demonstrates Moray’s skills as a fine songwriter in his own right.
The songs never remain pure folk, and nor should they. “Silver Dagger” seamlessly includes a number of modern references whilst “Spencer the Writer” is a more intimate affair; guest vocalist Eddie Argos delivers a humorous but touching monologue on the pretentiousness of the pop songwriter and the value of family life.
At his best, Moray illustrates the flexibility and relevance of the folk song tradition. In Modern History’s arrangements and handling wholly compliments the traditional whilst illustrating the song’s vibrancy and pertinence for today’s audience.
Buy CD:
In Modern History (CD with Songlines Magazine Issue 68)
or In Modern History
due for release on 21 June.
Links:
www.jimmoray.co.uk
www.myspace.com/jimmoray
Tour Dates
UNITE
Thu, 10th June
Bush Hall, London
UNITE
Fri, 11th June
O2 Academy, Oxford
Sun, 13th June
Richard Thompsons Meltdown,, South Bank, LondonLink
UNITE
Tue, 15th June
Hertfordshire University, Hatfield
UNITE
Thu, 17th June
Quarterhouse, Folkestone
Sun, 20th June
Barnaby Fair, MacclesfieldLink
Fri, 9th July
Eastleigh Music Festival
Sat, 17th July
Brampton Live, CumbriaLink
Sun, 18th July
Brampton Live, CumbriaLink
Fri, 23rd July
Warwick Folk FestivalLink
Sat, 24th July
Trowbridge Village Pump festivalLink
Fri, 30th July
Camp Bestival, Dorset
Sat, 31st July
Sidmouth Folk FestivalLink
UNITE
Mon, 9th August
Broadstairs Festival, Broadstairs
Sat, 28th August
FestinhoLink
5000 Morris Dancers
Sat, 4th September
Purcell Rooms, South Bank Centre, LondonJim leads an all star band playing the seminal 1972 electric Morris album ‘Morris On’ in its entirety.
In Modern History Tour
Tue, 21st September
The Junction, CambridgeLink
Wed, 22nd September
The Boardwalk, SheffieldLink
Thu, 23rd September
Town Hall, MiddlesboroughLink
Tue, 28th September
Town Hall, BirminghamLink
Thu, 30th September
The Brewhouse, TauntonLink
Fri, 1st October
Wiltshire Music Centre, Bradford-Upon-AvonLink
Sat, 2nd October
Ruskin Mill, StroudLink