Narthen – Narthen
No Masters – Out Now
Narthen (viz. “now then!” in the Barnsley vernacular) is a foursome comprising Barry Coope and Lester Simpson (two-thirds of Coope Boyes & Simpson), Jo Freya (of Blowzabella and Moirai) and Fi Fraser (of Polka Works and The Old Fashioned). It’s a scintillating teaming of four seasoned and highly talented performers, a combination which has hitherto been treading the boards only for winter shows but nar-they’ve decided to follow their calling all year round – hence the recording of this album.
It’s a brilliant demonstration of the ensemble’s multi-faceted musical personality, whereupon they move effortlessly and appropriately between modes, juxtaposing pathos and heartbreak with seriously uplifting humour and historically informed commentary within the course of a set – and, all being such multi-skilled artistes, they’re able to bring it off with aplomb and panache in abundance. The more traditionalist folk audience may be slightly wrong-footed – albeit in the nicest possible way – by the often fulsome sound-palette and consciously arranged nature of their musical perambulations, but it’s fairest to say that if you’ve experienced the special joys of any of the above-mentioned groupings then you’ll have an idea of the kind of breadth of repertoire that Narthen so naturally encompasses.
This eponymous, generous-value 14-track collection showcases four performers who are perfectly at ease with their own talent and each other; all are mightily proficient in both vocal and instrumental departments and capable of turning their hand (and voice) to a healthy variety of material. Even so, you may be unprepared for the unprecedented chirpiness of Narthen’s foot-tapping, almost vaudeville account of the classic Lord Randall ballad Henry My Son – but hey, it works!
The Rifles follows, a song collected by Alfred Williams from Wiltshire in 1915, now given an apposite new setting by John Tams whose melody echoes both Some Tyrant and Farewell To Tarwathie. The Tams touch has also been bestowed on Acre Of Land, which now sports a jaunty morris clothing. This item certainly reflects the musicians’ experiences of playing for, and/or participating in, dance – as does the swaying quick-waltz of the CD’s closing track Cold Blow These Winter Winds, an “irrepressibly cheerful” Rory McLeod song that looks at homelessness and street performing.
A comparable sense of relishing well-sprung rhythms is also in evidence on the album’s purely instrumental tracks – there’s a delightful medley of Galician tunes that I’ve had stuck on repeat play, and, later on, a delectable pairing of tunes from Norway and Finland respectively.
As for other highlights, well I loved Narthen’s affectionately country-style four-part a cappella harmony arrangement of Peter Bond’s It Haunts Me Still (each strand is so impeccably recorded too), and Jo’s signature account of Morning Come, Maria’s Gone (learnt from Jean Ritchie) rings authentic and true with Fi’s hammered dulcimer chiming forth in the mix and rich supporting vocal harmonies aplenty.
Jo’s feisty composition Devil’s Porridge (concerning the unhealthy conditions endured by WW1 female munitions-factory workers) is beautifully married to a Bach bourée, while Ray Hearne’s Pudding Burner (a celebration of Sheffield’s women crane drivers in the male-dominated steelworks during WW2) is done to an infectious calypso beat.
Steve Ashley’s masterly, prescient and reflective Family Album snapshot Once In A While is sung by Fi and Jo in gorgeous harmony somewhat reminiscent of the McGarrigles, whereas Anna McGarrigle’s Heart Like A Wheel is (maybe against expectation, but very effectively) led by Barry’s robust voice. Lester contributes a couple of his own compositions – a ditty paying tribute to The VADs (the women’s Voluntary Aid Detachment in WW1) and the touchingly personal Next Person Through My Door (written for his wife, yet satisfyingly inclusive too as a group performance).
Instrumental accompaniments are sympathetic and superbly complementary. As well as the foursome’s own playing (Fi’s fiddle and hammered dulcimer, Jo’s whistles and saxes, Barry’s piano and cajon and Lester’s diatonic accordions and uke), Jude Abbott contributes a smidgen of brass (and vocals) and Jo May’s array of assorted percussion is deftly deployed. The sensitive balance of vocal and instrumental dynamics is expertly managed by producer Neil Ferguson, as ever so faithfully capturing the personalities of these performers with whom he’s worked so many times.
This is a lively, eclectic CD from a vibrant quartet; a memorable and life-affirming set.
https://www.youtube.com/playlist?list=PLFqVjHjoFMjL1giJWfafiqqxUsxbXUcu2
Upcoming Dates
17th November 2018 – Halsway Manor, near Crowcombe, Somerset
Hark Hark are Narthen’s Christmas shows
1st December 2018 – St Mary’s Church, Burton Bradstock
2nd December 2018 – Village Hall, Hinton Martel
14th December 2018– Potteries Folk Club
21st December 2018, Otley Court House