“The best music is essentially there to provide you something to face the world with.”
~ Bruce Springsteen
Now and again I like to reinforce particular points in my writings with the use of a pertinent quote or two. To that end, in attempting to succinctly express the unduly amplified importance of music to me as a soul balm during this insane year I considered the use of several. They ranged from the wisdom of music therapists and New Age gurus to French philosophers, but at the end of the day, it was always best that the quote came from a musician, being one of so many professions utterly hammered by the pandemic. So, thank you, Mr. Springsteen.
It’s really saying something to state that even as a lifelong melomaniac I’ve listened to considerably more music this last 12 months than any other of my 60 years on earth, but it’s true and is no doubt understandable. Narrowing down extensive lists of titles to Top 10’s in any of the many genres I appreciate has been an epic challenge, but here, presented alphabetically, is my rundown of ten roots wonders from 2020 – as featured on Folk Radio UK – with a few words for each as to why, if you haven’t already, you really should check them out.
CABANE – Grande Est La Maison (Cabane Records)
Reading about this album before its release I noted the involvement of Will Oldham (Bonnie ‘Prince’ Billy), Kate Stables(This Is The Kit), and Sean O’Hagan (The High Llamas) and, before hearing a single note of it already thought, ‘Yep, I’m in!’ With those personal favourites onboard the Belgian artist Thomas Jean Henri – whose nom-de-guerre amusingly translates as ‘hut’ or ‘shed’ – has created an unfeasibly lovely record of exquisite chamber-folk.
SHIRLEY COLLINS – Heart’s Ease (Domino Recording Company)
To my knowledge my Shirley Collins collection is lacking just two releases, being the highly elusive Within Sound 4CD box set, and Harking Back, a collection of 1978-79 live recordings of Shirley and her late sister, Dolly. That will tell you how I greet news of any release, whether new or archive, from this folk music legend. On her second album after a 38-year break, at 85-years-old this iconic artist is making some of the finest music of her career.
LE REN – Morning & Melancholia EP (Secretly Canadian)
A tad under sixty years Shirley Collins’ junior – yet, on the stunning evidence of the four beautiful songs comprising this EP, already capable of comparable poignancy – Lauren Spear, performing as Le Ren, is a name to keep a close eye on. Also a member of the delightful Maybel, this young woman possesses soul way beyond her years, and if there’s one album I’ll be eager to get my mitts on in 2021 it’ll Le Ren’s full length debut.
OCIE ELLIOTT – In That Room EP (Nettwerk Records)
Based in Victoria on Vancouver Island, Jon Middleton – of the long-running, reggae-tinged folk trio, Jon & Roy – and Sierra Lundy are Ocie Elliott, a duo producing a mollifying, pastoral folk-pop sound from little more than their two soft, compatible voices, an acoustic guitar, and gentle waves of atmospheric electronics. This, their third EP since 2017, is another bliss-fest from the pair who, at least as I hear them, have yet to put a foot wrong.
ELLE OSBORNE – If You See a Rook on its Own, it’s a Crow (9th House Recording)
Like her friend Shirley Collins, Elle Osborne should be considered a national treasure. Upon release I hailed this latest release from her a masterpiece, but as gushing as that seems it was no hyperbole. A state-of-the-art English folk album that I also called ‘intimate, true, beautiful, and real,’ it’s all of the above, and if not already considered seminal in folk circles it will ultimately become regarded as such. A wonderful record from a unique artist.
MARIN PATENAUDE – Sight Unseen (Dine Alone Records/Still Records)
Some singers are blessed with voices that stop you in your tracks, and Vancouver’s Marin Patenaude is such a singer. As exhibited on this second solo album of gorgeous, dramatic compositions, her voice soars and swoops, delivering a considerable emotional wallop and eliciting goosebumps in me every time I play it. The extraordinary Gone Blind all but brings me to my knees as the centrepiece of an elegant album that simply drips class.
WILLIAM PRINCE – Reliever (Six Shooter Records/Glassnote Music)
We’ve all been in dire need of any and all kinds of relievers this year, and William Prince’s second album – the first of two from him in 2020, the other being the recently issued Gospel First Nation – was, and continues to be, one of mine. Like Marin Patenaude, the big man possesses a voice that penetrates and pacifies your soul – in his instance a rich, expressive baritone. This is Canadian country-folk music from the top drawer, and essential listening.
ARIEL SHARRATT & MATHIAS KOM – Never Work (BB*Island Records)
On many days since its April release I’ve woken with Never Work’s flamenco-style 4th track, Rise Up Alexa, as an immovable earworm. That’s the thing with The Burning Hell’s brilliant songsmith Mathias Kom – his witty, literate wordplay is unfailingly housed in memorable melodies. This second extracurricular outing with fellow Burning Hellion Ariel Sharratt is wonderful, yet as an on point collection of protest songs, serious messages dwell therein.
TREMBLERS OF SEVENS – Shadow Houses (NoiseAgonyMayhem Records)
The Victoria duo of singer-guitarist Dan Weisenberger and drummer Juli Steemson is as singular a roots act as you’ll ever encounter, and one of Canada’s essential live acts to boot. Cranking it up to 11, the duo take on a dizzyingly curated selection of material ranging from klezmer wedding songs to vintage blues to classic English folk, then infuse it with punk spirit, veteran musicianship, and the passionate geekiness that led them to do it in the first place.
GILLIAN WELCH – Boots No. 2: The Lost Songs (Acony Records)
In my look at Pharis & Jason Romero’s rightly acclaimed Bet on Love, I bemoaned the fact that Gillian Welch and David Rawlings, to whom they’re compared, had been M.I.A. for nine years – then, whaddayaknow, they go and muzzle my whining by releasing four albums in quick succession: All the Good Times, and three volumes of extraordinary archive demos, so 58 songs in total. A most welcome return, and a much-needed tonic for these unprecedented days…