Accidentally letting slip to one or two attendees at the folk club I help run that I would be reviewing this album elicited several interesting comments. Distilling them down, they basically questioned why the album was being re-issued, why it would need to be reviewed, and why it was such a “sacred cow”? The following extends upon the responses I gave, together with further information on the release.
Whilst Lonnie Donegan and Elvis Presley inspired an interest in the guitar, Martin Carthy’s true epiphany came after hearing Norfolk fisherman Sam Larner singing. Smitten by the experience, a lifetime has been spent seeking out and bringing the traditional songs of our isles to the world.
At the age of 24, this mission found a tangible outlet via the release of his eponymous debut L.P., on Fontana Records, in 1965. By this time, he was already widely versed in the genre and a seasoned performer, plying his trade in the burgeoning folk club scene of the time, attracting the attention of the likes of Bob Dylan at various venues, such as The Troubadour in London.
Produced by Terry at the Philips Recording Studios in Marble Arch, the fourteen recorded tracks on the album represent only a fraction of Martin’s already rapidly proliferating catalogue. Of the fourteen, all are traditional British songs, bar two. A point that should not be forgotten, however, and one which is a key factor as to why this album is so important, is that whilst many of these songs are now widely known, this was not so at the time of its release. Thus, Martin, via the album, was instrumental in introducing them to an ever-increasing number of new listeners.
The album also features Martin’s earliest collaborations with Dave Swarbrick, who was a member of The Ian Campbell Folk Group at the time of this recording. Three of the tracks on the album, Lovely Joan, A Begging I will Go, and Broomfield Hill, are duo arrangements worked out in the studio with some degree of spontaneity, with Dave’s fiddle and mandolin contributions here not only heralding a long and fruitful partnership with Martin but also providing a template for so many who have followed.
With little accompaniment save for his guitar and the occasional contributions from Dave, there is ample headroom for the richness and resonance of Martin’s vocals to shine throughout the album. The purity and passion with which he delivers the words is a lesson for all. In essence, every song on the album is an absolute gem, and to do full credit to this release, each deserves a mention.
The L.P. kicks off with High Germany. Originating in the 15th century, several versions of this poignant lament, a reminder of the effect of war on separated lovers, have since appeared. The awesome beauty of the delivery of the Scottish ballad, Trees They Do Grow High, a hard-hitting tale depicting a doomed-to-failure arranged marriage, is simply stunning.
Whilst The Queen Of Hearts Roud shows Martin’s dexterity on the guitar admirably, the synergy between voice, fiddle and guitar is perfectly exemplified on Sovay, the tale of a woman who dresses and arms herself as a highwayman and robs her suitor, in order to test his devotion.
Martin’s consummate vocal delivery is clearly demonstrated on the three unaccompanied songs that he delivers on the recording: Ye Mariners All, The Barley And The Rye, the harsh tale of a cuckolded farmer, his feisty wife and her young lover, and the account of the young female dressing as a male in order to go to sea, as told in The Handsome Cabin Boy.
Two songs feature strong female protagonists and the mandolin. The first, Broomfield Hill, involves a wager between a lord and a maid, (£500 against her virginity), and the involvement of a witch, thankfully, the maid outwits him by the use of broom. In the second, Lovely Joan, our female once again thwarts the designs of the young man, as Martin states in the original sleeve notes, “ by swift action rather than chicanery”, riding off with both his horse and gold ring.
Springhill Mine Disaster is the first of the two non-traditional British songs. Written by Peggy Seeger and Ewan MacColl, it is the true story of a 1958 mining disaster in Nova Scotia. For the second, Martin crosses the sea to Ireland to render his take on The Wind That Shakes The Barley, an 1861 ballad from the Irish poet, writer and collector of traditional Irish music, Robert Dwyer Joyce, which tells of a young man sacrificing his relationship with his loved one in order to participate in the rebellion of 1798.
Scarborough Fair is possibly the album’s most well-known song; it is Martin’s well-known arrangement that Simon and Garfunkel controversially used on the opening of their 1966 album Parsley, Sage, Rosemary and Thyme. Bob Dylan’s Girl From The North Country also owes much to Martin’s version.
Martin Carthy Talks about “Scarborough Fair” on Articulate with Jim Cotter:
Further events of a supernatural nature occur in The Two Magicians, in which fiddle and voice meld superbly, as do the mandolin, guitar and voice on the immaculate version of the broadside ballad And A-Begging I Will Go, which brings the album to a conclusion.
As an album, Martin Carthy is an iconic, almost peerless release, as essential a listen now as it was in 1965. This is recognised by Topic Records, the oldest independent record label in the world, who see fit to re-release the L.P. in a limited edition of 1000 copies.
It features the original cover with notes by Martin and an introduction by Ian Campbell. This edition is on black vinyl, standard weight with black, polylined inner sleeves, as part of their Topic Treasures series to mark their 85th anniversary.
It is important that our rich musical heritage of songs from the oral tradition passes from generation to generation, evolving, developing and not stagnating. Martin Carthy has been, and continues to be, at the forefront of enabling and promoting this. This re-release may attract new listeners and, as such, is performing a valuable role in perpetuating the musical legacy.
Whilst Ashley Hutchings is viewed as The Guv’nor, there can surely be no doubt that Martin Carthy is The Godfather.
Vinyl listening notes
For this review, I received a physical copy of the vinyl and, as such, am able to offer brief comments in terms of sound fidelity, without, hopefully, resorting to audiophile hyperbole.
When played on “decent” equipment (Project record deck, Cambridge Audio amp, Eltac speakers), the sound quality from the record was more than acceptable, certainly on a par with Topic’s 1993 CD version, probably better.
Moving to a “higher end” set-up (Linn LP12 deck, Naim amplification, KEF speakers), there was, perhaps unsurprisingly, a noticeable improvement and enhanced listening experience. Crystal clear vocals, sharp, focussed instrumentation and a spatial sound that gave the impression that the performance was in the room.
Order Martin Carthy: https://martincarthy.lnk.to/martincarthy