Feminine Strenght, Courage & Triumph Seeds Heavy Traditionally Oriented Collection

As usual, I come late to some releases due to the nature of the review I attempt to do. So, guilty as charged. Better late than never. But Lindsay Straw cannot be ignored.

I had this CD on the backburner for a while because everything about it seemed interesting. The simplistic line drawing CD art, the comprehensive notations on each track on the inside three panels, the dark duotone picture of Lindsay on the back panel. I started to think this has to be as exciting as the 70’s — for me — when a new Janis Ian album would come out, or a Dory Previn collection, maybe she’s like the Native American folk-singer Norma Tanega, or Carole King when she was writing stuff like Tapestry. From her look, I suspected she may sing like the late, great Eva Cassidy, or Judee Sill – writer and singer of the classic (“Jesus Was A Cross Maker”). Many expectations ran through my head. Lindsay just had that look of a female singer-songwriter with tenacity.

But, I also knew Lindsay (Montana bred) may just be a simple traditionally oriented Americana singer who follows the same route as many others (because the majority of the songs on this collection are all traditional) — but just may have a little spice in her recipe that would be worth exploring. That spice was her topic – feminine strength, courage and triumph. I think she diplomatically succeeded because even I enjoyed all of it and in some ways, it was a clever approach to old music with pure voice arrangements. Pure voice? Yes, making it modern sounding without sacrificing its traditional roots. My description.

So, I began listening again and out of 13 tracks – 6 jumped out and that’s actually pretty damn good. Maybe I should say 7 jumped out – because although I don’t have much to say about track 1 – “The Forester,” – repeated listens did prompt me to take note that it’s a good song, performed well. It’s just too traditional for my taste. That may be because I’m from New York. Had I been born and raised more in West Virginia – I could possibly appreciate this fine piece more. And I admit it.

I must admit as well that if any of the legendary Carter Family members were still alive and kicking there would be a place in their band for Lindsay Straw.

She has that kind of voice, tone, and most importantly — approach. I may also add that while not yet a Sandy Denny – Lindsay could sing with an English band like Fairport Convention easily and they would embrace her.

This first song was first heard by Ms. Straw in a recording made by the Scottish singer Lizzie Higgins and additional verses were found in something called The Ballad Book. Lindsay adapted them to Lizzie’s melody and rhythm and magic are created. While these songs are traditional and in most cases no one really knows who wrote the original tune and words (probably because they were handed down through the generations) – the songs are solid. The writer was definitely in tune with his/her soul as they penned these songs so many years ago. Stuck in a cabin by a rushing stream, or in the mountains while it was snowing. What is striking too in this collection is that every song is arranged by the musicians. And these young performers know their traditional music.

So, I started thinking these songs were going to drag and be so steeped in old traditions that there would be no place to promote these. I’m surprised my desk wasn’t filled with dust and that old attic smell. What audience is this being aimed at?

But, I was wrong. Even I was attracted to these little melodies without realizing it. It’s like that little breeze that kisses your face and refreshes you and you don’t even realize it. Track two “The Maid on the Shore,” is melodic and the acoustic guitar (Lindsay) is jaunty and pleasing. Many versions according to the CD have been sung throughout Ireland and Great Britain. But Lindsay found this one by Frankie Armstrong – and the question is the lyric: whether the woman of the song is a siren or mere mortal.

This song reminds me of The Strawbs’ classic and beautiful track from their album “Grave New World,” — “Grace Darling.” This was a stirring emotional song — about a real person — Grace Darling (Nov 1815-Oct 1842). She was an English lighthouse keeper’s daughter who became renowned for assisting her father during an incredibly dangerous rescue of survivors from the shipwrecked Forfarshire in 1838. The steamer ran aground on the Farne Islands off the coast of Northumberland in NE England. Nine members of her crew were saved because of her efforts. Grace died at 26 and her name went down in maritime history.

Strawbs and its leader Dave Cousins didn’t forget — and with his angelic chorus to the tune, it has become somewhat of a classic in their repertoire. The audience always waits for this one. A great song for Lindsay Straw to cover. Absolutely. Her take would almost render it a classic-traditional song. 

“The Female Rambling Sailor,” is an Australian folk song. Lindsay turned it into a march with crystal clear acoustics and a deep satiny Sandy Denny type voice. She may even have a little of the original Marianne Faithful voice (back in the day when Faithful’s voice was a classic folk voice – sample her “Wild Mountain Tyme,” from 1964 – North Country Maid re-release (on YouTube). The opening instruments are so catchy and Marianne’s voice at that time was angelic. Had she not destroyed her voice with cigarettes and drugs she would have given Sandy Denny some stiff competition. On her track, Lindsay has a equally beautiful instrumentation and an infectious melody.

Hard to understand how a young woman can interpret so implicitly the rich old music of an era hundreds of years before her time. Yet, here she is – almost a reincarnation of many of the female singers who carried on this tradition. And there were many of different stripes. Even folk singers like Mary Travers (Peter, Paul & Mary), Mary Black, Mimi Farina, Joan Baez, Iris DeMent, Nanci Griffith and Rosalie Sorrels share this space. “Fair Annie,” is a slow, acoustic-driven Scottish ballad and Lindsay’s vocals are at their best. A song about sisterly love – a song that was heavily altered and only made stronger. This is something Fairport Convention, Fotheringay, Steelyeye Span, and the 70’s folk-rock bands Curved Air or Pentangle would have covered.

Nice acoustics and a Judy Collins-like vocal brightens up  the excellent “Geordie.”  I read that Lindsay got this from the great British folk singer June Tabor – a marvelous, marvelous singer. She has recorded some great songs as well with The Oysterband (“Lullaby of London”) and Maddy Prior. This track is from when June sang as part of the Silly Sisters. On the choosing of this tune, Lindsay couldn’t fail. I even love her facial expressions in her video of this song as she sang. So into it. So delightful. Wonderful choice and an impeccable cover. June would be pleased.

There are no special effects, no synths, fog machines, drum solos or exceptional solos. It’s all about the music, the song, and performance. This is Lindsay Straw’s artistry with her band of minstrels: Daniel Accardi (Fiddle & accordion); Armand Aromin (Fiddle & harmony vocals); Benedict Gagliardi (Concertina, harmonica & Harmony vocals) and Owen Marshall (Guitar and Harmonium).

“The Crafty Maid’s Policy-Fingal’s Cave (strathspey)/Sheepskin’s & Beeswax (reel)” is a real upbeat folky Frankie Armstrong Scottish style tune with a snap. Armand and Ben lend a hand. My problem with it? Who is going to remember that long title of the song? No matter. Lindsay didn’t write it. But what Lindsay has done is given it lift – the instrumentation is relaxing and proficient. If you own an Irish pub and you play The Irish Rovers, The Chieftains, and The Pogues – you could easily stick Boston-based Lindsay Straw into the mix. Believe me, a song like this wouldn’t even give the old timers a hint that this is being performed by someone this – uh, young.

The proficiency and the traditionalism are real. Forget her youth. The talent is in her fingers, voice, and brain. No artificial flavoring or coloring. Organic and authentic.

Track 13 – beckons back to the old original more folky Strawbs of the 60’s before they slowly morphed into a more progressive rock-folk band (and they still exist to this day both as a full-blown band and an acoustic touring band). “Blow Away the Morning Dew,” also has threads of Fairport Convention and Steeleye Span. Lindsay hints a little at a more humorous take on the brains versus brawn battle. Very satisfying. Good pub song.

The CD is one hour plus – plenty of good music and bang for the buck — even if you’re not into this type of showcase there is enough here to make you a believer. The CD cover art is by Amandine Comte (L’art Comme Unique) with the design & layout by Salt Design – Portland, ME. All the liner notes enclosed are by Lindsay with help by Daniel Accardi. The back-cover photo: Joni Lohr. Recorded in Portsmouth, NH.

My apologies for my tardiness.

Website: https://www.lindsaystraw.com/

FaceBook: https://www.facebook.com/lindsaystrawmusic/

Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / March 2018