I wrote this article for Living Tradition Magazine in early 2020 - pre-virus. Maybe the prolonged lockdown and cancellation of festivals, folk clubs and related events and the effect this is having on the lives of many folk musicians make my thoughts even more relevant than I had anticipated. (Sorry - you may have to get out a magnfying glass to read this clearly.)
from Les Ray
When I wrote my last column, I was eagerly looking forward to one of my highlights of the summer: Cambridge Folk Festival. Well, summer and its festivals have come and gone, so now we’re battening down the hatches in preparation for autumn (and the B-word) and becoming more contemplative.
One highlight of this year’s CFF for me was getting to interview the great Ralph McTell on my radio show broadcast live from the festival site. In the interview, Ralph - first name terms now of course! - told me about the amazing reaction when he performed ‘Streets of London’ at CFF for the first time back in 1969, 50 years ago this year. As he described it: “I’m often asked about which are the memorable days in your career and I have to say the first Cambridge was for me because, before mobile phones and social media and all that stuff, you didn’t know that people had picked up on your songs or anything, but when I announced ‘Streets of London’, which had just come out on my second album, called ‘Spiral Staircase’, the entire audience sang it all the way through with me and it was a bit emotional for me, I nearly didn’t get through it, and I was quite overwhelmed by the fact, so that’s a landmark for me”.
Fifty years on, it comes as no surprise that the whole audience sang along back then - as they did this year too - because ‘Streets of London’ was a folk song for its time, in other words, a song that connected with and carried forward the folk tradition, telling of events and circumstances affecting ordinary people’s lives.
I’m in the process of putting together a list of songs written in recent years that in my view are - or will become - folk songs for their time. A couple that immediately spring to mind are ‘Hollow Point’ by Chris Wood, which tells of the killing of Jean Charles de Menezes in July 2005, and ‘On Morecambe Bay’ by Kevin Littlewood, about the tragic deaths of the Chinese cockle pickers there in February 2004.
REQUEST
If Mardles readers can you think of other songs that would fit the bill, send email to This email address is being protected from spambots. You need JavaScript enabled to view it.
Les Ray
I would normally be at Morris practice tonight, Monday 16th March, but instead I’m sitting at home (home working?) writing this. As you may be aware today was the day that the Government asked us all to practise “social distancing”. A question; “Is practice still on tonight – are you going?” was raised tonight at 6.05pm and the response to a quick email poll was rapid, which was just as well as a decision was needed well before 8pm, especially as some members cycle 10 miles or more to our practice venue. The result of the email poll was pretty unanimous and led to some interesting comments and discoveries.
Hey, Guys, Is practice on tonight?
Read more: “Is practice still on tonight – are you going?” - Morris and Covid-19
by Sally Hall
My big accordionI long to play music in a way which feels fun and soulful… to feel joy from music, without shame or inhibitions. I dream of feeling relaxed at trad sessions and not wishing that the ground would swallow me up. I imagine how it would feel to play confidently, without the nervous shakes that come when I feel I’m getting it wrong. I long to feel a part of the lively jigs and reels at sessions, and the soft waltzes and airs.
I have been trying to do this for so long but it has always felt like an uphill struggle. In the last few months however, I’d say that I’ve had a breakthrough, which has come in the form of a new, little box.
I have always had accordions in my life. As a small child, I sat cross-legged, mesmerised by my grandma’s huge piano accordion. “Again, again!” I used to say, “Ragamuffin!” (my favourite jazzy ragtime tune).
John Clare's Scraping
You know how it is, you're doing the ironing or cooking and you have the radio on in the background and suddenly your ears prick-up as you become aware of something familiar or interesting. Well, there I was preparing an early supper when I heard Jon Boden's voice talking to me from the radio. He'd put together a great little programme about the poet John Clare, the "Northamptonshire peasant poet". He's one of my favourite poets and I even have an 1820 copy of his first book "Poems Descriptive of Rural Life and Scenery" which I inherited from my Mum. So, Jon Boden immediately got my full attention, especially as the programme was celebrating the 200th anniversary of the publication of that book.
John Clare, the Northamptonshire Peasant Poet
From Dr Badphil
Tony Hall's melodeon playing has long been much revered, and can be heard on Maddy Prior and June Tabor's 'Silly Sisters' album, on Nic Jones's 'Penguin Eggs' album, and on his own recordings: 'Field Vole Music' (1977), 'Mr Universe' (1995), and 'One Man Hand' (2008). Despite his many live performances over the years (not least with the weekly performances of The Vonn Krapp Family Band for around 50 years), there are few videos of Tony playing live. So here is a video of a short set, performed by Tony after the harvest supper at Oulton Church (Norfolk, England) in September 2022: a mixture of instrumental tunes, songs accompanied by melodeon and one unaccompanied song, all being traditional pieces.
Roland Harris recorded and filmed the performance, and Matt Phelps and Rob Moore helped considerably in preparing the way. There is more about the recording on my blog: https://drbadphil.com/tony-hall-man-a... 00:00
SET LIST
Hard Times of Old England (melodeon and vocal) 04:01
The Mist Covered Mountains (melodeon) 09:05
Down in the River to Pray (melodeon and vocal) 13:39
Kean O'Hara and Rip The Calico (melodeon) 17:10
The Farmer's Boy (melodeon and vocal) 22:58
Henry My Son - Green and Yeller (vocal) 26:47
The Flowers of Edinburgh (melodeon) 31:05
Kitty the Handsome Cat (melodeon and vocal)
Article by Les Ray
My colleague at Cambridge 105 Radio Julian Clover and I were chatting to Neil King of Fatea at Cambridge Folk Festival back in the summer. Neil was 
saying that Fatea aims to promote up-and-coming folk artists, particularly those who are not at the young end of the scale but are now at the age when they have the time and opportunity to pursue their music, plus they have a wealth of experience to bring to the songs they write; he mentioned Marina Florance in particular.
The truth is, Marina is just one very fine example of older performers from our region making headway on the local and national folk scene. Marina is slightly different in that she didn’t start performing in public until she was in her late forties. A more common phenomenon is that of musicians who played in bands in their youth but gave it all up to focus on family and career. Now that the children have flown the nest and they are close to retirement age, if indeed that exists, they have the time and maybe a bit more disposable income to devote to that passion that has never left them - music. I’m thinking perhaps of the Boxwood Chessmen, Thursday’s Band, Kelly & Woolley, Cambridge Walker, Two Coats Colder, or even my own band, Red Velvet. And that’s just the start of a very long list of performers that I’m calling the “New Youth” movement, since these are musicians enjoying a new youth in music.
Read more: New Youth - how oldie musicians are doing it for themselves
