More CD Reviews

As many local fans of Irish country dancing know, the Bog Wanderers celebrate the Irish diaspora with the vitality of a first-rate ceili band. Jigs, slides, reels, hornpipes, polkas and evocative ballads make up the group's trans-Atlantic repertoire and help make its nearly 75-minute debut CD, "Here's to You," a treat to hear from start to finish.

Of course, more important is the band's lineup. It's a seasoned cast featuring vocalist-banjoist Betsy O'Malley, accordionist Danny Flynn, fiddler Joe DeZarn and multi-instrumentalists Jesse Winch (bodhran, mandola, guitar, harmonica and percussion) and Tabby Finch (piano, harp and hammered dulcimer.) The group's versatility produces some colorfully woven and textured arrangements that enhance an unusually broad assortment of traditional and contemporary tunes. Highlights? Here's a short list: the opening medley of "Slides," brightly orchestrated by accordion, banjo, fiddle and piano; Liz Carroll's "Dancing Tables," the first tune in another medley enlivened by DeZarn's darting fiddle; "The Columbia Seven" and "The North Trenton," two Flynn-penned waltzes equipped with soulful, elegantly revolving melodies; "The Shoemaker's Daughter" -- the first in a set of tunes composed by Ed Reavy, it's a dancing duel of sorts for fiddle and banjo; Si Kahn's "Aragon Mill," one of several ballads that feature O'Malley's affecting soprano.

Picking favorites isn't easy, though. Not when you're listening to a recording as consistently enjoyable as this one.
- Mike Joyce

The Bog Wanderers are exactly the sort of band that's keeping traditional Irish music, not just alive, but thriving.

The Bog Wanderers, or the Bog Wanderers Ceili Band of Virginia if you want to be formal, play straight-up ceili music. It's hard to listen without visualizing a floor full of couples moving gaily to the sound in the same way they've been dancing in Ireland for generations. (This is Irish country dancing I'm talking about, folks, which is as far removed from the Riverdance/Lord of the Dance style of stepdancing as it is from American country dancing with its boots, scoots and boogies.)

The band is Joe DeZarn on fiddle, mandolin and mandola, Tabby Finch on piano, harp and hammered dulcimer, Danny Flynn on button and piano accordions, Betsy O'Malley on tenor banjo, mandolin and tin whistle, and Jesse Winch on guitar, mandola, bodhran and harmonica. Graham DeZarn guests on fiddle, Regan Wick on piano and Yancey Winch on percussion.

It's a mixed bag of instruments, and some admittedly are a more recent entry into the tradition -- but heck, if you have a problem with the banjo, remember that guitars weren't accepted into many session circles until the 1950s!

The Boggies play with the relaxed assurance of musicians who love their music and know every note like a son or daughter. Their sound is somewhat old-fashioned, but delightfully so. I'm no dancer, but I was tempted to grab a partner and start swinging and leaping! (If my wife hadn't been asleep upstairs while I was writing this, who knows what mayhem might have ensued.)

The music is equal parts traditional, original to other musicians and original to the Boggies. It's a mark of success that they all blend together so well, without anything standing out as out of place.

O'Malley steps up to the microphone for a handful of songs on the album. Her voice is clear and lovely and she'll find many fans out there who want a rest from their dancing, but to my taste it was good singing at the wrong place. With the flow of fast, slow and moderately paced dance tunes so deftly arranged, the songs seemed to interrupt the flow. (No offense, Betsy. I do like your voice. "Aragon Mill" is especially good.)

Anyone who wants to host a ceili dance of their own or even just take a few turns 'round the living room could do far worse than to pop Here's to You into the stereo and whirl to this expertly played music that brings Ireland home to Virginia.
- Tom Knapp, Rambles.net

The Bog Wanderers are much in demand to play for Irish country dancing along the US east coast. The musicians, Betsy O'Malley (vocals and banjo), Joe DeZarn (fiddle), Danny Flynn (accordions), Tabby Finch (piano, harp, hammered dulcimer) and Jesse Winch (percussion, guitar, mandola and harmonica) will all be familiar to many in the area. Although band members are all veterans, Here's to You is their first recording. The tunes, from traditional standards such as "The Faery Reel" and "Mary Shore," to compositions by Liz Carroll, Ed Reavy, Bob McQuillen, and several by band members Flynn, O'Malley and Finch all have an energy and lightness of touch that is guaranteed to keep any dance floor shaking. Tabby Finch's piano adds a distinctive New England bounce to the arrangements. Four of the tracks on this CD are songs. Betsy O'Malley's singing style is not forceful; she has a rather breathy and relaxed easy way with a song which is complemented nicely by the band's sensitive accompaniment. This is a very listenable well-rounded recording. As a nice touch, the band have made most of their tunes available in ABC and GIF format here.
- Alastair Brown, Green Man Review

On Between Two Shores, Wolf Creek Session combines jaunty instrumental work and pleasing vocals on mostly traditional fare. Guitarist Keith Pitzer, bassist Joan Pitzer, flutist Alice Fleischman, fiddler Mike Broderick and percussionist Fred Jacoby occupy the ground somewhere between Appalachian and Celtic folk. The album kicks off with "Shady Grove" and the band, despite the song's familiarity, manages to deliver a fresh, spontaneous version. The interesting touch here is how the guitar dominates the first part of the song, reminding one of traditional American folk, only to make way for the fiddle and flute midway through the song. At this point the song takes on a "light as air" quality that's part hoedown, part jig.

Wolf Creek Session interspaces instrumentals like "Miss Mary McDonald/Rolling in the Barrel" between songs (think Irish-American jam band), allowing the album to breathe a bit. Keith & Joan Pitzer, alone and especially together, are fine singers. He delivers a superb take on "Nova Scotia Farewell", and his vocals will remind listeners - just a tad - of Gordon Lightfoot. Joan offers a spirited version of Dave Carter's "I Go Like the Raven", adding an old-time feel to this recently penned song. Whether performing songs or instrumental, the arrangements sparkle and give the impression that the players are quite comfortable with one another. Wolf Creek Session has fashioned a fun listenable album on Between Two Shores, sure to please fans of both Appalachian and Celtic music.

As if to carry this split musical personality one step further, the Pitzers have recorded a duo album, West Virginia Serenade. While they bring the same talents - great guitar work, solid vocals - to the project, the feel is so different that one might not even recognize them from the previous project. the performances and material run closer to contemporary folk here, with fine originals like Keith's "Living Out There". West Virginia Serenade will serve as a fine companion piece to Between Two Shores.
- Robert Lankford, Jr., Sing Out!

West Virginia-based Wolf Creek Session offers a tasteful, eclectic set of Celtic-flavored tunes. These include a traditional Breton dance paired with "Cooley's Reel," and a straightforward take on the seafaring tune "Nova Scotia Farewell" with Keith Pitzer handling the vocals. Dave Carter's "I Go Like the Raven" (Joan Pitzer on vocals) is paired with instrumentals "Snow on the Island" and "The Musical Priest." These are clearly well-loved tunes and well thought-out arrangements and combinations, with attention paid to the Celtic connections of Appalachian music.

Those who like Tim O'Brien, for example, or Johnsmith, will likely take to this collection. About Johnsmith: the group covers a song called "Appalachian Rain" on this record, it's the one by Johnsmith, rather than the equally interesting but very different composition of the same name by Matraca Berg. Wolf Creek Session consists of fiddler Mike Broderick; Alice Fleischman on flutes and pennywhistles; Keith Pitzer on guitar, harmonica, and vocals; and Joan Pitzer on bass, pennywhistle, and vocals. From the mountains of West Virginia to the rest of the world, Wolf Creek Session highlights the lineage of Celtic to American traditional music with passion, reverence and skill. This release is a fine example of their work.
- Kerry Dexter

Rakes Alive! is certainly alive with the magic of three different minds disciplined to ravel their instincts together, apart, together again -- jump now! -- back off, together once more, and the song goes ever onward. The Rakes are Michael DeLalla (guitars, bodhran, vocals), Chas Fowler (pipes, whistles, vocals), and Bruce Wilkin (fiddle, banjo, vocals).

Michael DeLalla's finger-style guitar genius is akin to that of Tony McManus and of the inspired constructionisms of John Doyle of Solas. He also is of a class of what I call the Unholy Triumvirate of the American Acoustic Guitar: David Bromberg, John Fahey, and Leo Kottke. Rakes Alive! is indeed a live recording, and it's always great to hear an appreciative audience respond to a group that's been at it for a while. And they start it all off on the right foot with their banner set, "Opening Air / The Unfortunate Rakes / The Road to Lisdoonvarna / Morrison's Jig."

"Merrily Kissed the Quaker / Cunla" serve up second and reveal the deeper intimations of Michael's guitar. This set is an advanced study in the playing of melody on the high strings while dancing the rhythm off the lower ones, with nary a finger left unemployed through the whole lot. What makes the experience even more remarkable is that Chas and Bruce hold their own throughout, believe you me. And that applies to the rest of the CD -- by no means do I intend to dis the other band members by dint of my bias towards guitar players.

The Rakes do vocals, too. They get beaucoup bonus points for including "The Ould Triangle," a song written by Brendan Behan about his stint in Mountjoy Gaol. "Ne Bado Ket Atao! (This Will Not Last Forever!)" was penned by Yann-Ber Piriou to commemorate the struggles of the Celtic inhabitants of Bretagne. And speaking of revolutionary sentiments, I became a solid Rakes fan while listening to their rendition of "The Rights of Man," a traditional Irish reel dedicated to the ideas of Thomas Paine.

There's no lack of versatility to this CD, either. You get an O'Carolan ("Mrs. Sterling"), polkas ("Port Lairge / Spanish Ladies"), and an American Civil War number ("The Eagle's Whistle"). And for as much as Michael is a guitar guru, the group freely admits that the particular instrument is fairly new to the Celtic tradition and so omit it from the set "Man of the House / Touch Me if You Dare." They of course follow it up with "Return to Fingal / Banish Misfortune / Julia Delaney," which boasts one of the finest guitar arrangements of the concert.
- Mike Stiles, Green Man Review

There's the inevitable comparisons to other folk duos like Small Potatoes but Wild Carrot has a sound all their own, anchored in Pamela Temple's well-crafted songs, gorgeous soprano voice and Spencer Funk's amazing mastery of guitar and mandolin. A player like Spencer could easily overpower the songs with instrumental gymnastics but instead he lays back to let the lyrics carry the song, then comes forward when that right touch of beauty is needed. Don Porterfield joins in on bass, Chris Rosser adds vocals and percussion, plus there are others on violin, vocals, Dobro, banjo and more. And don't forget Pamela's guitar, concertina, penny whistle and bowed psaltery adding a nice bed to the mixes.

My favorites here are the story songs. We hear about Pamela's dad and grandpa, both preachers, in "Out of the Deep End" and in the wistful "Tracks," about a woman who always thought she'd leave town on the train that passes next to her home. "Running from Mercy" is one of a few covers (Rickie Lee Jones and Leo Kottke). You'll want to sing with the Have Mercy Choir on that one and if you aren't tapping your toes, you ain't breathing. "Lay Me Down" is a peaceful requiem for 9/11, while "These Songs" is their upbeat, award-winning song about a woman's introduction to folk music.

The CD booklet is gorgeously designed by Karen Anderson, with stunningly beautiful photos by Ron Hosenfeld. You can't just have a taste of Wild Carrot. Slowly savor their contemporary folk rooted in tradition and know you'll be coming back again and again.
- Jamie Anderson

Wild carrot is Cincinnati-based husband and wife duo of Pamela Temple and Spencer Funk. They have divided their time between Ohio Arts Council sponsored tours of schools and libraries and various acoustic venues. Pamela is a classically trained vocalist and Spencer is an extraordinary finger style guitarist. Their musical education and talents are married to a love for powerful melodies and lyrics. Wild carrot's acoustic sound traces its roots to the music of the Appalachians, but the songwriting reflects influences of the finest modern songwriters. Pamela's vocals seem effortless as they center on the lyrics-obviously learning how to sing has not interfered with the front-porch intimacy of her style. Spencer's playing on guitar and mandolin, for all of its technical excellence, is melodic and understated. Pamela's beautiful and heartfelt lead singing is perfectly backed by Spencer's harmony vocals.

The effect of such educated talent being focused on producing straightforward melodies with sophisticated lyrics will simultaneously put you at ease and take your breath away. Wild carrot is all about the songs and Pamela is a songwriter of depth and breadth of influence. In her work you can hear classic songs of the mountains as well as the classic songs of Greenwich Village in the '60s. The first lines of "Bringing On the Rain" show a satisfying mix of elemental imagery and a modern sense of personal detail.

It's raining again
Just like it did yesterday
Putting curl in my hair
And a curtain in the air on the mountain

"Bitter Blood "is a tale of impregnation and abandonment told in the Gothic style of certain British Isle ballads.

Whisper purple gifts to me
Bright as any plum
Then bleed the truth into my ear
Let the black juice run

In a hysterical liner note to this song Spencer relates, "I went camping one weekend and came home to find Pam had written this allegedly fictional song. Well, I haven't been camping since."

Wild carrot covers "Light Enough to Find My Way", a song by another duo influenced by traditional mountain music, Jones and Leva. Their rendition of this graceful song of hope in the hard life of coal miners is very similar to the original yet it distinguishes itself with wonderful musicianship and warm vocals. This is a song that deserves to be covered more often. They also cover Cindy Kallet's lovely "Tide and the River Rising" and "Running From Mercy", a song that is a surprise to find penned by Rickie Lee Jones and Leo Kottke.

The second to last tune "These Songs," celebrates classic folk songs, quoting "Michael From Mountains", "Turn, Turn, Turn", "The Times They Are A-Changing", as well as "Amazing Grace". The album finishes strong with the title track "Hope" that beautifully animates the words from two Emily Dickenson poems, "Hope Is the Thing with Feathers" and "Hope Is a Subtle Glutton."

This is the kind of album that is pleasant on a casual listen with gorgeous vocals, strongly melodic playing and uncluttered arrangements. When you get around to listening more closely you will notice that the songs are life-sized-complex, subtle and powerful.
- Michael Devlin, Folk & Acoustic Music Exchange

"How we gonna fix this thing/ All you've got's tape, all I've got's string/ And what we need more than anything/ Is real, real love."

With these lines, Wild Carrot brings you into their world. It's a world made up of predicament, the desire to move on and the realization of what it will take to get there. Throughout Hope, this folk duo made up of Pamela Temple (vocals, guitar, concertina, penny whistle and bowed psaltery) and Spencer Funk (vocals, guitar and mandolin) does what folk music does best - tells stories. Not only does each song tell a story, but a brief synopsis of each tune is provided in the liner notes for background information as well.

This album has what it takes to please all types of folk music fans. The opening track, "Real Love," is a slow and thoughtful tune. It is immediately followed by the raw and fairly rambunctious "Bitter Blood," which tells the story of a woman who is "carrying [the] seed" of the man who has just left her.

In every song, what stands out more than anything is the crisp instrumentation that accompanies Temple's endearing vocals and Funk's background vocals - which, by the way, are always right on target.

The concept of the album as a whole is centered on Emily Dickinson's poems "Hope Is the Thing with Feathers" and "Hope Is a Subtle Glutton," which the pair adapts and adds to for the album's title song. When the disc stops spinning, you're left with a gentle burst of hope, and don't we all need a little sometimes?

Finally...Wild Carrot can soothe your aching ears as well as delight you with stories of quiet, healing men and Earth-bound heroes.
- Daniel Brantley