Caetano Veloso: London, London
The great Brazilian singer-songwriter performed this charming and poignant English-language song from the early 1970s as an encore during his historic reunion show at Hammersmith with old friend Gilberto Gil. It was written during his years in exile in London, after he and Gil had been arrested and then deported by the Brazilian military authorities, who regarded them as musical subversives. And it’s still a classic – a song of loneliness and exile, but appreciation for the freedom he found in London.
Xáos: Pontos Blues
The Xáos (Chaos) album is one of the most original and timely releases of the summer. Recorded by the Greek electronic composer Ahetas Jimi, and by Nick “Dubullah” Page of Dub Colossus, who was born to a Greek mother, it sets out to provide a new music for Greece at a time when the country does indeed face potential Xáos. Pontos Blues is an ancient song now re-worked with microtonally tuned keyboards, a bluesy guitar riff and ancient traditional fiddles and bagpipes.
Moriarty: Long Live the (D)evil
Taken from their new album Epitaph, here’s a reminder that there are some great bands in France – and some of them even play impressive country rock and blues. Moriarty take their name from a Jack Kerouac character, and are led by the excellent French-American singer Rosemary Moriarty, previously known as Rosemary Standley.
Show of Hands & Spooky Men’s Chorale: Don’t You Want Me
The Spooky Men’s Chorale are back this summer in the UK for a lengthy tour, and are very much worth checking out. They may come on like an Australian novelty act but they are fine harmony singers with an excellent sense of humour and the absurd. Here they are at the Shrewsbury folk festival, joining Show of Hands for an unlikely version of the Human League’s Don’t You Want Me.
Sean Taylor: Bad Light
Sean Taylor is a London-based singer-songwriter and impressive blues guitarist whose influences include John Martyn – so it’s only appropriate that he often works with the great bass player Danny Thompson, who of course played with Martyn. This is a track from his new album The Only Good Addiction Is Love, recorded in Texas with producer and multi-instrumentalist Mark Hallman.
Shirley Collins & Davy Graham: Nottamun Town
Congratulations to the great Shirley Collins, one of the finest and most influential singers of the English folk revival, who turned 80 this week. She is special both because of her cool, compelling treatment of the traditional songs that she so loves, and because of her willingness to experiment. She recorded classic albums with her sister Dolly, the Albion Country Band and with the eclectic blues/jazz guitarist Davy Graham. This is taken from their remarkable 1964 collaboration Folk Roots New Routes.
Ebo Taylor: Love and Death
One of Africa’s great veterans, Ebo Taylor, is at long last winning the recognition he deserves, though back in Ghana he has of course been hailed as a major star for decades. He’s a singer-songwriter and guitarist who blends highlife with Afrobeat and jazz influences, and is perhaps best known for this bitter Shakespeare-influenced ballad that includes the wonderful line “Brothers and sisters, lend me you ears, listen to my story of love and death.”
The Duckworth Lewis Method: Jiggery Pokery
The Aussies are back for what promises to be an intriguing Test series, so it’s time to revive one of the great songs about cricket. The Duckworth Lewis Method consists of Neil Hammond of the Divine Comedy and Thomas Walsh of Pugwash, and this is their inspired tribute to Shane Warne’s “Ball of the Century” during the 1993 Ashes series. I suspect it’s not Mike Gatting’s favourite song.
Catrin Finch and Seckou Keita: Bamba
Seckou Keita lives in Nottingham, and has proved that you don’t have to be based in Mali to be a remarkable kora player (though I suppose that an upbringing in a griot family in Senegal does help). This year, he released a fine solo album, 22 Strings, but I’m also still playing Clychau Dibon, the exquisite series of duets he recorded in 2013 with the Welsh harpist Catrin Finch.
Daymé Arocena: Madres
Daymé Arocena is in her early 20s, a follower of the African Cuban Santeria faith, and one of the finest new singers in Cuba. The best of her songs are influenced by the religious chanting she has known since childhood, and include this piece, the opening track to her album Nueva Era.
