Listen to this track by traditional song enthusiast, singer, and guitarist Nic Jones. It’s “Canadee – I – O”, the lead track as taken from his acclaimed 1980 album Penguin Eggs, a work that is commonly cited as a touchstone that would inspire a whole new generation of traditional folk singers, particularly in Britain. This is to be expected considering how emotionally connected the performances are to the traditional material found on it, rendered not as a scholarly exercise but rather as a labour of love. This is not even mentioning the sound of Jones’ guitar work, which is delicately virtuosic and vital, but also warmly rendered as a recorded element to match his authoritative vocals.
With all of that behind it, this song in particular is lent quite a backdrop for the tale of a maiden at sea with her wayward sailor lover, kept in the hold of a ship so that she can sail away with him. As it may be assumed of an English folk song that takes place at sea, all does not go according to plan, at least not in the way the poor maiden initially hoped.
As it happened, this very same sense of things not going according to plan would run in parallel to the career path of Nic Jones only a few years after this song was recorded. Read more
Listen to this track by Vancouver, Washington folk-blues journeyman Kelly Joe Phelps. It’s “The House Carpenter” as taken from Phelps’ 1999 record Shine Eyed Master Zen.
The song is a well-travelled British folk tune steeped in tragedy. There’s nothing like it for a great folk ballad from that tradition. And it doesn’t hurt for a blues tune, either. Because of Phelps’ command of the material, this rendition is potent, seeming to touch on both of those musical traditions all at once.
The song has its roots in Scotland, with the tale varying over the years as many, many folk musicians interpreted it over generations. In some versions, the devil is a character, with the song also known as the more floridly titled “The Daemon Lover”. In earlier versions, the devil lures the house carpenter’s wife away from her home, and her child, with the promise of riches abroad. That’s a bit of a crossover into the world of the blues, too. The devil is a busy guy in many blues tunes from Skip James to Robert Johnson.
But In Phelps’ version the devil in his guise as a deal-cutting, saint-tempting figure of ultimate evil is nowhere in sight. There is a force more insidious at the heart of this version. Read more
Listen to this track by incomparable High Priestess of Soul herself Nina Simone. It’s “Sinnerman”, a traditional gospel-blues song of misty and mysterious origins as captured on her 1965 record Pastel Blues. The song closed that record, an epic length encapsulation of nothing less than the Fall of Humanity, the hope for redemption, and the fear of damnation.
Covering this tune was likely a product of Simone’s upbringing in the church. But, it is also likely that “Sinnerman” was well-covered on the Greenwich Village folk scene, of which Simone was also a part. The Weavers recorded a version of it, which may have been responsible for it being something of a standard of the ’60s folk boom. It has since become a well-covered standard across a number of musical spectrums.
This one is the real thing; over ten minutes long, and with Simone’s full-powers behind it, and making it her own. It would have an impact well after this version was recorded. Read more