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June Tabor|Ragged Kingdom

Ragged Kingdom

June Tabor & Oysterband

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With Ragged Kingdom, two of the linchpins of the British folk scene, June Tabor and Oysterband, team up for a second time, 21 years after collaborating on what's considered as one of the genre's modern classics. The former's second album of the year (following her critically acclaimed solo effort Ashore) adheres to the same formula as 1990's Freedom and Rain, with a mixture of traditional obscurities and unique interpretations of contemporary pop/rock songs, but backed by Al Scott's strident production it's a much bolder and more expansive affair than its predecessor. There are still the occasional moments when you can hear a pin drop, such as the eerie a cappella adaptation of 18th century Scottish ballad "(When I Was No But) Sweet Sixteen," the sparse acoustic blues treatment afforded to Shel Silverstein's Civil War-based "The Hills of Shiloh," and a stunning, and indeed very brave, stripped-back reworking of "Love Will Tear Us Apart," which is almost unrecognizable from the gloomy Joy Division original. But elsewhere, the joining of forces appears to have instilled a newfound sense of urgency on both sides, with Tabor sounding gutsier than ever on the impassioned cover of PJ Harvey's "That Was My Veil" and sinister rendition of the pagan-like Somerset carol "Judas (Was a Red-Headed Man)," while Oysterband's foot-stomping rhythms and surging guitars on pro-Napoleon opener "Bonny Bunch of Roses" (one of several mother-son dialogues between frontman John Jones and Tabor) and the furious cellos and propulsive beats on Bob Dylan's "Seven Curses" provide a captivating intensity that simmers throughout much of the album's 12 tracks. The lilting mandolins and folk violins on "Son David," which sits at odds with its extremely dark murderous themes, and the rather tiresome sea shanty makeover of James Carr's '60s soul standard "The Dark End of the Street" show that the pairing doesn't always produce "dream team" results. But they're the only real misfires on a record, which, more than two decades on, effortlessly rekindles the magic of their last effort, and is just as likely to attain the same cherished status.

© Jon O'Brien /TiVo

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Ragged Kingdom

June Tabor

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1
Bonny Bunch Of Roses
00:05:00

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

2
That Was My Veil
00:02:56

Polly Jean Harvey, Composer, Lyricist - JONES, Arranger - Davies, Arranger - Al Scott, Producer - John Parish, Composer, Lyricist - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Imagen Songs, Hothead Music, EMI Music, MusicPublisher

2011 Westpark Music 2011 Westpark Music

3
Son David
00:03:53

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

4
Love Will Tear Us Apart
00:03:30

JONES, Arranger - Stephen Morris, Lyricist - BERNARD SUMNER, Lyricist - Ian Curtis, Lyricist - PETER HOOK, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Universal Music Publishing, MusicPublisher - Tabor, Arranger - Bernard Sumner/ Ian Curtis/Peter Hook/ Stephen Morris, Composer

2011 Westpark Music 2011 Westpark Music

5
(When I Was No But) Sweet Sixteen
00:03:05

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

6
Judas (Was A Red Headed Man)
00:04:14

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

7
If My Love Loves Me
00:04:56

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

8
The Hills Of Shiloh
00:04:33

Shel Silverstein, Composer, Lyricist - JONES, Arranger - Davies, Arranger - Jim Friedman, Composer, Lyricist - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Essex Music Inc, MusicPublisher - Tabor, Arranger

2011 Westpark Music 2011 Westpark Music

9
Fountains Flowing
00:03:53

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

10
The Leaves Of Life
00:03:33

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

11
Seven Curses
00:03:28

JONES, Arranger - Bob Dylan, Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Special Rider Music, Sony-ATV Publishing Music, MusicPublisher

2011 Westpark Music 2011 Westpark Music

12
The Dark End Of The Street
00:02:50

JONES, Arranger - Trad., Composer, Lyricist - Davies, Arranger - Al Scott, Producer - Cooper, Arranger - Prosser, Arranger - Telfer, Arranger - Oysterband, MainArtist - June Tabor, MainArtist - Tabor, Arranger - Topic Records, MusicPublisher

2011 Westpark Music 2011 Westpark Music

Album review

With Ragged Kingdom, two of the linchpins of the British folk scene, June Tabor and Oysterband, team up for a second time, 21 years after collaborating on what's considered as one of the genre's modern classics. The former's second album of the year (following her critically acclaimed solo effort Ashore) adheres to the same formula as 1990's Freedom and Rain, with a mixture of traditional obscurities and unique interpretations of contemporary pop/rock songs, but backed by Al Scott's strident production it's a much bolder and more expansive affair than its predecessor. There are still the occasional moments when you can hear a pin drop, such as the eerie a cappella adaptation of 18th century Scottish ballad "(When I Was No But) Sweet Sixteen," the sparse acoustic blues treatment afforded to Shel Silverstein's Civil War-based "The Hills of Shiloh," and a stunning, and indeed very brave, stripped-back reworking of "Love Will Tear Us Apart," which is almost unrecognizable from the gloomy Joy Division original. But elsewhere, the joining of forces appears to have instilled a newfound sense of urgency on both sides, with Tabor sounding gutsier than ever on the impassioned cover of PJ Harvey's "That Was My Veil" and sinister rendition of the pagan-like Somerset carol "Judas (Was a Red-Headed Man)," while Oysterband's foot-stomping rhythms and surging guitars on pro-Napoleon opener "Bonny Bunch of Roses" (one of several mother-son dialogues between frontman John Jones and Tabor) and the furious cellos and propulsive beats on Bob Dylan's "Seven Curses" provide a captivating intensity that simmers throughout much of the album's 12 tracks. The lilting mandolins and folk violins on "Son David," which sits at odds with its extremely dark murderous themes, and the rather tiresome sea shanty makeover of James Carr's '60s soul standard "The Dark End of the Street" show that the pairing doesn't always produce "dream team" results. But they're the only real misfires on a record, which, more than two decades on, effortlessly rekindles the magic of their last effort, and is just as likely to attain the same cherished status.

© Jon O'Brien /TiVo

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