Reviews

Artist:Ben Walker & Kirsty Merryn
Album: Life And The Land
Label: Folkroom
Tracks: 5
Website: https://www.benwalkermusic.com/
https://www.kirstymerryn.com/

This EP is a wonderful blend of very fine playing indeed, bare but effective arrangements, and excellent singing. The underlying theme, first elaborated two years ago, before COVID drove a horse and cart through everyone's plans, is a celebration of humanity's connection to the earth as exemplified by a handful of traditional songs culminating in an original by Lal and Mike Waterson. A small collection, yes, but an uplifting one that warms the soul, and I'm glad it's finally seeing the light.

I do, however, have a couple of minor quibbles (both relating to a certain Scottish national bard).

Imprimis: as a Scot, I must take issue with the sleeve-notes' assertion that John Barleycorn is "a very English version of a myth of death and rebirth." The earliest known versions - dating back to the 16th century, and the more modern version, from which most subsequent takes proceed, is a casting of the story by Robert Burns.

Still, the quality of the rendition invites an indulgence, and one I will cheerfully grant. Ben Walker's skilfully-twanged banjo is followed by Kirsty's lilting voice that effortlessly dances through the song. It has the feel of a live (and lively) session about it. Indeed, the spare arrangements throughout conjure that feeling of intimacy so often found at the best informal gatherings.

Secundus: I have to say I'm not entirely convinced by the cutting of Burns' final verses from Westlin Winds and the substitution of a verse about Man's modern estrangement from Nature. That disconnect was already known before Burns, and his own words, also expressed in his poem Tae a Moose, more than adequately deplore man's destructive effect on nature's social union. That said, it's a sweet performance of one of Burns' finest songs.

The Jolly Ploughboy has the traditional farm lad dreaming of glory in the army but, via a partial rewriting of the tune, with a bluesy overtone that hints he'd be better off staying with the land. That touch brings it more into sync with the general sympathies expressed by this EP.

The New Mown Hay is not one of the variously bawdy songs of the same name, but the one alternately titled As I Walked Forth One Summer's Morn. It's a similar tale of courtship, but one which leads chastely to the church and marriage. It's essentially an idealised village pastoral set to a melody as pretty as its intent - and prettily performed too.

The Scarecrow sees the man of cloth and wood as descending from ancient legends of fertility rituals wherein a child was sacrificed to ensure the crops. That notion also appears to be viewed as a foreshadowing of Christ on the Cross, surrounded by the Twelve Apostles ("dons" - an old word for "masters" - in the song) who are dressed in the colours of the sun and sky. Not a simple song, but Life and the Land shows not only the pastoral, bucolic side of our relationship with Mother Earth, but also the labour and sacrifice - whether of toil or of life - that so often involves.

In summation: I like the concept, the songs chosen to illustrate it, and the performances are perfect. Ben Walker and Kirsty Merryn are planning to tour, with this as the core of their show, in the Autumn. That's something to really look forward to!

Bob Leslie

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