Bedlam Bards, Furious Fancies (Self-Produced 2002)
The Bedlam Bards are a first-rate festival band. Their archetypal influences are Fairport Convention and Planxty with just a lick of the Mamas and the Papas for style and flavor. Sporting their minstrel fineries for their album photos, this gang looks and sounds like a sure-fire crowd pleaser for the RenFaire.
For the uninitiated, "RenFaire" refers to a Renaissance Faire, a celebration of the revival of the arts and culture in Europe during the so-called Renaissance Period of the 14th &endash;17th centuries of the Common Era. In the United States, Renaissance Faires are generally in the English tradition, but they are more often than not an excuse to purvey the arts, music, and sports of any of the European cultures from that particular period. My favorite aspect of the RenFaire--other than the food--is the appearance of funky instruments like the pocket fiddle, vielle, and guitarron.
The title of the CD is in the alliterative tradition of those who revel in the festival scene (Merry Meet, Blessed Be, etc.). The main crew is three in number. James Hazlerig (a.k.a. "Cedric") handles the violin, mandola, pocket fiddle, vielle, strumsticks, guitarron, and vocals. Rick Morrow (a.k.a. "Hawke") mans the 6- and 12-string guitars. Amanda Odle (a.k.a. "Lilly") serves up vocals that are husky and sweet at the same time (check out her artwork on their web site!). This Bards' project also includes several guest musicians on a variety of instruments. Overall, the recording captures the Bards' stage sound with a nice even production, using minimal multi-tracking without layering the supporting instruments very much. The result is an honest blend of tight arrangements, heart-felt delivery, and understated humor.
The play list consists mostly of ballads, airs, and reels. The opening traditional number "Bedlam Boys" sets a jaunty mood for what follows. The selection of songs is interesting, ranging from Andy M. Stewart's "Queen of Argyle" to Jimmy Driftwood's "Saint Brendan's Fair Isle" to "Wind and Rain," which is attributed to Will Shakespeare himself.
I'm a sucker for a good air cum ballad, and a tip of the feathered cap goes to the Bards' rendition of "Amarillis' Secret" by Ty Billings and Jerry Berry. It starts with a fantastic guitar and flute intro and proceeds into a gorgeous articulation of the song, which is thematically related to "The Long Black Veil." The Bards also deliver a touching version of Peter Jones' "Kilkelly," a fiddle-led story about Irish emigration. Then there's the traditional instrumental combo "Campbell's Farewell to Red Gap / Newcastle" in which Cedric impressively alternates between the Celtic and bluegrass styles of fiddling.
One of the numbers even brought a bit of nostalgia to this reviewer. Some of you may remember the Underground Comix of a quarter century ago, the work of one S. Clay Wilson in particular. Wilson had a penchant for pirate stories, and the Bards' presentation of Bernadette Gillece's "Dark Lady" goes quite well with his dark visuals.
So when you ponder your favorite drinking horn, put on the Bedlam Bards and make merry. Roast a pheasant, doff your jerkin, and enjoy the fine craft of this theatrical ensemble.
The Bedlam Bards confine their lyrical content, rules for their Furious Fancies Drinking Game, and other stuff here here.
