One of the things I enjoy most about English pubs--besides the beer, of course--is the down-to-earth, homey feeling most exude. They have the uncanny ability to be both a place for conversation and companionship or quiet reflection and solitude. The good pubs, unlike American bars, forgo blaring TVs that suck conversation out of a room and jukeboxes that drown out any attempts at thought. They're a place where a tippler can drown his cares and not think about a thing except a fine time and a finer pint, or students can discuss a fine tome and its finer points.
Bedlam, in the best sense, is much like an English pub. This four-member ceilidh band's music exudes comfortableness, rooted firmly in the traditional.
Yet there's enough contemporary styling to hold your interest. evolution of the lazy tongue is a CD that can be listened to intently or played in the background. It has the hallmark of good music: intelligent without being precocious, impassioned without being intrusive. In other words, you can keep your feet planted firmly to the floor and discuss reels while sipping a stout, or jump to your feet and dance madly about.
And speaking of words, it's worth noting that evolution doesn't have many of them. It's an outstanding collection of mostly instrumental traditional and original tunes, reels, airs and jigs that, with few exceptions, are perfect for dancing the night away. Just one track, a traditional tune out of Brittany called "Bonjour, Petit Bonhomme," has vocals, sung by Bryony Griffith (fiddles, recorder) and Drew McKinlay (guitar). Though Griffith seems a bit rushed and breathless on this one, this tale of a man who loves liquor more than any woman is no worse for the wear.
Although there's not a dud on this compelling collection, there's a few tunes that deserve honorable mention. "Black Dick's Jig/The Cruise Missile" is a spirited, original set that showcases Will Hampson's considerable skill on the melodeon and proves that there are new tunes that are every bit as good as the classics.
The traditionals "Kendal Ghyll/Spotted Borders" benefit from the not-so-traditional addition of a trap set (Ross McKinlay, who also plays djembe). While Griffith saws away delightfully on the fiddle, Drew McKinlay plays rhythm on an acoustic guitar (sounds like a 12-string) and Ross McKinlay lays down a beat in a style more commonly reserved for jazz or rock. The key here is that he's not overpowering; there's just enough from his end to add interest to the tunes without distorting them.
"Dtune", a beautiful, somewhat melancholy original, is my absolute favorite off this CD. That may seem contradictory, since this is primarily a disc of carefree numbers, but the sheer emotion that flows from Drew McKinley's brilliant fretboard work and Griffith's strings is nothing short of amazing. Griffith relies on a bit of tremolo to help her violin tell a tale so sad it seems to shudder with each inward breath, while the guitar provides an uncommon depth and breadth to the picture.
evolution of the lazy tongue gets back to the basics by relying on some solid playing, an excellent collection of material, and not a little bit of innovation. It's an album that definitely deserves a listen, if not a spot in your CD collection. I know what spot I'm reserving for it in mine: the "favorite albums" shelf.
