Robin Williamson, A Selective Retrospective
INTRODUCTION
Writing one of these retrospective reviews is usually a pretty straightforward, if time-consuming process. Simply chart the artist's career from their earliest work to the most recent, then select a few career "highlights" to recommend to the readers. In the unique case of Robin Williamson, however, this approach is complicated by the need to answer the question "which career?"
Good as Gone
Williamson first appeared on the public radar as a talented and energetic performer in the folk clubs of Edinburgh, at the dawn of the 1960s. When he left that city, it was as a coach passenger -- headed for London in the company of another restless young Scot by the name of Bert Jansch. Having arrived, the pair quickly set about expanding the boundaries of the existing, rather academic folk club scene. What they helped to transform it into was a non-stop acoustic rave - a world where young men spent their days playing guitars, smoking "kif" and reading poetry. Their nights, meanwhile, were ideally spent in the company of artistic young women in Soho squats!
Way Back In The 1960s
Returning to Edinburgh, Robin co-founded the Incredible String Band (with Clive Palmer and Mike Heron), who released an engagingly quirky album before Williamson "split" for Morocco. Back to Scotland again, where he reconvened the "ISB" (initially as a duo with Mike Heron), and introduced his newly acquired African and Arabic instruments to the mix. During their ensuing life as a group (with extra personnel joining and leaving over the years), The Incredible String Band somehow managed to invent "world music," perform at the Woodstock Festival, embrace Scientology (!) and become fully-fledged "rock stars." At their apotheosis they achieved the brief distinction of being the UK's third biggest selling album act (with only The Beatles and The Rolling Stones shifting more).
The Man in the Van
A prolonged residence in the United States during the 1970's saw the formation of Robin Williamson's Merry Band, a group who combined the early instrumentation and musical intricacy of The Chieftains with the drive and immediacy of American roots music. In so doing, they provided the blueprint for Loreena McKennitt and a host of others in the creation of what's commonly regarded as North American "Celtic music" today.
See Us All Get Home
Since his return to Britain (he's lived in Wales for many years), Williamson has performed and recorded extensively as a solo artist, formed duo partnerships with Palmer, Heron, John Renbourn and Martin Carthy, and revived the Incredible String Band (the original three, plus Lawson Dando and Bina Williamson). He also composes and performs music for a variety of recorded and theatrical projects, for which he's as likely to collaborate with jazz players or a brass band as fellow "folkies."
The Circle is Unbroken
Still with me? Good! That's the easy part of the introduction over. Four decades of touring and recording would constitute enough work for most artists, but it's still only a part (albeit a very large part) of what Williamson does. In addition to being a musician, composer, singer and song writer, Mr Williamson can also lay claim to the following titles: writer, dramatist, novelist, artist, poet, folklorist, storyteller, humorist, actor, historian, linguist, teacher and humanitarian. In recent years, he's established an annual series of residential "Bardic Tradition" courses for those who want to really make sense of all this!
In solo performance, Williamson's instruments of choice are the acoustic guitar and, most prominently, the clarsach (traditional Scottish harp). He often performs a jig or a reel on the tin whistle (at which he is highly accomplished), and may play a bit of fiddle or (rarely) unleash the Highland bagpipes! In the recording studio, the possibilities are almost endless, as Williamson can claim proficiency in 40 different instruments (though it may be only 39 since his famous "bowed gimbri" fell apart a few years back). His voice has aged over the decades from the slightly nasal, twenty-something instrument of the Incredible String Band, to the warm, weathered Scots brogue of the present-day bard and troubadour. Given Williamson's lifelong interest in both Asian music and the Gaelic "Sean nos" traditions, it should come as no surprise that the niceties of "bel-canto" scale and pitch rarely hinder his vocal expression. If Williamson feels that a particular lyric is deserving of special emphasis, he'll swoop up an octave, and alter the dynamic from a whisper to a shout without so much as blinking an eye. As Robert Plant recently commented (with heartfelt affection): "if you don't sing like Robin Williamson at nineteen, you're never going to sing like him."
Williamson's talents are rarely (if ever) demonstrated in isolation, but combine to varying degrees in all the manifestations of his work. Williamson can't just be viewed as someone who's followed a neat, linear "career path." Rather, his is a life that both defines and expresses itself in art. In short, this 59 year-old Scotsman is the living embodiment of Green Man Review!
VIDEO
Robin Williamson In Concert, (Shanachie, 1993)
For proof of the validity of my last statement, just watch this. Filmed in Toronto in 1990, this concert video captures Williamson at the absolute peak of his powers. There's no elaborate stage sets or special effects, just two microphones. One's in his seated (harp) position, the other in his standing (guitar) place. This is a truly solo "performance," the word "concert" on the box being a wholly inadequate term. Folk "concert" is where the artist sings a selection of their songs, plays a few tunes, says a few introductions and (maybe) cracks a few jokes.
This Williamson show is actually much closer to being a play. There are no breaks for applause, nor any introductions of the "thank you, now I'm going to sing for you...." type, either. Every second that Williamson's on the stage, he's "on" as a performer, too. Traditional harp airs metamorphose into hypnotic soundtracks to Bardic tales. Those tales take side-turns into jokes, which become songs, which become stories. Those stories become dramas as Williamson "becomes" the characters, through voice, movement and expression. The drama carries him from standing to seated, from story to harp to song, to here, there and everywhere, for seventy-five mesmerising minutes.
During the telling of "Tristan and Iseult," Williamson rises from his harp seat to enact a hilarious mime of a harper tuning and playing an imaginary instrument! This beautifully timed piece of physical comedy provides a perfect example of why Billy Connolly reveres Williamson as one of his greatest influences. Within minutes (and by some seamless route), the same performer is powering through a song with a twelve-string guitar, throwing back his mane of yellow hair, and flying up to the highest reaches of his vocal range. At this point, the fact that Robert Plant also cites him as a hero makes complete and perfect sense!
The songs and tunes are both traditional and contemporary, but Williamson's unique charisma and beguiling artistry render any such distinctions entirely irrelevant. The stories are as old as the hills, but are delivered with a freshness and originality that places their "timelessness" firmly in the "now" of their performance. The show finishes with the traditional song "The Parting Glass," following which the sound of an entire theatre audience rediscovering their ability to exhale is practically audible.
The Incredible String Band, Be Glad For The Song Has No Ending, (Peter Marshall, 1993)
Now here's a strange and wonderful thing, the Incredible String band film! Actually, it's really two films, as the first part (a relatively straightforward mix of interview and concert footage, interspersed with clips of "incredibleness"), was originally filmed (but never aired), for the BBC's "Omnibus" Arts programme. This provides a hugely entertaining introduction to both the ISB, and the whole atmosphere of British "pastoral psychedelia" that they exemplified. Anyone who still believes that Hippiedom was confined to San Francisco's Haight-Ashbury district is in for something of "an awakening." The String Band emerge as immensely likable and creative personalities: audacious, inventive, intelligent and just plain daft, in almost equal measures. Most importantly, there's a palpable sense of joy about all of this, which's shared equally between the performers and their audience.
The second part of the film is a mimed fable entitled "The Pirate and the Crystal Ball." That's probably enough information to squarely divide readers "of a certain age," into two distinct groupings. You'll either want to own and watch this immediately, or run screaming from this review, to the sanctuary of the nearest Velvet Underground album! This all took place in 1968, of course, a time when a group of musicians heading to the countryside with a dressing-up box full of exotic costumes, several gallons of face paint and a "cast" of friends brought along for "the trip," seemed like a perfectly sound basis for a movie. While The Beatles came up with the "Pythonesque" comedy of "Magical Mystery Tour," (having wisely decided that filming "The Lord of the Rings" would be an impossible task!), The ISB took their magic and mystery with a little more straight-faced "seriousness." When interviewed about the success of the project many years later, Williamson opined: "one can always look back and see how you could have done things differently, and there's a few things there that could have been a wee bit better, let's face it! I think that it still has ... "a charm." He's right, it does. It has some startlingly effective moments too, particularly in the final "death and rebirth" sequence. Not for everyone, by a long stretch, but a delight for devotees and sixties "fellow-survivors."
BOOKS
Robin Williamson, The Wise and Foolish Tongue, (Chronicle, 1991)
Subtitled "Celtic stories and poems, collected and told by Robin Williamson," this is a US reprint of a book that originally appeared in Britain as The Craneskin Bag (Cannongate, 1989).
Williamson states in the foreword: "My concern throughout has been to render the early Welsh and Irish bardic material as living poetry. I have endeavoured to convey the spirit, word-music, and vigour of the originals as well as their sense, and to convey the stories with characteristic tricks, mannerisms and personal elaboration of the traditional heritage."
He's completely succeeded (on every level), and this book is something to own, to treasure, and to read and read again. If you want a collection of fantastic tales to read aloud, you've got it. If you want those tales backed up by readily accessible, easily digested scholarship, you've got that too.
If you've been to a Williamson performance and simply want to re-live the stuttering king of "The Lad with the Goatskin," then this is for you.
The stories and poems are grouped into four sections: "A Calendar of Journeys," "Wizards and History," "The Wise and Foolish Tongue" and "Heroes and Destiny." Williamson introduces the reader to a host of wonderful characters including Isolde, Bran, Arthur, Thomas the Rhymer and Deirdre, and seems to know each of them personally.
That "familiarity" is the result of the author's relationship with these stories. Many writers have researched these tales and set them into contemporary language, but only Williamson has been telling, singing, and bringing them to life through performance, countless times, over decades.
If you're someone with only a limited interest in this material, then this is the one book that you need to own. If you're a serious enthusiast however, this is still the one book you'll read most often.
Robin Williamson, The Penny Whistle Book, (Oak Publications, 1977)
This is a really well written and clearly presented instruction book, produced during Williamson's time in the United States. This book differs from many of the alternatives on the market in that it doesn't try to rush the reader straight from a brief "basics" section into terrifyingly difficult "advanced" techniques and complex tunes. The emphasis here is very much on the encouragement of beginners, (both to this particular instrument and the joys of traditional music). Indeed, the very first words in the book are these: "You don't have to be a genius to play the penny whistle. If you can hum, tra-la, or tap your foot to a tune, you'll manage this book."
The fingering techniques and music theory are interspersed between the tunes, so that each newly learned skill is rewarded with a new piece of music to play. The tunes themselves are a simple but satisfyingly varied collection, which effectively demonstrate something of the breadth of traditional music. Williamson provides background information to many of the tunes, along with anecdotal wit and wisdom. He's also included basic guitar chords, to encourage collaborative music making from the outset. This isn't a "complete course" for the serious music student, nor does it attempt or claim to be any such thing. Williamson's motivation for the book seems to be simply to say: " this music is fantastic, isn't it? Look, you can get one of these instruments for a couple of dollars, take it everywhere with you, and play it! It's not that difficult, here, I'll show you." I personally know a few first-rate professional musicians who can point to this book as their starting point, but that's not what this book is ultimately about. As Williamson himself so rightly states in the introduction: "Playing traditional music with your friends is a grand old way to spend an evening. Anyway, it beats the hell out of TV."
RJ Stewart and Robin Williamson, Celtic Bards, Celtic Druids, (Blandford, 1996)
A collaboration with fellow musician and storyteller Bob Stewart, this is a large-format, full-colour book which also features the richly illustrative artwork of Chris Down. The writing duties are divided fairly evenly, with Stewart handling the Druidic material and Williamson the Bardic. Williamson's contributions are of a similar style (and sometimes content) to that which appears in The Wise and Foolish Tongue, so all the praise heaped on that book applies here also. It's in these pages that Williamson unequivocally states his "modus operandi": "I approach every part of Celtic tradition - music, story, riddle and reel, from the deepest, darkest ballad to the simplest children's rhyme -- in the belief that it contains truth and teaching."
That loving application of that belief has resulted in the creation of something rare; a "coffee table" book that's every bit as substantial as it is stylish.
CDs
I have absolutely no idea how many records Robin Williamson has released, whether solo or in collaboration with others. I very much doubt that he does either, as every release seems to be followed immediately by another, often of a completely different style and content to its predecessor.
Here then, are just a few recommendations for some of my own favourites:
A Glint at the Kindling/Selected Writings 1980-83, (TMC, 1992)
This is a great value "two-on-one" CD that constitutes a perfect introduction to Williamson's work.
"A Glint" was recorded by Robin Williamson's Merry Band, and represents the finest flowerings of that group in its mix of traditional and original material. While there isn't a single poor track here, everything pales slightly in the towering shadow of "Five Denials on Merlin's Grave" the epic (almost fourteen minute) ballad-poem that stands as probably the defining artistic statement of Williamson's entire career. If you "get" this, then you'll be a Williamson fan for life.
The original album is complemented by the inclusion of "Selected Writings." This mostly spoken-word collection features the even more epic (seventeen minutes) of "Edinburgh" which is, again, a monumental piece of work. Both "Five Denials" and "Selected Writings" were also published in book form (both by Pig's Whisker Music), and are seriously worth seeking out.
The Merry Band's Farewell Concert At McCabe's, (Pig's Whisker Music, 1997)
This limited edition CD was originally an American radio broadcast in 1979. The CD opens with a traditional English "Wassail," and closes with a set of Scottish reels. In between, there are six of Williamson's own compositions, including (astonishingly), the aforementioned "Five Denials."
Robin and his band are clearly making the most of their "final hour," and the whole thing's infused with a good-natured bonhomie.
Songs of Love & Parting/Five Bardic Mysteries, (TMC 1994)
Another superb "twofer" which starts with my own first (and to this day, favourite), solo Williamson album. Original songs like "for Mr Thomas" and "Flower of the Briar," vividly demonstrate Williamson's skill in uniting language and melody, while "Tarry Wool" and "The Parting Glass" prove his credentials as an interpreter of traditional material. The spine chilling "The Forming of Blodeuwedd" and "Gwydion's Dream" are two pieces composed by Williamson for a Welsh theatrical production of "The Mabinogion (and how much would I have liked to see that)?!
"Five Bardic Mysteries" is exactly what it claims to be, spellbinding story telling with voice and harp.
John Renbourn & Robin Williamson, Wheel of Fortune, (Flying Fish, 1993)
A live CD of the short-lived but magical pairing that Renbourn dubbed "The Impenetrable String Tangle." Williamson, with his harping, humour and bardic storytelling found (for many) the perfect foil in Renbourn's virtuoso musicianship and easy-going, avuncular charm. There's a warm sense of spontaneity about the performances here, with Renbourn's improvisational talents more than a match for Williamson's flights of fancy. While the bulk of the material is performed in tandem, there's a contrasting solo "showcase" for both performers. For Renbourn, it's a staggering interpretation of Randy Weston's jazz classic "Little Niles," while Williamson delivers a show- stealing performance of the story "Finn and The Old Man's House."
This, along with the "Live in Concert" video, provides the very best example of Williamson's talents, short of actually going to a concert yourself. The "energy" that Williamson creates is something that occurs in the interaction between performer and audience. With Renbourn, that energy flowed not only on and off the stage, but across it as well, resulting in an album that fairly "crackles" with shared excitement.
A Job of Journeywork, (Pig's Whisker Music, 1998)
Perhaps the most surprising thing about this album is Williamson's opening statement in the booklet notes: "although I've always thought of myself as working in & through the Celtic heritage, this is the first album of traditional songs I've ever made." But it's 1998, Robin! Are you sure? I reply... He is right (naturally), for while he's recorded a lot of traditional British, Irish and American songs, this is the first album devoted entirely to them. A very fine collection it is too, which includes outstanding versions of "The Banks of Bunclody," "The May Morning Dew," and "Riding Down to Portsmouth." The album is something of a celebratory affair, which features contributions from Robin's wife Bina and their son Gavin and daughter Vashti. While the Williamson offspring may yet go a through a stage of being less than enamoured by this permanent record of their young, still-developing voices (!) they should ultimately treasure the obvious pride that their Dad takes in both his work and his family. Hey, we've come back to that closing paragraph of the introduction again, haven't we? That inseparability of Williamson's life and work, his life's work or just his "lifework."
Hopefully this review will nudge the "curiosity bone" of a few of you, to start discovering the lifework of this vastly talented, prolific and generous hearted artist for yourselves. It's a major undertaking, as no matter how much you discover, Williamson himself somehow remains an enigma.
You want enigmatic? Then I'll finish with a story of my own. Some years ago I went to see Robin perform at an Arts Centre theatre in the south of England. Having met him a few times previously, I checked with his assistant if it would be OK to go back to his dressing room before the show, to say "hello," and "good luck." My rather tentative knock was answered by the door being flung back by a broadly-grinning Williamson, who clasped my proffered hand in both of his and exclaimed: "Steve! It's the year of the tiger! It's going to be very exciting, isn't it?!" As I remember, it was.
Robin Williamson's Web site is here.
Green Man Review also has several other articles and reviews of Robin Williamson and his work: an interview with Robin -- by Charles de Lint; a review of Gently Tender: The Incredible String Band, by Ken Brooks; a more complete review of A Job of Journeywork; a more complete review of Wheel of Fortune; and a review of Gems of Celtic Story, Volume 2.
