One often wonders at
pop music. If our elders are to be believed,
there is a general sexuality in music
today that did not exist in the past.
Apparently that speaks to a general
sexual licentiousness, in both dance
and lyric, that is not of an earlier
age. Those that say such things should
become acquainted with this album. The
City Waites present a collection of
some of the most playful and bawdy music
from the gutters of the Restoration
era and manage to make them seem presentable
in polite society.
As the liner notes
highlight, there was less of a distinction
in the 17th century between "art music"
and "popular music". These songs were
well known throughout England, and were
as likely to be heard in the home or
theater as in a tavern. Many of these
songs, as enduring folk music, have
made it down to modern listeners. Others
were widely published in anthologies
such as the Broadsheet Ballads, which
acted as Rolling Stone Magazine and
the Top of the Pops all in one during
their heyday.
Throughout the entire
album there is an infectious joy expressed
in the four-part harmonies. There are
songs here that make the listener want
to jump and dance a merry jig, such
as The Traders Melody. Others, such
as Lavenders Green, are more genteel
sounding, with light strings and recorders
for instrumental accompaniment. That
is if you ignore how bawdy the lyrics
actually are. This certainly isn't the
same version as would have been taught
in school, but somehow that adds to
the listener’s enjoyment.
The lyrics are generally,
and genuinely, amusing. There are lusty
four-part songs about soldiers, country
milkmaids, scorned husbands, and peeping
Toms. "Tobacco is an Indian Weed" is
a very funny song about the perils of
tobacco, showing that truly there is
nothing new. Lyrically speaking, "You
lasses and lads" is quite nearly a 17th
century version of Born To Be Wild.
The instrumental work
throughout is always adequate to the
task. The instrumentals (Bobbing Jo,
Branles, Newcastle, Paul's Wharf, Blue
Cap, and The Chirping of the Lark) show
both the versatility of the musicians
and their general virtuosity. Newcastle
is a particular favorite, and quite
well done. The majority of the album
is instrumentally played by the vocalists
as well, which adds to the general impressiveness
of the performances.
The a capella sections
are equally fun. While they are not
particularly challenging vocally, they
are very well performed. In fact, that
is one of the greatest selling points
of the album. The vocalists sound trained,
but not as if they are opera singers
posturing as folk singers. The accents
and occasional sound effects that acoustically
describe a pub setting are perfectly
suited to the works. This plausibly
sounds as if it could have been plucked
from a tavern 350 years ago. If the
tavern had a particularly talented group
of musicians in town for the evening
they would have sounded like this. The
recording makes one wish to raise a
toast with English beer, and join in
a bit of English cheer.
For what it is, this
album is nearly flawless. The singing
is not flashy, but it is genuinely well
executed. The playing is solid and infectious.
The songs are well selected and intelligently
ordered to add to the listener's enjoyment.
Patrick Gary
Douglas Wootton (voice, lute cittern); Roderick
Skeaping (violin, bass viol, voice); Michael
Brain (curtal, recorders, voice); Mike Sargeant
(bagpipes); Dave Chatterley (hurdy-gurdy);
Robin Jeffrey (lute); Ian Gammie (violone);
Lucie Skeaping (director, voice, violin)
