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 | Chris Wood & Andy Cutting The First recording we made. For many years it was only on cassette but recently we have released it on CD. | |||
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 | Lisa | |||
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 | Live at Sidmouth
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 | Lusignac | |||
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 | Knock John | |||
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 | Half as happy as we Karen Tweed, Ian Carr, Andy Cutting & Chris Wood | |||
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'ca' nôs This album is frankly nothing short of stunning and we can only hope to hear much more from Fernhill in the future.' Sing Out! | ||||
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 | Llatai The sequel to fernhill's acclaimed debut ca nos (BEJOCD-14), Llatai (BEJO-23) again presents rich, vibrant interpretations of the traditional songs and dance music of Wales, Brittany and England, with the soulful voice of Julie Murphy at the heart. From the tumultuous suites Pontypridd and Cariad to the spare, exquisite settings of The Blacksmith and A.E. Housman's Bredon Hill, this is an album of fluid grace and beauty which will confirm fernhill's place 'at the forefront of new Celtic music from Wales'. Time Out | |||
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 | Whilia The third album from fernhill is an exilariting journey through the rich Welsh-language dance/song tradition. WHILIA ('talking') brings a thrilling contemporary dynamic to a still-neglected heritage of words and music. From the exultant celebration of dawns o gwmpas (dance around) to the dark malevolence of dole teifi (Teifi meadows) this is an urgent and expressive album which embraces love and landscape in a wealth of different ways. Fronted by the passionate voice of Julie Murphy the music ebbs and surges, sometimes with lyrical sweetness and sometimes with raw, barbaric attack. It is easy to see why fernhill have won international recognition as Wales's leading traditional music group. | |||
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 | Pete Morton His last album was basically a collection of traditional songs, but this time he plunges headlong into his own material; nine songs are written by Morton, one co-written with Bing Lyle, and one from the immortal Ben Jonson. He presents this with a compact ensemble; Morton's guitar and singing, along with fiddler Tom McConville and two members of the Welsh band, Fernhill: Julie Murphy, who provides some beautiful vocals, and Andy Cutting on accordion. | |||
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 | June Tabor | |||
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 | June Tabor Tabor's characteristic choice and blend of traditional songs and compositions by Richard Thompson, Ralph McTell and other contemporary songwriters are enhanced by sensitive arrangements. | |||
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 | Blowzabella Blowzabella defy categorization. They dip in and out of an astounding array of different kinds of music, one minute the complete English dance band, the next delving -- with great flair and heat -- into the Eastern European tradition, even providing a hint of the new internationalist strains of jazz. Bagpipes, saxophones, and hurdy-gurdies are on the rampage with ferocious melodeon that's a real revelation and a persistent highlight. Always surprising, always thrilling. | |||
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 | Willy Russell The new album has been co-produced by Andy Roberts and Willy Russell and contains 14 self-penned tracks. | |||
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 | Oliver Knight | |||
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 | A New Tradition | |||
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 | Chumbawamba Un is an apt title. We've produced an album which is unlike anything we have ever done before. Un moves away from the melancholy and very English sounding territory of their last folk and breakbeat inspired album, Readymades, and into a musical terrain which would not normally be associated with a bunch of Northern anarchists. Un sees a broadening of the band's musical and thematic horizons. Recorded on a mini disc in Latin America and at Chumbawamba's Bradford studio, Un is the sound of Chumbawamba listening to the world beyond their own backyard, and the resulting album is surprising, emotive and uplifting with a pop sensibility. | |||
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 | Across The Waters | |||
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 | The Gathering This album was recorded live in Cork at Éigse Na Laoi 1995: The Gathering. Like good music which does not want to stop, its end was its beginning. Another round was called, and everyone knew the tune - a tune that spins now like the globe itself, creating a celestial music for all who will listen. | |||
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 | cast a bell 'When Mark Emerson first sent me this recording I was almost frightened by its strength and flair. On 'Cast a bell' three virtuosos explore John Playford's great reservoir of melodies with daring and ceaseless invention to create a music that is in turn edgy, exquisite and darkly mesmerising - even psychedelic. This is an album with an emphatically live feel, and charged with raw energy. Yet the recording is lit too by passages of delicate introspection and formal beauty. I have heard nothing quite like it before - it seems to me to redefine the very nature of English roots music.' Tim Healey, Beautiful Jo Records | |||
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 | Panic at the Café In June 1999 Beautiful Jo released - for the first time on CD - the classic album Panic at the Cafe. Recorded in 1993 and previously available only on cassette the album features the exquisite playing of two celebrated former members of Blowzabella: Nigel Eaton (hurdy-gurdy, cello, keyboards) and Andy Cutting (diatonic accordion, keyboards). Tim Panting (guitar, keyboards) and Ian Luff (cittern)also lend their talents to the wealth of traditional and composed pieces. | |||
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 | Pandemonium | |||
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 | One Roof Under For those of you who've enjoyed seeing this dynamic duo perform live, here at long last is your chance to hear them in your own front room. It's been well worth the wait. A delightful recording from start to finish, full of tunes from Sweden, Scotland and Ireland with a side trip to Sussex among other places. Many of the tunes are recently composed and they provide a great showcase for some talented tune smiths. Lively jigs, and sprightly polskas are interspersed with the occasional reflective tune such as the hymn like Horseshoe Harbour by the piper Diarmuid Moynihan. Another favourite track is Annaliese / There are Angels - the former a lilting, jazzy waltz by Jan Ekedahl, followed by soaring melody penned by Cutting. This is not what you'd call an over orchestrated album. With minimal accompaniment these two squeezebox players cleverly produce a kaleidoscope of sound - full of varied textures and colours. There's subtle contrast between the earthy sounding button accordion and the more lyrical piano accordion and at other times they blend nearly seamlessly into a lush sound. Throughout, the playing and arrangements are spot on, this is how it should be done, folks. This CD should be required listening for all those aspiring squeeze box players out there. The rest of us can just sit back and enjoy. Elaine Bradtke | |||
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