AMALGAM ALBUM NOTES
- Billy’s
Billy in the Lowground is an old-time tune that I first discovered through Sharon Shannon’s wonderful album ‘Tunes’. I had the great pleasure of playing it at a session during Celtic Connections 2024 featuring Béla Fleck, Brian Sutton, Michael Cleveland, Sierra Hull, Natalie MacMaster, Ron Block, Tatiana Hargreaves, and a host of other extraordinary musicians from across the Atlantic. The experience was exhilarating and terrifying in equal measure.
The Hare’s Paw is one of my favourite traditional Irish reels — a tune I have heard countless times in sessions over the years, though I can no longer remember exactly where I first learned it.
Gobha Bh’ann a’ Hogha Gearraidh is a Gaelic port-à-beul that I learned from the inimitable Julie Fowlis.
- Glen’s Set
The March is a tune that had been floating around in my head for years, so it’s lovely to have finally recorded it. There’s no interesting story behind it at all, so I decided instead to dedicate it to my pet bearded dragon, Lennie. I’m confident I must be the only person to have written music in honour of a lizard.
The Festival Rains is a jig I wrote in 2007 whilst at the Cambridge Folk Festival — my first ever folk festival. It was an incredibly inspiring few days for thirteen-year-old me, though it did rain quite a lot. I’m pretty sure I wrote this tune during one of the many periods where hiding in the tent was the only realistic option.
Josh’s Slip is a jig I wrote for my friend Josh, who slipped.
Glen’s Reel is dedicated to one of my dad’s best friends, Glen. Without him, I may never have discovered folk music, and it’s certainly because of him that I’ve ended up where I am now — so cheers to him.
- North Connel Set
Mornings at North Connel was written after a series of writing days for Ainsley Hamill’s album ‘Fable’. Every morning, I’d wake up to the sight of the mountains over Loch Etive. It never failed to take my breath away and was a constant source of inspiration.
Beer in the Bodhrán is the first reel I ever wrote.
I wrote Tidal Surge Wharf after seeing Belle Wharf in my hometown of Leigh-on-Sea almost completely swallowed by the water following some unusual lunar activity — hence the name change.
- The Old Bush Set
The Old Bush is a classic traditional Irish piping tune.
Walking in the Parlour is an old-time tune that I learned from the king of old-time music, Bruce Molsky.
Toria’s 50th became a tune close to many musicians’ hearts during the Covid pandemic, as brilliant fiddle players from all over uploaded their own spectacular versions from the comfort and safety of their homes. I am beyond delighted that the genius behind the tune herself appears on this track. Laura Wilkie is a dear friend, a phenomenal fiddle player, and one of the finest human beings I am ever likely to meet.
- One for Sam
One for Sam is a tune I wrote around 15 years ago. It was one of my very first compositions and I know a lot of people will be pleased to see that it’s made its onto the record, even though I’ve always had mixed feelings about it musically. It’s about love, loss, and the turbulent emotions that accompany both. I’ve recorded it many times over the years, and including it here feels like I can finally put it to bed. It is a nice tune though.
6. Prittle Brook Greenway/Gracie’s
Prittle Brook runs alongside a cycle path near where I live, and it was a source of invaluable comfort to me during the 2020 Covid lockdown. I wrote this tune while cycling along the path late at night.
Gracie’s is a tune I wrote for Gracie Hart, daughter of my dear friends Jon and Lucy Hart of Honey and the Bear.
- Slips and Jig Set
Slide from Grace is a wonderful composition by Belfast piper John McSherry. I originally learned it from Kan.
Wink and She’ll Follow You Up is a tune I picked up from Usher’s Island.
Munster Buttermilk is a great jig that I learned after hearing it a few times in sessions in Belfast.
- Minimus & Maximus
This set of slow reels I wrote for my dad and his brother, Dave. My dad, being the younger, was “Minimus,” and Dave, being the elder, was “Maximus.” We all miss Maximus very much.
- Spain
Spain is an iconic composition by the late, great Chick Corea. I learned it from my wonderful friend and teacher, James Softly, and I am delighted that he plays keys on this track, recorded from his home in Perth, Australia.
The second tune was shown to me by my partner, Teresa, about a month before I was due to record the album. It’s a fantastic tune by Llan de Cubel called El Picu Miruellu, named after the second-highest peak in the Sierra del Sueve in Asturias. I am forever grateful to Teresa for introducing me to the music of Asturias, along with a great many other things.
- Vas y Mimile
Vas y Mimile is a beautiful Breton tune written by the legendary accordion player Marc Perrone. I learned it from the magical harpist Floriane Blancke for a last-minute concert in Brittany in 2019.
End of the Line is a tune I wrote after catching a train with every intention of getting off at Manchester. However, after a previous night of far too much alcohol, I fell asleep and woke up at the end of the line. It turned out to be rather further away!