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white horses coverWhite Horses reviews by:




WHITE HORSES

This review is written by
Dai Woosnam
,
daigress@hotmail.com, 6/04
Kevin's Celtic & Folk Music CD Reviews http://www.surfnetusa.com/celtic-folk/index.html

This was a real madeleine-cake of an album for me. Suddenly I was back 34 years to my life as a lighthouse keeper, staring out at the ocean.

For this excellent Seattle-based duo specialise in songs of the sea, and this is their sixth album that has maritime life as its theme. And, so well do they evoke sea breezes and the smell of saltwater that it made me wish I had encountered their previous five CDs.

Pint has a strong voice that lends itself well to sea shanties. Dale too can handle a song lyric, and also sings a compelling harmonic line. But best of all is her hurdy-gurdy: it seems to be ubiquitous on the album.    


So divinely MELODIC-not a quality I normally think of with this instrument! ­ that it made me wonder why the hurdy-gurdy does not have more exponents on the UK folk scene.

The stand-out track was that old favourite -Johnny Todd. Now normally this is played at brisk march speed: it is no coincidence that British soccer team Everton AFC run out to it every game at Goodison Park. But they would not run out to THIS version.

Because here, Pint & Dale slow it right down, and in the process  make it a thoughtful, almost meditative piece. And thus they extracted every ounce of meaning from a lyric I admit to having never really previously properly considered.

Dai Woosnam
columnist, The Living Tradition
(Britain's premier trad music print magazine)

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 Reviews: White Horses

WHITE HORSES William Pint & Felicia Dale
Waterbug WBG 051


With this new release, freshly-relocated Stateside duo Pint and Dale return to their more usual stamping-ground, that of the maritime heritage. Neither the repertoire nor its treatment turns out to be predictable, I hasten to add, for they bookend the album with refreshing new incarnations of the shanties Cape Cod Girls and Leave Her Johnny Leave Her. Elsewhere they introduce us to fascinating relatively uncharted material such as the French whaleboat rowing shanty Pique La Balene, cast new light on the dramatic ballad of Davy Lowston, bring a thoughtful demeanour to the tale of Johnny Todd and import a nicely understated rhythm section (Matt Eggleston and Dalton Davis) for a driving Jack the Jolly Tar and an appropriately rockin' and rollin' One More Day.

  Felicia's eminently listener-friendly hurdy-gurdy is (sensibly) well to the fore throughout the album, and the duo's guitars, mandolins, whistles and percussion are so well arranged as to demand no further augmentation, save for Nancy Wharton's cello on occasion. Vocally, both William and Felicia are if anything stronger than ever, with the doomy Bring 'Em Down (learnt from the singing of Louis Killen) a particular highlight. As well as a wonderfully varied selection of songs, there's a lively pair of hornpipes, a Breton tune and Metal Man, which beautifully sets the scene for Brian Bedford's poignant White Horses Are Calling Me. Finally, the album's humorous quotient is provided by Brian Leo's The Sea, which you can easily program out if you find its waves of 'unmitigated silliness' engulfing you... myself, I found it a perfect foil for the rest of this fine album, which (like the duo's earlier albums) retains a healthy balance between enjoyment and scholarship.
David Kidman
fRoots (Folk Roots) UK

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White Horses

There's tremendous power in the old sea chanteys of the British Isles and North American coast. They had to be strong songs, to energize the sailors doing hard work under difficult conditions in the age of sail. And few modern interpreters of sea chanteys capture their spirit and energy as well as the Seattle-area duo of William Pint and Felicia Dale. White Horses, their sixth album, is another choice collection of very contemporary arrangements of mostly traditional material.

This duo is equally comfortable in acoustic and electric modes, with the former predominating on this disc. They sing strong, clear harmonies, often multiplied by overdubbing, and, in addition to Pint's steady guitar accompaniment, their sound is defined by Dale's squalling hurdy-gurdy, an unconventional sound in sea music but a wonderful adaptation of one tradition to another.

 They're not afraid to rework old songs to find new colors in them. "Cape Cod Girls" get a propulsive, syncopated new melody, and "Johnny Todd" is slowed way down to bring out the loneliness in the broken romance behind the lyric.

They add bass, drums and amplification for two of the disc's best tracks, all-out folk-rock arrangements of the chanteys "One More Day" (which takes quite literally the repeating line "rock and roll me over, boys") and "Leave Her Johnny," both with awesomely singable choruses. On the other hand, the powerful "Bring 'Em Down" and "Across the Western Ocean" are sung unaccompanied, with the duo's voices overdubbed into a hearty chorus.

The title track of White Horses is a wishful, uplifting song about hopes and dreams written by Brian Bedford of the English trio Artisan. Dale also employs her hurdy-gurdy to good effect on the sort of dance music for which the machine was designed, on a Breton tunes that's paired with a French whaling chantey and on a pair of borrowed Irish hornpipes.

Listen to this one with a view of the ocean if you can, and if not, be assured you'll be transported there by some of the best saltwater music you can find.

-Tom Nelligan (Waltham, MA)
Dirty Linen magazine

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Sea shanties and other ocean-going songs are the mainstay of White Horses from William Pint and Felicia Dale. The exuberant arrangements make this CD particularly appealing, highlighted with the unusual sound of Dale's hurdy-gurdy.

Pint provides vocals and plays guitars, mandolins, keyboards and bodhran; in addition to hurdy-gurdy, Dale sings and plays whistles and bodhran. They're supported by Nancy Wharton on cello, Matt Eggleston on electric bass and Dalton Davis on drums. Jim "Silver Sewerpipe" Bachman and Jason "Cabin Boy" Brinkley chip in on the chorus of the final track, "The Sea."

There's plenty of variety on White Horses. The CD gets off to a merry start with "Cape Cod Girls," which deviates from the traditional melody and features robust harmonies. The tone turns somber with "Davey Lowston," a song that tells of a doomed sealing expedition. The hurdy-gurdy has a mournful sound and Wharton's cello wells up expressively. The result is emotionally resonant. The contrast between the two tracks is dramatically marked.

"Twiddles" by Janie Meneely is a wonderfully wicked song about the women that the sailors and sea captains leave behind. "Do we sit at home and twiddle thumbs until our men come home?" sings Dale. "Oh there's other things to twiddle when a girl's left on her own." It's a clever song that tells the other side of the equation of the sailor with a girl in every port: "If you added up two and two you'd figure out right quick/That it's just because the lassies have a lad on every ship."

Pint and Dale rock and reel on "One More Day," a sea song given a back beat and a bass line, not to mention nifty riffs on the hurdy-gurdy. This lively track provides welcome relief from the grim and haunting "Bring 'em Down," which precedes it.

It's followed by a set of two hornpipes, "The Humors of Ballyconnell/Tom of the Mountains" which allows the duo to show off the instrumental side of their talent. Other tracks of note include -- but are not limited to -- "Pique la Baleine," a whaleboat rowing shanty, "Johnny Todd," and the poignant, lovely title track "White Horses (Are Calling Me)," which begins with a tune "Metal Man" performed on the pennywhistle. "Leave Her Johnny" is an upbeat rousing shanty and they close with the utterly nonsensical "The Sea."

Pint's expressive voice has an appealing and warm timbre. Dale's voice is equally expressive and versatile, whether standing out on a solo or meshing with Pint in harmony. The arrangements tend to bring out the best in their performances, and overall, this CD is as bracing as a brisk sea breeze.

[ by Donna Scanlon ]
Celtic Rambles: 2 February 2002

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