SING – FOLK – SPEAK

Talking about dialect, place and identity in folk song

Listen to Sing-Folk-Speak 2012 April 15, 2013

Here are a series of recordings made at Sing-Folk-Speak 2012, which took place at the Rude Shipyard, Sheffield. Sing-Folk-Speak 2012 focused on the theme of dialect in folk song. Dr Fay Hield and Dave Burland were on hand to provide songs and insights into their thoughts on the role of regional language in traditional music. They were joined in conversation by Professor Joan Beal, Dr Rod Hermeston, Dr Barbara McMahon and myself, as well as those Sheffield folk fans who turned up on the day and were eager to get involved. The recordings, made in June of last year by Joe Glentworth, feature all of Fay’s and Dave’s performances as well as a good deal of the discussion.

I would like to thank Fay and Dave as well as the other participants, who kindly permitted these recordings to be made freely available via this blog. I would also like to thank Joe, who did a tremendous job of recording the event and mastering the audio files. If anyone knows of any reason why any specific recording should be removed, please get in touch with me at the following address: alexbroadhead@gmail.com.

In the case of each recording, I’ve added a few introductory notes. If you have any further questions or thoughts on the subject, please share them via the comments section below.

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Here Fay and Dave explain how they got involved in the world of folk music.

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In this recording, Dave sets the lyrics of this widely-loved Yorkshire folk song to the melody of an American traditional song: namely ‘The Lakes of Ponchartrain.’ This adaptation, I think, offsets the themes of displacement and migration explored by the lyrics in a highly compelling way. For more information about this song, have a look here.

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Here Dave discusses his first encounter with the song and explains his choice of melody. Joan Beal reflects on alternative versions by other performers, including the Irish singer, Christie Moore.

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Here, and not for the first time, the dominating presence of Ewan Maccoll on British folk song is considered. Dave, Fay and other participants discuss whether performers should attempt to sing in their own accents or replicate the dialects of songs from other places, and consider the comedic possibilities of this sort of mimickry.

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In this version of a Scottish song, Fay discusses the differences between songs of Scottish and Yorkshire origin, and explains her decision not to adopt the Scots dialectal elements of the source text from which it was drawn.

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Fay gives a wonderful unaccompanied performance of Kemp Owen, a track that also appears on her debut album, Looking Glass.

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Here Dave performs Ewan Maccoll’s The Manchester Rambler. Following the performance, he reflects on his experience of recording an album of Maccoll’s songs with Dick Gaughan and Tony Capstick in the 1970s, and the ways in which their different accents and voices complemented one another.

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In this recording, Fay reveals the nineteenth-century American origins of this song, and explores the issues that arise when songs from one country are adapted for the voice and accent of a singer who hails from another.

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Here the audience and the performers ruminate on a veritable cornucopia of questions, including the following : how consciously do folk singers use dialect? How and why do singers change the ways in which they sing songs over time? How have recording and mass media affected the way that we absorb and learn folk songs? Do audiences at folk clubs change their voice to match the accent of the singer? Do we acquire our singing accents and our speaking accents in different ways?

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Dave performs the Geordie song ‘Rap ‘er t’ bank’. This is not the only Geordie song in Dave’s repertoire (see The Tender Comin on his debut album, The Dalesman’s Litany).

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Fay discusses the history of this Irish tune and explains some of the editorial decisions she made in adapting it.

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Here Joan discusses the relationship between globalisation, nostalgia and folk revivals.

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Dave recounts how he discovered The Barnsley Anthem, a song much loved by the natives of the eponymous town. Those seeking to learn more about the life of the song might be interested to know that Dave’s granddaughter, Christie Burland-Upton has produced a series of graphic works based on The Barnsley Anthem which can be found via this link.

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Joan Beal and Rod Hermeston discuss the relationship between community and dialect, and consider the following questions: why did a boom in folk song and dialectology occur in the nineteenth century? Why do some places (for instance, Yorkshire, Tyneside and the Black Country) have a stronger regional identity than others? Why do some singers and speakers switch their dialects on and off to include (as well as exclude) other people?

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Fay Hield and others consider the definition of folk music, and ask: at what point do songs become traditional folk songs? Who decides?

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Joan Beal discusses the difference between dialect and slang. An audience member unfondly remembers a teacher who dismissed Barnsley dialect as slang.

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Joan Beal explores the ways in which songs help to bring the idea of a dialect into being, citing the example of the Arctic Monkeys whose music has raised global awareness of the Sheffield dialect.

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Here Fay discusses and sings a Derbyshire folk song she first heard performed by Keith Hendrick. Fay’s partner, Jon Boden, has also recorded this number as part of his ‘A Folk Song in a Day’ project. His thoughts on the song can be found via this link.

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Dave describes how he first encountered this tune through the Elliots of Birtley, a family of folk singers and miners based in the North-East. For more information about the family, follow this link.

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Fay sings a comedic Yorkshire song and recounts how she discovered it in the Huddleston collection.

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I hope you’ve enjoyed these performances and discussions as much as I enjoyed experiencing them first-hand. I’ll shortly be releasing the details of Sing-Folk-Speak 2013, which will also take place in Sheffield. Thanks again to all who participated.

Alex Broadhead

 

Teachers, Ramblers and Spectres – a brief note of thanks June 28, 2012

A massive thanks to everyone who came to the Rude Shipyard on Sunday and helped to make Sing-Folk-Speak a success. Dr Fay Hield and Dave Burland were on brilliant form – both in their singing and in the insights they shared into the world of folk clubs and the role of dialect in folksong. It was clear from the start that the folkies who turned up on the day had a deep love of the music and had fascinating dialect-related observations and memories to share. One folk fan from Barnsley remembered a schoolteacher with a strong Ilkley accent informing him that Barnsley dialect wasn’t proper dialect, but slang. I suspect the same schoolteacher would have struggled to stick to that position after hearing Dave’s rendition of ‘The Barnsley Anthem’.  Professor Joan Beal, Dr Rod Hermeston and Dr Barbara MacMahon were also present to offer an academic perspective on some of the issues. Joan reflected on the appeal of local ways of speaking and songs about specific regions in an increasingly homogenised world, while Rod shed light on the relationship between music hall and folk songs in Tyneside. Regular folk-club goers will be unsurprised to learn that no one missed an opportunity to join Fay and Dave in singing the choruses of the better-known tunes. I’m sure I wasn’t the only person present who was delighted to hear the good people of South Yorkshire trying on the Lancastrian vowels and consonants of ‘The Manchester Rambler’.

In due course I’ll upload a more detailed account of the event, along with selected audio excerpts (courtesy of Joe, who did a fine job of recording it) and photographs. Suffice it to say at this stage that the highlights for me were Fay singing a ‘Tha’ Lowks a Proper Swell Lass’, a song based on a Derbyshire dialect poem, and Dave performing a new version of ‘The Dalesman’s Litany’, set to the melody of ‘The Lakes of Pontchartrain’, a number thought to have originated in America. Indeed, the theme of cross-cultural meetings was a recurring topic of discussion. On more than one occasion the spectre of the great Salfordian Ewan MacColl passed through the room, as people recalled his infamous edict to the turns at his 1960s Singers Club that they only perform songs from their native regions, as well the numerous occasions on which he chose not to heed his own advice, by singing American and Scottish songs. Due to the efforts of everyone there, I’m glad to say that it was not the spirit of MacColl the inward-looking traditionalist that prevailed on Sunday, but rather MacColl the enthusiastic explorer of dialect songs from around the world. Thanks again to everyone who participated.

 

Dave Burland June 22, 2012

Dave Burland has been performing and recording since the late 1960s. He has ten albums to his name, some of which are the fruit of collaborations with other musicians. On the Songs of Ewan Maccoll (1978), for instance, Burland teamed up with Dick Gaughan, from Leith, and Tony Capstick, a fellow denizen of South Yorkshire. Like Burland’s debut solo album, The Dalesman’s Litany (1971), the Songs of Ewan MacColl includes tracks set in a variety of regions and dialect from different areas. Most notably, in Maccoll’s composition ‘Schooldays End’, the dialect shifts between Scots, Yorkshire dialect and Welsh English as the narrator of the song addresses miners in Scotland, the north of England and Wales respectively.

On Sunday, Burland will perform the title track from The Dalesman’s Litany, a nineteenth-century song in Yorkshire dialect that protests against the uprooting and displacement caused by industrialisation and urbanisation (follow this link for more information about the song). Dave will also perform ‘The Barnsley Anthem’, a text that he discovered in a chapbook and set to music. Like ‘The Dalesman’s Litany’, ‘The Barnsley Anthem’ combines Yorkshire dialect with a defiant attitude towards the iniquities of life in the industrial north. Burland doesn’t just play British folk songs however, but often includes American songs in his set. His work to date testifies to a longstanding interest in songs from different regions and a readiness to explore different voices and places through his music. It is this that singled him out as an ideal performer to play at Sing-Folk-Speak.

For information about Dave Burland, see the link to his homepage in the column to the right of this entry.