Levity and gravity- An interview with Elle Osborne

by Alex Gallacher | Folk Music UK

In June this year, Elle Osborne released ‘If You See a Rook on Its Own, It’s a Crow’. The album was reviewed by David Morrison who declared it a “bona fide masterpiece”. In his introduction he referenced words used by David Tibet when talking about the music of Shirley Collins, it’s these words which sum up Morrison’s feelings towards this Elle’s album…“so intimate, and true, and beautiful, because it’s realwhen people feel something that is so true…and so innocent…their hearts open, their hearts respond.” I couldn’t agree more.

This interview was planned for earlier in the year following the album release but for reasons which Elle talks about below, it required a more considered response to some of the questions I asked. I’m immensely grateful for her honesty and the time she has taken with her answers, it couldn’t have been easy but as Elle says, these personal experiences also “raise issues about universal experiences, which aren’t necessarily being talked about much.” I hope this maybe starts a dialogue that needs to be taking place.

Watch her new video for The Offing, on which she talks more on below.

While many know Elle best for her album releases, she also composes for dance, and makes sound installations. These have included LongLines for the National Fishing Heritage Museum, Brigg Fair, Dark Nights celebrating 800 years of the Lincolnshire Gypsy horse fair, and Stand Apart at Fabrica gallery, Brighton.

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Review: “Small Hours: The Long Night of John Martyn” by Graeme Thomson

By the time the mercurial, volatile singer-songwriter John Martyn heard that he had been awarded an OBE for his contribution to British music, he was in a wheelchair, having lost a leg to septicaemia compounded by a lifetime of substance abuse. He died weeks later, before he could accept the honour.

Musicians often embody a garble of contradictions, but the English-born “Scots Belgian Jew” known to his family as Iain McGeachy was a more troubled – and troubling – figure than many from the late-60s. A trailblazing guitarist, he began his artistic life in the crucible of the folk revival that also produced Fairport Convention and Nick Drake. Solid Air, one of Martyn’s most magnificent outings, was written about Drake.

But Martyn took many of his extemporising cues from jazz and he went on to embrace nascent electronics, most particularly the early, spacious effect known as echoplex. U2 guitarist the Edge may not formally concur, but Martyn fans know the Irishman’s signature guitar sound was cribbed from Martyn. John Lydon and Bob Marley were admirers, as were Portishead. (In later life, Martyn did a sterling cover of Portishead’s Glory Box.)

By the end, Martyn had been impaled on a fence post and run into a cow with his car; artistically, he was yesterday’s man, having spent the 80s making slicker, more suffocatingly produced commercial rock music, often in the company of Phil Collins. There were periods when this leading light of the maverick fringe went dark, presumably to avoid the disreputable characters with whom he surrounded himself. The searching artistry of this caustic musician’s musician went hand in glove with dissolution and damage.

To his credit, journalist and biographer Graeme Thomson, author of previous well-regarded works on Kate Bush, George Harrison and Phil Lynott, dives straight into the awfulness of the man in the preface. “He blackened the eyes and broke the spirit of women he professed to love, abandoned at least one of his children and neglected others.”

Martyn’s parents separated when he was young, with his mother remarrying; the young Martyn felt the enforced distance from his mother, Betty, keenly. “He mistrusted women, which turned him into a misogynist,” states the folk singer Beverley Martyn, who suffered his violent alcoholic rages. Her own career did not survive their two-disc partnership; she eventually essayed albums of her own again much later in life, most recently in 2014. When the marriage broke up, Martyn left her, their two biological children and Beverley’s eldest child penniless; they lived off benefits while Martyn fuelled a coke habit. He started another family, forsook them too.

Somehow, this man had the gall to sing about love. Perhaps his best-known early song, May You Never, is an open-hearted blessing: “may you never lay your head down without a hand to hold”.

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In Fair England: Fairport Convention’s Liege & Lief At 50

Yes they probably invented folk rock but also, on their landmark third album, Fairport Convention, presented a view of England that has now been lost… one of violent division along lines of class and gender but one that was also positive and questing, says Michael Hann

One autumn evening a couple of years ago, my friends and I were drinking outside a pub in behind Euston station. As the last of the sun bathed the tables, a group of men and women assembled in the street. They were wearing white shirts and trousers, red neckerchiefs around their throats, bells tied to their ankles. They carried sticks. As they took their places in formation, my friends started sniggering to each other: Here they are, the racists, UKIP’s morris-dancing wing. Continue reading