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“Specially selected 15 track compilaAon / IntroducAon note from Eliza Carthy / Features Jon Boden, John Spiers, Ben Ivitsky, Lucy Farrell and Sam Sweeney / Track by track informaAon. Describing herself simply as a ‘modern English musician’ Eliza Carthy, has been touring on and off since the age of fourteen and first appeared on record in 1990 as a member of The Mrs Ackroyd Band alongside such notables as Les Barker, June Tabor and her father MarAn Carthy. AYer two collaboraAve recordings with Nancy Kerr, she released her first solo album Heat, Light & Sound, for Topic Records in 1996, a selecAon of tradiAonal songs, two of which open this new selecAon of her work which is drawnen Arely from her solo recordings for the label and closing with a track from 2017’s Big Machine album.
This last record saw her fronAng the 12-piece Wayward Band; it was an album which wowed criAcs and none more so than Mojo which praised her for whipping “her characterisAc fondness for adventure into ever grander and more colourful direcAons.” To describe Eliza Carthy as prolific simply doesn’t do jusAce to her Areless touring and recording which
aside from her solo work includes recordings with parents MarAn Carthy and Norma Waterson in Waterson:Carthy, and acclaimed albums with each of them (The Gi< and The Moral of the Elephant), plus the Imagined Village and countless others, most recently teaming up Tim Ericksen and with fellow fiddlers Bella Hardy, Lucy Farrell and Kate Young.
Eliza has oYen given ‘trad folk’ a radical makeover like the track ‘Clark Saunders’ from her Topic debut is a wonderfully true, unaccompanied delight; while the amalgam of ‘No Man’s Jig’/’Hanoverian Dance’/’Three Jolly Sheepskins’ from 2002’s Anglicana shows off her acute instrumental skills alongside the likes of Jon Boden, John Spiers and Ben Ivitsky. Neither track would offend the purists. Neither should her version of the tradiAonal ballad ‘Willow Tree’, also taken from Anglicana, rendered in the lazy style of Hoagy Carmichael. It was with the two CD collecAon Red Rice in 1998 that Eliza Carthy really announced herself as a songwriter but also as an innovator. An IntroducCon To Eliza Carthy may be a mere snapshot of Eliza Carthy’s cram-packed career, focussing as it does on her individual recordings for Topic, but it certainly underlines the indelible impression she
has made – not just on folk music – but on modern music per se. Like any good ‘introducAon’ it will also leave you wanAng more. ”
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