Reviews and Comments

Craig;Morgan;Robson have been on the receiving end of accolades not only from audience members but also from club and folk festival organisers, fellow performers and the folk press.

Bill  Wilkes, Grand Union (Loughborough):
" thanks to  Sarah,  Moira and Carolyn for a great night at the Grand Union.  The evening left us all feeling at one with the world and our new landlord, who had never been to a folk club before he took over the pub 3 weeks ago, was completely blown away.  He's definitely a convert (which is good for the club)".
 
 Kate and Peter Abbott, Folk in the Vale, Dorset:

Sally Saysell, Monmouth Folk Club:
"I can honestly say I've never enjoyed an evening more."

Green Man Folk Club, Golden Pot, Hants:
"A brilliant evening - a wonderful blend of voices and songs delivered with warmth and good humour"

Keith Kendrick - folk musician:
"A mix made in Heaven"

Bob Berry - Chippenham Folk Festival:
"With well researched material, stunning singing and a blend of voices that bring about a whole new meaning to harmony, they certainly get my vote!"

Carmen Hunt - Cornwall Folk Festival:
"The audience emerged, buzzing about the glorious singing and about the atmosphere that really drew people into the performance - fantastic work!"

Paul Davenport - Editor, English Dance and Song:
"The collective sound is a rich cocktail which thrills the ear…yet holds the attention of the mind to each word of their songs. … These are performers who know their material and have a tangible respect for the validity of everything that leaves their lips. There are those who question the place of traditional song in a post industrial society, even more who reckon tradition itself worthless. An hour in the company of this trio will raise questions that the doubter would find hard to dismiss. Traditional music is challenging and difficult, and nowhere more so than in the British traditions. Craig, Morgan & Robson are adepts at making this musical tradition accessible. They are not to be missed."

David Cheffings, Dursley Folk Day:
"Their professionalism meant that I was able to just leave them all to it (running workshops, etc) & concentrate on other things during the event. They all sing exquisitely as individuals and when together their beautiful close-harmonies are 'spine-tingling'!"

Devizes Folk Club:
"Craig, Morgan, Robson are fast becoming the must have group for Clubs and Festivals. Moira, Sarah and Carolyn work their songs into beautiful music with intricate and unusual harmonies that both enthral and delight. Not one to miss."

Valmai Goodyear, Lewes Arms Folk Club:
"Applying vocal harmony to a ballad can interfere with the drive of the narrative, but CMR's intelligent treatment … intensifies the magical atmosphere while keeping the story shining clear."

Paul Ryan, Black Diamond Folk Club, Birmingham:
“A joy to the ear - a harmony master class”

Valley Folk, Pontardawe:
“Absolutely fantastic night – wonderful voices and exquisite harmonies. Lots of fun, but poignant too – definitely not to be missed.”

Jon McNamara, Bishops Stortford:
"When three of the first ladies of folk get together to harmonise and entertain in the form of "Craig, Morgan and Robson" the cup of pleasure is filled to overflowing. After their brilliant and mesmerising performance at Stortfolk I can honestly say … organisers - book them while you can - they'll soon be very busy - listeners - hear them as soon as you can - your ears really do deserve this treat."

Craig; Morgan; Robson; at The Fo'c'sle November 2006

Live Reviews for Craig; Morgan; Robson

Reiver Divas at The Cause, Chippenham, Sat 18th March, 2006

It was also clear that CMR are enjoying themselves on stage, their relationship with the audience (who sit very close to the performers in the small club room) was easy and relaxed and they took clear delight in their material which was delivered with genuine enjoyment and feeling. The significantly larger than average audience who came to Wiltshire Traditions Club on a damp October Monday obviously expected to see something special from CMR and they were not disappointed. This trio is a delight to listen to and will charm any audience. I look forward to seeing their special show "Tales of Otherness" in the not too distant future.

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Summon Up the Sun
Live performance reviewed by Shirley Harry
6th January 2006, The Cut Arts Centre, Halesworth

Acorn Folk Club at Minehead, Feb 3rd 2007

The trio performed a wide selection of traditional and contemporary songs in exquisite harmony, introducing each one in a humorous or charming manner with anecdotes of where the songs had been collected or where they had been performed. Because all three can lead and harmonise, they changed roles (changing places - choreography as they called it), each taking turns to lead and blend, so that there was an ever new and different sound to each arrangement. They performed two 45 minute sets, yet all would have been happy to hear more. In the first set "Claudy Banks" from the Copper family's Sussex version, a song also collected in Minehead, lead into the traditional "Hares on the Mountain"; "Bitter Withy" introduced as Christ using his powers as a young boy as a prank, and Graham Miles' "Snows of Winter" were spell-binding, as were, in the second set, "Lark in the Morning" (trad), "Peppers and Tomatoes" - Ralph McTell and the title track of one of their CDs, and Sarah's own "Keep You In Peace" adapted from the Celtic blessing to close the evening.

One of the beauties of The Acorn Folk Club progressing to booking top guests, is that there is a spin-off, in that many very talented floor singers and musicians are attracted to the Club, wanting to hear the artists, and also being given an opportunity themselves of performing to a very high standard, which was remarked on by the guests. There were no less than 16 floor spots to support CRAIG MORGAN ROBSON, with another five performers being willing to wait until the next Club Night on 3rd March. For further details of the performers please visit [their website] and look out for them elsewhere, and for full details of the Acorn please visit www.acornfolkclub.co.uk

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For a live music review of Tales of Otherness follow the link to the Show.

STRANDED - Craig Morgan Robson (Reiver Records RVRCD.08)

A second album of the glorious a cappella harmony singing that seems to flow so effortlessly from Moira Craig, Sarah Morgan and Carolyn Robson. All highly accomplished unaccompanied singers in their own right, it still comes as a bit of a surprise that their differing vocal styles blend together so seamlessly. If anything they sound even more comfortable together than on their well received debut Peppers and Tomatoes.

Much of their material comes from the tradition (such as Polly Vaughan, Twa Magicians, Willie’s Fatal Visit, or the Copper family’s Christmas Song) but there are two noteworthy songs from Mike O’Connor (Wassail the Silver Apple and Summon Up the Sun), and to finish, a just beautiful setting of Tennyson’s poem Crossing the Bar (alone worth the price of the album). A strong follow-up to their already impressive debut, Stranded should undoubtedly confirm CMR’s reputation as one of the best harmony groups around at the moment.

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STRANDED - Craig Morgan Robson (Reiver Records RVRCD.08)

This sublime female harmony trio would always have their work cut out in attempting to follow such an excellent CD as Peppers And Tomatoes, but Stranded certainly comes close. The "dream team" of Moira Craig, Sarah Morgan and Carolyn Robson can always be relied upon to come up with inspiring and often unusual material that fully suits (a) their voices and (b) their "harmony master-class" approach, and this collection of 15 songs proves no exception. Each song is arranged with impeccable skill and taste and with full cognisance of the three voices, their special qualities and their capabilities (individually and to blend). Two-thirds of the selections are of traditional origin, and are without exception innovatively managed, yet with the timeless sentiments still ideally expressed. I liked the way Moira's lead on Twa Magicians is offset with supernaturally acerbic and spine-tingling harmonies; elsewhere, the cryptic street song The Blackbird works well as a duet, as does the trio's charming rendition of The Sailing Trade (taken from Roy Palmer's Valiant Sailor book). Light relief comes with the gleefully-related tale of The Wonderful Sucking Pig. But for me some of the disc's highlights come with the three songs which are done as solo performances: Carolyn gives us Abroad As I Was Walking, whose potent marriage of cruel story with attractive, lyrical melody is given even more weight by Nick Sowden's sparse, fragmented guitar accompaniment. Sarah's solo is a Night Visit Song on which her own voice and concertina is further hauntingly accompanied by Paul Sartin's oboe. And Moira turns in a beautifully-paced unaccompanied account of Willie's Fatal Visit (Child 255), which though taking just a fraction under four minutes seems not a whit hurried (and it's another instance of a gruesome tale set to a beautifully lyrical tune!). Actually, I was surprised to find several of the songs weighing in at less than three minutes, but the ladies pack so much interest into that timespan with their full yet economical arrangements that the passage of time is never an issue. Turning finally to the non-traditional items, Dave Goulder's wonderfully bleak The Easter Tree perfectly complements Summon Up The Sun, one of two Mike O'Connor compositions on the disc. The latter, to my mind one of the most evocative Green Man songs ever written, clearly made such an immediate impact on Sarah (comparable to that on me at first hearing Sarah herself sing it) that it just had to be learnt at once! The disc closes with more perfection, a beautiful rendition of Rani Arbo's simple yet moving setting of Tennyson's Crossing The Bar. Any reservations about this disc are small, and very probably insignificant in the scheme of things. Firstly (and this aspect is common to all harmony-based ensembles to some extent), there are one or two places where the creative harmonies distract the ear and make it difficult to follow the melody line. And secondly - initially at any rate - the disc at first gives a mild and inescapable impression of austerity; this may be due to the sequence adopted, whereby some slower-paced, reflective material is placed at the beginning. I think the uplifting fugueing of Awake, Behold (given in a scaled-down version of Roger Watson's four-part arrangement) might have made a better choice for opener than Mike O'Connor's less punchy Wassail The Silver Apple. But the above are minor points in the scheme of what is a truly lovely CD, persuasive to a fault and brimful of exceptional singing and fine songs. (Mail-order: tel. 01252- 722938.)

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STRANDED Craig; Morgan; Robson RVRCD08

It was in 2003 that Moira Craig, Sarah Morgan and Carolyn Robson started singing together: three fine singers each with a wealth of knowledge and great enthusiasm for the traditional songs of their native countries. Since then they have performed throughout the country, gathering many followers. The arrival of their second album will, therefore, be appreciated by many.

As on the first album, Peppers & Tomatoes, the majority of the songs are traditional. Within the tradition the spectrum is broad: sources include the Child ballads, the collecting of George Gardiner in Hampshire, the Copper family and a West Gallery carol, with a geographical spread from Scotland to the south of England. The themes will be familiar to devotees of traditional song, the many vagaries of human life are covered within the fifteen tracks. Some will raise a smile, some will touch the heart, while others will bring memories of a particular time of year. To name just a few is difficult but for those who appreciate it favourites include: Twa Magicians, The Wonderful Sucking Pig, Polly Vaughan, Christmas Song. The contemporary songs have been chosen with discernment. Songs in keeping with the general genre have been carefully selected. These include two from Mike O'Connor Wassail the Silver Apple and Summon Up the Sun, The Easter Tree from Dave Goulder, the author of what has become a favourite throughout the country, The January Man, and a setting of Tennyson's Crossing the Bar.

The arrangements are a joy for those who enjoy harmony singing at its best. The use of close harmony, solos, different leads, tempo and tone is subtle, appearing effortless. Careful consideration has been given to the contrast to give a pleasing blend for the audience throughout, creating an album that is an integral whole. A few tracks are enhanced by instrumentation, Paul Sartin on oboe, Nick Sowden on guitar and Sarah Morgan on concertina.

On occasion three fine solo singers fail to create a good trio combination owing to their own individual style and voice; conversely trios who attempt to perform individually find it hard to add variety and depth to their own performance. This album confirms that Craig, Morgan and Robson are masters of both. As mentioned above, they perform extensively. If you have not seen them this album will make you want to do so. If you buy this album as a result of having seen them live, you will not be disappointed. Either way, buy it, play it and play it again.

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Stranded
Craig, Morgan, Robson Reiver Records, RVRCDO8

Review by Baz Parkes for "English Dance & Song", the magazine of the EFDSS

Of the traditional songs, most are reasonably well known, but the trio seem to have sourced some unusual or unlikely versions; 'Hares on a Mountain', 'Twa Magicians' and The Blackbird' being cases in point. From more recent pens, there's a suitably chilling treatment of Dave Goulder's 'The Easter Tree', and Mike O'Connor's 'Wassail the Silver Apple' is a finely crafted song which suggests those in search of new material could do worse than search out others by this all round clever person'.

A new song to these ears is Moira Craig's version of Lizzie Higgins' 'gruesome tale' 'Willie's Fatal Visit'. And you don't get much more gruesome than this: ghost of betrayed lover meets Willie who now has new love; he tries hiding in a church; ghost, having none of it, tears him limb from limb, and hangs a bit of him on every piece of ecclesiastical furnishing. And if that wasn't enough, she saves the head for his new love's pew. They don't write 'em like that any more! Well, they probably do, but they're Certificate 18, or under the counter in your nearest dodgy video outlet.

Why 'mostly unaccompanied'? Because one of the finest tracks, The Night Visiting Song', features some outstanding concertina playing from Ms. Morgan, which, coupled with Paul Sartin's oboe adds a suitably eerie and ethereal edge, totally fitting the subject matter of the song. All in all, well worth a listen.

CD Reviews - Peppers & Tomatoes

Craig;Morgan;Robson - Peppers & Tomatoes
Anna Tabbush - Waiting In The Wings

Reviewed by Dai Jeffries for "Folk On Tap"

Here are two CDs, launched together and spanning the generations. Moira Craig, Sarah Morgan and Carolyn Robson have enjoyed long careers as soloists and in other groups and have worked together for about eighteen months and Peppers & Tomatoes is their debut. They have very different backgrounds (Scotland, Surrey and the debatable lands of the Borders) and very distinctive voices - so much so that the first reaction of everyone who heard that they were working together was "I wonder how that will sound?". The simple answer is "wonderful".

The album opens with 'Bannero', always my favourite version of the Reynardine story and is followed by the title track, Ralph McTell's depiction of ethnic conflict in which little incidents build a sense of menace culminating in the final "you must come with us". After Graeme Miles' 'When The Snows Of Winter Fall' comes the stunning 'Minnie Of Shirva's Cradle Song' (sometimes called 'The Boatie Rows'). It's a deceptively simple song and my highlight of the whole collection. All three take a solo from their own regions. Carolyn's is 'Blow The Wind Southerly', cast as a parlour song over Andy Johnson's piano; Sarah sings a Hampshire version of 'Low Down In The Broom' and Moira's choice is a setting of the 23rd Psalm with words by Bernard Fergusson (Lord Ballantrae) and music by Sarah Morgan, another outstanding performance. But it's the interweaving harmony voices that are at the heart of the record and I can only marvel at the vocal dexterity from the fugue of 'Minnie' to the Watersons sound of 'Farewell He'. The collection closes with 'Only Remembered', recorded in a local church with friends and family making up the choir and here you'll find the rationale behind Craig;Morgan;Robson - the unashamed love of harmony singing.

Carolyn's daughter, Anna Tabbush, is already something of a veteran but Waiting In The Wings is her solo debut. It opens with the shanty 'One More Day' interspersed with Anna's own tune 'Rockin' And Rollin' Johnny' and with her electric fiddle at the forefront you'd be forgiven for thinking of Anna as a dedicated follower of Eliza Carthy.

But hold on. Anna's true direction is as a singer-songwriter although her traditional roots show through in the structure of her songs. 'One More Day' is not really representative - more typical are 'Going Through The Motions', 'Carry Me Back To The Ocean' and the title track. There is a naivety and a painful honesty in her writing that masks the songwriting craft - many of the songs were written when Anna lived in Brighton and the sea features repeatedly, but if they are in any way autobiographical she must have had a lousy time there. The best track is the moving 'Last Springtime' and if Anna never writes another line she should have ensured her immortality with these seven verses. Her supporting musicians: principally Adam Chetwoode, Tom Bailey and producer Nick Sowden are always interesting but never overpowering and Anna plays flute and various keyboards as well as fiddle so there's a lot of variety between the folk-rock of 'One More Day' and the unaccompanied 'The Colour Of Amber'.

Of course I like Peppers & Tomatoes. How could I not? It's the music I've been listening to for nearly forty years. Perhaps I shouldn't expect to find any common ground with Waiting In The Wings but I'm enjoying it every bit as much.

From Folk on Tap the SCoFF magazine, Summer 2005

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Craig; Morgan; Robson - Peppers And Tomatoes (Reiver Records)

Review by David Kidman for "NetRhythms"

Another of those forbidding-sounding legal-type group names with decidedly idiosyncratic punctuation, this one conceals a trio of lovely ladies each possessing considerable vocal talents in her own right. Usually, the best way to experience such a combination of voices is to hear them live, and this recording scores extra points for embodying an immediacy that's very close to the live experience. There's nothing to compare with the sound of three highly accomplished female voices in close and considered harmony, and CMR (along with Grace Notes) must be England's finest practitioners of such. To give each lady their due: Moira Craig has long been recognised by club and festival goers for her superb interpretations of Scottish, Irish and English traditional songs, whereas Sarah Morgan is renowned as a singer, song-writer and arranger; many choirs and harmony groups throughout the land are now singing her exquisite arrangements (she has so far published two songbooks). Sarah has been a member of acclaimed harmony groups Bread and Roses and Hen Party, and has worked with Appalachian singer Mary Eagle, and with Mick Ryan in two of his folk operas. Carolyn Robson has an extensive repertoire of songs from her native Northumberland and Scotland as well as from other parts of the British Isles. Some of my most memorable club nights have been spent in the company of one or other of those three ladies, in fact! Their individual versatility is legendary, each well capable of communicating expertly and directly in her own special way with an audience, whether on a deadly serious classic ballad, a hymn, a patter-song or a flippant slice of music-hall nonsense.

The repertoire they perform as a threesome is similarly varied, reflecting the predilections of each of its members, in turn reflected on this long-awaited disc. And though each voice is so strongly individual, to hear them harmonising together is a revelation; and what's important too is that the ever-creative harmonies are never allowed to obscure either the melody or meaning of the songs. Quite often too, any disc consisting almost exclusively of acappella singing can turn out unduly precious and sound all too refined and polished, not to mention unduly esoteric, but the impeccable collective artistry (and vocal power and strength) of CMR ensures that this trap is invariably well avoided - and by a wide margin! Their approach may be serious in intent, always according the songs their due respect, but the end result is always magic, so very warm and involving. That trait applies also to the three "solo" tracks - which are only solo in the sense that there's just one singer featured on each. Moira gets to sing Kilkerran Shepherd (Sarah's own setting of a version of the 23rd Psalm) - quite logically, in view of the Lowland Scots dialect! - accompanied by Andy Johnson's piano; Andy also accompanies Carolyn on a rendition of Blow The Wind Southerly that (although beautifully sung) can't ever efface one's childhood memories of Kathleen Ferrier. Sarah then sings a wonderful Hampshire version of Low Down In The Broom to the accompaniment of her own concertina and Anna Tabbush's fiddle; this is a highlight of the CD.

Two other highlights come earlier on, in the form of the title track (that superb Ralph McTell composition) and Graeme Miles' lovely When The Snows Of Winter Fall, whereas a third - an intriguingly-harmonised new "slight reconstruction" of the Laily Worm ballad - just before halfway through the programme. For the finale, a passionately reverential yet ultimately peaceful rendition of the hymn Only Remembered (recorded in the soft sympathetic acoustic bloom of a Farnham church), CMR bring in a seven-piece chorus of "mostly family" (including the ladies' respective husbands/partners and Carolyn's daughter Nonny); so now I realise why Sarah's simple, inspirational Keep You In Peace was placed at track 11 instead of right at the end of the CD (which would be its logical place in any other circumstances!) ...

Well perhaps I found the opening track, an unexpectedly jaunty treatment of Bannero (a sort of variant of the Reynardine tale), almost too Artisan-like in its air of mildly studied theatricality, but I admit I appreciated CMR's interpretative subtleties much better from second time round. One oh-so-tiny technical glitch here (the abrupt cropping of the initial consonant of track 8, a beautifully poised account of Fare Thee Well My Dearest Dear) is unfortunate, and it proves to be the only aural blemish on a very fine CD (though some listeners won't even notice it I suspect). Whatever, the standard of actual singing remains unflinchingly high throughout the CD's 57 minutes, matched by its excellent production, and the ladies have every reason to be very proud indeed of this long-overdue excursion into the recording studio.

Peppers and Tomatoes - Craig Morgan Robson   Reiver Records RVRCD06

CD Review by Mary Humphreys for "Mardles" (Suffolk Folk Magazine)

I am in awe of the musical expertise of the three singers on this CD. Moira Craig, Sarah Morgan and Carolyn Robson together have mastered the art of singing in close harmony without obscuring the essential line of a song. They have a wonderful precision of pitch and clarity of diction which, allied to a sweetness of tone makes this CD a delight from start to finish. Every word can be heard, and every tune distinguished through the inventive weaving of harmony. The recording engineer Nick Sowden deserves a pat on the back for that too.

Each member of the trio is a distinguished solo performer in her own right and brings her own tradition with her to the group. Sarah is Southern English, Moira is Scots and Carolyn is North Eastern English. To add to the wide variety of ensemble songs their individual roots are each displayed in solo items on the record, - a great idea. Carolyn's 'Blow the wind Southerly' is a refreshing rendition of a traditional song that has languished in classical concert halls for too long. The selection of tracks is carefully considered. There is something here for everyone. Traditional song with sing-along chorus - 'Farewell he' from Cecil Sharp's collection recently published by EFDSS in 'Still Growing', Ralph McTell's chillingly relevant 'Peppers and Tomatoes' and the hauntingly peaceful Graham Miles song 'The Snows of Winter'. Tops for me though is the exquisitely tender lullaby from Shetland, 'Minnie of Shirva's Cradle Song' sent to Moira by one of her friends and performed with Moira taking the lead. I reckon this will be the definitive recording of this song - and what a tribute to a generous friend!

Having seen the trio perform live at many festivals, concerts and clubs I can vouch for the fact that the CD is an accurate representation of their live performances, though a smidgeon more restrained, as is always the case with recordings. I would recommend that you see them live. They are great fun and wonderful entertainment. And if you want the take-home version, this is definitely it. Buy it. You won't be disappointed.

PEPPERS & TOMATOES   Craig Morgan Robson   RVRCD06

Reviewed by Jacqueline Patten for "What's Afoot"

Moira Craig, Sarah Morgan and Carolyn Robson are each highly regarded as talented singers with much musical experience. When, in 2003, they decided to form a trio they were bringing together this wealth of talent and a wide repertoire that was to please audiences around the country from the first performance they gave and will do so, hopefully, for many years to come. They have, deservedly, earned such accolades as "a joy to the ear" and "a harmony master-class".

With knowledge of such a wide range of songs it must have been difficult to make choices. Whatever the criteria for those choices Peppers & Tomatoes is perfect as a debut album. There are ten traditional songs including a Child ballad, The Laily Worm, to which Sarah has put her own tune and songs from the collecting of Sharp, Gardiner and Vaughan Williams. Of the remaining items, the title track was written by Ralph McTell, When the Snows of Winter Fall by Graeme Miles, the final track Only Remembered is an excellent rendition of a Sankey and Moody hymn, while Keep You in Peace and Kilkerran Shepherd were composed by Sarah: the lyrics of the former were inspired by a Celtic blessing and those for the latter by a version of the twenty-third psalm.

Most songs are arranged for three-part harmony within which there is a variety and depth not often achieved by trios. At times one part has the tune, at others the three parts blend as one. Good use is made of a lone voice leading before the other parts enter. In all instances the combination and harmony is sympathetic to the tune and a joy to the listener. The intonation, dynamics and diction cannot be faulted, the perfection gives added thrill and 'excitement' to the ear. With Moira's Scottish roots, Carolyn's Northumberland background and Sarah's southern origins, the influences are diverse: brought together by three excellent singers these influences enhance each other. Each artist sings one accompanied solo, Moira, Kilkerran Shepherd, accompanied by a piano, Sarah, Low Down in the Broom, on which she plays the concertina and Carolyn, Blow the Wind Southerly, with piano accompaniment. Of the gentler tracks When the Snows of Winter Fall, Keep You in Peace and Leaves of Life linger in the mind, while the up-beat versions of The Besom Maker and Rob 'em All keep turning over in the mind for days. On Only Remember, the final song, the trio are joined by a chorus of family and friends, a fitting ending and tribute to those who have helped.

Having said that Craig, Morgan and Robson are all singers of renown experience and that this is an asset, it could have also been an obstacle: three strong singers do not always blend harmoniously. This trio had no such problems and this album is an exemplar of what can be done with three first-rate female voices, whether solo, in duet or trio, in unison or harmony.

Peppers and Tomatoes
Review from "Folk London" Oct-Nov 2005

This debut CD from Moira Craig, Sarah Morgan and Carolyn Robson has harmonies which make the hair stand up on the back of your neck. Singing in unison, canon and three part harmony they demonstrate an effortless range and variety unheard in folk music for many years. Three solo singers from different part of the country came together to sing solos, duets and occasional ensemble and bring their regional roots to the mix. This is not one lead and two backing singers, each one makes their distinctive contribution to the shape of each song. The rich, chordal sound of "When the Snows of Winter Fall" by Graeme Miles makes it a particular favourite of mine, celebrating the simplest joys of life. "Peppers and Tomatoes" by Ralph McTell has the awful story of man's inhumanity to man. "The Laily Worm" revenge, magic evil stepmother, all the ingredients of a great ballad beautifully sung. The CD finishes with a lovely hymn "Only Remembered". There is not a poor note in the whole tremendous variety of this album. You don't have a collection of harmony singing if you don't have this one.
T.F.

CRAIG, MORGAN, ROBSON - Peppers and Tomatoes Reiver Records RVRCD06
Reviewed by Phil Thomas for "Living Tradition" Nov 2006

Carolyn Robson may not think kindly of me when I call to mind the days in the late seventies when she and I were both regular performers at the Wessex Traditional Folk Club in the Pembroke Arms, Bournemouth. She had a fine voice then and it is even better now. Some or her repertoire from those days ('The Besom Maker') has stood the test of time as well. Sarah Morgan will be well remembered for her work with Bread and Roses and Hen Party, and has a thirty-year reputation for "unaccompanied harmony at its best". Moira Craig is less well known to me, but all that need be said about her has been said in an earlier issue of Living Tradition by Roy Harris, and after listening to this, I'd say that goes double for me.

When three such strong voices as these come together, it can sometimes be a little like a competitive sport. Not so here. Just fine unadorned singing done as well as it can be. Their version of Ralph McTell's song from which the album takes its title is positively chilling, and I agree with the girls that 'Only Remembered' is a terrific closing song. I have yet to hear them live but I look forward to it. These ladies are true tradition bearers. Listen to this if you get the chance.

Peppers and Tomatoes Craig; Morgan; Robson Reiver Records, RVRCDO6

Reviewed by Shirley Dixon for English Dance & Song

I was already a big fan of Carolyn Robson, an admirer of what I'd heard of Sarah Morgan's work; Moira Craig's voice is new to me, a revelation in its clear sweetness. Three very different voices, and together they are glorious.

We get to enjoy fifteen songs on this CD: most feature all three singers, but each provides a solo. All but three tracks are sung unaccompanied, but such is the range of material and treatment, there is never any danger of an unvaried sound. The first track hits you in the face (or do I mean the ear?): a version of `Reynardine'. In the version she recorded all those years ago, June Tabor was eerie and mysterious; CMR take a very different approach, telling the fox's tale in swashbuckling style, singing in joyous harmony until a solo line or two from Carolyn Robson introduces a more pensive mood. The power of their voices almost leaves one reeling at the end.

The next track, Ralph McTell's `Peppers and Tomatoes', creates a very different feeling. This is one of the outstanding tracks on the CD; subtly, ominously building up the tension - can't imagine this terrific song of cultural harmony broken by time and chance being done better. My other favourites are a Shetland lullaby, introduced by Moira Craig and ended with a most exquisite round, the voices sounding like bells, and - a complete contrast - a Second World War song to the tune of `Bless `em all', in which they sing of the cheating ways of the `NAAFI girls' with great gusto in those unerring, glorious voices. Not all of the songs might be to my taste, but the singing makes each one a joy to listen to.

Yes, that's another word that occurs to me when I listen to Craig; Morgan; Robson: `Glorious'.

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Reiver Records
Anna Tabbush

When The Snows Of Winter Fall (the CMR Songbook)

Review by David Kidman in 'Netrhythms'

Reviews of Sarah Morgan publications by Jacqueline Patten for "What's Afoot"

PUT THE STARS TO FLIGHT
Sarah Morgan
Lyngham House
ISBN 1 903963 16 8

What pleasure this book has given and will give in the future. When I opened it for the first time, I planned to play and sing one or two of the songs as a prelude to going through it gradually song by song. Instead I did not move from my seat until I had looked at every item. Since then I have sung all of the songs several times and learnt four by heart. Books of new songs do not appear frequently enough for me, books in which I like all the songs so much, seldom.

Of the seventeen songs both the lyrics and tune of many have been written by Sarah Morgan. Of the remainder for several she has set other people's words to her own composition, while for others she has put her own words to a familiar tune. Most of the songs reflect rural life, for example, Another Harvest, Farm Dog, and Sheepdog Glory. As well as Another Harvest, other seasonal songs include Sing Out, Sarah's words set to the tune Russia, from the Sacred Harp tradition of America, perfect for raising the temperature in winter, and Solstice Carol, the tune of which is another familiar Sacred Harp tune, Jerusalem. Reading the lyrics two items in particular evoke sentiments that many will relate to, Room at the Top, a reflection of the high expectations of modern society, and View the Land, about the consequences of not appreciating the value of the countryside. Having talked about a book of songs, there are two instrumental items included: Muir Towers, a hauntingly beautiful slow air written for Alison Muir with whom Sarah used to sing, and Sloe Season, a gentle tune which she describes as "a sloe air, to play while under the influence of sloe gin . . ."

The publication is excellent for several reasons: the music and words are clearly laid out and the format of the book makes it a joy to handle. At the foot of each item are one or two sentences giving the background to the song, something that enhanced each one for me. From this recommendation you may want to order a copy of Put the Stars to Flight immediately.

VIEW THE LAND
Sarah Morgan
Lyngham House
ISBN 1 903963 07 7

Within this book there are thirteen songs arranged in harmony plus two rounds. At the beginning there is an introduction by Sarah followed by a section entitled Learning and Singing the Songs in which Sarah gives advice about 'naming the parts', timing and rhythm, and dynamics. In the introduction Sarah writes of her involvement with harmony singing from the age of seven years old when she was in a Junior Choir, of her experience with folk harmony groups, of the workshops on harmony that she runs and of the community and village choirs that she leads or has help start. She gives credit to Roger Watson, director of TAPS, himself a noted choir leader, for his encouragement and advice.

All the arrangements are by Sarah: most are traditional songs familiar to people with knowledge of the genre, such as The Blacksmith, The Cruel Mother, and The Water is Wide. In each case there is a note to explain the source from which she took the song. There are some from the research of Bob Copper or the repertoire of the Copper family: Blow the Winds O, O Good Ale, some collected by Ralph Vaughan Williams, some by Percy Grainger, some by Cicely Fox Smith, one by Peter Kennedy and another by Gardiner. The title song and the rounds are Sarah's compositions. In the introduction Sarah explains the methodology behind her arrangements. They are for three or four voices. Of those in three parts some are all written in the treble clef which allows for a variety of combinations, while in others there is a bass part in the bass clef. The melody or air is in the top part. In the introduction Sarah explains that for the four part items she has adopted a convention sometimes used in 'West Gallery' compositions of SATB with the tune in the tenor part. At the foot of most items there are suggestions for adapting the arrangements to add variation of performance.

As with other publications from Lyngham House, the format is clear and attractive, a fact that enhances the pleasure of using the book. It will please singers who enjoy singing with others, whether in small groups or larger choirs, and choir leaders who are seeking new material. Many of the arrangements lend themselves to one voice to each part as well as appealing to the increasing number of community choirs.

View the Land is available from Sarah Morgan, 2 South View Terrace, St Mary Bourne, Andover, Hants SP11 6BZ. If you are thinking of starting a community choir, would like to join one but want some initial tuition or would like to improve you're a capella singing, try to attend one of Sarah's workshops or organise one yourself.

Jacqueline Patten

For a further review by Jacqueline of "Peppers & Tomatoes" see above

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