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Ragged Kingdom
Ragged Kingdom in Bloomington, MN
Current price: $17.99
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With
Ragged Kingdom
, two of the linchpins of the British folk scene,
June Tabor
and
Oysterband
, team up for a second time, 21 years after collaborating on what's considered as one of the genre's modern classics. The former's second album of the year (following her critically acclaimed solo effort
Ashore
) adheres to the same formula as 1990's
Freedom and Rain
, with a mixture of traditional obscurities and unique interpretations of contemporary pop/rock songs, but backed by
Al Scott
's strident production it's a much bolder and more expansive affair than its predecessor. There are still the occasional moments when you can hear a pin drop, such as the eerie a cappella adaptation of 18th century Scottish ballad "(When I Was No But) Sweet Sixteen," the sparse acoustic blues treatment afforded to
Shel Silverstein
's Civil War-based "The Hills of Shiloh," and a stunning, and indeed very brave, stripped-back reworking of "Love Will Tear Us Apart," which is almost unrecognizable from the gloomy
Joy Division
original. But elsewhere, the joining of forces appears to have instilled a newfound sense of urgency on both sides, with
Tabor
sounding gutsier than ever on the impassioned cover of
PJ Harvey
's "That Was My Veil" and sinister rendition of the pagan-like Somerset carol "Judas (Was a Red-Headed Man)," while
's foot-stomping rhythms and surging guitars on pro-Napoleon opener "Bonny Bunch of Roses" (one of several mother-son dialogues between frontman
John Jones
) and the furious cellos and propulsive beats on
Bob Dylan
's "Seven Curses" provide a captivating intensity that simmers throughout much of the album's 12 tracks. The lilting mandolins and folk violins on "Son David," which sits at odds with its extremely dark murderous themes, and the rather tiresome sea shanty makeover of
James Carr
's '60s soul standard "The Dark End of the Street" show that the pairing doesn't always produce "dream team" results. But they're the only real misfires on a record, which, more than two decades on, effortlessly rekindles the magic of their last effort, and is just as likely to attain the same cherished status. ~ Jon O'Brien
Ragged Kingdom
, two of the linchpins of the British folk scene,
June Tabor
and
Oysterband
, team up for a second time, 21 years after collaborating on what's considered as one of the genre's modern classics. The former's second album of the year (following her critically acclaimed solo effort
Ashore
) adheres to the same formula as 1990's
Freedom and Rain
, with a mixture of traditional obscurities and unique interpretations of contemporary pop/rock songs, but backed by
Al Scott
's strident production it's a much bolder and more expansive affair than its predecessor. There are still the occasional moments when you can hear a pin drop, such as the eerie a cappella adaptation of 18th century Scottish ballad "(When I Was No But) Sweet Sixteen," the sparse acoustic blues treatment afforded to
Shel Silverstein
's Civil War-based "The Hills of Shiloh," and a stunning, and indeed very brave, stripped-back reworking of "Love Will Tear Us Apart," which is almost unrecognizable from the gloomy
Joy Division
original. But elsewhere, the joining of forces appears to have instilled a newfound sense of urgency on both sides, with
Tabor
sounding gutsier than ever on the impassioned cover of
PJ Harvey
's "That Was My Veil" and sinister rendition of the pagan-like Somerset carol "Judas (Was a Red-Headed Man)," while
's foot-stomping rhythms and surging guitars on pro-Napoleon opener "Bonny Bunch of Roses" (one of several mother-son dialogues between frontman
John Jones
) and the furious cellos and propulsive beats on
Bob Dylan
's "Seven Curses" provide a captivating intensity that simmers throughout much of the album's 12 tracks. The lilting mandolins and folk violins on "Son David," which sits at odds with its extremely dark murderous themes, and the rather tiresome sea shanty makeover of
James Carr
's '60s soul standard "The Dark End of the Street" show that the pairing doesn't always produce "dream team" results. But they're the only real misfires on a record, which, more than two decades on, effortlessly rekindles the magic of their last effort, and is just as likely to attain the same cherished status. ~ Jon O'Brien
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