The Dollymopps
Album: Wight Cockade
Label: Wildgoose
Tracks: 15
Website: http://www.thedollymopps.co.uk

The Dollymopps (Virgil and Dorana Philpott and Justin Smith) hail from the Isle Of Wight, and specialise in singing, in a distinctive brand of harmony, the songs of that specific region, in particular songs from the 19th century collection of William Henry Long, often (out of necessity, since Long's publication contained no tunes) either to melodies of their own devising or adapted from existing (though largely unfamiliar or little-used) tunes. Wight Cockade is the trio's second CD release, and constitutes the natural followup to 2011's Long Songs, further demonstrating their flair for unusual tune-setting and now additionally embracing songs from other parts of southern England. Their central focus does, however, remain with IOW-related material, to which end they include further songs from W.H. Long's collection (which provided much of the source material for the earlier disc).

As far as performance style goes, the Dollymopps have been frequently compared with The Young Tradition - and yes, I can hear a comparable forthrightness of delivery and purpose (but Virgil's no Bellamy - which is a statement of fact, not a criticism!). Whereas for those listeners more used to the Copper Family's style of singing, the Dollymopps' bolder and more sophisticated approach to harmony will probably disorient, at least at first, for there's a certain amount of ducking and diving, and the constant shifting of the rich textural bedrock can make for a slightly queasy effect. But this feature is also quite stimulating, and once having got used to, is as likely to delight as to disconcert, although it's a delicate balance to strike, and The Isle Of Wight, The Recruiting Sergeant and Jolly Harvestmen arguably teeter a little on the brink, especially where the principal melody is unfamiliar and not easy to define or extricate from the complete trio sound. The dynamic contrast between the three voices is well explored, with a particularly assured sense of line on the Solent homecoming song Come, Come My Brave Boys, which takes pride of place as disc finale. Other highlights include On Gosport Beach, the hunting song Tally Ho! Hark Away!, and From Spithead Roads (the latter collected by George Gardiner and curiously reminiscent of Claudy Banks), while arguably the most interesting track, All Jolly Fellows, is a sturdy rendition using a strangely downbeat-sounding Hampshire tune and words taken from Lucy Broadwood's collection.

There's been some subtle changes since the Dollymopps' first record too; it's good to hear Dorana take the lead (on The Gypsy Girl), and Justin's also thrust to the forefront on occasion, providing some good tonal contrast (and giving Virgil a rest!), and secondly, the trio seem to have consciously reined in the tendency to strive for effect by employing theatrical gestures (which can seem over-mannered and irritate on repetition), and although there are still some minor instances of exaggerated expression at moments in the narrative (as on The Bosun's Story and the Dollymopps' lively setting of Percy Stone's dialect poem Newtown Randy) these aren't anything like as excessive or obtrusive. The pure, unadulterated a cappella diet of the bulk of the CD is interrupted just twice: Virgil takes his guitar out of its case for a sprightly mid-disc solo (a transcription of a military march) and to accompany himself on the dramatic and mysterious ballad of Jonas And The Devil (obscure in origin, but learnt from Bob Roberts, who had retired to the IOW in the 1970s). In all, Wight Cockade is a well-sequenced collection replete with superb singing, one that yields some delightful discoveries.

David Kidman