Shepheard, Spiers & Watson
Album: Over The High Hills
Label: Springthyme
Tracks: 15
Website: http://www.springthyme.co.uk/ssw

Peter, Tom and Arthur are pre-eminent on the Scottish traditional scene; all three are strong and characterful singers and highly skilled musicians, and they've known each other for many years, over which time they've amassed a fantastic and diverse repertoire that encompasses both usual and unusual versions of folk standards, classic ballads, and songs from the traveller traditions of Scotland. It's been a long time (around seven years) since their last album together, They Smiled As We Cam In - too long, I say, which is why Over The High Hills is so eagerly awaited.

It's a further helping of what they do best, what I'd unhesitatingly term proper Scottish traditional music, sung and played with the highest level of musicianship and the keenest and most enthusiastic sense of tradition you're likely to encounter on the circuit. And it's a determinedly even-handed set, with each singer leading five songs and all three contributing equally to the carefully selective instrumental backings. It's been said before, but I can't say it any better - you need to know that these guys have a real knack for accompanying their songs with simple yet effective arrangements that add just the right degree of instrumental colour without taking the listener's attention away from the all-important texts. For instance, you may well find yourself luxuriating in the glorious richness of Tom's swooning fiddle and Peter's melodeon wrapped around Arthur's fine singing of the ballad of Robin Hood And The Pedlar, but I guarantee you'll also hear, and hang on to, every word that's sung; similarly so with Arthur's lusty account of the Aberdeen version of Rovin' Eye.

Both in terms of repertoire and delivery, the singers' personal acquaintance with many members of the traveller community is strongly evident on this new collection. John Barleycorn comes in an unusual and stimulating minor-key version sourced from the repertoire of the late Duncan Williamson, whereas Tom's chosen version of The Banks O' Airdrie comes from the singing of Jeannie Robertson, and that of Barbara Allen from an early 1960s recording of settled traveller John Stewart. Tom's charismatic and intelligent use of various open tunings is a trademark of his personal accompanimental style, and his atmospheric playing gives a very special flavour to Peter's plaintively admonitory account of Fan Diemen's Land. Arthur's prowess on the humble whistle comes into its own too, adding idiomatic and melancholy shading to ballads like the wilfully fragmentary Bonnie George Campbell (this given in the expanded version Peter heard sung by Duncan Williamson) and the closing Night Visiting Song. And the curiously infectious Willie's Lyke Wake, from Peter Buchan's 1828 volume of ballads, is a real discovery.

This is top-notch, and absolutely the real thing in terms of Scottish traditional music. Oh, and full texts and notes are available on the website…

David Kidman