Here's a small selection of favourite tracks. Wishing all friends, musicians and folk enthusiasts a merry Christmas and all the best for the New Year 2018.

Christmas 2017 and a Guid New Year

BRAES O MAR (Strathspey) 1.30

Tom Hughes & Friends: Traditional Fiddle Music of the Scottish Borders
www.springthyme.co.uk/1044/

This favourite strathspey was old when first published in Bremner's collection in the 1750s. Tom and Wattie play Braes O Mar in the same way that Tom played the tune with his father in the 1920s – the parts first played separately, followed by the high and low alternative second parts played together as a duet. In several old collections the high, second part (B) of Braes O Mar is referred to as the ‘old’ set, and the low second part (C) (an octave below) as an alternative ‘new’ set. The tune was considered old when first published by Robert Bremner in his A Collection of Scots Reels and Country Dances (1757). The original pipe tune is said to have been played when the Earl of Mar raised the Jacobite standard and assembled the clan as at Braemar on Deeside in 1715 before the march to Sherriffmuir. 
Two fiddles: Tom Hughes and Wattie Robson.

Tom Hughes & Friends: Braes O Mar

Gordon Easton is from the Blackhills of Tyrie near Fraserburgh, where his family has crofted for generations. He learned many of his old songs from his mother and grandmother and is well-known for his fiddle, jew’s harp and ‘moothie’ playing, not to mention his considerable skills as a ‘diddler’. 

At the age of 84, he recorded this his first CD (www.springthyme.co.uk/ah05). In recent years he has become a fixture on the festival competition scene, sometimes entering as many as five competitions. In 2004 he was made an honorary life member of the TMSA. In 2007 he was a guest at the Whitby Folk Week.

The farm of Barnyards on the Delgaty castle estate a mile from Turriff gave rise to one of the most famous of the old bothy ballads. Greig opens his Buchan Observer article on Ploughman Songs with Barnyards (FSNE 4, GD 3: 347).

Scots Words 
The song is rich in the Buchan or Doric dialect of the Scots language. As with any language, the Scots tongue has its regional dialects. Click on the following link to discover more about Scots and get direct access to the online Scots Language dictionary: www.springthyme.co.uk/scotslanguage

The Barnyards o Delgaty

1: As I gaed doun tae Turra market,
Turra market for tae fee,
I met in wi a fairmer chiel,
Fae the barnyards o Delgaty.

Chorus:
Lilten adie touran adie, lilten adie touran ae,
O lilten lourin lourin lourin, the barnyards o Delgaty.

2: He promised me the twa best horse,
That ever gaed in iron sheen;
Fan I gaed hame tae the barnyards,
There wis naething there but skin and bane.

3: Noo the auld black horse sat on his hunkers,
The auld dun meer lay on her wime, [i.e. belly
And aa that I could up and cry,
They widna rise at yokin time.

4: Noo Lang Meg Scot she maks ma brose,
It's wi her I canna agree,
First a knot an syne a mote and then a knot, [i.e. a lump then a little
And aye the ither jilp o bree. [i.e. spill the rest

5: Noo Jean MacPherson maks ma bed,
You should see the marks upon ma shins,
Jean, the coorse illtrickit jaud, [i.e. mischievous girl
She fills ma bed wi prickly whins.

6: Fin I gang tae the kirk on Sunday,
Mony a bonnie lass I see,
Sittin by her faither's side,
An winkin o'er the pews at me.

7: Noo some can drink and nae get drunk,
Some can fecht and nae get slain,
I can coort anither chiel's lass,
An aye gang welcome tae ma ain.

8: Ma cannle nearly burnt oot, [i.e. candle
The snotter's fairly on the wane, [i.e. the wick burnt down
So fare ye weel ye barnyards,
Ye'll niver catch me here again.

Chorus:
Lilten adie touran adie, lilten adie touran ae,
O lilten lourin lourin lourin, the barnyards o Delgaty.

Gordon Easton: Barnyards o Delgaty

The Wassail celebration involves Christmas revellers taking a Wassail bowl, usually a large wooden vessel from house to house to distribute good cheer. This version was recorded in 1972 from Lemmie Brazil - a member of a large Gypsy traveller family in Gloucester. A near complete collection of the songs and music of the family is available as a 3CD set on the Musical Traditions label: The Brazil Family: Down by the Old Riverside - although this song was not included. But here it is sung by the 82 year old Lemmie:

Wassail Song
From the singing of Lemmy Brazil, Gloucester 26 December 1972.  Collected by Peter Shepheard  (Springthyme 67.8.3). 

He said I ain’t come here not to beg or not to borrow,
I have come here just to drive away my sorrow,
A bit of your good cake an’ a drop of your strong beer,
An’ I hope you merry Chrissemas an’ a happy New Year.

Come all you lucky gentlemen that sits around the fire,
Remember us poor wassailers who walks through muddy mire,
A bit o’ your good cake and a drop o’ your strong beer,
An’ I hope you merry Chrissemas an’ a happy New Year.


Lemmie Brazil: Wassail Song

ROLLING HOME

Jim Reid vocals, guitar & mouthorgan; Jim Brown, Harry Scott and Jim Thomson accordions; Geordie Anderson fiddle and vocals; Christine Stewart guitar and vocals and Sandy Beattie double bass  .

A Scottish version of a shanty song that is widely known across the seven seas. In America the sailors are sometimes rolling home to California or to Boston, and in Europe the song is sometimes related to Hamburg.

1: Call all hands to man the capstan,
See the cable running clear,
Heave around and with the wheel boys,
For our homeland we will steer.

Chorus:
Rolling home, rolling home,
Rolling home across the sea,
Rolling home to Caledonia,
Rolling home dear land to thee.

2: Fare ye well ye Spanish ladies,
We must bid you all adieu,
Happy times we've had together,
Happy times we spent with you.

3: Round the horn one frosty morning,
And our sails are filled with snow,
You could hear the shellbacks calling,
Heave around and let her go.

4: Now the wake we leave behind us,
Seems to know the way we go,
There's a hearty welcome waiting,
In the land that we all know.

Chorus:
Rolling home, rolling home,
Rolling home across the sea,
Rolling home to Caledonia,
Rolling home dear land to thee.

Words adapted and music arranged by Jim Reid
Springthyme Music © 1988.

This is the title track on their album The Foundry Bar Band: <a href="http://www.springthyme.co.uk/1026/" rel="nofollow" target="_parent">Rolling Home</a>.

Rolling Home

BONNIE SHIP THE DIAMOND

On Springthyme SPRCD 1042
Shepheard, Spiers & Watson - They Smiled as We Cam In

Tom Spiers: This version of the well known whaling song was learnt from the singing of Peter Hall who may have taken it from the Greig-Duncan manuscripts where there are eight texts with tunes although none is quite the same as this. 

The Diamond was built in Québec in 1801 and brought into the Aberdeen fleet in 1812. The Aberdeen Journal of 18 March 1812 reports: “The fine new Ship Diamond, Gibbon (that is, with Captain Gibbon in command) sailed on Thursday last, for the Davis’ Straits Whale Fishery.” When she arrived back in August she had a catch of eleven fish (that is, whales). The ship went on a yearly voyage until 1819 when she was caught in the early autumn ice and lost while staying too late in the season. Fortunately the crew were all saved. (GD 1:11; Roud 2172)

Tom (vocal) with Pete (melodeon and vocal) and Arthur (whistle and vocal)

1: The Diamond it’s a ship ma lads, for Davis Straits she’s bound,
The quay it is aa garnished wi bonnie lassies roon;
Captain Gibbon gives command, tae sail the ocean wide,
Far the sun it niver sets ma lads, nor darkness dim the sky. [far=where

Chorus:
Sae be cheerful ma lads and let yer herts niver fail,
For the bonnie ship the Diamond goes a-fishin for the whale.

2: Alang the quay at Aiberdeen the lassies stan aroon,
Their shawls aa pued aboot them, their saut tears rinnin doun;
“Dinna greet ma bonnie lassie, though ye’ve been left behind,
The rose’ll grow on Greenland’s ice afore I change ma mind.”

3: Best wishes tae the Greenland fleet and aa the whalin trade,
And likewise tae the sailor lads fa earn their daily breid; [fa=who
They wear the trousers o the white and the jackets o the blue,
Fan they get back tae Aiberdeen they’ll find sweetherts a-new. [fan=when

4: Sae jovial it will be the day, fan the Greenland men come hame,
Wi ships that’s full o oil ma lads, and money tae their names;
They’ll mak the cradle for tae rock and the blankets for tae teer,
And ilka lass in Aiberdeen cry, “Hish-a-ba ma dear.”

5: Here’s a health untae the Hercules and anither tae the Jane,
A health untae the Bon-accord and the Diamond ship o fame;
A health to Captain Gibbon, and aa the Diamond’s crew,
A health tae every bonnie lass that’s got a hert that’s true.

6: Here’s a health untae the Hercules and anither tae the Jane,
A health untae the Bon-accord and the Diamond ship o fame;
A health to Captain Gibbon, and aa the Diamond’s crew,
A health tae every bonnie lass that’s got a hert that’s true.

Chorus:
Sae be cheerful ma lads and let yer herts niver fail,
For the bonnie ship the Diamond goes a-fishin for the whale.

This is a track on their album Shepheard, Spiers & Watson: <a href="http://www.springthyme.co.uk/1042/" target="_self">They Smiled As We Cam In</a>.

c p 2006 Springthyme Records • Springthyme Music

Bonnie Ship The Diamond

The Leda Trio: Airs For The Seasons
David Foulis - Sonata III in E Major

Foulis' Sonata III in E Major is in the shape of a Neapolitan Sinfonia with an opening Allegro, a central Largo in the tonic minor and final Allegro non troppo. The Allegro is cast in a miniature sonata form, with a bold first subject and brief development in the dominant. The Largo is a particularly good example of Foulis' natural melodic gifts. The use of expressive double stops adds intensity to the gently flowing pastoral character of the movement, which is a siciliano. The Allogro non troppo has much of the elegance of a minuet, and the sonata as a whole is bright and tuneful.

This is a track from the album The Leda Trio: Airs For The Seasons: Rare, interesting and beautiful music from 18th century Scotland - music that would have been an important part of social life in Edinburgh at that time. David Foulis (1710-1773), an Edinburgh physician who died in obscure poverty, composed six sonatas over a number of years, published in a very scarce edition. James Oswald (1710-1769), in contrast, became an established professional musician and composer to George III, ending his life a wealthy man with many published compositions to his credit.

The album includes three of the Foulis Sonatas - Sonata II in F major, Sonata III in E Major and Sonata V in A Major and a number of pieces from Oswald's Airs for the Seasons - The Lilac, The Nightshade, The Sneezewort and The Narcissus.

DAVID FOULIS (1710-1773) was born into a distinguished family. He became a physician, commencing his studies in 1729 in Edinburgh (where Armstrong was a fellow student) at what was the first Faculty of Medicine in the British Isles, and continuing at Leyden and Rheims. He returned to Edinburgh, passed his examinations to become a fellow of the Royal College of Physicians in 1737, and in 1741 was appointed Physician to George Heriot's Hospital, a charity school. He appears to have lost favour with his family after his marriage, ending his life in impecunious circumstances, depending upon the charity of his fellow professionals and failing to inherit anything of the family's substantial property.

Foulis' six sonatas seem to have been written over a long period and in a different order from that published. They appeared anonymously as Six Solos for the Violin 'Composed by a Gentleman', but more than one copy of the very scarce publication has a contemporary ascription of them to him. The date of publication is thought to be around 1770 and the sonatas are dedicated to Francis Charteris of Amisfield, probably an old family friend, and certainly a fellow member of the Edinburgh Musical Society from 1741 onwards. Although the cover of the publication describes the works as 'Solos', they are individually titled 'Sonata', the Italian rather than English term.
 
Foulis must have studied music to reach the proficiency that he did as a composer, though all that is known of his music is this publication and a Minuet and March. His writing for violin is excellent and we may guess that he understood and could play the instrument to a high standard. As a member of the Edinburgh Musical Society in the 1740s he was expected to be a performer, and he would have played alongside William McGibbon a fellow member who was probably the most accomplished British violinist of his day.

JAMES OSWALD (1710-1769) started his career as a dancing master in Dunfermline in the early 1730s. He was also a cellist, violinist, music teacher, publisher and composer, active in Edinburgh from 1736, and moving to London in 1741 where he rose to the height of his profession, becoming Chamber Composer to King George III in 1761, and ending his life a wealthy man in his own right as well as spending his last days in the splendid Knebworth House which his second wife had inherited. An early notebook from 1734 shows that he studied and imitated the Italian style of composition, as well as cultivating his own native music.
 
His works included two satirical Cantatas, Masonic vocal trios published in Edinburgh in 1740, pieces for guitar solo and duet. Besides these, there are Six Pastoral Solos, Twelve Serenatas, Fifty-five Marches, a Sonata on Scots Tunes, and The Caledonian Pocket Companion - a fifteen volume collection of Scots songs and tunes made by Oswald, some of them traditional and others composed by himself and his Airs for the Seasons in two volumes.
 
Oswald's Airs for the Seasons commenced publication in 1755 in parts as Airs for the Spring - and so on for Summer, Autumn and Winter, and they were so successful that he put together a second set intended to follow on from the first, as the page numbers indicate. As each season has twelve 'Airs', bearing the title of a flower, shrub, or tree, this makes the remarkable total of twice forty-eight pieces, representing ninety-six different plants. However, the second set survives in only a single copy (in the Wighton Collection in Dundee City Library).

David Foulis: Sonata III in E major

Iain McLachlan: An Island Heritage

Iain McLachlan's music comes as fresh as the sea breezes wafting over the Uist machair - Highland and Gaelic as his island heritage. I recall two wonderful music sessions with Iain at a ceilidh and dance in Daliburgh in South Uist back in 1976 and again at one of the famous Kinross Festivals where he played about a dozen pipe marches off the cuff with the unbroken link up that comes of playing at a thousand dances.

Iain, from Benbecula, is best known as an accordionist, but on this recording he also plays fiddle and melodeon, and is joined by Calum Iain MacCorquodale of Bayhead, North Uist on accordion and fiddle and by Calum Campbell of Balivanich on goose and jaws harp. His Highland Harry using the trill grace note which was a favourite ornament with the old Highland fiddlers, and the two pipe reels of Drummond and The Sheepwife on accordion with Calum on the goose, are truly inspiring.
[from sleeve notes by Aonghas Grant, Lochaber].

Here he plays a set of reels on the single row melodeon: MRS MacLEOD OF RAASAY
and HIGH ROAD TO LINTON. The set was recorded at the Kinross Festival in September 1976.

This is a track from the album Iain McLachlan: <a href="http://www.springthyme.co.uk/1022/" target="_self">An Island Heritage</a>.

Iain McLachlan: Mrs MacLeod Of Raasay/ High Road To Linton

Bill Black: Reels: ITCHY FINGERS/ WICKED WILLY/ DINKY'S REEL/ MISS JANE OF VIOLET BANK

Based in Perthshire, this is the fourth album on Springthyme from Bill Black and the band: Scottish dance music played with a rich style and a solid enthusiasm that has ensured the popularity of Bill and the band at ceilidhs and dances for over 30 years. The band are: Bill Black: button box; Kathryn Nicoll: fiddle; Niel Caul: piano accordion; Mabel Gray: piano; Robert McFadyen: drums.

The album includes dance sets for the Barn Dance, Polkas, Reels, St Bernard's Waltz, Postie's Jig and a Virginia Reel. Fiddler Kathryn Nicoll plays a superb slow air Fyvie Castle by Scott Skinner followed by a reel Mary Claire by the Canadian fiddle composer J. Holland.

This is a track from the album Bill Black Scottish Dance Band: <a href="http://www.springthyme.co.uk/1037/" target="_self">The Dawning</a>.

Bill Black: Itchy Fingers/ Wicked Willy &c

RHYNIE

On Springthyme SPRCD 1039
Jock Duncan - Ye Shine Whar Ye Stan!

Jock Duncan learned this Aberdeenshire masterpiece from the singing of the great John Strachan (farmer at the farm of Crichie the other side of Fyvie from Jock's parents family farm) - who sang it accompanying himself on concertina. The song was included in Norman Buchan's influential 101 Scottish Songs published in 1962 and is in the Greig-Duncan Folk-Song Collection (GD 343) under the title Jock o Rhynie. An old man, William Forsyth, told Greig thet he 'remembered as a boy his mother sing Jock o Rhynie and this would take the song back to say 1830.' The farmer at Mains o Rhynie (in the high glens of Auchindoir in Strathbogie about 8 miles south of Huntly) from 1830 until his death in 1851 was John Gordon and he was known as 'Jock o Rhynie' but there may have been earlier Jocks at Rhynie and the song could well be earlier. He is said to have denied his work was 'ill to work' although he admitted that Rhynie's work was 'very hard.'

1: At Rhynie I sheared my first hairst,
Doun by the fit o Benachie,
Ma maister there was ill tae fit, [hard to please
But laith wis I tae loss my fee.
 Linten ourin ourin addie,
 Linten ourin ourin ee.

2: Rhynie's wark is ill tae work,
An Rhynie's wauges is bit sma,
Rhynie's laws are double strick, [i.e. very strict
And that's fit grieves me warst of aa.
 Linten ourin ourin addie,
 Linten ourin ourin ee.

3: Rhynie is a cauld clay hole,
It's nane een like ma father's toun,
Rhynie is a hungry place,
And it disnae suit a Lawland loon.
 Linten ourin ourin addie,
 Linten ourin ourin ee.

4: Sair I've focht and sair I've vrocht, [i.e. worked
Until I won my penny fee,
And I'll ging back tae the gate I cam, [i.e. the way I came
And a better bairnie I will be.
 Linten ourin ourin addie,
 Linten ourin ourin ee.

Jock: John Strachan was never bettered at this song about the hand shearin days before the reaper made short work of it. This young man's first shearin wis an unhappy experience, wages were sma and it wis a hungry place and the farmer's laws were double strict. Folk think o Rhynie as being 'My God, thats a wild place, there canna be much growin up there.' It's hilly and there's a lot a sheepie grun, but it's (also) some o the finest corn growin country that ever wis.

Jock never worked on Rhynie, but not long ago he and his wife Frances climbed the nearby hill Tap o Noth to look down over the lands of Rhynie.

Jock: Whit drew me to Tap o Noth wis the fine walk through the whin and up through the breem. You're gaun back 4, 5000 year because ye'd the vitrified fort on the top. And here's me standin on the top o the vitrified fort singin Rhynie, lookin doun, a beautiful sunny day, on the hairst parks o Rhynie away in the distance. And I wis thinkin o Jock –

This song is from the Springthyme CD Jock Duncan: <a href="http://www.springthyme.co.uk/1039/" target="_self">Ye Shine Whar Ye Stan!</a>.

Jock Duncan: Rhynie

Savourna Stevenson on clarsach with Aly Bain on fiddle in a lilting arrangement of this great traditional Irish tune learned from the repertoire of the famous Irish Uillean piper Willie Clancy of Miltown Malbay, County Clare. This version is a newly compiled and extended version included as an additional track on the 2012 reissue of the album. 

Savourna Stevenson has been playing the Scottish small harp or clarsach since she was a child and has long been regarded as one of its leading exponents. This track is from her Tickled Pink album where she plays traditional tunes from Ireland, England, Scotland and Shetland and also includes several of her own compositions including the title track. Savourna plays clarsach on all tracks and is joined on selected tracks by Aly Bain on fiddle and by Frank Usher on acoustic guitar. Since recording this her first album as an LP in 1985 Savourna has recorded more than half a dozen albums – several with rock and jazz musicians – and, while identifying strongly with her Scottish roots, she continues to break through stylistic barriers between traditional, world music, blues, jazz and classical.

Savourna has her own website at <a href="http://www.savournastevenson.com/" target="_self">Savourna Stevenson</a>

Buy this!

Savourna Stevenson & Aly Bain: The Trip We Took Over The Mountains

Springthyme is a record label dedicated to presenting Scotland's living tradition in song and music. Founded in 1974 by musician and singer Pete Shepheard, the label has introduced many fine singers, musicians to the world of recorded music. The very first album was recorded during the weekend traditional music festival held in Kinross in 1973 with musicians including Aly Bain and Tom Anderson and the Shetland Fiddlers and the first recording of ballad singer Stanley Robertson of Aberdeen. Other artistes on Springthyme include Jim Reid, The Foundry Bar Band, Ossian, Jock Duncan, Bill Black, Duncan Williamson, Lizzie Higgins, Jim Crawford, Tom Hughes, John Watt & Davey Stewart, Iain McLachlan and many more including a CD from Pete's own band Shepheard, Spiers & Watson. Springthyme has also issued recordings from their field recordings archive in cooperation with the Musical Traditions label.