‘I’ve just recorded an album with an American band,’ said Olivia Chaney, introducing a new song on her support slot for Shirley Collins at the Barbicanearlier this year. I remember hearing that remark and thinking it’ll be interesting to hear her in a band context with some transatlantic backing.
What I didn’t expect (although it would be entirely possible to work it out) was that she’d just recorded an album with The Decemberists. In case you don’t know, they are a very popular Grammy-nominated American indie rock band from Portland, Oregon. They’ve recorded seven acclaimed albums including 2011’s The King Is Dead – which reached No. 1 in the U.S. Billboard 200 chart.
To give you an idea of the scale of the contrast, Olivia has just over 1,500 followers on Spotify, The Decemberists more than 275,000. Don’t take that as a criticism, in my book Chaney should have much, much more than that…
Her debut album from 2015, The Longest River is a masterpiece, lauded by FRUK’s David Kidman as ‘eminently treasurable’, and receiving rave reviews in The Independent and The Guardian, alongside many others. So Chaney is definitely not an unequal partner here, albeit an emerging rather than an established artist.
The collaboration came about when Decemberists’ singer, guitarist and lead songwriter Colin Meloy opened a conversation with Olivia on Twitter. Like anyone with ears to please, Colin was a fan of Olivia’s debut, and the tweet exchange led to a support slot for Chaney on The Decemberists’ tour. It was during a late night conversation that Colin suggested, “Have you ever thought of having a backing group? We’ll be your Albion Dance Band.” It turned out to be the king of offers…
The fact that Meloy knew about No Roses by Shirley Collins and the Albion Dance Bandin the first place gives you an indication of his (and the band’s) deep love for British folk rock. And that he saw Chaney in the same mould as Collins demonstrates his appreciation of her as a major talent.
The offer came good and so good. The resulting collaboration The Queen of Hearts is a towering, majestic work. It is effortlessly confident, an album that shifts from pleasure to pleasure – a consistent collection superbly arranged and played. Produced and recorded by Tucker Martine (Modest Mouse, My Morning Jacket, Neko Case) alongside Colin Meloy, it is at turns a nostalgic nod to the great British folk-rock albums of the late 60s and 70s but equally assured in a fresh, contemporary way.
The material is largely traditional, and much of it familiar to folk audiences. The Queen of Hearts, which opens the album, was learnt from Martin Carthy and versions have been recently recorded by The Unthanks and Josienne Clarke and Ben Walker.Willie o’Winsbury is about as familiar as it gets – only last year Jim Moray offered his own beguiling version, William of Barbary. So you might wonder if we need more interpretations of these trad songs. But they are sung so beautifully by Chaney, and The Decemberists bring fresh life to these age-old tales that familiarity is never an issue.
And what’s great is that (hopefully) these songs will get a much wider airing and appreciation because of their inclusion here. And it’s not just ballads that get The Decemberists treatment, a set of Morris tunes, Constant Billy (Oddington) / I’ll Go Enlist (Sherborne), has been deftly arranged by The Decemberists’ accordionist Jenny Conlee. True to their word, they sound like Prospect Before Us-vintage Albion Band. It’s two minutes of absolute, unexpected bliss.
The album is firmly in the rock end of folk often with electric guitar, drums, bass and hammond organ backing, augmented by harpsichord, accordion and violin. Sheepcrook and Black Dog positively rocks with fuzzy electric guitar a la Zeppelin’s No Quarter over which Chaney soars like Trembling Bell’s Lavinia Blackwell. Sheepcrook pushes the band into wyrd new realms, sounding like psychedelic folk legends The Trees.
The song segues into To Make You Stay making an eight-and-a-half minute psych-folk epic. Colin takes the lead vocals on this, the final track, a cover of the Lal Watersonmasterpiece from the album Bright Phoebus. And Colin is clearly having a blast singing this obscure but brilliant song. He also takes the lead on Blackleg Miner which owes much to the Steeley Span version but sounding much fresher and more upbeat here.
Another cover is a heart-stopping The First Time Ever I Saw Your Face sung by Chaney, which lays the ghost of the Roberta Flack-emoted version, with hints of the traditional Cruel Mother taking Ewan McColl’s standard back to its folk roots.
I really hope that this album is taken to heart by long-term folk fans on this side of the Atlantic because it’s nothing short of a love letter to the music and traditions we adore. The performances are passionate rather than studious, rawkus rather than reverential.
Joe Boyd, another American with a deep love for British folk (and a catalyst to the invention of British folk rock) is a fellow admirer of Chaney. ‘I’ve only heard Olivia a few times,’ says Joe. ‘But that’s enough to make me a fan.’
In his acclaimed account of his life in the music industry, White Bicycles: Making Music in the 1960s, Boyd writes, ‘Why does England hate its own folk music?… In England, the mere thought of a morris dance team or an unaccompanied ballad singer send most natives running for cover.’ It’s an attitude I’m sure FRUK readers and listeners are only too familiar with, although it’s unlikely to be a perspective we share!
Boyd later shares an anecdote about American blues legend Taj Mahal who came to receive a Lifetime Achievement Award at the Radio 2 Folk Awards, positively lapping up a performance by The Watersons, The Copper Family and various folk royalty. The unaccompanied harmonies on the traditional Thousands or More so enthralled Taj that he rose to his feet and joined in the chorus. ‘…his grin testified to the pleasure that evening’s music gave him,’ writes Boyd. ‘Perhaps it’s easier for foreigners.’
That thought might explain the alchemy of Offa Rex. Chaney is undoubtedly one of the freshest and most exciting talents of the British folk scene, but teamed up with The Decemberists might just mean this music goes mainstream (please!). Anyone who’s seen or heard her knows that Chaney is cool, and I don’t believe that The Decemberists are on a mission to make British folk cool. I think they had no idea it wasn’t ‘cool’ in the first place.