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Review
After two exquisitely crafted solo albums and some exciting multi-cultural adventures through Englishness with The Imagined Village band project, Chris Wood again defies those who foolishly try to second guess him.
His songs are elusive and his delivery so deceptively introverted that a cursory observation may deem his work too dense for consumption beyond a hardcore folk fraternity. But intelligence, seriousness and subtlety is but an artificial barrier to popular appeal erected by the crushingly blinkered perceptions of the Simon Cowell mindset, and there’s something magically, hypnotically compelling about the quiet way Wood goes about his business. He drops every couplet, every word, every syllable into the narrative with a laser-like precision that quickly gets you hooked.
Unlike its two award-winning predecessors, The Lark Descending and Trespasser, this is an album built almost entirely of Wood’s own painstakingly carved songs, which approach stealthily from unlikely angles to unwrap the covers shielding the troubled issues tainting modern life: extreme nationalism, the perniciousness of profit, official corruption and all.
All of which makes Wood sound like a hopeless idealist, but there’s nothing fanciful or woolly about this album. The songs are political, but not in any fist-clenching, sloganeering fashion. Understatement and intonation are Wood’s trademarks and his scalpel is so artistically applied you scarcely see the cut. But among the social commentaries secreted in tracks like My Darling’s Downsized and No Honey Tongued Sonnet are deeply touching love songs and even the more direct targets of Spitfires and The Grand Correction are beautifully weighted. And his cold dispassion as he recounts the details leading to the killing of Jean Charles de Menezes in the album’s most forthright track, Hollow Point, give the song an eerie tension that wouldn’t be replicated by any frenzied vocal or a howling arrangement.
He breaks the pattern of the other two albums by using a band – Robert Jarvis on trombone, Barney Morse Brown on cello and Andy Gangadeen on drums – but they are never intrusive, offering textural and atmospheric backdrops for his elegant melodies and clever couplets. It confirms Wood as one of the English music’s most potent, if complex, talents. --Colin Irwin
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The Guardian ****
`Chris Wood has developed into an exceptional songwriter ...venturing into areas that few artists would dare tackle.'
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Customer Reviews
Most Helpful Customer Reviews
14 of 14 people found the following review helpful
Format:Audio CD
I was fortunate enough to catch the recent pre Christmas tour for this album. Although the venue in Bristol didn't posess the greatest of acoustics, the pretty revolutionary instrumental mixture just seemed perfect. I would never have thought that acoustic guitar, cello, trombone and drums could work effectively, but here it was (and is with the album), and, like Chris's guitar playing, just the right amount of play and sometimes visionary harmonies.
I've seen Chris several times over the years, and must admit that it was strange to see 'Chris Wood' plus a band, whereas - if he's not performing alone - it's always been 'Chris & Andy' or 'Chris & John & Robert' etc. This promotion to the headline name reflects the increasing maturity of his songwriting; over the last 3 years or so he has developed his individual craft as a songwriter no end.
The album itself turned out to be pretty much as per the gig, but obviously without Chris's ever-increasing 'stand-up' element at live performances. I don't know where those two leads come from which protrude from his David Oddy guitar (well, a bloody great pick-up across the sound hole would be a clue to one of them), or what's in the box of tricks they're attached to, but the Oddy sounds just sensational both live and on the CD. In the track Johnny East, most of the song is played with just the top strings, until BOOOOMMM, he plays the 6th string near the end - what an incredible sound and resonance, again both live and recorded!
You get snippets of history/meaning to some songs when you see him live; my only gripe with the album is that there's nothing but the raw lyrics for each song. Some history behind, say, Two Widows, would be nice, though I expect the listener's own interpretational spin is part of the desired thought process. Is 'a year behind the other' a year in grief, or age - I'm assuming the former.
I may have been smart enough to recognise the covert reference to the BNP in Spitfires after listening a few times, but it was nice to have been fed this prior to to the live rendition.
But that is what Chris's music is all about - listening, listening, listening. You don't pop it on in the background.
The success (or otherwise) of this album will probably dictate whether this band ever get together again. The tour was basically backed by the Arts Council's cheque book - again, further evidence of Chris's growing profile as one of the most influential and individual English folk performers.
I've often thought over the years that he was either grooming himself or, to a lesser extent, being groomed to take over the 'folk grandaddy' role from Mr Carthy. This latest offerring serves to highlight that no grooming is required - his creative artistry with both note and word keeps breaking all known barriers, exactly how he intends it to be!!!
BUY IT - an absolute gem.
I've seen Chris several times over the years, and must admit that it was strange to see 'Chris Wood' plus a band, whereas - if he's not performing alone - it's always been 'Chris & Andy' or 'Chris & John & Robert' etc. This promotion to the headline name reflects the increasing maturity of his songwriting; over the last 3 years or so he has developed his individual craft as a songwriter no end.
The album itself turned out to be pretty much as per the gig, but obviously without Chris's ever-increasing 'stand-up' element at live performances. I don't know where those two leads come from which protrude from his David Oddy guitar (well, a bloody great pick-up across the sound hole would be a clue to one of them), or what's in the box of tricks they're attached to, but the Oddy sounds just sensational both live and on the CD. In the track Johnny East, most of the song is played with just the top strings, until BOOOOMMM, he plays the 6th string near the end - what an incredible sound and resonance, again both live and recorded!
You get snippets of history/meaning to some songs when you see him live; my only gripe with the album is that there's nothing but the raw lyrics for each song. Some history behind, say, Two Widows, would be nice, though I expect the listener's own interpretational spin is part of the desired thought process. Is 'a year behind the other' a year in grief, or age - I'm assuming the former.
I may have been smart enough to recognise the covert reference to the BNP in Spitfires after listening a few times, but it was nice to have been fed this prior to to the live rendition.
But that is what Chris's music is all about - listening, listening, listening. You don't pop it on in the background.
The success (or otherwise) of this album will probably dictate whether this band ever get together again. The tour was basically backed by the Arts Council's cheque book - again, further evidence of Chris's growing profile as one of the most influential and individual English folk performers.
I've often thought over the years that he was either grooming himself or, to a lesser extent, being groomed to take over the 'folk grandaddy' role from Mr Carthy. This latest offerring serves to highlight that no grooming is required - his creative artistry with both note and word keeps breaking all known barriers, exactly how he intends it to be!!!
BUY IT - an absolute gem.
4 of 4 people found the following review helpful
Format:Audio CD
I loved Lask Descending and Trespasser, but this album moves Chris Wood onto a different level. Great songwriting, dynamic arrangements and a really intimate delivery style that draws the listener in effortlessly.
There's not a weak moment here. If I had to choose highlights, though, I would nominate Spitfires, a thoughtful riposte to the BNP's use of the iconic aircraft in its promotional literature, and the astonishing Hollow Point. This tells the story of Jean Charles de Menezes, a Brazilian man living in London who was shot dead by the Metropolitan police in a tragic case of mistaken identity, the day after the London bombings in July 2005. If there's any justice, it will win hatfuls of best song awards. For me, tracks like this epitomise everything that is good about folk music - telling a story about something that really matters, but in a way that is as compelling musically as anything you will find.
I agree with the point another reviewer made - you can almost feel the baton being passed from Martin Carthy to Chris Wood, as the 'main man' of English folk. If you get the chance, do go and see him - he is brilliant live and you will gain fresh insight into the songs.
There's not a weak moment here. If I had to choose highlights, though, I would nominate Spitfires, a thoughtful riposte to the BNP's use of the iconic aircraft in its promotional literature, and the astonishing Hollow Point. This tells the story of Jean Charles de Menezes, a Brazilian man living in London who was shot dead by the Metropolitan police in a tragic case of mistaken identity, the day after the London bombings in July 2005. If there's any justice, it will win hatfuls of best song awards. For me, tracks like this epitomise everything that is good about folk music - telling a story about something that really matters, but in a way that is as compelling musically as anything you will find.
I agree with the point another reviewer made - you can almost feel the baton being passed from Martin Carthy to Chris Wood, as the 'main man' of English folk. If you get the chance, do go and see him - he is brilliant live and you will gain fresh insight into the songs.
3 of 3 people found the following review helpful
Format:Audio CD
Some of my friends laugh 'cos I like folk these days. That's partly your fault, Chris Wood. Saw him at Cambridge FF a couple of years ago, and thought (inasmuch as you do or can after lots of beer), 'this is the business' - political, great voice, sharp lyrics, in no particular order - folk, its like punk, but less spitting and jumping.
Made me think of Roy Harper a bit. And maybe Chris could rock it up for a change - or is that not how folkies would see it? Anyway, whatever, even without rocking it up, this is an excellent album - sardonic, thoughtful, tuneful - I wouldn't pick particular tracks - this is a good all round album. Folk carries the music torch, that's what I say.
Made me think of Roy Harper a bit. And maybe Chris could rock it up for a change - or is that not how folkies would see it? Anyway, whatever, even without rocking it up, this is an excellent album - sardonic, thoughtful, tuneful - I wouldn't pick particular tracks - this is a good all round album. Folk carries the music torch, that's what I say.
Most Recent Customer Reviews
Must buy
I first heard Christ wood on folk awards cd 2012. Hollow point is on that cd. It's a great song so I ordered handmade life album. I wasn't disapointed. Read more
Published 28 days ago by just
Excellent CD
Having seen Chris Wood at a recent concert where he "took over" the whole place by his intimate performance, the CD is a way of reliving that experience. Read more
Published 13 months ago by Aging folkie
Life-changing
It says here that I've got to aim for between 75 and 150 words. I would do, but I think I nailed it with the title of this review. And don't ask me for a favourite track. Read more
Published 13 months ago by Mr. M. Gamon
What modern folk music should be like
As per title, this album does what folk music should: comment on current personal and political situations, and remind us that the protest song movement grew out of folk... Read more
Published 14 months ago by Basket Press
THE BEST FOLK ALBUM FOR YEARS
I'd never heard of Chris Wood before his BBC folk awards nomination and seeing him perform 'hollow point' there. Read more
Published 14 months ago by Pagan Ronnie
Wood an English Oak
This album would be worth buying just for hollow point but it is so much more than that. Simply there is no other record like it strident protest songs and tender love songs. Read more
Published 15 months ago by ali_cam
The most boring man in England
If you dispute my heading, listen to the ten sound clips here.
It is dire, awful, terrible and dismal music - without any redeeming features. Read more
It is dire, awful, terrible and dismal music - without any redeeming features. Read more
Published 17 months ago by Patrick Hurley
Excellent, mostly
Musically faultless, albeit low key and with Chris Wood's voice perfectly matching the instrumentation. Read more
Published 19 months ago by Ray
Refreshingly brilliant - proof that simple is best!
I am new to Chris Wood and found this a refreshing and haunting album. My favourite tracks are Spitfires, Johnny East and My Darling's Downsized. Read more
Published 22 months ago by Littleal
Grown up songs
A truly thoughtful and thought provoking set of songs. It includes one of the most affecting love songs that I think I have ever heard. No teenage angst here. Read more
Published 22 months ago by R. J. Burton
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