June Tabor - Apples (2007)

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June Tabor - Apples (2007)

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June Tabor is an acquired taste, I've noticed. For me, the first listen to her way back in the late '70s had me smitten. What still amazes me is that she will not be bound by trends; wasn't then, isn't now. Folk music has enjoyed a revival over the last couple of decades, thanks to great, vintage folk and bluegrass reissue albums in CD format, and people like Tracy Chapman, who showed us in the 90's that a single voice with a guitar can still weave a spell, Bonnie Raitt, who stuck by her passion for the blues, even while she was trying other stuff, and Bob Dylan, who still has the muse in 'im. But few artists take the kinds of risks that June Tabor does these days. And I'll bet she doesn't know or care if she's taking risks. Tabor is an artist in the true sense of the word. She creates to satisfy her need, and if the rest of us like or dislike it, she will never betray her instincts (and I'm sure she's thrilled when some of us heed the call). Yes, for some, Tabor's voice can be monotonous (I've heard this criticism of her from friends whom I've tried to 'wow' with her music). She's somber, too, so I'm told.

Tabor knows her will, and it is not to be commercial (or even avoid being commercial). She is a story-teller of the first order, and thus, a true folk troubadour. But lest I paint her as a didactic, I must say that her lovely, motherly voice has beauty and nuance, and that her phrasing is nearly flawless; it's all in the service of the lyric, and along with this attention to detail, she doesn't let a great melody get away. June is a straight singer with little interest in showing off her vocal prowess. She sticks to the melody and treats it like a narration or conversation; in other words, she may be singing a definite melody, but her voice is coloring all of the lyric's meaning in subtle shades.

There are a couple of highlights on this recent recording which convey my point, above. The last song, "Send Us A Quiet Night," accompanied by piano, shows off June's ability to create a mood, as well as any of her past material. The sense of yearning is not melodramatic. It's wistful and maybe a little depressed, but when the strange harmonic sounds come in, and the echo is increased, I, for one, am sent aloft. This is for a night of staring up at the stars.

My big favorite, though, is one of the of the longer tracks (it's over seven minutes). "The Dancing," has a lengthy acoustic accordion opening that seems to threaten boredom to come. Just as one is lulled into a stupor, June starts to sing. The melody is gorgeous, and June gets us in the mood for a night on the town, dancing. There are no drums here, no disco lights. But the bass keeps the slow, sensual rhythm, and the listener is transported into another place, another era. This is a timeless beauty; one of the best performances of June's incredible career. Her hushed but sure voice, underlined with a kind of tembling anticipation of something that will release her, is both soothing and intense – an unusual combination of qualities. "But oh, Monday morning, she comes 'round too soon, the sound of the flax mill, the beat of the loom, but tonight the band's playing a romantic tune; the dance; aye the dancing, the dancing's tonight…" the resignation of the work day is somehow mitigated by the dance after work, and June gives this song a lift with her total understanding and knowing of what she speaks. The result is something sad and melancholy and yet, at the same time, uplifting and full of heart. This song is the hypnotic centerpiece of APPLES, and it's kind of unfortunate that it's the very first song.

I only say this because I totally understand where my friends and music critics are coming from, when it comes to June Tabor's music. I have to say, this stuff takes concentration and patience, and some investment of time to appreciate. If you want the kicky beat, the infectious hook, look elsewhere. But also, if you buy this, and aren't immediately haunted, save it for a rainy day, literally. Wait 'til you want something contemplative and transporting, quiet and beautiful; June Tabor may have your ticket to paradise.

By Mark D. Prouse

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June Tabor - Apples (2007)

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June Tabor Biography

June Tabor is probably the finest female traditional British folksinger of the late 20th and early 21st centuries – if not the best British folksinger of her time, period. What links her to Britain's past traditions is the chilling and emotional qualities of her voice. What links her to the British present is her fine taste in material, arrangements, and backing musicians, along with a willingness to try different things and interpret work by contemporary songwriters.

Tabor's first high-profile project was a duet album with Steeleye Span's Maddy Prior in the 1970s (the duo dubbed themselves the Silly Sisters for the occasion). An all-star cast of some of the leading lights of the British folk scene supported the singers, including Martin Carthy, Nic Jones, and Andy Irvine. For her own albums and tours she has worked with outstanding guitarists, most notably Jones and Martin Simpson. She's also trodden into folk-rock waters with Fairport Convention (with whom she's guested on-stage) and Oysterband (with whom she collaborated on a 1990 album).

Her 1994 album Against the Streams found her still at her peak, interpreting both traditional tunes and efforts by modern-day composers, including Elvis Costello and Richard Thompson. Subsequent efforts include Singing the Storm (1996), Aleyn (1997), Quiet Eye (2000), Rosa Mundi (2001), Echo of Hooves (2003), At the Wood's Heart (2005), and Apples (2007). In 2011 Tabor released Ashore, a conceptual seafaring album that included a cover of Elvis Costello's "Shipbuilding" as well as reworkings of two of her more memorable songs, "Finisterre" and "The Grey Funnel Line."

by Richie Unterberger

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June Tabor - Apples (2007)

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June Tabor - Apples (2007)

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