Description:
Review:
5.0 out of 5 stars intricate arrangements
(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } Wonderful. You can listen three times in a row and it sounds different each time.
5.0 out of 5 stars Five Stars
Innovative approach to traditional music.
Eliza Carthy and the Wayward Band – Big Machine (album review)
(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } I’m going to jump wholeheartedly on the bandwagon, nail my colours to the mast and join the chorus. This is a wonderful album in and of itself, and it entirely deserves the great reviews it has been getting. There’s a cohesiveness here that makes it a joy to spend time with, and if I gave stars on this website I’d slap up a 5 and get straight back to listening.The big-band setup that Eliza has been using at festival dates in recent years provides her with a robust live sound, faithfully reproduced here by producer Jim Sutherland. You read about albums that are made while the live band is ‘hot’ from gigging, and you get the sense that the Wayward Band made Big Machine almost as soon as they stepped from the stage. There will be inevitable comparisons with the original folk big-band, Bellowhead (at least one of whom appears here), but there’s a gritty difference that’s hard to put a finger on. The Wayward Band have a sassiness about them that perhaps stems from their lead singer, whose vocals and fiddle playing have never been short of a passionate earthiness. It’s almost a Beatles vs Stones thing – trained virtuosos vs the call of the wild (!!) – with Eliza in the rather improbably role of Mick Jagger (which I’m sure he wouldn’t mind – he never needed asking twice to dress up in a frock).There are standouts throughout the album, but the tracks that have programmed themselves into my own internal playlist include “Fade & Fall (Love Not)”, which may well be Carthy’s bid for the next Bond theme, “The Fitter’s Song”, infusing Ewan Maccoll with a lairy bluesiness that would be as fitting on the West End stage as it would in a barrelhouse, “Hug You Like a Mountain”, which appears to pull Teddy Thompson in from the Wild West for a throaty duet, and “Great Grey Back”, which has been a part of her set for sometime, originally appearing on the Wayward Daughter collection.That’s not to say there’s anything wrong with the other tracks, of course – I could equally have picked out “Devil in the Woman”, which the singer apparently found during a folksong-digging excursion to Chetham Library in Manchester, the barnstorming “Jack Warrell’s (Excerpt) – Love Lane”, and Carthy’s own “You Know Me”, in which she takes on the refugee crisis, ably assisted by MC Dizraeli. And when all the picking’s done, I’ve barely anything left to chuck aside. It’s one of those rare and lovely albums that demands to be listened to as a whole.Having done exactly that time and time again over the last couple of weeks, there’s one semi-serious question that I feel I ought to ask of this album and its creators. The cohesive nature of this album, coupled with the way it plays to the strength of an ensemble, makes it sound at times as though it was made for stage. Given that Peter Bellamy’s The Transports is already garnering rave reviews as it wends its way around theatres across the country, might it be the perfect time for someone to step up construct a narrative around Big Machine? Folk operas are in. You read it here first.
Ballzy rumbustious full on performance from Eliza with large supportive big folk band blows the cobwebs away
I have taken a while before I have posted a review of this album. On the first few listens I found it all a bit over the top ,and was worried that Eliza was trying too hard to be different. With subsequent listens over a few weeks my ears have become more tuned in, and my initial reservations have largely been overcome. Eliza's folk credentials are 2nd to none, and she likes to try out different things and surprise and challenge her listeners at times, not repeating the same album twice and taking risks.Here she balances on the high wire, her big bold strong voice is backed by the Wayward Band ,a supporting group of 11 fellow folkies. They follow in the tradition of folk super group Bellowhead, with a large loud and proud rambunctious joyful full on sound and performance and share some of the same members, such as fine fiddler Sam Sweeney. The feeling is very live, not over rehearsed, with some rough edges and sponteneity at times still very much in evidence. Some of the tracks really rock out, in particular Jack Warrel's Hornpipe (excerpt)/Lovers Lane where everyone seems to play at full tilt, it is like a heavy metal folk jam session. There are other long term collaborators, such as Saul Rose, and Lucy Farrel from the Furrow Collective , but I personally did not know many of the other musicians.There are also some guest slots:Teddy Thompson on the Rory McLeod track Hug You Like a Mountain;more surprising MC Disraeli on You Know Me based on the refugee crisis with the dangerous migration by families in flimsy boats across the Mediterranean; and Damien Dempsey with a beautifully sung contribution on I Wish That The Wars Were All Over. It is not all volume turned up to 11 the whole way through thank goodness, there is some light and shade contrast.On the Deluxe album there is a whole additional CD, well worth getting for the small extra cost . There are one or two alternative takes from the main album, but also some surprises. I particularly like the slightly ramshackle version of Ray Davies's Sunny Afternoon, described as a late night demo which I guess was well lubricated, a charming merry cover. Aleppo In the Sun As It Was featuring MC Disraeli is also a thought provoking standout track that sticks in the mind.This album has received some rave reviews, it is bold, brave, full on and memorable, another great twist and turn in Eliza's illustrious career, never taking the safe boring career path, but challenging and evolving in new often unanticipated directions, there is certainly nothing else like this around, it is a defiant one off that stands out from the crowd.
One of the best albums you will ever hear!
It's february and we already have the album of the year. If you look at the line-up of the band or you have happened to seen them live over the last 2 years you will have high expectations, this album delivers everything you could want and more as a folk rock album. Eliza and the gang have not just gone to replicate the live performances, though the energy is definitely there, the arrangements and the production on the cd really get to the heart of each track and lets all the musicians shine. There are a great range of traditional material as you might expect but this has been given the wayward band magic, the sparring between David Delarre and the "string section" on Jack Warrell's/Love Lane is astounding, not since Swarb and Richard Thompson on the early fairport albums have I heard such brilliant interpritation of traditional folk. The songs also cover traditional and contemporary and the subject matter does not pull any punches from abortionists to death by custard. with Eliza's emotional depths being tapped and the rest of the band being on great form supporting. There is also a great guest in Damian Dempsey as part of a live performance of I Wish that the Wars were all Over and Teddy Thompson duets on Rory Mcleod's Hug You Like a Mountain. I cannot recommend this album too highly just buy it and let yourself be hugged by the talent and brilliance of one of the best folk albums you will ever hear.
21st Century folks revival starts here!
I had the pleasure of hearing the album played live on the bands 2016 tour, adn having heard the remix of "Aleppo in the sun" on the limited edition EP that was sold on the tour, to hear the stripped back vocal only version on the deluxe album, it is a life affirming track.This has to stand as the single most impressive body of work this collective have ever put together.Every track echoes its traditional English "folk" roots, but sets itself apart by virtue of its production, which allows each track to happily sit alongside its neighbour.Outstanding for me is "The fitters son", a cover of a track written by Ewan MacColl and performed at the request of his widow, Peggy Seger. Eliza's vocals soar across the orchestration of the rest of the Wayward band.This album might just mark the start of another folk revival, and if it does, its fitting that there should be a Waterson/Carthy leading it.
MAGNIFICENT AND OUTSTANDING!!!!
If you thought that nothing could beat Bellowhead as far as large brass folk bands are concerned, think again.Eliza Carthy has established her position as the Queen Of British Folk music on this recording. The choice of songs, arrangements and the sound production are exemplary.I saw this band perform one of the gigs of the year at RNCM in Manchester last November. This album should have been launched to coincide with the tour. It was well worth the wait and, unlike Bellowhead's studio recordings, does not pale by comparison to the live experience. As one of the previous reviewers has already stated, this title will be difficult to beat in the folk album of the year stakes.
Visit the Eliza Carthy & The Wayward Band Store
Big Machine
BHD2452
Quantity:
Order today to get by
Free delivery on orders over BHD 20
Imported From: United States
At bolo.bh, we stand behind the authenticity and quality of every product we sell. We guarantee that all items offered on our website are 100% genuine, sourced directly from authorized distributors, trusted partners, or the original brands themselves.
We do not sell counterfeit, replica, or unauthorized goods. Each product undergoes thorough inspection and verification at our consolidation and fulfilment centers to ensure it meets our strict authenticity and quality standards before being shipped and delivered to you.
If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support . We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.
Your trust is our top priority, and we are committed to maintaining transparency and integrity in every transaction.
All product information, including images, descriptions, and reviews, is provided by third-party vendors. bolo.bh is not responsible for any claims, promotions, or representations made within product content or images. For more accurate or detailed product information, please contact the manufacturer directly or reach out to Bolo Support.
Unless otherwise stated during checkout, all prices displayed on the product page include applicable taxes and import duties.
bolo.bh operates in accordance with the laws and regulations of Bahrain. Any items found to be restricted or prohibited for sale within the UAE will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in Bahrain are listed on our website.
All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.
All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.
More from this brand
Similar items from “British & Celtic Folk”
Share with
Or share with link
https://www.bolo.bh/products/UO01A63799R
Visit the Eliza Carthy & The Wayward Band Store
Big Machine
BHD2452
Quantity:
Order today to get by
Free delivery on orders over BHD 20
Imported From: United States
At bolo.bh, we stand behind the authenticity and quality of every product we sell. We guarantee that all items offered on our website are 100% genuine, sourced directly from authorized distributors, trusted partners, or the original brands themselves.
We do not sell counterfeit, replica, or unauthorized goods. Each product undergoes thorough inspection and verification at our consolidation and fulfilment centers to ensure it meets our strict authenticity and quality standards before being shipped and delivered to you.
If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support . We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.
Your trust is our top priority, and we are committed to maintaining transparency and integrity in every transaction.
All product information, including images, descriptions, and reviews, is provided by third-party vendors. bolo.bh is not responsible for any claims, promotions, or representations made within product content or images. For more accurate or detailed product information, please contact the manufacturer directly or reach out to Bolo Support.
Unless otherwise stated during checkout, all prices displayed on the product page include applicable taxes and import duties.
bolo.bh operates in accordance with the laws and regulations of Bahrain. Any items found to be restricted or prohibited for sale within the UAE will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in Bahrain are listed on our website.
All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.
All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.
Description:
Review:
5.0 out of 5 stars intricate arrangements
(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } Wonderful. You can listen three times in a row and it sounds different each time.
5.0 out of 5 stars Five Stars
Innovative approach to traditional music.
Eliza Carthy and the Wayward Band – Big Machine (album review)
(function() { P.when('cr-A', 'ready').execute(function(A) { if(typeof A.toggleExpanderAriaLabel === 'function') { A.toggleExpanderAriaLabel('review_text_read_more', 'Read more of this review', 'Read less of this review'); } }); })(); .review-text-read-more-expander:focus-visible { outline: 2px solid #2162a1; outline-offset: 2px; border-radius: 5px; } I’m going to jump wholeheartedly on the bandwagon, nail my colours to the mast and join the chorus. This is a wonderful album in and of itself, and it entirely deserves the great reviews it has been getting. There’s a cohesiveness here that makes it a joy to spend time with, and if I gave stars on this website I’d slap up a 5 and get straight back to listening.The big-band setup that Eliza has been using at festival dates in recent years provides her with a robust live sound, faithfully reproduced here by producer Jim Sutherland. You read about albums that are made while the live band is ‘hot’ from gigging, and you get the sense that the Wayward Band made Big Machine almost as soon as they stepped from the stage. There will be inevitable comparisons with the original folk big-band, Bellowhead (at least one of whom appears here), but there’s a gritty difference that’s hard to put a finger on. The Wayward Band have a sassiness about them that perhaps stems from their lead singer, whose vocals and fiddle playing have never been short of a passionate earthiness. It’s almost a Beatles vs Stones thing – trained virtuosos vs the call of the wild (!!) – with Eliza in the rather improbably role of Mick Jagger (which I’m sure he wouldn’t mind – he never needed asking twice to dress up in a frock).There are standouts throughout the album, but the tracks that have programmed themselves into my own internal playlist include “Fade & Fall (Love Not)”, which may well be Carthy’s bid for the next Bond theme, “The Fitter’s Song”, infusing Ewan Maccoll with a lairy bluesiness that would be as fitting on the West End stage as it would in a barrelhouse, “Hug You Like a Mountain”, which appears to pull Teddy Thompson in from the Wild West for a throaty duet, and “Great Grey Back”, which has been a part of her set for sometime, originally appearing on the Wayward Daughter collection.That’s not to say there’s anything wrong with the other tracks, of course – I could equally have picked out “Devil in the Woman”, which the singer apparently found during a folksong-digging excursion to Chetham Library in Manchester, the barnstorming “Jack Warrell’s (Excerpt) – Love Lane”, and Carthy’s own “You Know Me”, in which she takes on the refugee crisis, ably assisted by MC Dizraeli. And when all the picking’s done, I’ve barely anything left to chuck aside. It’s one of those rare and lovely albums that demands to be listened to as a whole.Having done exactly that time and time again over the last couple of weeks, there’s one semi-serious question that I feel I ought to ask of this album and its creators. The cohesive nature of this album, coupled with the way it plays to the strength of an ensemble, makes it sound at times as though it was made for stage. Given that Peter Bellamy’s The Transports is already garnering rave reviews as it wends its way around theatres across the country, might it be the perfect time for someone to step up construct a narrative around Big Machine? Folk operas are in. You read it here first.
Ballzy rumbustious full on performance from Eliza with large supportive big folk band blows the cobwebs away
I have taken a while before I have posted a review of this album. On the first few listens I found it all a bit over the top ,and was worried that Eliza was trying too hard to be different. With subsequent listens over a few weeks my ears have become more tuned in, and my initial reservations have largely been overcome. Eliza's folk credentials are 2nd to none, and she likes to try out different things and surprise and challenge her listeners at times, not repeating the same album twice and taking risks.Here she balances on the high wire, her big bold strong voice is backed by the Wayward Band ,a supporting group of 11 fellow folkies. They follow in the tradition of folk super group Bellowhead, with a large loud and proud rambunctious joyful full on sound and performance and share some of the same members, such as fine fiddler Sam Sweeney. The feeling is very live, not over rehearsed, with some rough edges and sponteneity at times still very much in evidence. Some of the tracks really rock out, in particular Jack Warrel's Hornpipe (excerpt)/Lovers Lane where everyone seems to play at full tilt, it is like a heavy metal folk jam session. There are other long term collaborators, such as Saul Rose, and Lucy Farrel from the Furrow Collective , but I personally did not know many of the other musicians.There are also some guest slots:Teddy Thompson on the Rory McLeod track Hug You Like a Mountain;more surprising MC Disraeli on You Know Me based on the refugee crisis with the dangerous migration by families in flimsy boats across the Mediterranean; and Damien Dempsey with a beautifully sung contribution on I Wish That The Wars Were All Over. It is not all volume turned up to 11 the whole way through thank goodness, there is some light and shade contrast.On the Deluxe album there is a whole additional CD, well worth getting for the small extra cost . There are one or two alternative takes from the main album, but also some surprises. I particularly like the slightly ramshackle version of Ray Davies's Sunny Afternoon, described as a late night demo which I guess was well lubricated, a charming merry cover. Aleppo In the Sun As It Was featuring MC Disraeli is also a thought provoking standout track that sticks in the mind.This album has received some rave reviews, it is bold, brave, full on and memorable, another great twist and turn in Eliza's illustrious career, never taking the safe boring career path, but challenging and evolving in new often unanticipated directions, there is certainly nothing else like this around, it is a defiant one off that stands out from the crowd.
One of the best albums you will ever hear!
It's february and we already have the album of the year. If you look at the line-up of the band or you have happened to seen them live over the last 2 years you will have high expectations, this album delivers everything you could want and more as a folk rock album. Eliza and the gang have not just gone to replicate the live performances, though the energy is definitely there, the arrangements and the production on the cd really get to the heart of each track and lets all the musicians shine. There are a great range of traditional material as you might expect but this has been given the wayward band magic, the sparring between David Delarre and the "string section" on Jack Warrell's/Love Lane is astounding, not since Swarb and Richard Thompson on the early fairport albums have I heard such brilliant interpritation of traditional folk. The songs also cover traditional and contemporary and the subject matter does not pull any punches from abortionists to death by custard. with Eliza's emotional depths being tapped and the rest of the band being on great form supporting. There is also a great guest in Damian Dempsey as part of a live performance of I Wish that the Wars were all Over and Teddy Thompson duets on Rory Mcleod's Hug You Like a Mountain. I cannot recommend this album too highly just buy it and let yourself be hugged by the talent and brilliance of one of the best folk albums you will ever hear.
21st Century folks revival starts here!
I had the pleasure of hearing the album played live on the bands 2016 tour, adn having heard the remix of "Aleppo in the sun" on the limited edition EP that was sold on the tour, to hear the stripped back vocal only version on the deluxe album, it is a life affirming track.This has to stand as the single most impressive body of work this collective have ever put together.Every track echoes its traditional English "folk" roots, but sets itself apart by virtue of its production, which allows each track to happily sit alongside its neighbour.Outstanding for me is "The fitters son", a cover of a track written by Ewan MacColl and performed at the request of his widow, Peggy Seger. Eliza's vocals soar across the orchestration of the rest of the Wayward band.This album might just mark the start of another folk revival, and if it does, its fitting that there should be a Waterson/Carthy leading it.
MAGNIFICENT AND OUTSTANDING!!!!
If you thought that nothing could beat Bellowhead as far as large brass folk bands are concerned, think again.Eliza Carthy has established her position as the Queen Of British Folk music on this recording. The choice of songs, arrangements and the sound production are exemplary.I saw this band perform one of the gigs of the year at RNCM in Manchester last November. This album should have been launched to coincide with the tour. It was well worth the wait and, unlike Bellowhead's studio recordings, does not pale by comparison to the live experience. As one of the previous reviewers has already stated, this title will be difficult to beat in the folk album of the year stakes.
More from this brand
Similar items from “British & Celtic Folk”
Share with
Or share with link
https://www.bolo.bh/products/UO01A63799R