Damien Barber and Mike Wilson
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The Old Songs
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Demon Barbers
Reviews
Damien Barber & Mike Wilson: The Old Songs
DBS Records: DBS004
Maybe I’m in the minority but I could never quite get into the (in my ears anyway) raucous singing of Peter Bellamy although I was constantly told I was missing the point by those that knew better. Perhaps they did know better, still it didn’t stop me liking the songs themselves and I always to this day enjoy a good retelling of anything by Kipling (after all he does make exceedingly…no, I won’t even go there!). To the matter in hand and here we have two perfect exponents in the art of acapella singing which we are directed to from the opening track The Charlady’s Son. Both Damien and Mike have expressive voices and aren’t averse to getting down and dirty in their delivery which comes across in a powerful and very musical performance that would have done Cosmotheka and Jim Mageean & Johnny Collins proud. The duo’s harmonies are tight without a hint of hesitation and delivered with an assuredness still rare to find these days amongst other artists of a similar disposition. Their choice of material throughout the album is spot-on including Come Write Me Down, The Old Songs and MacColl’s truly classic The First Time Ever I Saw Your Face which utilises a stark but evocative concertina accompaniment. I couldn’t agree more with Mike Harding’s quote that this is a superb album and if you’re a newcomer to ‘folk’ music an absolute must purchase.
Pete Fyfe
Review from Folk London - October 2011
The Adventures of Captain Ward DBS003
The title gives the expectation of a concept album but in fact this is a perfectly normal 13 tracks running for just over 45 minutes. The cover art by Tony Hall is just what you would expect from Norfolk's top cartoonist.
The Demon Barbers are Damon Barber (vocals, guitar and concertina), Bryony Griffith (fiddle and vocals), Will Hampson (melodeon) and Ben Griffith (percussion and backing vocals). We also have three clog dancers at various points in the CD.
The material is largely traditional but given a modern rock twist. The use of dancers on some of the instrumentals gives interesting rhythmic effects.
I particularly enjoyed the instrumental Harry's Hornpipe and Griffith's vocals on Bonny Boy. Overall, however, despite liking it on first hearing it never struck me enough to take up residence in my car CD player.
Review from Folk London - June 2010
