Corner Boys

LEE VALLEY STRING BAND Corner Boys (Corner House Records)

THERESA LARKIN & NOEL McQUAID

In The Middle Of The Night (Rosemount Music)

At a time when some bands seem to release albums before they even know each other’s names, it’s extraordinary to find such a national institution as the Lee Valley bluegrass specialists making their debut after only 30 years together!

But if you want a quick holiday in Appalachia you’ll find no better travel guides this side of the big pond. Through a generous 17 tracks they doff their collective headwear towards a cornucopia of folk, country and bluegrass greats, from the Carter family, Bill Monroe and Lester Flatt to Clive Palmer’s desolate ‘Empty Pocket Blues’, which Palmer did with The Incredible String Band before he quit them way back in the ’60s.

That they manage to breathe new life into such overdone chestnuts as ‘Are You From Dixie’ and ‘Handsome Molly’ speaks volumes, and the quality of their playing shines through on a couple of fiery instrumentals as well. Under renowned producer Jim Rooney’s guidance they strike an uncannily relaxed pot-pourri of banjo, mandolin, fiddle, dobro, guitars and vocals that, for once, sounds natural and Irish without a hint of fake twang. And the harmonies, especially on ‘On My Mind’ and ‘Ramblin’ And Gamblin’, are so rich and warm and heartfelt you want to bathe in them.

All that’s missing is a couple of original tunes to provide, perhaps, an Irish flavour for what is now, despite having some origins in this country, an American music. But can you wait until 2028 for the follow-up? I doubt it.

Theresa Larkin and Noel McQuaid haven’t been together as long as the Lee Boys, but they certainly know each other’s names. Hailing from the Roscrea area, Theresa plays fiddle, mandolin and various keyboard instruments and her New-Age tinged title-track suggests she might also be a composer of some major potential. Her fife contribution to Jay Ungar’s ‘Ashokan Farewell’ is exquisite, while Noel turns his deft hands to bouzouki, synths, banjo, jew’s harp and mandolin.

The 12 tracks on In The Middle Of The Night range over the usual selection of airs, hornpipes and jigs, but the inclusion of two French tunes adds a welcome fresh dimension. In contrast, ‘Jenny’s Welcome To Charlie’ achieves an overall sound that, despite the fine playing, is merely hackneyed and, along with some other tracks here, makes you long for a few more original tunes from Larkin’s pen. As you would expect, the redoubtable Steve Cooney leaves his mark on the couple of tracks on which he guests.

In The Middle Of The Night offers no breathtaking new insights into Irish trad, nor does it score too many brownie points for musical adventurism, but an hour or two in its company will be well spent.

Jackie Hayden