AT THE AGE OF TWENTY-THREE, Kellie while is already fronting two of Britain’s most successful folk/roots bands, E2K (formerly Edward II) and Albion Band. Not content with that, she now has two albums out.

She is the featured vocalist on E2K’s first outing Shift. The new line-up lays into the English songbook with gusto and many of the traditional standards here benefit from the highlife horn work of Andy Morel and Neil Yates. There is vibrancy to much of the album and Edward II fans won’t be upset by a new sound that can be likened to a meeting between Hugh Masekela and Paul Simon. Throughout, While is in fine voice, notably on Itue, Stitue, Statue and Love for a Season.

Pleasing as the album is (buy it and dream of blue skies and this year’s festivals), nothing prepared me for While’s solo release. From the opener, Cherry Stone King, complete with haunting melodeon line from E2K partner Simon Care, to the complete with haunting melodeon line from E2K partner Simon Care, to the complete with haunting melodeon line from E2K partner Simon Care, to the last, this is a revelation. Kellie has inherited her mother Chris While’s musicality. She is equally at home singing ballads such as Man in the Crazy Game and Jimmy Campbell’s beautiful In My Room as she is with up-tempo songs such as co-producer Julie Matthews’Tenacious Girl and the truly funky I’m Dancing with Jesus Tonight.

Ms While can feel very satisfied with the album; it is, by turns witty, pithy and punchy and deserves to place her in the vanguard of British folk. She is a seriously talented woman, who could easily cross over into the mainstream world of popular music. Tenacious should be bought, played relentlessly and cherished.

THE ALBION BAND
Road Movies
Topic TSCD523 (49m)

I WISH I LIKED THIS album more than I do. Ashley Hutchings’ latest combo to fly the Albion Band banner features the ubiquitous songstress Kellie While and the multi-talented Joe Broughton on fiddle, mandolin, keyboard and guitar.

The trouble is, the album doesn’t hang together. Sure it sounds like the band were having fun, but this is an album woefully short on quality. Two songs stand out: the soulful When My Son is Grown and She Still Waits. The majority of the rest of the album is humdrum and certain tracks e.g. Cookery is the New Rock’n’Roll risk taking the Albions into Barron Knights territory. Even the excellent She Still Waits has its impact lessened by a spoken sub Coney Island intro, pretentiously titled It is that Window of Time.

Road Movies is a student film at best, and only of interest to die-hard Albion fans. Punters new to the group would be best advised to seek out the back catalogue and discover how they achieved their notoriety.

COSMOTHEKA
You Only Had To Ask!
Folksound FSCD55 (38m)

COSMOTHEKA WERE extremely successful on the club and festival circuit a few years ago. Dave and Al Sealy ‘two fat blokes shouting’, ripped into the music hall songbook with gusto and cheered a generation. You Only Had To Ask! Is released on CD for the first time, and is a fitting tribute to Al Sealy and the unique double act he shared with his brother.

The ultimate joy of this album is the astounding close harmony singing, as in The Other Department Please and Love, Love, Love. Cosmotheka bark songs beautifully – often at breakneck speed – and it is good to know that their spirit continues with Dave performing Pop Goes the Century with The Bakerlite Boys. As for this album, buy it and you’ll finally learn the verses to All I Want is a Proper Cup of Coffee (from a Proper Copper Coffee Pot).

ROSE KEMP
Glance
Park PRKCD63 (42m)

AT THIS TIME OF YEAR, lovers of the turf turn their attentions to the Classics. In an analogous world, Rose Kemp would be a certain runner in the Acoustic Folk Oaks. She is an impeccably bred filly, being by Rick Kemp out of that well-known stayer, Maddy Prior. The only ‘form’ that we have to go on is this debut album.

During twelve self-penned songs, she is, by turns, as moody as Chris Issac and as soulful as a young Bonnie Raitt. Whether this offering is enough to see her in the winner’s enclosure is doubtful, but it is pleasing enough. If I were to put money on Rose Kemp, it would be in a few years time, when she has matured enough to take her place in the Folk Survivors’ Grand National, as she shows enough versatility to handle the many obstacles that will present themselves as she makes her way in the cut throat world of the music business.