I've always fancied Iain Mackintosh's work because, like myself, he has really "catholic taste" in music. Unlike me however, he manages to do them all equally well.
On this album you have everything from the hilarious country-come-music hall "B-a-c-o-n and E-g-g-s" (NOT a parody, as this was written when Tammy Wynette was knee high to a spangled cowboy boot), to beautifully sensitive interpretations of John Denver's "My Sweet Lady" and Steve Goodman's "Ballad of Penny Evans."
Every track is not only enjoyable but INTERESTING — "Mary Mack's MOTHER" a SCOTTISH tongue twister Iain learned from a GERMAN folk singer, Martin Hunnemann. "And the Band Played Waltzing Matilda", my favourite song — bar none — for years, is an AUSTRALIAN First World War song, which Iain learned from an ENGLISH girl June Tabor.
After "I Wish I was a Rock" he breaks into a banjo instrumental "The Darkie's Dream" which Iain got from an old 1923 "78" recording which I own. The two go together beautifully.
Throughout, you have impeccable instrumental accompaniments, Iain's own banjo, concertina and pipes; Mike Whellans is fantastic on guitar, bohran and harmonica (listen to him on guitar and harmonica on "Capitalist Dream") Alan Barty's fiddle and mandola (lovely fiddle harmonies to Iain's concertina on "Nae Luck" and funky (Honest) mandola on "B-a-c-o-n and E-g-g-s".
Iain has a very successful solo album released in Germany but incredibly this is his first album issued in this country, although for years he has graced other people's records (including five of mine). Hopefully he will now get a much wider audience in Britain lovina his music. I wish him ALL THE BEST.
The simplicity of Iain Mackintosh's stage presentation belies the wide range and depth of his experience in every aspect of folk music, but to those who know him it is no surprise that his quiet expertise has earned him the affection of the public and the respect of his fellow musicians.
His instrumental talents range through bagpipes, whistle, harmonica, concertina and probably some others by now, such is his appetite for further musical expression.
While singing, his long-necked banjo as accompaniment, stage prop and bill board for a repertoire that covers a wide range of material. His songs of stark human protest hit home and hard. At the other end of the spectrum, he could coax a chorus out of a lock-jaw ward and his wit and humour have endeared him to his audience wherever he plays.
We have worked together in the exacting atmosphere of the recording studio and in the testing medium of television documentary, and I have found him to be one of those rare performers who can meet the deadline at the shortest notice.
On this record Iain projects his music beyond his current stage performance. His vital contributions to the popular Scottish folk groups with whom he has played has stood him in good stead. His work with the studio musicians, who are not only his friends but his peers in the folk music world, gives a better indication of the man behind the man that we have enjoyed on Radio and Television and the Club and Concert stage.
It will be your pleasure to get to know, through this recording, a man of humour and compassion, talent and taste.