1.Bo'Weavil Rec. Leaves From Off The Tree : -Meg Baird, Helena Espvall, Sharron Kraus (UK/US,2006)**°°'
Three talents, creative on the edge of folk with their own acoustic inspirations : Meg Baird, guitar, vocals (Espers), Helene Espvall, cello, vocals (Espers) and Sharron Kraus, lead vocals, guitar and on one track with dulcimer, shared time for this project and album of traditional folk. There hasn’t been much work done in making arrangements, but the most heartfelt tracks are darker ballads, which stand out well in their simple-is-essential effort. “Bruton Town” I think is the most successful moment, and is a great version, where the almost broken voice of Sharron Kraus reveals its quality, and where it is used as her gift. (I have the impression most songs were assembled and perhaps also led by Sharron Kraus). There are several parts where the girls sing with folk trio harmonies. On “Barbry Ellen” and some other times this works very fine and beautifully. After a while however, by the time of “Willie of Bransburry” the sparse arrangements become in a fragile way, a bit thin and the contrasts and minimal ideas become to work in a more monotone way, the fragility becomes frail, thin and pale, and I start to miss a bit of contrast in instrumental ideas or in the expressions. The cello by Helena Espvall, on “Nightingale”, just lingers in between a few notes/chords. Strange also is how an American styled folk song, “John Hardy” which I guess could have worked well on steel string, gets in such an acoustic simple-chords rhythm guitar country-folk version, a more derived energy. Funny is how on the Scottish traditional, “The Derry Dems of Arrow” (originally "The Dowie Dens of Yarrow"), once it crossed the ocean, in this version “ploughmen” was replaced by “cowboys”. Last few tracks work again somewhat better.
The songs were recorded on a very spontaneous occasion where Meg and Helena met and were teaching each other some finds in traditional folk music from English and Appalachian sources. After a while Helene Espvall joined to add a few touches. The recording surely captured something of the spontaneous gathering, with a few brilliant moments.
2.Bo'Weavil Rec. 
Sharron Kraus : Right Wantonly A-Mumming
- a collection of seasonal songs and celebrations- (UK,2007)****' (PERF->CLASSIC)
All listed songs are meant to be sung during some turning points of the year, as Sharron says “with choruses that were easy to pick up and that would sit comfortably alongside traditional wassailing songs, carols and May songs.” They were written during a year’s span at the right moments and having looked for the right conditions to make them inspired. They were meant as marking points for celebration, to stay thankful during certain weather and condition changes, as opportunities to make bonds between people stronger during natural times of change. She also looked up some folkore associated with the seasons, like Christina Hole’s books on British costumes, George Long’s “The folklore Calendar” and J.G.Frazer’s “The Golden Bough”. Musically it was The Waterson’s “Frost and Fire” and “For Pence and Spice” and William Chappel’s “Popular Music of the Olden Time” who delivered information and influences.
It is incredible, but the collection sounds like a book of forgotten old seasonal folk songs, while most of the 14 songs are written by Sharron Kraus herself, with exception of 5 traditionals, of which all, I think, except “Barleycorn” are relatively unknown. It gives new light and meaning to true traditional folk, of which the gathering together in a cosy and friendly atmosphere, sharing time and with rather neutral but strong bonds, seems even more important. Sharron’s voice (she is not always the only lead voice) is charming, and the chorus is a perfect addition. The arrangements are minimal, going for the essence of its expressions, are humane, and anti-elite. For someone who studied philosophy she also truly understands the importance of feeling comfortable amongst average people where folk music could reveal their communal qualities, and heritage, with an importance that all led with quality and communal and environmental understanding to this thankful point. A modest, but charming and convincing folk release. (A personal favourite track is the haunting and magical "All Hallows"). It is an album which made me appreciate and respect traditional folk better ; I never felt so clearly what is folk true essence.
Sharron Kraus sung and played whistles, flutes, percussion, etc. Additional vocalists were Jon Boden (also fiddle), Ian Giles (also bass drum), Fay Hield, Claire Lloyd, Graham Metcalfe and Ian Woods, with John Spiers on melodeons and concertina, Giles Lewin on crumhorn, and Michael Tanner on glockenspiel.
-PS. All singers and musicians involved were connected through the Oxford folk scene. John Spiers & Jon Boden are local heroes on the folk scene - they play together as a duo and also have a big band called Bellowhead, and have been playing in Eliza Carthy's band. Also Fay Hield sung with Eliza Carthy. She is also part of the group The Witches of Elswick. Ian Giles, Claire Lloyd and Graham Metcalfe sang together as Folly Bridge and Ian and Graham now sing with Ian Woods as GMW (Giles, Metcalf, Woods). Ian Giles also is part of Oxford Waits & Magpie Lane.-
