Beer and Black Pudding

by Dave Bordewey & Dave Young

Dave and Dave play a mixture of traditional music and song. Many of the tunes are based on morris dances and are played in a traditional style. They started playing as a duo in early 2004 and also perform regularly as part of their own ceilidh band, mainly in the Hereford / Worcester area.

1. Happy Man / Banbury Bill / Glorishears. (trad) 
Three Morris Dance tunes form the Cotswolds – The first is from the village of Adderbury and has a song associated with it that is often sung when the dance is performed. “Banbury Bill” is from the village of Bampton (one of the few villages whose Morris team has an unbroken lineage going back before the First World War). The last tune in this set is from Fieldtown (now known as Leafield)The dance has a “leapfrog” figure at the end, the music slowing to allow the dancers to land safely!


2. The White Hare. (trad) 
Our rendition of the “The White Hare” is from the singing of Martin Carthy, heard many years ago on a compilation LP.  A celebration of the life and death of the mystical White Hare.


3. The Pete Coe 3. (trad) 
The first two tunes in this set, come from the playing of Pete and Chris Coe. The third is of unknown origin – dragged up from the deep recesses of our collective memories, but just had to follow the first two.


4.  Mrs Casey / Morrison’s No.1  (trad) 
This set starts with another Cotswold Morris Dance tune. There are several versions of “Mrs Casey”, this particular one comes from the village of Ascot – under – Wychwood in Oxfordshire.The second tune is a well-known Irish jig, derived from a version played by the great Irish fiddler, Sean Maguire.


5. Unknown / Waiting for the TGV. (unknown / Dave Young) 
Some years ago I was waiting to catch a train at Lyon in central France, and found myself humming the first part of this tune. I’m not really sure where it came from, but when I arrived home, I wrote the second part. Despite extensive searches of my record / CD collection, I have never been able to find the original source.


6. He Called for a Candle / The Road to Lisdoonvarna.  (trad) 
Another song from the singing of Martin Carthy. The tune has slightly changed as the arrangement developed. A lovely song in which there is love, hope and enough money to plan for the future!Our version of “The Road to Lisdoonvarna” is loosely based upon a Chieftains recording.


7. The O’Mally Blackwells of Ross / Hunting the Squirrel / Frankie’s Tune. 
(Liam O’ Flynn / trad / Mairead Ni Mhaonaigh)   
The first tune in this set was written by Liam O’ Flynn and was arranged for the unlikely combination of Uillian Pipes and a string quartet! “Hunting the Squirrel” appears in many versions, both for Morris and country dances. This version was learned from Malvern fiddle player, John Williams. “Frankie’s tune” was written by Altan’s Mairead Ni Mhaonaigh,in memory of their flute player, Frankie Kennedy.


8. The Shirt of Life / Orange in Bloom. (Dave Young / trad) 
Two waltzes – the first self-penned a few years ago. Lack of space precludes us from relaying the story behind the strange title. Suffice to say, it arose from a misheard remark at a very drunken barn dance. “Orange in Bloom” is a Morris Dance tune from the village of Sherborne, Gloucestershire, popularly played as a waltz, although the original dance tune is in 6/8 time.


9. The Hambledon Yew / Idbury Hill / The Beaux of London City. (Dave Young / trad) 
The first tune is this set was written for Cup Hill Morris Men, as a parting gift, when I left Surrey to live in Worcestershire. “Mitch” Mitchell devised a dance to fit the tune, in the style of Ascot – under – Wychwood, and it has remained in Cup Hill’s repertoire ever since.“Idbury Hill” is a Morris tune from Bledington on the Oxfordshire / Gloucestershire border.The final tune in this set, comes from Badby in Northamptonshire, and is used for a stick dance.


10. Just As the Tide was Flowing. (trad) 
We learnt this song from the book “Marrow Bones” which states – “One of the finest tunes in the English tradition and that there is little variation in both tune and words, in different collections” The tune was apparently adapted by Morris musicians and became known as “The Blue Eyed Stranger”


11. Kentra Bay / Beer and Black Pudding. (Dave Young) 
Two of my tunes – Kentra Bay is on the west coast of Scotland near Mallaig, and I visited here many years ago, when I was a student studying fishery management. It has the most beautiful white sand beach.Beer and Black Pudding is not the latest diet fad, although if it were, it would get my vote! Some years ago my partner Lisa, gave me several bottles of beer and an organic black pudding on Valentine’s day. I wrote her this tune in return.


12. Princess Royal. (trad) 
We finish as be began – Two versions of this very well known Morris Dance tune. The first from the village of Adderbury, the second of unknown origin (in a minor key), but probably an amalgam of several other versions. 

Happy Man/Banbury Hill/Glorishears
Sample not available
The White Hare
Sample not available
The Pete Coe
Sample not available
Mrs Casey/Morrisons No. 1
Sample not available
Waiting for the TVG
Sample not available
He Called for a Candle/The Road to Lisdoonvarna
Sample not available
The OMally Blackwells of Ross/Hunting the Squirrel/Frankies Tune
Sample not available
The Shirt of Life/Orange in Bloom
Sample not available
The Hambledon Yew/Idbury Hill/The Beaux of London City
Sample not available
Just as the Tide was Flowing
Sample not available
Kentra Bay/Beer and Black Pudding
Sample not available
Princess Royal
Sample not available

Bob Taverner

Jan Casserley

This CD was very evocative of long ago morris dancing days. Quite a few of

the tunes were either morris or ceilidh tunes with a few written by Dave

Young. The sleeve notes are interesting and arranged as a menu with Starter,

Appetiser, Main, Desert and Drinks.

Whilst the majority of the tracks are tunes there are three songs sung by

Dave Bordewey, The White Hare, He Called for a Candle and Just as the Tide

was Flowing. I think I have slight preference for the tunes rather than the

singing but overall an enjoyable CD

Dai Woosnam

Dai Woosnam

Let me start by saying that I am a man who once bought an Anglo concertina, and sold it again within a year. Even though I loved the sound it made, I had to face up to the fact that clearly I was not suited to the instrument.  

Learning was too much of a hard slog for me.

I tell you all this to show you my non-credentials when it comes to writing knowledgeably about an album that is largely instrumental squeeze-box music. Many reviewers will be able to write a very technical review that gets down to the real nitty gritty.

But, �whoa!�, wait a minute. The two Daves want to sell this album beyond the diaspora of reed instrument fans, so maybe it is EXACTLY reviewers like me that they want. And that apart, one does not have to be a master carpenter to know that the table wobbles.

Or DOESN'T wobble in this case.

For this is a pleasing and very solid album from two musicians who have paid their dues and learned their trade. Three of the twelve tracks have vocal contributions from Dave Bordewey: I would have preferred a couple more such tracks, so pleasing is his voice.

One of those aforementioned vocals is very nearly the highlight of the CD: their version of �Just As The Tide Was Flowing� is up there with the Dransfields' version of blessed memory. Both musicians weave into each others' musical lines with effortless ease here.

I said though that it was NEARLY the highlight. �Nearly�, but not quite.  

You see, the truth is that the stand-out track (just to risk contradicting myself!) is an instrumental. It's that wonderful old morris tune, �Princess Royal�, which they give us two versions of here.

If I am to be honest though, I have to say that it cast a bit of a shadow over some of the instrumental choices that had come before. Oh for sure, ALL were very skilfully played, but some were intrinsically  a little �found wanting� when it came to melody. (Well, when compared to a great tune like Princess Royal I mean.)

And they play that Oxfordshire gem with real verve. And it brought the best of ends to the album: it left us wanting more.

David Kidman

David Kidman

Both of these Daves have their roots in traditional music: Dave Bordewey, after forming his first folk group with Tim Laycock while at university, was then a resident singer at Cecil Sharp House and other London folk clubs, and subsequently multi-instrumentalist with the band Crows throughout the 1980s, whereas Dave Young's background is firmly in dance, having followed his practical dancing experience with stints in several dance-bands in the south-east before moving to Malvern in 2000. The two musicians came together as an �act� in early 2004, although they've been playing together in their own ceilidh band almost since meeting in a local pub a few years previous. You can tell the closeness of their musical rapport right from the outset on this CD, with the energetically nifty strains of Dave Young's anglo-concertina calling us in with the Cotswold morris tune Happy Man which introduces the opening set. Indeed, both an enviable instrumental dexterity (without feeling the need to show off) and a goodly, intuitive feel for the impact of rhythm and melody are hallmarks of the duo's playing throughout. It's hard to get bored with their playing anyway, but they score additional points engaging plenty of variety in texture by swopping instruments around � Dave Y alternates between anglo and melodeon, while Dave B proves more than proficient on fiddle, guitar and mandola (and even beats a bodhr�n or bass drum from time to time) � and the sound they conjure is always full and interesting, with judicious and ever-thoughtful use of multitracking on several tracks. Of the three tracks involving Dave B's able vocal performance (pity there aren't more!), I particularly liked the duo's approach to Just As The Tide was Flowing, with its unusual rhythmic stress. The tune-sets, which make up the bulk of the CD, are well contrasted, with original sources ranging from morris (quite a few of those, naturally!) to Liam O'Flynn and the Chieftains, while their performance of the Pete Coe 3 set (tunes learnt from Pete & Chris Coe) conjures up distinct images of our Pete bouncing up and down onstage! Yet Dave Y's own tunes (of which there's a healthy contingent here) make for especially stimulating listening, notably the Kentra Bay set near the end of the CD (which also includes its title tune, a wayward and strangely earthy concoction indeed!). Even the duo's renditions of well-worn dance repertoire, like their spirited closing medley of two versions of Princess Royal, have something to say in view of the ever-lengthening list of available versions including many we know and love � indeed, it speaks much for the duo's musicianship that this is the case. That track provides an invigorating end to a consistently invigorating 57 minutes' listening.


Sue Swift

The encouragement of performance in traditional music rather than the hard graft of annual exams as in classical music, has nurtured artists with excellent folk music skills and enough enthusiasm to last a lifetime.

Dave Bordewey and Dave Young are performers who have been immersed in the traditional music and folk scene community over a long period. As well as providing pleasure and entertainment for others, they have almost certainly gained as much themselves. This CD says just that.

Eight morris dance tunes are interspersed with self?penned tunes and a smattering of Irish, Scotland and French tunes ? a typical English folk musicians repertoire in fact. Three traditional English songs feature Dave Bordeweys lovely voice and blend well with the subtle instrumental harmonies. My favourite tunes were interspersed in sets ?The Shirt of Life, the first Pete Coe tune and The 0Mally Blackwells of Ross. I also particularly enjoyed Waiting for the TGV' and the morris tune Idbury Hill.

It is an easy listening collection which, unusually, features the stronger tracks in the middle of the CD. There are no fast punches, nothing to shock or startle, just good music that is nice to listen to and played well.

I found myself unable to resist thinking that they have the skills to do more. A few less well known tunes and songs and innovative arrangements could make the tunes and songs ring out and grab you by the throat. Not the style of these performers perhaps, but maybe worth consideration for the future.

Living Tradition

Roy Harris

Now theres an intriguing title, Beer & Black Pudding! It turns out to be the name of a tune written by Dave Young to celebrate an unusual Valentines Day present. Ive enjoyed large amounts of actual beer and black pudding in my time, and now as I sit listening to these two playing I find myself enjoying the musical variety just as much. Dave Bordewey, late of Crows, an excellent band of the 1980s, handles Fiddle, mandola, bodhran, bass drum, guitar and vocals with aplomb. Dave Young who came into folk music via Morris dancing is also handy on the melodeon and anglo-concertina, and is a doughty tune-writer, six of those included here being his compositions. Back in the 1970s when I was running the Loughborough Festival, later known as The National, I liked to book musicians who could draw others around them into impromptu sessions. To this end I brought in Pete Coe (a giant of the folk revival in my eyes) and some like-minded friends. The plan worked beautifully, as all who remember the sessions under the Cedar tree will recall. So its an extra pleasure for me to see here a set of tunes taken from the playing of Pete and Chris Coe, and named The Pete Coe 3. The two Daves repertoire is well steeped in British tradition, with a few Irish tunes along the way, played the way I like them, no fuss but just the right amount of flourish. They would have fitted right into those Loughborough sessions, in fact if I was running something similar today these lads would be on my wanted list.

Shreds and Patches

Chris (Yorkie) Bartram

Another excellent CD from the WildGoose Studios. And, as usual, you can find much more information and a full tracklist on the website.

These two have been involved in folk music for many years but, I must confess, I didnt recognize either name. However, having heard this CD, I shall definitely watch out for them in future!

Dave Bordewey was in a group with Tim Laycock at one time and then a `resident at various folk clubs in London and in the band Crows throughout the 1980s. Dave Young was a dancer with Cup Hill Morris and then as melodeon and concertina?player for Morris and barn?dancing in the South?East of England. They both now live in the Hereford/Worcester area and started playing as a duo in 2000 according to the very helpful sleevenotes or 2004 according to the website. Well, you cant get everything right. What matters is the quality of the playing and, as we have come to expect from WildGoose, the excellent recording quality.

Right from the rollicking opening track, Happy Man/Banbury Hill/Glorishears these two show their mettle. Their experience is evident in the bounce of every note. Genuine, foot?lifting stuff. Although Im less impressed by the singing of Dave Bordewey than his instrumental playing, the occasional song makes a pleasant contribution to the overall value of this very enjoyable CD.

Whats Afoot

Colin Andrews

Beer and Black Padding is a delightful album from two performers I had not come across before. Dave Bordewey provides the vocals, and the fiddle, guitar, mandola & percussion, and his credentials extend back to folk club at university, residencies at Cecil Sharp House and Camden Town folk clubs and with the 1980s band, Crows. Dave Young, on melodeon and anglo concertina, started dancing with Cup Hill Moms Men while still in his teens, played with several barn dance bands in the South?East, before moving to Worcestershire in 2000.

Only three songs are featured; The White Hare, Just As The Tide Was Flowing (from Marrow Bones) always a great song, and He Called For A Candle, the haunting tune well suited to Daves voice. The main focus of the album, therefore, is the instrumentals, which have a strong Morris repesentation, including the Adderbury Happy Man, an attractive tune which they more than do justice to, even though difficult to play (even mare to dance properly!). The combination of strings and squeeze is used very effectively, with some interesting arrangements of both traditional and contemporary tunes. Some surprising things happen on the concertina with the title tune, Beer Black Pudding ? Ill leave you to judge whether Dave Young had overindulged in both before writing it !