Grief in the Kitchen and Mirth in the Hall
ALASDAIR ROBERTS
Grief in the Kitchen and Mirth in the Hall
Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
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Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
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Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
Out of Stock
Boomkat Product Review:
Grief in the Kitchen and Mirth in the Hall, the fifth full-length collection of traditional song from Alasdair Roberts.
"Recorded live in the studio, Grief in the Kitchen and Mirth in the Hall is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair’s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada’s eastern seaboard too.
The record takes its title from a line in the final verse of one of its songs, “The Baron o’ Brackley” — a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it’s a title which goes some way towards encapsulating many of the record’s themes. Collectively the songs treat of various conflicts and tensions — those of gender; of class, status and position; and of geography and tribal belonging — and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget!
Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair’s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair’s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing, and the world beyond that is ever coming."
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