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The Living Tradition

SLIDE "Downhill All The Way" Slipjig Music SLIP007
Slide hail from Yorkshire so are off to a good start in the eyes of this reviewer. "Downhill All The Way" is, I think, their follow up to the well received "Slippery Slope" from a couple of years ago. Slide - or SlideUk to avoid confusion with another band-are a multi-instrumentalist outfit built around the talents of Tom Bliss and Derek Magee, although the rest aren't bad either. The CD mixes traditional and self-penned tunes with songs written by the band, following the tried and tested alternate tune/song pattern. The album has many influences but is steeped in tradition as can be seen from the track titles. The songs tell good stories which is something I always enjoy and mention must be made of the way the lyrics are intelligent and well-crafted. I am not going to fall into the trap of selecting favourite tracks as this changes on each play, but I like the idea of a violin telling it's story (a bit like writing about the life of a penny when I was at school) and the tragedy of the miner who, for love, became a Quarryman because mining was dangerous - only to be killed in an accident. "Downhill All The Way" was recorded in front of a live audience with a few bits added later, a bit strange really as there is no clapping. All I can assume is that Slide are a live band essentially, so didn't want to be hampered by the constraints of a studio. I think this CD should do well on the back of their live performances and hopefully I will be able to catch them live before long.

Dave Beeby, Issue 54, The Living Tradition

Netrhythms

Slide - Downhill All The Way... (Slipjig Music)
It's been a short but immensely rewarding time for Slide since their first CD, and the band have negotiated the "slippery slope" of hard gigging and built up a very healthy reputation as one of the best live acts on the folk-roots circuit not only in their native Yorkshire but also further afield at folk festival stages. The band's second CD (The Slippery Slope itself), released in 2001, found them almost completely escaping from the clutches of the overt Show Of Hands influence that had dogged their early efforts, with a good mix of traditional and original material, taken from folk (songs and session tunes), country (including oldtime) and contemporary song. On the latter category, composing credits are shared more or less equally between band members Tom Bliss and Neil Russell Whitaker. Tom's compositions are of particular merit - they may already be familiar to you from his excellent recent duo album with Tom Napper, The Silverlode (that very song, together with The Violin, also appears here on this Slide album), whereas Neil's compositions are predominantly (tho' not exclusively) in the goodtime country mode (but none the worse for that!). The tune-sets once again come in either the straightahead-folk or old-time country idiom, being well-played and inventively-arranged session staples or else original tunes by Derek Magee. So as you will hear, Downhill All The Way... takes the aforementioned mix forward very credibly, building on the previous album's strengths while developing the band identity still further. This latter angle is more of an issue now, as Slide have since recruited a fifth member - Rod Taylor, who plays fiddle, mandolin, guitar and bodhran. Not only does he fill out the overall sound, at times enabling a twin-fiddle front line, but he also allows Derek's uillean pipes or whistle to come into their own and the resulting blend is magic; just take a listen to the great arrangement of Carolan's Young Katherine for instance. This new album was recorded in a live setting earlier this year, and the distinctive lively Slide presence is faithfully captured (take it from me). Slide impress wherever they play, in fact; a grand time is guaranteed.

David Kidman

TRADITIONAL MUSIC MAKER

This acoustic four-piece from Leeds (Tom Bliss, Derek Magee, Neil Russel Whitaker and John Layton) play a vital blend of folk, bluegrass, and acoustic rock on fiddles, guitars, mandolins, banjo, whistles, uilleann pipes and bass, which I've experienced live on more than a couple of occasions of late (incredibly the band was only formed early last year) and come away impressed by their infections stage presence and up-front but respectful and thoughtful treatment of a selection of material that ranges from full-tilt and more gentle tune-sets to traditional songs of many genre s and original songs in modern and trad style. This CD announces Slide's presence on the recording scene loud and clear, and the production (by Rod Holt) effortlessly combines a grand clarity of internal detail with the intended loose, almost live feel (though one track was recorded entirely live). In fact, the whole CD forms a credible representation of the band's strengths, which are many: the playing is uniformly good, the few shortcomings easily forgivable, while the original compositions by band members - both songs and tunes - turn out to be equally convincing (unusual for such a new band). I particularly related to The Race, written as the reminiscence of an Alderney fisherman, the cautionary tale The Stranger and the Crone, and the opener The Humber Horse Marine (though here there's a discernible Show of Hands influence!). Another attractive feature of the band's approach is that while they very obviously enjoy playing together, their invigorating collective drive is tempered with an inviting mellowness of expression. They also have an acute feel for what instrumental combinations work best too. The fullness of the group sound means that you don't feel the lack of any other instrumental colours; even so, the worthy occasional guest contributions of Otley Festival supremo Steve Fairholme on melodeon never go amiss. Slide seem to have got it all together remarkably quickly - well done indeed!

David Kidman, Traditional Music Maker, October/November 2001. No 48

TYKES NEWS

Topic Folk Club
11th July 2002
I knew nothing of Slide prior to their visit to the Topic, but I was impressed before they started: nine instruments awaited their four masters on stage (and that was before they brought on the whistles and harmonica). This is a superb band who perform some excellent material, with songs and tunes traditional contemporary and original, thoughtfully arranged and presented in the band's relaxed style. A varied set allowed the individual band members to show their talents but focused on-the songs of Tom Bliss, and rightly so: here is a master craftsman, with a band tailored to suit. He has the gift of being able to write songs that sound as though they are rooted in the tradition, yet with the freshness that marks them out as original. Several of his songs are about the Channel Islands, Tom's adopted home, delightful and vivid pictures of the life and times of this distant and perhaps rather neglected comer of our homeland, all with a sensitive twist, personalised somehow to add depth to the images created. Highlights were "Boat to Burhou" and "The Casquets Light, "The Race", "The Grey Lady", and one of local interest about life on the canals "The Humber Horse Marine" Above all, though, "The Violin", a wonderful song about a fiddle, Tom's own fiddle in fact, the story of its life told by the fiddle itself. A masterpiece of a song that I am sure will be seized on by many good singers: it will make the next CD (planned for autumn) a bargain. Tom is more than ably supported by Derek Magee on fiddle, mandolin and whistle, sensitive when accompanying songs, exciting in his fiery solos (he also writes his own material), Neil Whitaker on 5-string banjo and guitar (also a songwriter) and John Layton on bass guitar, always enhancing, never intruding. There was nothing lacking, except more people to enjoy: As the MC so tellingly observed "All the people who aren't sitting on all those empty seats don't know what they've missed". Do these fine performers justice: buy the current CD - "The Slippery Slope" (SLIP 005), visit their website - www.slipjig.co.uk - and catch them when they're near you.

Tony Charnock, Tykes News, Autumn 2002

FOLK ROOTS

Not to be confused with the new Irish band of the same name, this Slide comes from Leeds, Yorkshire and they are a four-piece, heavily influenced by Irish and American traditional music and contemporary folk in the Show of hands vein. The Slippery Slope is their first album. While wanting to keep the atmosphere of their live shows intact, it also displays a level of competence and accomplishment that is commendable. Featuring multi-instrumentalists Tom Bliss and Derek Magee, both of whom turn their hands to string and reed instruments including Magee's fiddle, mandolin, uilleann pipes and whistle, and Bliss' guitar, mandocello and fiddle, and Neil Russell Whitaker's five string banjo and bassist John Layton, the sound is a good time one with a laid back, relaxed aura. Lyrically, Bliss' accounts of nautical life in The Race and The Humber Horse Marine show promise and would fit perfectly into the folk-rock bosom, such is their graceful flow and melodic sway. Instrumentally, The Sweetness of Mary shows a command of Irish and Scots styles complete with a Dave Swarbrick-like touch, and Magee's uilleann pipe's add extra colour. The traditional Maid On The Shore is given a suitably low key yet gripping reading, lingering on the melody and Bliss and Magee's subtle touches coming through loud and clear. Slide offers an intriguing cross-breed of Irish, English and American folk styles which when fully integrated and interlocking could be a potentially lethal concoction. The Slippery Slope outlines their calling card in a pleasantly engaging manner.

John O'Regan, Folk Roots Magazine, November 2001 No 221

STIRRINGS

Slide are a four-piece from Leeds comprising Tom Bliss (vocal, guitar, mandocello, mandolin, whistles, harmonica, fiddle and keyboards), Derek Magee, (fiddle, low whistle, mandolin and uilleann pipes), Neil Russell Whitaker (vocal, five string banjo and guitar) and John Layton (bass guitar): they're joined here by Steve Fairholme on melodeon. Although the sleeve notes say they're really a folk-rock band without a drummer they could have fooled me on this showing; the traditional acoustic influence is very strong. Both songs and tunes are a mixture of traditional and band-composed material. Of the songs, The Humber Horse Marine - an interesting story of a lesser known part of canal life - and The Race - a very island-like song (about Alderney, though it puts me in mind of the Hebrides for some reason and could easily have been written by The Tannies or Battlefield (in fact it is Tom Bliss) are the standout tracks, and of the tunes I particularly favour Natural Bridge Blues, which in fact is more like American Old-timey music. Although this CD was studio recorded, I think that the band have achieved their objective of keeping it fresh and energetic and sounding as though is was recorded live - as in fact, one track was

Ian Spafford, Stirrings, Sept-Nov 2001 No 109

Tykes News

Slide are a four-piece band who write and sing their own songs and play a few dance tunes as well. The overall feel is traditional British but there are exceptions. Neil Russell Whitaker contributes a good chorus song in "Goodbye To France (And All That)". Neil sings it in a kind of Dylan way, which makes it mid-Atlantic to my ears. Derek Magee composed some of the tunes, and co-wrote"The Stranger and the Crone" with Tom Bliss. This is a ballad of an encounter in the woods which has a woeful conclusion. And a Homer Simpson "Doh!" moment right at the end. Great stuff. Tom Bliss is the principal songwriter, in this collection at least. He certainly has range: He can write a song about life hauling keeled vessels ("The Humber Horse Marine"), or a lovelorn sailor's lament ("Boat To Burhou"). And a song about, for heaven's sake, a boat race which is completely charming. It has a lovely refrain, which is slightly-longer-than-you-expcct-it-to-be-but - you're -glad. And it is perfectly arranged, with a lovely low whistle motif but mandocello, guitar and bass behaving themselves and instrumentally, the album has a pleasing variety of pluck, blow, squeeze and bow. I particularly like the 5-string banjo in the dance tunes. Well done, gentlemen.

Kevin Loughran, Tykes News, Winter 2001

STIRRINGS: Saddleworth Festival report

The spirit finale comprising the hilarious Keith Donnelly, followed by the expert acoustic folk-fusion of fresh new Leeds four-piece Slide was a veritable masterstroke of planning

David Kidman, Stirrings, Sept-Nov 2001 No 109

Longdogs (Show of Hands Internet list thingy)

Tom is a member of a Leeds based band called 'Slide' who's album 'The Slippery Slope' has been getting played rather a lot around these parts recently. The album features a number of tunes, some trad, some contemporary, some original songs and some fine playing from the four piece line up on an impressive arsenal of instruments including guitar, mandocello, mandolin, harmonica, fiddle and keyboards ... and that's just Tom! There's more fiddle, more mandolin, more guitar, low whistle, uilleann pipes, 5-string banjo, bass guitar and a sprinkling of melodeon played by other members Derek Magee, Neil Russell Whitaker and John Layton with guest melodeonist Steve Fairholme. Vocal credits are shared between messrs Bliss and Whitaker. The tunes are fun, especially if you enjoy your folk music played with a bit of "oomph". Slide dance to their own drum (figuratively speaking as they are drummerless) but occasionally nod in the direction of the likes of the Waterboys, early Oysterband or even the Pogues, but it's the original songs that stand out. Most are penned by Tom, some along with other band members, and there is a certain "Knightleyesque" style to his writing which I rather enjoy. For me, very few writers can paint pictures with song lyrics in the way that Steve does, but Tom get's pretty close, especially on the album highlight, the beautiful 'Boat To Burhou' which is coupled here with a fine Bliss tune 'The Casquets Light'. You could be forgiven for thinking that 'Boat' was very much influenced by the Knightley epic 'Tall Ships', but it was in fact written many years before Tom had even heard of SK. Another Bliss original, 'The Race' is well summed up in the band's press pack: "...it has an old Alderney fisherman reflecting on his life working the Channel - and his own mortality..... it has a lovely refrain, which is slightly-longer-than-you-expect-it-to-be-but-you're-glad and it's perfectly arranged with a lovely low whistle motif and mandocello, guitar and bass behaving themselves". Some of the tunes have lovely melodies and there's one in there that will be familiar to modern day Fairport fans everywhere.

And later ....

Listee Tom Bliss's band 'Slide' ended their "Boat to Burhou" Channel Island tour last night with a gig in Barford St Michael, North Oxfordshire (the well known Channel Island). You might recall my enthusiastic review of Slide's debut album "The Slippery Slope" some while back, well I'm delighted to say that the live Slide doesn't disappoint at all. Despite a hectic few days, an eventful journey back from the Channel islands, and Tom suffering with a bad throat they gave a great performance which was well received by all present (including fellow listees Bates and Hamilton and LJE's Mat Davies). If you get the chance check them out, they will be making a guest appearance at Folk On The Fosse sometime in the future.

Richard Barnes, Longdogs, June 2002.

And more ....

See also the text of an article in the Italian magazine Keltika in the original Italian, English translation by the author or Babelfish's rather ammusing English translation.

Massimo Ferro, Radio Voce Spazio, Italy

Anyhow I received the sampler copy of the latest album of Slide as I asked you for, and I now take the chance to thank you so much for sending it so me so promptly. "The Slibbery Slope" is an exceptional work from a band which has surely a very original and fresh style and a powerful and very dynamic approach to traditional music. I read that you consider Slide something like a sort of folk-rock band without drums and I must confess I do agree with that: in fact, although the most of the instruments in your line-up are acoustic ones, there is such a strength and energy in your music that is not always typical in the British folk music scene. Moreover, even if most of your repertory comes from Celtic sources, I find your music shows a big dose of Englishness as well as some very appealing country influences that place you in a unique position among contemporary Celtic bands. If the instrumental department, including the sparse and subtle arrangements, is with no faults if not perfect, I'd like to spend two words for the singer, that is yourself of course: your voice has that great quality of sweetness and intensity that is prerogative of just the best interpreters of the British folk scene. As you may understand I have a special predilection for "Slibbery Slope" and in fact I played several tracks from that CD in my radio shows of folk, roots and world music here on Radio Voce Spazio: however, if I must choose just one song, my preference goes without no doubt to your enchanting, sublime version of "Maid On The Shore"! I have not had the chance to read the review of your album on "Keltika" magazine but I hope that can be of some help to your band to find an audience in my country and, who knows, maybe one day you will be able to come and play here.