stephanie hladowski / c joynes “the wild wild berry” long playing record

• the dark eyed sailor
  
• lord bateman
  
• god bless the master
  
• higher germanie
  
• flash company
  
• george collins
  
  
• the pretty ploughboy
  
• greensleeves
  
• the wild wild berry
  
• the botter withy
  
• died for love

stephanie hladowski / c joynes “the wild wild berry” compact disc

• the dark eyed sailor (3:01)
  
• lord bateman (3:27)
  
• god bless the master (1:50)
  
• higher germanie (2:58)
  
• flash company (3:01)
  
• george collins (4:20)
  
• the pretty ploughboy (3:07)
  
• greensleeves (1:20)
  
• the wild wild berry (3:50)
  
• the botter withy (6:11)
  
• died for love (4:05)

bo’weavil press release...

the wild wild berry cd stephanie hladowski & c joynes this is the first recordings for bo’ weavil by english folk singer stephanie hladowski, coming together with regular recording artist c joynes. the wild wild berry a highly individual record, that accents both their respective styles. chris’ melodic beauty is equally matched by stephanie’s turn of phrase. the album contains their renditions of eleven british traditionals, some better known than others. all the songs were mostly selected from archive recordings at cecil sharp house, and chosen on the basis of something unique about the original recording rather than the song itself. nothing about the record is a let down, the simple melodies and powerful authority that both exhibit make this a recording that one will play a thousand times over.

c joynes “congo” long playing record

• the linden tree
  
• crows on the sandpile no. 1
  
• joseph in the sea of corn
  
• and the moon was full and round
  
• stout mr. jemmy hurst
  
• pollard the limes
  
  
• georgie
  
• green orange
  
• ghosts of the field
  
• good luck burgess
  
• the running board (thanet to dogon)
  
• world of kobu

bo’weavil press release...

congo lp c joynes english acoustic guitarist c joynes, a resident of cambridge, heavy thumb-led finger-picking technique that harks back to traditional country-blues and early ragtime, however, he uses this technique to explore alternative melodic traditions: the english folk-tune; north and west african music; elements of classical indian music; proto-minimalist and impressionist musics from the european classical tradition. his approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste. - rhodri davies ... there are not too many guitar-players i respect without any reservation. off the top of my head there’s guitar roberts, bill orcutt and sir richard bishop. and c joynes. of the former, i’d say joynes’s closest stylistic analogue is, for my money, that noble knight of araby. not that licks are copped from that flower of chivalry and his unimpeachable companions, the dervishes of delirium. but joynes does borrow from as many and varied traditions as the sun city girls, and like them he never descends into world music blanditudination, nor the faux-hokey archaisms of arcadie. his technique, like sir richard’s, is a fuller’s earth that purifies all such dross and fills the ear with myrrh of the sweetest grade. not many traffic in liquors this strong, so hitch that pony, pilgrim, and drink a while. - bruce russell

c joynes “congo” compact disc

• the linden tree (3:55)
  
• crows on the sandpile no. 1 (2:26)
  
• joseph in the sea of corn (5:24)
  
• and the moon was full and round (4:22)
  
• stout mr. jemmy hurst (2:59)
  
• pollard the limes (2:55)
  
• georgie (4:15)
  
• green orange (1:14)
  
• ghosts of the field (4:07)
  
• good luck burgess (1:23)
  
• the running board (thanet to dogon) (2:09)
  
• world of kobu (7:10)

bo’weavil press release...

congo cd c joynes english acoustic guitarist c joynes, a resident of cambridge, heavy thumb-led finger-picking technique that harks back to traditional country-blues and early ragtime, however, he uses this technique to explore alternative melodic traditions: the english folk-tune; north and west african music; elements of classical indian music; proto-minimalist and impressionist musics from the european classical tradition. his approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste. - rhodri davies ... there are not too many guitar-players i respect without any reservation. off the top of my head there’s guitar roberts, bill orcutt and sir richard bishop. and c joynes. of the former, i’d say joynes’s closest stylistic analogue is, for my money, that noble knight of araby. not that licks are copped from that flower of chivalry and his unimpeachable companions, the dervishes of delirium. but joynes does borrow from as many and varied traditions as the sun city girls, and like them he never descends into world music blanditudination, nor the faux-hokey archaisms of arcadie. his technique, like sir richard’s, is a fuller’s earth that purifies all such dross and fills the ear with myrrh of the sweetest grade. not many traffic in liquors this strong, so hitch that pony, pilgrim, and drink a while. - bruce russell

c joynes “revenants, prodigies and the restless dead” compact disc

• pretty little divorcee (3:18)
  
• mob-happy (3:10)
  
• 'i love you hanny fuji' (4:49)
  
• lay you down o my brother (7:50)
  
• nyambai sawmill (3:36)
  
• bones for dogsi (5:38)
  
• joynes, nc (2:49)
  
• poison in the well (3:55)
  
• skip james on 'the triumph of death' (4:39)
  
• the autumn leaves (7:55)
  
• out of this world (3:00)
  
• happy & delightful (3:39)

bo’weavil press release...

revenants, prodigies & the restless dead c joynes english acoustic guitarist c joynes, a resident of cambridge, heavy thumb-led finger-picking technique that harks back to traditional country-blues and early ragtime, however, he uses this technique to explore alternative melodic traditions: the english folk-tune; north and west african music; elements of classical indian music; proto-minimalist and impressionist musics from the european classical tradition. his approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste. - rhodri davies ... there are not too many guitar-players i respect without any reservation. off the top of my head there’s guitar roberts, bill orcutt and sir richard bishop. and c joynes. of the former, i’d say joynes’s closest stylistic analogue is, for my money, that noble knight of araby. not that licks are copped from that flower of chivalry and his unimpeachable companions, the dervishes of delirium. but joynes does borrow from as many and varied traditions as the sun city girls, and like them he never descends into world music blanditudination, nor the faux-hokey archaisms of arcadie. his technique, like sir richard’s, is a fuller’s earth that purifies all such dross and fills the ear with myrrh of the sweetest grade. not many traffic in liquors this strong, so hitch that pony, pilgrim, and drink a while. - bruce russell

c joynes “god feeds the ravens” compact disc

• do as you will do (2:42)
  
• since i lay my burden down (2:36)
  
• and when the sun begins to shine (3:19)
  
• the godolphin arabian (5:16)
  
• the village of manea (4:36)
  
• pirandos tolos (2:38)
  
• “and there seemed to be a great clot of blood shaped like a human head attached to the spurs on the heels of his feet” (1:22)
  
• success (2:24)
  
• a palace plot or some woman’s jealousy (3:06)
  
• night on djerba (3:40)
  
• christmas medley (3:46)
  
  i. i saw three ships come sailing in
  ii. in the bleak midwinter
  iii. the holly and the ivy
  
  
• west cavaliers (2:34)
  
• sycamore, sycamore (2:35)
  
• down in the devil’s own garden (2:37)

bo’weavil press release...

god feeds the ravens c joynes english acoustic guitarist c joynes, a resident of cambridge, has released a few self produced excellent cdrs, but here sees his first bo' weavil release. joynes uses a  heavy thumb-led finger-picking technique that harks back to traditional country-blues and early ragtime, however, he uses this technique to explore alternative melodic traditions: the english folk-tune; north and west african music; elements of classical indian music; proto-minimalist and impressionist musics from the european classical tradition. his approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste. the version of ‘since i lay my burden down’ incorporates variations on lyrics and vocal lines drawn from a different song entirely. he has a penchant for reworking over-familiar pieces and stripping them of their kitsch and cliché, presenting them afresh, such as with ‘christmas medley’, the arrangement of ‘a night in tunisia’, and the gospel-based ‘and when the sun begins to shine’. joynes’ music is instinctive, well-researched, placid, and evokes a certain simplicity and naiveté. (rhodri davies)