"It always strikes me that whatever experiments are carried out on folksong, in the end it's the Jeannie Robertsons and Harry Cox's who rise to the top long after the diverters are part of our fond memories of a mis-spent youth."

That's as may be for some, Jim. And that's fine. Personally, I think that if someone can make you see a traditional song from a different perspective (as does Jim Moray's Lucy Wan) or breathe new life into the song - which, as I've said previously, I think JM's Lucy Wan does by making the emotion and the violence immediate and real - then it's all good. It may not be to your taste, but there is undeniable artistry, talent and passion in what has been created, and, fundamentally, a grounding in traditional music and song, which for me is key. Jim Moray is no blow-in, who is playing with the tradition because it happens to be a bit fashionable at the moment; he is very serious in his approach to the music, and in wanting to do something interesting and meaningful with it. Even if the outcomes don't really blow your skirt up, surely that's to be applauded.



"It seems to me that this thread is possibly a small sampling of the future of folk music. Strong tradition, diversity, passion, emotion, scholarship, enthusiasm, craftsmanship. This allows for very polarized views to each be 100% correct in where they either draw boundaries or rub them out, and for others to be able to wander about between camps enjoying the crafts proffered...something for everyone."

Well said.