You could be forgiven for thinking Bonny Light Horseman is an album of original material, so rigidly is it embedded in a certain sound, that of the bevy of (largely) acoustic troubadours who occupy that hinterland between folk and country, producing a timeless style of music that could have come from anywhere in the last 30 years. But no Americana, this. What we have here is material culled from way further back. All these songs are centuries old, usually with Anglo-Celtic roots, often veterans of the trans-Appalachian routes that applied new tunes, new arrangements and new interpretations, with the lyrics ever-evolving. And so here, as when many modern themes become seamlessly drawn into the mix.
Title track, and the name of the band, “Bonny Light Horseman,” is a good case in point. Nominally a song about Napoleon, it somehow also seems to cast reference to current political leadership foibles. This is no celebration of hey-nonny-no or of toora-loora-lay, barely (bar that Napoleonic name check) does any sense of the past or of any austere tradition creep in. Even the album’s best known song, “Blackwaterside,” scarcely reminds of previous iterations, whether the “authenticity” of Anne Briggs or the casual appropriation of Jimmy Page’s Led Zeppelin. That takes some skill when acoustic guitars and light percussion are all you have to play with. OK, having some more than half-decent voices is no hindrance.