Press reviews of The Bite
Spiralearth( April 2011)
'The Bite' takes up where Na-mara's previous collection left off with unpredictable gems aplenty gathered from the Celtic diaspora.
However, for starters, Paul and Rob contribute their own report of a body snatching scandal: 'Nellie Torrence And Jeanie Waldie' is from 18th century Edinburgh and details some very dark deeds, but don't be surprised to hear yourself singing along. And it's another Na-mara original which accounts for the title track: a homage to the brave souls from the British Isles who took up arms against fascism in the Spanish Civil War; an historical event that is anything but dry in their hands.
Their music supports the beat of the narrative beautifully with guitars, mandolin and mandola laying down a firm foundation. Subtely augmented by violin and minimal percussion they turn an austere sound into elegant one with their voices displaying the required authority for such subjects.
The guys love to explore - 'The Flower Of Magherally' is an Irish tune arranged for guitar and mandolin; traditional instrumentals turn up from Asturian and Galicia; there's even a translated Breton sea shanty they first heard performed by Alan Stivell back in the '70's. And fans of Na-mara's live show will be happy with the inclusion of 'Billy Don't Weep For Me': their take on Nic Jones's arrangement. Punctuated with even more epic dramas, this album is an education and a delight.
(Four spirals)
David Kushar
http://www.spiralearth.co.uk/news/Review-story.asp?nid=5376
R2 Rock’n’Reel,
NA-MARA
****
(RBR) www.na-mara.com
(January 2011)
" Listening to 'Entemediu' on a clear, frosty afternoon, I'm struck by the wintry quality of the stately crispness of mandolin and guitar on the Asturian waltz tune. This simple precision is perhaps the defining characteristic of this, na-mara's third album. The duo - guitarist/vocalist Paul McNamara, and wielder of multifarious plucked instruments Rob Garcia - play with a delicacy that adds a pleasantly chilly frisson to a selection of material gathered from around the world and which often explores the darker side of life.
Cornerstone of the disc is 'The Child Mother', a haunting translation of tragic French ballad, La Fille Mère', which showcases McNamara's delivery at its best, the pathos enhanced by some heartbreaking fiddle from Fairport's Chris Leslie. Nic Jones's version of 'Billy Don't You Weep For Me' seems to be going through a period of particular popularity at the moment, but the moody version here - featuring a superb octave mandolin arrangement from Garcia - takes some beating.
The disc closes on a lighter note with an adaptation of the Breton 'Tri Martolod' ('Three Matelots'), but continuity comes in the form of the quality of storytelling; and that's what na-mara do best: tell stories to which you can't but listen.
Oz Hardwick ©R2, Rock’n’Reel, Vol2(25), January/February 2011, page 65"
fRoots
(accorded a "thumbs up")
Hertfordshire-based duo (Rob Garcia and Paul McNamara) specialise in considered translations of songs from the French-speaking world, but even better are Paul's original songs exhibiting a keen sense of history. Simple but expert accompaniments (guitar and mandolin/mandola), equally dextrous on instrumentals.
Unicorn Magazine and Shire Folk Magazine:CD Review: “The Bite” By na-mara
(December 2010)
"Having reviewed their first 2 albums “Kingshill Valley” and “Only for Three Months”, I was delighted to be asked to cast an ear over the latest from Paul McNamara and Rob Garcia of St Albans.
na-mara (no capitals) have really come of age with “The Bite”. A superb selection of songs and tunes, with pace, variety and direction, it fully justifies their passion for the music of France and Northern Spain. It is also better arranged and produced musically, with Rob’s classical guitar, mandolin and octave mandola skills given their full due.
Paul’s guitar and singing are excellent, and his translations from the French very adept, preserving the atmosphere of “Les Larmes aux Yeux” (Tears in my Eyes) and bleak horror of “La Fille Mere” (The Child Mother). This ballad also includes some beautiful guest violin playing from Chris Leslie. Including snatches in their original tongue is another nice touch, particularly the Breton in “Three Matelots”.
The classical guitar on Paul’s well-researched title song about British volunteers in the Spanish Civil War, is superb, and for me, should be allowed to remain the sole accompaniment. Using just the octave mandola on Nic Jones’ “Billy don’t you weep” works brilliantly.
Two sets of Asturian bagpipe tunes, with their interestingly unfamiliar rhythms and harmonics, are superbly performed on octave mandola and mandolin, on which Rob also excels in “The Flower of Magherally”.
Undoubtedly na-mara’s most interesting and accomplished work to date, this very enjoyable CD already has me looking forward to the next.
Mike Blair"
FATEA magazine (December 2010)
“Resplendent in both traditional and self penned songs, "The Bite" is a fine testament to the song-crafters art.
Both the title song and "Only For Three Months (Solo Por Tres Meses)" draw their inspiration from a conflict that's in danger of being forgotten, The Spanish Civil and the insidious rise of fascism. The songs are about the human cost paid by the families, Spanish and English, as well as those that met the international call to go and then cleverly link it to the new wave of fascism rising in Europe.
na-mara have delivered an album strong on justice across history and borders."
Genevieive Tudor’s BBC Radio Shropshire Programme (Sunday 2nd January)
“…The Bite: is a lovely CD. I was playing it through just over Christmas. Brilliant stuff".
Folk London February – (March 2011),
Reviewed by Paul Cowdell
"Paul McNamara and Rob Garcia play music from around the Celtic world, their own translations of French songs and self-penned material. They are elegant and skilled musicians on guitars, mandolins, mandola, and bandurria, and are joined here by guests Chris Leslie and Dan Garcia on fiddle and percussion.
This third CD covers these areas with considerable aplomb. There are songs from the British Isles, some cracking Galican and Asturian tunes, two superb big ballads from the French (my current favourites), a French-Canadian love song and a setting of a Breton sea-shanty (Three Matelots). They have also written three of the songs themselves. The first, about Edinburgh bodysnatchers, is good. The other two are a bit special. Only for Three Months is based on the story of Rob’s father, evacuated from Bilbao in 1937 when Franco’s fascists blockaded the city. Even better is The Bite, written as a tribute to volunteers from the British Isles who joined the International Brigades during the Spanish Civil War. This is powerful and well-performed stuff, and I look forward to hearing them in a club sometime soon."
FolkWorld #45 (July 2011),
na-mara "The Bite"
Own label, 2010
You may put na-mara (sic, no capitals) on the list of enjoyable English duos, such as veteran Knightley and Beer[34] or young Cadie and Bloomer.[44] The band's name is not Gaelic (which would have been a bit odd for them Hertfordshire based), but comes from singer and guitar player Paul McNamara (guitar, vocals). Rob García (mandola, mandolin, guitar) represents the other half, and Fairport's Chris Leslie adds a fine fiddle.[39] The duo's third album has a nice selection of songs and tunes. There is the traditional Northern Irish "The Flower of Magherally" and Nic Jones's version of the traditional English "Billy Don't You Weep For Me". Paul is an ingenious songwriter in the traditional vein, see his song about Edinburgh body-snatchers. Rob's father was brought to Britain from Bilbao as a child in 1937 after the Guernica bombing, "Only For Three Months (Solo Por Tres Meses)" recounts his tale. The title track, "The Bite," is a tribute to the International Brigades in the Spanish Civil War,[26] with the bite being a piece of wood placed in the mouth to clench on in battle as kind of defence against shell shock. Paul did write both songs again, not Rob as you would perhaps think. The two instrumental sets are tunes from Galicia and Asturia, including the "Muineira Carcarosa" which Lunasa did play.[42] There is also a French angle with translations of the traditional murder ballads "L’Auberge Sanglante" (The Bloody Inn, sourced from Malicorne) and "La Fille Mère" (The Child Mother), the Breton sea shanty "Tri Martolod" (Three Matelots) which Alan Stivell used to do, and eventually the traditional French Canadian song "Les Larmes Aux Yeux" (Tears In My Eyes), Le Vent du Nord's hudy-gurdy player Nicolas Boulerice put a tune to.[35] The latter also includes a reel titled "Le Vent du Nord" from the pen of Fiona Cuthill.[41] Well done, lads!
© Walkin' T:-)M
www.folkworld.eu/45/e/cds.html
Folk Monthly (February 2011)
Reviewed by Bob Bignell
"What a nice album. Excellent songs, well played, well researched sleeve
notes. A thoroughly enjoyable experience from two guys who, I have
to admit, I had not heard of but of whom I would like to hear more –
especially in live performance. They obviously enjoy doing what they do, in
preparation, writing, song research and performance and it seems to come
through in this recording. Much of the material on this CD is of French
or Spanish origin but don’t that let that put you off, there is something
distinctly English about the arrangements.
na-mara (no capitals please – we’re British!) play guitar, accompanied by
either another guitar, an octave mandola, or a mandolin. No attempt appears to
have been made to complicate the music by over-dubbing and/or over-production.
There are three tracks on which the have called on Fairport’s Chris Leslie to
provide violin which Leslie does with his trademark expertise – incidentally Chris
Leslie must be one of the most reviewed artists on the scene as he seems to be on every other album I get for review!! There is also a bit of percussion brought in on a number of tracks in the form of either bodhran, tambourine or cymbal but, again this is not allowed to take anything away from the songs themselves.
Nellie Torrence and Jeannie Waldie is a self penned song about a pair of
body snatchers from Edinburgh who eventually become the victims of
“poetic justice” Another self penned number, The Bite, pays homage to
all Britons who volunteered to fight fascism in the Spanish Civil War. The
lovely Irish ballad The Flowers of Magherally is given a tender treatment
before the duo launch into two fine bagpipe tunes from the Spanish
communities of Galicia and Asturia, Danza de Carino and Danza Prima-
El Falton d’Arriba. A traditional French tale of murder and mayhem, The
Bloody Inn, translated and adapted by the duo is a great folk tale before
we are treated to the band’s arrangement of Nic Jones version of Billy
Don’t you Weep for Me and very well they do it too! Back to Asturia for
another couple of bagpipe tunes, Entemedieu and Muneira de Carcarosa,
are given the guitar and mandolin treatment. Nice tunes with a great
Spanish feel to them. The Child Mother is another song translated from the
French tradition – good tale of pregnancy out of wedlock, infanticide and
retribution (all good folk fun!) but again maybe a trifle long at 7 minutes
and 5 seconds. As na-mara are obviously fans of French traditional music,
as well as Spanish, it comes as no surprise that they are also pretty
keen on traditional French Canadian music and Tears in My Eyes is their
arrangement of such a number collected from the work of French Canadian
band Le Vent du Nord. Only for Three Months recounts the harrowing
tale of children evacuated to Britain during the Spanish Civil War some of
whom were never repatriated with their parents and is based on personal
experience of the family of one half of the duo, Rob Garcia and the words
are by the other half, Paul McNamara. The fi nal track, Three Matelots, is
again taken from the French tradition, this one being translated from Breton
to French and then to English.
A visit to the na-mara website is also worth while as you can find not only
biographies but also lyrics, sound bites and links to videos of some of the
songs in live performance. All in all a truly rewarding experience and well
worth your time – give the web site a try then buy the album.”
Folk Roundabout ( February 2011) and 'Stirrings' magazine (May 2011)
Reviewed by David Kidman
The Bite is the third album release from the Hertfordshire-based duo of Rob Garcia and Paul McNamara. Their stock-in-trade is skilful musicianship and crisp, precise and finely-contoured playing (mandolin and guitar). This instrumental expertise is used at the service of a range of songs drawn from various folk traditions – most notably that of songs from the French-speaking world which they’ve translated to make them more accessible to English-speaking audiences. Having said that, aside from their truly haunting version of the tragic traditional French ballad The Child Mother, for me the disc highlights tend to reside more in the three original compositions and an excellent rendition of Billy Don’t You Weep For Me (which Nic Jones made famous in his own broadside adaptation, and here features a fine octave-mandola arrangement by Rob). The Nic Jones/Halliard feel extends to the lively accompanimental style of the disc opener Nellie Torrence and Jeannie Waldie, the story of the first true “body snatchers” in Edinburgh, which forms a vivid contrast with the title song, a poignant homage to British volunteers who fought in the Spanish Civil War in the 1930s. The third original song by Paul is Only For Three Months, which recounts the story of Rob’s father and uncle who were evacuated from Bilbao in 1937 after the bombing of Guernica . Relief from the songs comes in the form of two instrumental tracks: the first of which delivers bagpipe tunes from Galicia and Asturia, the second pairs a delightful Asturian waltz with a sprightly muñeira. Whatever the tempo, tenderness and musical understatement are hallmarks of Na-mara’s music, even if that sometimes betokens a lesser impact on the listener, at least in terms of memorability of melody line; in other words, their music gently insinuates itself, and grows in stature with acquaintance. This was just one aspect in which Na-mara reminded me of Weardale’s Brother Crow; their instrumentation complement and balance is very similar too (here Paul handles the vocals and plays guitar, while Rob does duty on the mandolin and octave mandola for the most part), and the two duos share a distinct predilection for storytelling, with a concomitant attention to detail and keen historical research. I’ll admit that, original songs aside, I didn’t experience quite the same degree of intense involvement in Na-mara’s stories that I did in Brother Crow’s – perhaps it’s just that the French sources are (culturally) one step further removed. Even the lighter moments, like Tears In My Eyes (learnt from top French-Canadian band Le Vent Du Nord) and Three Matelots, don’t quite turn out as riproaring as the tempo might allow. But Na-mara’s sensitivity towards their material, and their conviction, enthusiasm and expertise in their chosen field, really can’t be faulted; and the presence of two guest musicians (Fairport’s Chris Leslie on violin on three tracks, and Dan Garcia on bodhrán or percussion on five) enhances their music to just the right degree. It may be a gentle kind of “bite”, but it’s a tasty one nevertheless.”
Shreds and Patches (Spring 2011)
Reviewed by Ian Wilson
"I’ve not come across na-mara before but was really impressed with the quality of their performance and the originality, to me, of their material.
For others not familiar with their work na-mara are a duo made up of Rob Garcia and Paul McNamara based in Hertfordshire who’d already brought out two albums before this one. Paul takes the lead vocally while they both play guitars and Rob plays various members of the mandolin family. They are supported in this album by Chris Leslie on violin and Dan Garcia on percussion.
At first I had the impression of a fairly melancholic and mournful album with songs of body snatchers, battlefields, murders and infanticide and so forth. The only track I recognised was a very well done track of Nick Jones’s Billy Don’t You Weep for Me. Then I realised that there was also a strong French and Spanish influence, which drew me to the sleeve notes. Here I got a much better understanding of what the duo are about and I was totally engaged by their aspiration to introduce us to songs of France alongside Breton and Asturian music. Paul writes poignantly in the song Only for Three Months about the circumstances in which Rob’s father’s evacuation happened in the Spanish civil war. Layer upon layer this album got more and more interesting.
The more I hear this the better it gets. I really hope to get an opportunity to catch them live, but if not this albums pretty remarkable in its own."
Mardles magazine, June 2011
The Bite” by na-mara.
This is the third CD by na-mara, who are a St
Albans based folk duo - Paul McNamara (guitar and vocals) and Rob
Garcia (guitar, mandolin and mandola). http://www.na-mara.com/.
The cd has been produced on the Rightback Records Label, and is
available from the Band’s website.
This new album represents the full range of influences on their music,
and they have been joined on some tracks by Chris Leslie from Fairport
Convention on violin, and the young percussionist and bodhran player,
Dan Garcia.
There is some very good musicianship here, and if you like the sound
of mandolins and the like, as well as songs that tell slightly dark
and mournful stories, especially about the Spanish Civil War, then I
would suggest going to the website and listening to their sample mp3
tracks. They sell the cd for only £10, and postage is free in the UK!!
I have to say that Chris Leslie's fiddle playing is a superb addition,
as you would expect. I also like the instrumental interludes a lot.
Their repertoire comes from the Celtic world including the British
Isles, Brittany, Asturias and Galicia, and some of the songs are
written by themselves, including the very first track, "Nellie
Torrence and Jeannie Waldie", which is a very dark story indeed, about
the trade of the body snatchers.
Just now and again Paul's vocals are a tad on the flat side for me,
but the couple's expertise on their instruments makes up for it.
Have a listen on the website and see what you think.
Around Kent Folk (March 2011)
Paul McNamara and Rob Garcia are skilled musicians on guitars, mandolins, mandola and bandurria,. Music and song from Britain, France, Brittany, Galicia, Asturias and self-penned.
‘Nellie Torrence & Jeannie Waldie’ – two body snatching nurses who forward sold bodies and the consequences. The pathos and drama of ‘The Flower of Magherally’ comes alive with the DADGAD tuning. ‘The Bloody Inn’ – trad French about publicans murdering and robbing visitors. – a cautionary tale.’ Three Matelots’ is a truncated ‘Tri Matalod’ the Breton sea shanty. ‘The Bite’ is a tribute to volunteers from the British Isles who jointed the international Brigades during the Spanish Civil War. This leads to a very personal song’ Only for Three Months – a special story about Rob’s father, Fausto, evacuated as a child from Bilbao in 1937, when Franco’s fascists blockade the city.
Detailed notes will reward further investigation. A new and refreshing sound, enthused with life and interest.
Comments on other na-mara recordings
Review of "Only for Three Months" from spiralearth.com (04/06/2009)
Na-mara are Paul McNamara (voice, guitars) and Rob Gracia (mandolin, octave mandola, guitar, voice) and their combined musical vision doesn't appear to have many limitations or boundaries. The duo's repertoire includes music from the British Isles, Brittany, Asturias and Galicia with plans to venture even further.
The guys explorations of folk traditions beyond these shores has been gathering pace and 'Only For Three Months' is a four track EP that sets out to highlight some material from France and Northern Spain. They've certainly done their homework with detailed notes included that'll send anyone off in numerous directions, for music and reading matter, if they so wish.
The opener, 'Three Bonny Ships', is a traditional Breton song and, on first listen, you realise Na-mara are as serious about their music as they are about their research: With strings deftly churning out memorable riffs it's a sea shanty with as much intrigue than the ocean itself.
It's in sharp contrast to track two - 'Solo Por Tres Meses' - which tells the tale of Rob's father and his evacuation to England during the Spanish civil war. Only the children were allowed to travel and mothers consoled them with the promise it was 'only for three months' - hence the title. The brutally of the events are told with great sensitivity to a suitably yearning melody. And if you want to know the conclusion of this very personal saga you're just going to have to buy the CD.
The instrumental 'Anada Pa Julia' acts as something of a coda to track two, being of similar tone, and also as bridge to 'When I took My Horse To Water' - a tragedy taken from the work of 'giant of French music' Gabrial Yacoub. The singing cleverly drifts between French and English and the captivating narrative never falters.
Making these tracks available to an English speaking audience is admirable enough but to infuse them with such life is a sure-fire way to leave us wanting more.
David Kushar
Reviews of na-mara live performances
The Milkmaid Folk Club: (Bury St Edmunds – March 2011)
"na-mara made their second appearance at The Milkmaid as our support act. I do like these guys. Their musical skills are superb and their songs are of the highest quality. Songs and tunes from the UK, France and Spain as well as their own compositions give
They are beginning to get a well-deserved reputation around the folk circuit and will soon be performing at major festivals I’m sure." http://www.milkmaidmusic.co.uk/waffle11.html
The Watford Folk Club: (Watford - April 2010)
"na-mara are increasingly including their own songs and music in their shows which are heartfelt, warm and full of historical and emotional integrity"
Reading Folk Club: (Reading – February 2009)
"Na Mara gave us an amazing evening mixing musical dexterity on the mandolin and guitar with superb vocals; the set included songs ranging from traditional British ballads to Breton and Quebecois influenced arrangements." http://www.readifolk.org.uk/Readifolk_NL2.pdf
The Milkmaid Folk Club: (Bury St Edmunds – March 2009)
"Support by The Duo Na-Mara was indeed quite lovely. Their performance nicely blended with the main act. These guys are really going to make a mark in the folk world and deserve to have success in clubs and festivals" http://www.milkmaidmusic.co.uk/waffle09.html
