"An admirable talent" (Rob Adams in The Herald)
“Tom Clelland is a talent” (Living Tradition)
"Excellent storytelling and country/folksy finger picking" (The List)
“The Van Gogh of songwriting, Tom Clelland, painted pictures of death, mayhem, beauty, love and a measure of tongue-in-cheek humour.” (Glasgow Festival of Songwriting.)
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Many thanks to Iain Anderson on Radio Scotland who made the CD his featured album of the week.
Iain said this on Facebook -
"This week's featured album is 'Handpicked & Collected' by Tom Clelland, a double-CD collection of remastered tracks by the Lanarkshire songwriter who we haven’t featured in quite a while. Nice to rediscover his catalogue in this handpicked format. CD one includes story songs digging into Scottish history and legend, and CD two is an assortment of old favourites, specialising in love songs, nostalgia and gentle Americana, all performed with utmost modesty and warmheartedness."
This is the review of Handpicked and Collected from the August edition of Living Tradition. Thanks, Fiona.
This is a double compilation CD from the Scottish singer songwriter, showcasing examples of his work from previous albums and other projects. It has a laid-back, gentle feel throughout, making the most of Tom’s easy style of delivery, warm familiar-feeling voice and nicely finger-picked guitar.
The first disc, Handpicked, features eight “story songs”, some from his own albums along with one from a Lanarkshire Songwriters project, a live recording from a David Roberts tribute evening in the Elphinstone, and an unreleased song, Berries, that’s got a familiar, folky vibe to it – a song I can definitely imagine being picked up and sung by others.
The second CD, Collected, boasts 15 songs from previous albums, Little Stories, Life Goes On and Next Time, as well as a track from A Garden Of Songs, adapted from a Robert Louis Stevenson poem. This CD has a bit more of a country / Americana feel to it in places, and includes a great song, I Wish That I Could Write Like Old Guy Clark (don’t we all!). Ironically, it actually does sound like it could be a Guy Clark song, as do a couple of others here (e.g. Jack Jackson and Slip Away), so Tom’s not doing so badly.
Tom and his guitar are front and centre in these recordings, but he has gathered a fine group of other musicians around him, and their contributions are sensitively made. They include Clive Gregson and Steven Polwart on guitars, Wendy Weatherby on cello, Mairearad Green on pipes and accordion, and producer/arranger Davie Scott on “all other instruments” and occasional harmonies.
I love the honest sentiment of Next Time and Let It Snow, the wry observation of life in Slow Down, the storytelling of The Grassmarket Butchers and The Devil And The Hangman, and the clever lines in Country Music Once Again (“don’t let those fiddles turn to violins.”). I’d happily spend an evening in the company of Tom and his songs in a folk club somewhere, when we finally can.
Fiona Heywood
This review of Handpicked and Collected is from the Folking website.
While I was not well-acquainted with the work of Tom Clelland, I’ve always liked songs that tell a story, so I was immediately drawn to his new CD release Handpicked & Collected. The compilation consists of 23 tracks mastered/remastered by Kris Koren and spread over two CDs. Handpicked is a selection of eight story songs – including the previously unreleased ‘Berries’ – with a Scottish connection, while Collected features a wider range of themes and influences.
All the songs are credited to Tom except for ‘How Far Is It To Babylon’, of which the lyric is adapted (very successfully) from Robert Louis Stevenson’s poem To Minnie. Tom sings and plays guitar on all tracks, but a number of very capable musicians provide support on various songs (but not all at once), notably Mairearad Green on pipes and accordion; Wendy Weatherby, Don Dougall and Joanne Grant on cello; Steven Polwart, Clive Gregson and Robin Laing on guitar; Norman Chalmers on concertina; Willie Gamble on pedal steel; Fiona Cuthill and Pete Clark on fiddle; Alistair Kennedy and Kris Koren on mandolin; Phil Sakerski on dobro; and Davie Scott on “all other instruments“. Rather an impressive guest list.
Though the first CD favours Scotland in its subject matter, the actual themes of these stories cover a wide range – the Great War (‘Dig’), the Gulf War (‘The Wind She Changed’), the 15th century Battle of Harlaw (‘Carrion Craw’), the persecution of the Covenanters (‘The Grassmarket Butchers’), the supernatural (‘The Ghost Wi’ The Squeaky Wheel’), whimsy (‘The Balancing Boy’) and “the passage of the seasons” (the previously unreleased ‘Berries’). All told with unassuming grace and subtlety.
While there’s an Americana-ish tinge to some of the tracks on Handpicked, there’s a more pervasive country feel to many of the tracks on Collected, as well as a fuller instrumentation. Which is all fine by me: there are worse things than admiring Guy Clark (‘I Wish That I Could Write Like Old Guy Clark’), or writing the pop-y ‘Send Me Another Smile’. And if there isn’t a ‘Desperados Waiting For A Train’ on Collected, ‘Stormclouds At A Distance’ and ‘Let It Snow’ have an emotional pull of their own, though perhaps my own favourite track is the Stephenson setting ‘How Far Is It To Babylon’ (sic).
Tom Clelland has a pleasant voice, plays effective guitar, and has attracted some first-class instrumental support. But the real treasures here are the songs. For me, the tracks on Handpicked are the most interesting, but the country vibe on Collected is never less than engaging and includes some classy songwriting and performance, with some very singable choruses. And while cover art isn’t something I generally comment on, there’s something very pleasing about Savannah Storm’s floral paintings.
David Harley
Iain said this on Facebook -
"This week's featured album is 'Handpicked & Collected' by Tom Clelland, a double-CD collection of remastered tracks by the Lanarkshire songwriter who we haven’t featured in quite a while. Nice to rediscover his catalogue in this handpicked format. CD one includes story songs digging into Scottish history and legend, and CD two is an assortment of old favourites, specialising in love songs, nostalgia and gentle Americana, all performed with utmost modesty and warmheartedness."
This is the review of Handpicked and Collected from the August edition of Living Tradition. Thanks, Fiona.
This is a double compilation CD from the Scottish singer songwriter, showcasing examples of his work from previous albums and other projects. It has a laid-back, gentle feel throughout, making the most of Tom’s easy style of delivery, warm familiar-feeling voice and nicely finger-picked guitar.
The first disc, Handpicked, features eight “story songs”, some from his own albums along with one from a Lanarkshire Songwriters project, a live recording from a David Roberts tribute evening in the Elphinstone, and an unreleased song, Berries, that’s got a familiar, folky vibe to it – a song I can definitely imagine being picked up and sung by others.
The second CD, Collected, boasts 15 songs from previous albums, Little Stories, Life Goes On and Next Time, as well as a track from A Garden Of Songs, adapted from a Robert Louis Stevenson poem. This CD has a bit more of a country / Americana feel to it in places, and includes a great song, I Wish That I Could Write Like Old Guy Clark (don’t we all!). Ironically, it actually does sound like it could be a Guy Clark song, as do a couple of others here (e.g. Jack Jackson and Slip Away), so Tom’s not doing so badly.
Tom and his guitar are front and centre in these recordings, but he has gathered a fine group of other musicians around him, and their contributions are sensitively made. They include Clive Gregson and Steven Polwart on guitars, Wendy Weatherby on cello, Mairearad Green on pipes and accordion, and producer/arranger Davie Scott on “all other instruments” and occasional harmonies.
I love the honest sentiment of Next Time and Let It Snow, the wry observation of life in Slow Down, the storytelling of The Grassmarket Butchers and The Devil And The Hangman, and the clever lines in Country Music Once Again (“don’t let those fiddles turn to violins.”). I’d happily spend an evening in the company of Tom and his songs in a folk club somewhere, when we finally can.
Fiona Heywood
This review of Handpicked and Collected is from the Folking website.
While I was not well-acquainted with the work of Tom Clelland, I’ve always liked songs that tell a story, so I was immediately drawn to his new CD release Handpicked & Collected. The compilation consists of 23 tracks mastered/remastered by Kris Koren and spread over two CDs. Handpicked is a selection of eight story songs – including the previously unreleased ‘Berries’ – with a Scottish connection, while Collected features a wider range of themes and influences.
All the songs are credited to Tom except for ‘How Far Is It To Babylon’, of which the lyric is adapted (very successfully) from Robert Louis Stevenson’s poem To Minnie. Tom sings and plays guitar on all tracks, but a number of very capable musicians provide support on various songs (but not all at once), notably Mairearad Green on pipes and accordion; Wendy Weatherby, Don Dougall and Joanne Grant on cello; Steven Polwart, Clive Gregson and Robin Laing on guitar; Norman Chalmers on concertina; Willie Gamble on pedal steel; Fiona Cuthill and Pete Clark on fiddle; Alistair Kennedy and Kris Koren on mandolin; Phil Sakerski on dobro; and Davie Scott on “all other instruments“. Rather an impressive guest list.
Though the first CD favours Scotland in its subject matter, the actual themes of these stories cover a wide range – the Great War (‘Dig’), the Gulf War (‘The Wind She Changed’), the 15th century Battle of Harlaw (‘Carrion Craw’), the persecution of the Covenanters (‘The Grassmarket Butchers’), the supernatural (‘The Ghost Wi’ The Squeaky Wheel’), whimsy (‘The Balancing Boy’) and “the passage of the seasons” (the previously unreleased ‘Berries’). All told with unassuming grace and subtlety.
While there’s an Americana-ish tinge to some of the tracks on Handpicked, there’s a more pervasive country feel to many of the tracks on Collected, as well as a fuller instrumentation. Which is all fine by me: there are worse things than admiring Guy Clark (‘I Wish That I Could Write Like Old Guy Clark’), or writing the pop-y ‘Send Me Another Smile’. And if there isn’t a ‘Desperados Waiting For A Train’ on Collected, ‘Stormclouds At A Distance’ and ‘Let It Snow’ have an emotional pull of their own, though perhaps my own favourite track is the Stephenson setting ‘How Far Is It To Babylon’ (sic).
Tom Clelland has a pleasant voice, plays effective guitar, and has attracted some first-class instrumental support. But the real treasures here are the songs. For me, the tracks on Handpicked are the most interesting, but the country vibe on Collected is never less than engaging and includes some classy songwriting and performance, with some very singable choruses. And while cover art isn’t something I generally comment on, there’s something very pleasing about Savannah Storm’s floral paintings.
David Harley
Edinburgh Festival Fringe 2012: Robert Louis Stevenson - songs and music
with Robin Laing, Wendy Weatherby, Fiona Cuthill and Norman Chalmers .
The show earned this five-star review from Alistair Grant in Broadway Baby
A Treasure Trove of Music
An evening dedicated to songs and music inspired by Stevenson and his writings, this one-off performance of the critically acclaimed CD ‘From a Garden of Songs’ was a rare treat in a festival, bursting with a myriad of musical offerings. Folk artists Tom Clelland, Robin Laing, Wendy Weatherby, Norman Chalmers and Fiona Cuthill played the new musical arrangements of poems from Stevenson’s ‘A Child’s Garden of Verses’ with measured skill and modest flair, chatting cosily with the audience between songs and exuding warmth and passion. There was also a stirring performance of one of Stevenson’s own long-lost musical compositions, ‘Aberlady Links’.
The evening kicked off with ‘A Mile and a Bittock’, a relatively obscure piece of poetry by Stevenson set to music by Alan Reid of the Battlefield Band, with an added chorus by Reid in order to provide further clarity to the mysterious work. Time and time again, the music complements the rhythm and pace of the poetry perfectly; indeed, Clelland told us repeatedly that Stevenson’s poetry was easy to put to music due to this natural beat. Countless highlights follow, with both ‘The Swing’ and ‘The Shadow March’ showcasing a breathtaking approach to folk music and a deep understanding of the poems themselves. These might be mostly poems for children, but they still harbour a real depth of emotion that these compositions effortlessly bring to the fore.
At one point, Clelland wonders aloud to the audience why it is that Scotland celebrates Burns by hosting Burns Suppers and gorging on haggis and whisky, and yet the life and work of Robert Louis Stevenson, in comparison, is largely ignored. Surely, Clelland asks, Stevenson continues to touch just as many, if not more, lives in Scotland today? It’s a fair point, and one that this evening goes some way to addressing.
These musical compositions get right to the very heart of Stevenson’s words, capturing their essence in a way that only music can. If Stevenson were able to, it’s not too much of a stretch to imagine him giving such a project his unequivocal blessing and support.
with Robin Laing, Wendy Weatherby, Fiona Cuthill and Norman Chalmers .
The show earned this five-star review from Alistair Grant in Broadway Baby
A Treasure Trove of Music
An evening dedicated to songs and music inspired by Stevenson and his writings, this one-off performance of the critically acclaimed CD ‘From a Garden of Songs’ was a rare treat in a festival, bursting with a myriad of musical offerings. Folk artists Tom Clelland, Robin Laing, Wendy Weatherby, Norman Chalmers and Fiona Cuthill played the new musical arrangements of poems from Stevenson’s ‘A Child’s Garden of Verses’ with measured skill and modest flair, chatting cosily with the audience between songs and exuding warmth and passion. There was also a stirring performance of one of Stevenson’s own long-lost musical compositions, ‘Aberlady Links’.
The evening kicked off with ‘A Mile and a Bittock’, a relatively obscure piece of poetry by Stevenson set to music by Alan Reid of the Battlefield Band, with an added chorus by Reid in order to provide further clarity to the mysterious work. Time and time again, the music complements the rhythm and pace of the poetry perfectly; indeed, Clelland told us repeatedly that Stevenson’s poetry was easy to put to music due to this natural beat. Countless highlights follow, with both ‘The Swing’ and ‘The Shadow March’ showcasing a breathtaking approach to folk music and a deep understanding of the poems themselves. These might be mostly poems for children, but they still harbour a real depth of emotion that these compositions effortlessly bring to the fore.
At one point, Clelland wonders aloud to the audience why it is that Scotland celebrates Burns by hosting Burns Suppers and gorging on haggis and whisky, and yet the life and work of Robert Louis Stevenson, in comparison, is largely ignored. Surely, Clelland asks, Stevenson continues to touch just as many, if not more, lives in Scotland today? It’s a fair point, and one that this evening goes some way to addressing.
These musical compositions get right to the very heart of Stevenson’s words, capturing their essence in a way that only music can. If Stevenson were able to, it’s not too much of a stretch to imagine him giving such a project his unequivocal blessing and support.
FROM A GARDEN OF SONGS
"From A Garden of Songs" produced by Tom, in which Scottish songwriters set thirteen of their favourite poems from The Child’s Garden of Verses to music.
With songs and music by Robin Laing, Tom Clelland, Davie Scott, Christine Kydd, Duncan McCrone, Wendy Weatherby, Pete Clark, Norman Chalmers, Billy Stewart, John Malcolm, Ursula Laing, Mair Sethi, Heather Young, Rebecca Keay and Kris Koren.
The CD also includes Wendy Weatherby’s arrangement of Robert Louis Stevenson’s own composition “Aberlady Links” and is accompanied by a 28-page colour booklet of the poems with wonderful artwork by Peter Nardini.
Review from June issue of Froots - the U.K.'s leading folk music magazine
A group of Scottish Songwriters have set to music 13 poems by Robert Louis Stevenson. These deceptively simple poems find infinity and eternity in ordinary things, and the newly- composed musical settings underpin the poetry's Zen - like simplicity and intensity. The measured and evocative instrumental accompaniment is perfectly judged and is provided by A - list musicians on guitar, cello, harp, keyboards, fiddle, violins, mandola. whistle, clarinet, concertina, bouzouki and bass. The various songwriters have sought to capture the music (as Stevenson does in words ) the autumnal beauty of childish things recalled in adulthood. Especially successful is the quirky lyricism of Tom Clelland's compositions for KEEPSAKE MILL, PICTURE BOOKS IN WINTER and HOW FAR IS IT TO BABYLON? Tom's voice is slightly reminiscent of a young Cat Stevens, and these songs would not sound out of place in ' Tea for the Tillerman'.
Equally fine are Robin Laing's arrangements and renditions. His composition for WHERE GO THE BOATS? is an instant classic, with a yearning melody and addictively hypnotic harp riff. Robin has also composed rich and plangent tunes for THE LAMPLIGHTER, SHADOW MARCH and BLOCK CITY, which fit the poems so snugly that it's hard to believe that words and music were created 120 years apart.
The album includes Wendy Weatherby's stately arrangement of one of Stevenson's own airs, ABERLADY LINKS, here performed and recorded for the first time since Stevenson wrote it. The CD's attractive booklet sets out each of the poems and, on each facing page, matches it with a Peter Nardini painting that impressionistically reflects the poem. The whole package is a splendid labour of love. With each listen I grow fonder of this elegant, moving album."
From Taplas, the voice of Folk Music in Wales and the Borders
“…The poems make good songs. Specially composed tunes, the arrangements, the singing and playing combine to bring the poems to life in a way that is, surprisingly, both innocent and sophisticated.
“Peter Nardini’s paintings illustrate each poem on the sleeve, making this suitable for children and equally appropriate to nurture the child in us all.”
Scottish Memories Magazine February 2010
"In this little gem of a CD, (Stevenson's) exquisite poems are very tastefully set to music and performed by a variety of contemporary folk singers who make each poem spring to life.
"This is an excellent example of giving a new lease of life to some beautiful short poems from one of Scotland's greatest authors.
"An excellent production."
Scotland on Sunday 21st February 2010 - four stars
"Brought into being by Lanarkshire songwriter Tom Clelland - who, with Robin Laing, contributes the bulk of the music and songs - this is a magical evocation of Robert Louis Stevenson's poetry for the child in us all. Peter Nardini's luminous paintings shine throughout the 28-page cover notes, and contributions from fiddler Pete Clark, cellist Wendy Weatherby and singers Christine Kydd, Davie Scott and Duncan McCrone are other glowing facets of this wee gem."
Living Tradition Magazine April 2010
"... The poetry of Robert Louis Stevenson, for so long neglected, is brought to life with gusto here by the addition of Scottish musicians of note. This could have gone so pear-shaped in the way that most folk concept albums go… This one differs in that the source material is so vibrant and is handled with customary reverence.
"Davie Scott positively beams his way through The Land of Counterpane. Christine Kydd is an absolute delight on Escape at Bedtime. Robin Laing reassigns some of his best tunes to stupendous effect and provides rock-steady guitar backing throughout. The CD even includes a song for which RLS contributed the tune, handled with due care by Norman Chalmers and given a suitably appropriate reprise by Wendy Weatherby.
"I let my son listen to the songs and he loved them all. As with his prose work, Robert Louis Stevenson had an inexplicable connection with young people.
"If I had to choose an outstanding moment it would be Christine Kydd’s handling of Escape at Bedtime but as far as I’m concerned it’s all good. "
Reviews of "Little Stories"
"13 songs written and played with pleasure and insight... production and arrangements are managed with impressive subtlety by Davie Scott. Already a contender for most modest album of the year." (Bryan Burnett in the Herald)
Tom Clelland - Album- “Little Stories”(Shoeshine Records, 2002)
“ A wonderfully warm debut album of acoustic-led songs … split between tales of his own country, with stories of East Lothian ghosts (“The Devil and the Hangman”) and wanting to be somewhere else in February (“Getaway”), and tales of further afield - Northern California, Denver, San Francisco - anywhere that allows Clelland to tell one more involving story …… more often than not he hits the spot - never more so on the closing track “Let it Snow,” which quickly catapults him into that rare class of performer who can bring a lump to the throat on first listen. Repeated listens of the track, and indeed the whole album, bring further rewards still. Perfect for the time of year. (Americana UK website)
"Whether we call it country, country'n'Scottish or whatever, this is enjoyable heartfelt music I'm glad I caught up with" (Record Buyer)
“His shrewd and intelligent observations of home life are admirable. The guesting John McCusker helps the magic of his writing disperse like leaves in the wind …. A fine set of stories. The welcome mat will be forever out” “ (Get Rhythm magazine)
Reviews of "Life Goes On"
"Lanark-based Tom Clelland's late flowering career as a singer-songwriter continues with a second album featuring 12 carefully crafted songs that showcase his shy, gentle, sometimes almost spoken word style of singing and his able, though never showy finger picking guitar style...
"The wide-eyed opener, Bands, has a JJ Cale feel. The carefree title track recalls John Hartford's gentle on My Mind and the darker Sky Like a Hammer with its suitably lowering string section is in the British picking tradition of Jansch, McTell and Chapman. Each song, however has Clelland's own stamp of quiet authority too."
(Rob Adams in the Herald)
"The strength of this record is the atmosphere that is created - like well turned wood there is attention to the craft: ‘Sky Like a Hammer’ has guitar chords that are played as though there is velvet on the fingers, and even the mandolin on ‘Blisters and Cracks’ is reined in from its normal yapping brashness. ... ‘A Day Like This’ has pedal steel soft as merino wool - you can’t help thinking of Arran sweaters - the songs are blanket warm. The celebratory ‘Stay Young’ almost manages to get you up out of the chair with its jaunty plucking, the hushed reverent tones fitting perfectly with the anti-war sentiment of ‘The Wind, She Changed’ or the elegiac ‘Stormclouds at a Distance’.
"Imagine winter, hunched up by the fire, wind howling - this’d keep you warm."
( UK Americana Website)
"A beguiling approach that nods towards Austin rather than Nashville in its relaxed storytelling. This album will make you smile.”
(Scotland on Sunday )
