Dig in deep
Bonnie Raitt
Emneord
Anmeldelser (4)
AllMusic
2019
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Mark Deming
2019
"Anyone who has followed Carthy's career already knows she's as intelligent and perceptive an interpreter of traditional folk music as can be heard in these days, and after years of working in the context of ensembles with others, Restitute shows her gifts are every bit as striking when observed on a smaller stage. Restitute is music that was created on a modest scale, but the talent on board is massive, as is the value of the performances, and Carthy's home-brewed album is a rare treat".
Folk radio UK
d. 15. apr. 2019
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Richard Hollingum
d. 15. apr. 2019
"Here is a singer at the height of her power - just listen to the control especially on the tracks without instruments, and to the duet with Jon Boden. Listen to this diversity, this eclecticism, and you will know what an important place Eliza Carthy has in the world of - well "Folk folk folky folky folk folk BANG BANG-trad/prog" singing".
Songlines
2019 July
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Julian May
2019 July
"Top of the world" - "In 2016, the Wayward Band, the ensemble of gifted musicians Eliza Carthy first assembled in 2013, suffered what she describes as a 'monumental con' and lost the funding for their ambitious Big Machine album. Carthy was moved to record Restitute, her first solo album for 14 years, in her bedroom and sell it to raise money to pay the band ... Restitute opens with 'Friendship' but, unsurprisingly, anger at injustice and corruption runs through it. She curses capitalists with Leon Rosselson's 'The Man Who Puffs the Big Cigar', lampoons lawyers with her setting of Jonathan Swift's poem 'Helter Skelter' and sings 'Dream of Napoleon', one of a body of English traditional songs radically admiring of Bonaparte. Carthy sings with absolute conviction, scraping a jagged accompaniment from her violin. But it isn't all furious: 'Lady All Skin and Bone' is a comedic contemplation of death, and the album closes with 'The Last Rose of Summer', expressing the necessity of friendship".
fRoots
2019 Summer
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Colin Irwin
2019 Summer
"After all the big band stuff and her own, perhaps slightly erratic songwriting material, this is Eliza back in the bosom of her own illustrious heritage with her first (mostly) solo album of primarily traditional material since "Rough Music" fourteen years ago ... There's some wonderful stuff here to remind us of the raw strength and instinctive richness of the solo Carthy - her violin arrangement as Robert Burns' "The Slave's Lament" segues into "To A Dark-Haired Friend" is an album-stopping moment; the opening track "Friendship", with Eliza beating the fiddle strings as an unusual rhythmic device, is a gem; and her take on "The Leaves In The Woodlands" - one of Peter Bellamy's finest songs from "The Transports" - is a match for any of the previous versions, which include her mother Norma Waterson ... Very much core Eliza at her most intimate, mostly recorded in her bedroom, stark and direct, yet sounding both cosy and vulnerable".