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Bob is represented by Oscar Music Agency oscarsfolk@aol.com  07866 266553
For CD or other enquiries please contact Bob at:
email@bobwood.co.uk or telephone: 0208 686 9421    0790 899 2794

fROOTS magazine

When The Moon Sits Fat on a Scudding Cloud

"I somehow knew I was going to like Bob Wood's CD. The accompanying modest letter and biog totally belied the little gem that I was about to hear. Wood does not write his own material (but I'm sure he could). Instead he picks a collection of marvellous songs by the likes of Richard Thompson and Steve Tilston among others, and performs them with an astonishing degree of virtuosity. The overall mood is haunting, melancholic and reflective. Wood tends to caress the material rather than give it a slap on the face. The voice and especially the guitar picking are delightful and the accompanying musicians, playing Northumbrian pipes, slide guitar, harmonica, accordion, keyboard and fiddle are never intrusive and are used with restraint, allowing the dextrous Wood space to breathe. Most of the material tends towards the traditional but songs by Lyle Lovett and Bill Staines fit naturally into the set. Exquisite!"


LIVING TRADITION magazine

When The Moon Sits Fat on a Scudding Cloud

"……..Bob is well known to festival-goers ….. none of who need me to tell them this album is packed with varied gems - from Burns and Richard Thompson to Steve Tilston's Slip-Jigs and Reels and Bill Staines' Roseville Fair, taking in Lister, Lovett and Lowe on the way. Bob is a fine guitarist, usually adopting open tunings, all of which are given in the lovingly presented insert. For the CD he is accompanied by musicians….. of the standard of Pauline Cato and Tom McConville, under the careful control of Bob's compatriot Benny Gallagher. It is a labour of love - and a cracker."

IRISH MUSIC magazine

When The Moon Sits Fat on a Scudding Cloud

"It is interesting to speculate what will happen to Scottish music and especially Scottish songs and singing now that a native Parliament sits in Scotland for the first time in over two centuries. Will this see a thirst develop among a wider group of Scots for the wonderful store of songs and tunes that is Scotland's musical heritage? In the event of this most desirable development, then the singing of Bob Wood might be a good place to start for those seeking to slake that thirst.

This man has a voice and an approach perfectly suited to the almost confidential style of singing, which gives many Scots songs their inescapable charm. It is almost as if he is saying ''let me give you this juicy titbit of news, be it joy or sorrow or perhaps even scandal''. He includes two songs with tunes by Archie Fisher, for so long a giant of Scottish singing, and they are both treasures. The Presence is a poem by Stewart McGregor recounting a conversation with his West Highlands landlady and Fisher's tune is perfect to capture the tenderness of the emotion of the conversation. Ettrick is a poem written in the wake of the Battle of Flodden in 1513, by Lady Jean Scott whose husband died on the field and again Fisher has wedded a tune to the poem, which makes it unforgettable. If the revival of interest mentioned at the start does occur, then perhaps Robert Burns will become more in the mind of Scots than the ''wee sleekit cow'rin' timorous beastie'' of our schooldays. Bob Wood gives the old philanderer's musical parting from yet another wronged woman, Ae Fond Kiss, an achingly beautiful treatment. This is undoubtedly the best track on a very good album indeed. By the by, the tune is by Rory Dall O'Cathain, the 17th century harper from County Derry who visited Scotland frequently as an itinerant musician. Just another example of the shared musical tradition that has existed for a very long time between Scotland and Ireland".

CD Reviews

LIVING TRADITION Magazine

After the Swithering

It may come as a surprise to the general reader who is a non-reviewer, that whilst a reviewer's opinions must – as a given - always be totally honest (and thus can never be bought by an artiste or his label), they can still indeed be influenced, before the CD even gets its initial play.


And the best way to influence them, is to make that reviewer feel as he takes the CD out of its jiffy bag, that he is handling precious cargo.


And that is what I felt here, as I respectfully took this beautifully presented Digipak in both hands, with its front cover depicting a sketching of a guitarist at work...a striking art work, from the hand of Rachel Gadsden. She is also responsible for the always simpatico art work that provides nothing less than the icing on the cake for the elegant 12 page liner booklet, with its very informative notes and various guitar tunings.


So, you get my drift. Somehow I just knew that the contents would not be lightweight and instantly forgettable. But if that was not enough, there was Bob's choice of title...After The Swithering. Somehow the title of a CD can also work on a reviewer's subconscious. Yes, we all know it shouldn't, but it does. I am sad I never reviewed Bob's fine previous album, as had I done so, I would have found its title (When The Moon Sits Fat On A Scudding Cloud) had knocked me for six with its lyrical image.


And this title (After The Swithering), worked its magic too. Not providing the same beauty in the image perhaps, but leaving in the mind of the reviewer/purchaser, a certain sense of gravitas. You know in your bones that the contents will not be fluff.


And of course it proved not to be. And well worth the £11 RRP. Although the CD is largely Bob Wood solo, he is aided on individual tracks by some stellar musicians, the likes of Brian Willoughby and Bob's great friend Benny Gallagher (who co-produced). And best of all, the extraordinary cello of Gregor Riddell, someone who I am ashamed to say, was a new name to me.


Throughout, the album always convinces: Bob's authoritative guitar and gentle voice never waver. It is a mix of mainly covers of contemporary folk standards, a traditional song or two, and a couple of bagpipe tunes arranged for guitar. That said, one is more drawn to some of the covers than others: his versions of Garnet Rogers' All That Is, Pete Morton's Another Train, Robin Laing's Heavy Horses, David Francey's Grim Cathedral, and Pete Bond's Joe Peel, seem to put his stamp on the songs and make us forget previous versions that are embedded in our collective consciousness. And two covers vie with one another for best track: his version of Gordon Tyrrall's setting of the John Clare poem, Song, and Jimmy McCarthy's No Frontiers, where his high tenor plaintive strains just made me melt.


Not so sure of the opening track though. His version of Jez Lowe's The Bergen promised so well, with his clever setting of the scene with the sound effects of squawking gulls before he played a note. (I so liked that little trick, incidentally. It wasn't the only time he used it. For instance, the aforementioned Heavy Horses starts with the clip-clop of the hooves.)


The problem with covers of contemporary classics is you must do your darnedest to free yourself from the hold of the original. And alas for all Bob's brave attempts here, Jez has him in a vice-like grip. For all his commendable rolling Rs of his West Coast of Scotland accent that manifest themselves in words like harvest and far, every time Bob sings the recurring line Dreams Came To Me Where I Lay, it is pure County Durham I am hearing!


But hey, that last vista of temporary indecisiveness may be part of the charm of this lovely 56 minute voyage. But now the swithering is over. And one of the things he may have been swithering about was whether to include so many covers. Swither no more, Bob lad. Your judgement has been vindicated.

Dai Woosnam

TAMBOURINE MAIL ORDER RECORDS, JAPAN Kiyoshi Funatsu

After the Swithering

Long awaited second album by Bob Wood has arrived from the UK.

It was shortly after the Japanese tsunami disaster when I first heard his first album When the Moon sits Fat on a Scudding Cloud. At that time especially, Bob's songs gently penetrated into my heart while the tragic news was reported day after day.

The first track from his new album After the Swithering is The Bergen by Jez Lowe, followed by Rattlin' Roarin' Willie. Bob's acoustic guitar playing will take you into a world of comfortable relaxation as well as beautiful brilliance. Bob has put a new life into those British, Irish and North American musical masterpieces. The original writers would have been enraptured by his style and technique.


SURREY ADVERTISER :
'WHAT'S ON' magazine

When The Moon Sits Fat on a Scudding Cloud

"…… the Surrey based Scot has come up with a more than tasty delight of an album. In a little over an hour, we are treated to as choice an eclectic mix of songs as you could wish for, with a few traditional pieces, a touch of Burns and songs penned by the likes of Richard Thompson (Beeswing and From Galway to Graceland), Steve Tilston (Slip Jigs and Reels), Lyle Lovett (If I Had A Boat), Andy Irvine (Never Tire of the Road), Bill Staines (Roseville Fair) and Anne Lister (Moth). Possessed of a mellifluous voice and a nice way with his guitar, there's a mellow, gentle, slightly sad air to an album which also features the excellent talents of Northumbrian piper Pauline Cato, guitarist Lee Collinson, harmonica player Mark Feltham, fiddler Tom McConville and, on accordion and keyboards, Benny Gallagher, who also produces. Well worthy of attention."


fROOTS magazine

After the Swithering

Bob Wood After The Swithering (Timber Records TBR 002/2). Scots-born and London-based, Bob’s a superbly mellow-voiced singer and astoundingly deft guitarist with a keen ear for the best-suited material and a gift for tasty, simple arrangements, performing classy traditional and contemporary folk repertoire (Tilston, Laing, Bond, Lowe, McCarthy etc) with unforced natural charm and considerable eloquence. A constant delight.


R2 ROCK ‘n REEL Magazine
After the Swithering
“...this is a record you play simply to enjoy the music and feel good about it. There should be more like it”.