Scottish Traditional Singer Barbara Dymock

Barbara was brought up in Fife, learning Scottish and Irish songs from her grandparents . She was delighted to meet up with many other traditional singers and musicians when she left home to become a skint student at Dundee Uni and was persuaded to start singing for her supper.

She went on to become a founder member of the band Coelbeg and over the years had many other collaborations: Fair Game, Rathlin, Fon a Bhord and Palaver - to name but a few.

Around 1987 Barbara started a 20 year break from regular singing, concentrating on her family and a medical career, but she's back hanging around sessions and festivals again and enjoying a new collaboration with musicians Carol Anderson, Martin Macdonald and Kenny Hadden, resulting in a CD called Hilbert's Hotel.







Founder member of Ceolbeg and one of the finest Scottish revival singers, Barbara has re-emerged from her life as a doctor and mother with this, her finest recording. She's set Scots traditional, Jacobite songs, Bothy ballads, gypsy songs alongside lyrics by Brooksbank, Burns, Dylan and producer Michael Marra (quite a few to unusual but well-married tunes) with the imaginative, skilful modesty of her acoustic band. A moving album full of great songs and timeless character.

by Norman Chalmers, Scotland on Sunday 28/8/11

 


One of the Scottish folk scene's best voices was quiet while Barbara Dymock concentrated on her career as a doctor and bringing up her family. Now the singer with an early version of the popular folk band Ceolbeg is being heard again, and has released an album that brings out all her considerable strengths. Equally convincing and engaging whether singing quiter, more persuasive songs or rambunctious tales such as The Beefcan Close or the album's producer, Michael Marra's brazen, brawlin' and sozzled Muggie Sha, Dymock is a singer with bags of character. The arrangements here, whether introducing fiddle, guitar, banjo, flute, whistle, mandolin and moothie or focusing on just Dymock's voice and self-created harmonies, all show her clear, natural storytelling talent in its best light. The Appalachian-flavoured Edward and the unaccompanied segueing of Robert Burn's The Gallant Weaver and Blythe Was She are particularly good examples, but in the old days you would have dropped the needle anywhere on this album and found something worth hearing.

by Rob Adam, The Herald 18/9/11