Jo Morrison wrote this review which originally ran on Mostly Folk.
Ned Ludd combines a fascinating mix of Italian protest rock and European folk music. Incorporating such instruments as mandolin, accordion, bouzouki, bass, contrabass, various forms of bagpipes, and violin, this group has a distinctive traditional sound. The instrumentation is well-chosen throughout, providing a lush, folky feel throughout the recording. Bouzouki well paired with contrabass, Uilleann pipes with accordion, and other interesting combinations keep the sound fresh and interesting throughout.
The vocals are more shouted or chanted than sung, in a much more modern rock style than the backing music. The contrast of these two sounds is what makes this music so original, although I have to confess that my more traditional ear would much prefer to hear the vocals sung more musically rather than shouted. As presented, I find the vocals detract significantly from the outstanding instrumental music. Thankfully, there are numerous bridges and instrumental solos interspersed throughout. There are several interesting vocal techniques employed, however, including vocals chanted in harmony on “Giullari,” and a whole vocal chorus used on “Uomini socialmente inutili” and “Ned Ludd.”
The songs range in topic from the crushing of dreams to the mafia and corruption of the government. The opening lines of “The Jester of His Majesty” give a good flavor of their lyrics, “Courtiers of the empire divide crumbs between themselves…” Another song, “The Unemployment Dance,” notes “To get a job you need experience, to get experience you need to work…” The translations are provided in the liner notes, so non Italian-speaking listeners can know what the strong-sounding Italian lyrics are all about.
One of the highlights of this album is the use of pipes by Ian Lawther. His work on uilleann pipes, Highland pipes, Northumbrian pipes, border half long pipes, and low whistle show off his versatility. He is featured in both supporting and solo roles, giving depth and contrast to many of the vocal tracks, and playing two solos — Joseph Lawther/Monique Van der Goor on Northumbrian smallpipes and Mist Covered Mountains on Highland pipes. He is also featured on a rich almost-instrumental “Mimmo e Walter.” Lawthers’ rich low whistle and border pipes give this track just the exotic quality needed to make the track a stand-out.
(Ned Ludd, 1998)
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