A Review of the CD
"Love, Lust & Loathing"
by Enoch Kent


"Love, Lust & Loathing"
by Enoch Kent

Copyright 2003 SAS2009
Second Avenue Records
12 Aldergrove Avenue
Toronto, Ontario, Canada
M4C 1B2
1-888-923-3879
http://www.enochkent.ca and
mailto:info@secondavenue.ca

This review is written by Kevin McCarthy, 12/03
"Kevin and Maxine’s Celtic & Folk Music CD Reviews"
http://www.kevindmccarthy.com/music/index.html
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Don't you just love the title? It does one better than Hunter S. Thompson. Plus, the songs here certainly cover the spectrum of the three Ls although the order may need rearranging--how about Lust, Love & Loathing?

Two other elements immediately stand out on Enoch Kent's Second Avenue Records followup release: a Scottish burr so thick he could slice a Batch Loaf with it and the 'outing' of Kent as a feminist.

His vocals immediately transport the listener to a table in a Glasgow folk club and although he clearly enunciates the lyrics for each song, he utilizes Scottish dialect. The first offering, "Kissin's No Sin," is a prime example as Kent sings of smooching:

"...Oh, if it wasna unlawfu'
Lawyers woulna do it

If it wasna holy
Ministers wouldna allow it..."

On the second matter, Kent lambastes inequality and underlines freedom of choice for all with such cuts as "Stanley's Song For The Women," "They Sent A Wumman,""Edinburgh Maggie" and "The Lichtbob's Lassie."

However, tempering all this a bit is the female treachery on display in "The Sheffield Apprentice," "The Brewer Lad," "The Toon o' Kelso" and "Francis Street." In a swing of the pendulum, the male gender display their own brand of callow perfidiousness in "One May Mornin'."

In "My Mother's Sewing Machine," Kent deftly juxtaposes the wonders of his mother's clothes-making with the decision of Singer to turn away from manufacturing these instruments of universal benefit to focus on missile guidance systems.

Kent, coming back into the fold with two releases after a 36-year(!) hiatus, emigrated to Canada in the 1960s, leaving behind a history of success on the U.K. folk music scene. It appears he is making up for lost time.

This is a minimalist release, with six of the 14 cuts performed a cappella. Of course, that is not counting Kent's voice as an instrument, a premise one should not lightly assume. For it is his vocals that make this release different. Good different.

Kent, on vocals, is backed by Ian Bell on guitar; Shelley Brown on flute, Tim Harrison on guitar and Lawrence Stevenson on fiddle.

Track List:


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