In 1971 Unicorn Records released an LP called ‘Merry-Go-Down’, the name of an anthology first published in 1929 compiled by Rab Noolas – read that name backwards – which contained sundry extracts from Genesis to Dickens on the subject of booze. The anthology’s sub-title tells us that it is ‘A gallery of gorgeous drunkards through the ages, collected for the interest, illumination and delectation of serious topers’. The disc was the idea of Fred Tomlinson and illustrated Warlock’s rich variety of interests, literary and musical.

As well as a composer, Warlock was a journalist, musicologist, editor and an astute explorer of the Elizabethans – musically and in terms of their literary achievement. This disc is a celebration of his manifold gifts in these fields as well as his enjoyment of – and susceptibility to – drink. The 34 tracks last 48 minutes so there are no long works, though there are two pieces from the Capriol Suite, both arranged for piano duet by Warlock.

The musicians who take on most of the burdens in the songs are Ian Partridge and his sister Jennifer, who is also a gifted soprano and indeed sings in that role a number of times on this disc. Jeffrey Nielson Taylor also appears in the more overtly rustic numbers. His professional name was Nielson Taylor and he had been a professional footballer from 1949 to 1957 for Huddersfield Town, Fulham and Brentford and known as ‘Jeff Taylor’. The guiding spirit of the enterprise was Fred Tomlinson, choral director and composer and luminary of all things Warlockian. He also co-composed Monty Python’s The Lumberjack Song. If you watch it, you’ll see some of the Fred Tomlinson Singers. The texts, from Aristotle to Warlock himself, are read with insight and relish by Peter Gray.    

The ‘songs, catches and poems, sociable, amorous and bibulous’ provide a seamless collage of pleasures. These include a lusty rendition of Warlock and Moeran’s Maltworms in which Neilson Taylor and Jennifer Partridge, at the piano, are joined by their comrade singers Mark Brown, Michael Clarke, Robert Hunter, James Lewington and Richard Hazell, as well as some rounds from a composer Warlock did much to restore to currency, Thomas Ravenscroft. Tomlinson arranged a number of pieces including, for tenors and basses, Warlock’s Piggesnie. Ian Partridge sings Have You Seen But A White Lily Grow, in Warlock’s edition, with exquisite refinement, very much in the lineage of Heddle Nash whilst Jennifer Partridge evokes a lute in her splendid piano playing of Dowland’s My Lady Hunsdon’s Puffe. She and Tomlinson enjoy their duets whether naughty – the Beethoven Binge – or nice, in the shape of a lusty and Ragtimey The Old Codger. There are too many pleasures to list individually.

The booklet has been beautifully compiled and is profusely illustrated. It includes Fred Tomlinson’s original sleeve notes and adds programme notes by Dr. Brian Collins, Vice-President of the Peter Warlock Society. There are also elegant black and white photographs of both Partridges, Neilson Taylor and Fred Tomlinson. Unicorn’s master tapes have been lost so this CD has clearly utilised a fine sounding LP – far better-sounding than my click-laden affair.

This is a reissue to be savoured by Warlockians. I am delighted to see it restored with such care by the Convivium team.