This, we are told, is the story.
Picked up as part of an experimental government programme and inadvertently dumped into the early 16oos, Murray and Adam are believed to have spent a number of years struggling to make a living as musicians amongst unfamiliar ancient instruments. The only bright spot in this sorry period was their exposure to endless great folk melodies.
Having finally found an acceptable recipe for rat fricassée, we are led to believe that they were disappointed to be beamed back in mid-spoonful. After a period of readjustment to the demands of 21st century hygiene they are back on the road – and unable to get the ancient melodies out of their heads.
Utterly innovative and original: haunting, footstomping and virtuosic - featuring fiddle, accordion, vocals, mandolin, mandola, some funny blowy thing of Murray’s and any other instrument that has recently piqued their interest. Their distinctive arrangements are always true to the spirit of the original melodies. Or so Murray and Adam assure us – and if you haven’t had a 16th century rat fricassée yourself, you probably can’t really argue.