Vocals Female
Showing 1–16 of 57 results
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Andrew Dinan & Jim Richardson: Inside Out
Track Listing
- Little Katie Taylor’s/The Blocker’s/The Silver Spear
- The Night Owl/Horsebite/Our Kid. (comp Grace Kelly)
- 10 Bar Blues. (comp Andrew Dinan)
- Old Fashoned Morphine. (vocals Nancy Dinan)
- Civil War Lament (comp Andrew Dinan)
- Ronnie Cooper’s/Tommy McElvogue’s/Sean Walsh’s
- Exile of Erin (comp Tony Sullivan)/The Conversation. (comp Grace Kelly)
- Transmission. (comp Joy Division/ vocals Nancy Dinan)
- Holes/The Strong Men From Kilfinane/Time Flies Too Fast ( both comp by Andy Dinan)
- La Polka des Ours (comp Lors Jourin)/Glen Cottage/La Polkade la Meteo Marine (comp Jean-Michel Veilon
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Brendan Hendry, Paul McSherry & Nodlaig Brolly – Stringtones
www.liveIreland.com The Livies Awards 2012 Musician of the Year – Brendan Hendry
This Northern Ireland fiddle player defines what it means to be an Irish musician. His style and taste are impeccable, and nobody deserves this award more. A stunningly gifted musician as evidenced on his two albums so far, Stringtones and Tuned Up. His grasp of the music and soulful playing is what the Irish fiddle is all about. As with all the great musicians, when you hear this artist playing the fiddle, you are hearing Ireland. A master.
Press Reviews
The Living Tradition Jan/Feb 2011
Brendan Hendry – Fiddle, Paul McSherry – Guitars and Bouzouki, and Nodlaig Brolly – Clairseach, Piano and Vocals, have produced a very nice album of music and song.
Traditional and traditionally set items sit comfortably together in one of the best programmes of recorded music I have heard for a long time. Their repertoire includes songs, two sung in Irish, one in English,
reels, jigs, strathspeys, a slow air, and hornpipes. The songs are perfectly suited to Nodlaig’s slightly wistful voice, and the arrangements are very sympathetic to the mix of instruments.
Everything is faultlessly performed – these three musicians are very together. All three are new to me and so I know nothing of their backgrounds or influences, but based on the evidence of this CD they must
be wide and varied. Highly recommended. Danny Saunders
American Public Radio
What a great new album! More to come, as we will be playing it a lot.
This is great stuff. Sounds like the real deal to us!
Chicago Irish American Newspaper
Thhis is such a brilliant piece of music from one of the best musicians in the business. Wonderful stuff, true to the bone.Terrific follow up to his first album. Stringtones brings together Brendan Hendry on fiddle (excellent) , Paul McSherry on guitar and bouzouki in a very tasty accompaniment and Noldaig Brolly playing a lovely harp and piano, while singing beautifully. The whole thing has a real sense of class, style and real musicianship in the tradition.
LiveIreland.com
Another great piece of work from Derry and Brendan Hendry. Real trad played and sung perfectly. Oh! Such a tasty treat! Stringtones is one of our favorites of the 2010 albums. We trust Brendan Hendry and his fiddle to bring music of real quality. Here, backed by John McSherry on guitar and Noldaig Brolly on piano and harp, we have a real treat. We also really like Brolly’s voice. Great job all round!!!
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Caladh Nua – Happy Days
Caladh is an old Irish word meaning “Harbour” or “Shelter place”. Caladh Nua means a “New Harbour” or “New Shelter place”. Caladh Nua could also refer to a new comfortable place where music and song sets a warm lovely atmosphere. With all this in mind, this is “Caladh Nua”, the traditional Irish band. This very unique band was founded in early 2009. Like many of the great Irish traditional bands Caladh Nua simply formed as a result of great musicians crossing paths, realising a special connection and then wanting to share it with the world audience. The ensemble comprises of five qualified musicians from three beautiful regions in Ireland, counties Carlow, Waterford and Kilkenny. The tasteful musical arrangements of Caladh Nua include traditional Irish dance music, traditional songs alongside some more recently composed pieces. Caladh Nua has a perfect balance between innovation and preservation of Irelands wonderful music and song tradition, the bands special repertoire and energy is guaranteed to capture an audience of any generation
Press Reviews
Net Rhythms.com
Caladh is an old Irish word meaning “harbour” or “place of shelter”; thus the band name signifies a state whereby they’ve found a new comfortable place to showcase their musical talents in a warm and convivial atmosphere. And that turns out an apt description of the genially energetic music on offer from this fairly new young five-piece band who hail variously from Counties Waterford, Carlow and Kilkenny.
Although there’s no shortage of musicianship, the band members don’t force the issue, preferring instead to concentrate on letting the music speak for itself. Theirs is an easygoing style, as demonstrated on this collection that readily intersperses tune-sets and songs in sensibly varied and clean, uncluttered arrangements that let the individual musicians have their say without fear of being drowned out or interrupted mid-flow. And yet, considering that the lineup sports two fiddlers (Paddy Tutty and Lisa Butler), the overall texture isn’t always as rich as you might expect — but this isn’t ever a problem when the playing is so deliciously pointed and the arrangements kept so simple. The lineup’s completed by Eoin O’Meachir (banjo, whistle, mandolin), Derek Morrissey (button accordion) and Colm O’Caoimh (guitar, bouzouki), who together provide a fortuitous balance of timbres that’s impeccably judged, with melody line and harmony support well proportioned at all times.
The opening set of reels is a good illustration of the band’s flair for balance between sensitivity of internal dynamics and outright energy, although there are instances on later sets where one feels that a little more capital might have been made out of the tunes (for example The Jolly Beggarman, which flits by in just under three minutes) and that a touch more loosening-up might have helped in dispelling the hint of “by rote” that just occasionally creeps into the rhythm of the ensemble. Interestingly though, one of the most appealing of the instrumental tracks is a swinging ragtime-cum-vaudeville-flavoured piece By Heck (which originates from the playing of the Flanagan Brothers, who emigrated to America in the early 1900s).
The rest of the tune-sets contain a nice mixture of jigs, reels and hornpipes and barndances, and the chosen pace is well managed but never too frantic even in the concluding head-of-steam stages of a set. Colm gives us a delightful solo performance too, the Gort Na Mona set (comprising a jig and a hornpipe): light and lyrical guitar picking at its finest (and, like his rendition of The Humours Of Ballyloughlin on the disc’s final medley, inspired by the duetting of Paul Brady and Arty McGlynn). As far as the songs are concerned, Lisa takes the vocals for three out of the four, and she has a pleasing, warm, generous tone with a good sense of line without resorting to over-use of ornamentation; I particularly enjoyed her rendition of Cad É Sin Don Té Sin, a Donegal song dealing with the issue of personal freedom and individuality, although her treatment of Banks Of The Lee is a little too much on one level to rise above the standard. The fourth of the songs is the odd-one-out in two respects: it’s the only contemporary composition – Richard Thompson’s Beeswing – and it’s sung (albeit rather attractively too) by Colm, but it ends a little abruptly and in the end doesn’t add anything to the song’s already massive discography.
Overall, then, Happy Days is a pretty impressive debut, for these musicians are undeniably talented and have already learnt some key lessons in the successful presentation of Irish traditional music. And even though I’m left with a feeling of being ever so slightly shortchanged, it proves an enjoyable listen. David Kidman October 2010
www.LiveIreland.com
Caladh Nua is another young group out with a stunner, Happy Days. What a quintet! Fab songs meet wonderful, wonderful tunes
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Ceide – Out of their Shell
Out Of Their Shell is the second album by Mayo-based traditional band Céide, but it’s the first to feature their new ace in the hole: singer Marianne Knight, who also plays a bit of bodhrán and adds a jazzy flute to the spirited ‘Bold Donnelly’.
“Her clear, bright voice and crisp ornamentation make her one of the most exciting vocalists to come along in years, and when flute player Brian Lennon sings harmony on the final verse of ‘John O’Dreams’ the effect is electrifying”. Hot Press
Produced by Seamie O’Dowd, former guitar/fiddle ace with Dervish, who is acquiring the most sought after producer hat in Ireland, among his recent productions, which drew tremendous critical acclaim, was Mary McPartlan’s The Holland Handkerchief, which won MOJO magazine’s Folk Album of 2005. Seamie is bevering away at h is own solo debut album. Which is eagerly awaited.
Copperplate is very proud to have this title on our roster and to help it achieve its full potential will be supporting this release with a full-scale promotional mail out to media and retail.
Press Reviews
These five lads from various backgrounds first started to play together at a regular Sunday night session in my pub in Westport. It soon became clear that they were developing a distinctive and original sound, combining the best of traditional music with contemporary songs and arrangements. This recording does great justice to their individual and collective talent. It has a very broad appeal and I highly recommend it.’ —- Matt Molloy
The Chicago Irish American News, July 06
“This is terrific, traditional music played with gusto and understanding—a rare combination”, Bill Margeson
FolkWorld 33
Well I come from the land of the long grass and gorse, I flew with the eagle and I ran with the horse, and I played with the wild wind and whistled its tune… The Irish band Céide (-> FW#21), featuring flautist Brian Lennon of the musical clan (Charlie, Maurice -> FW#23), evolved from a regular session at Matt Molloy’s pub in Westport in County Mayo. Their second album “Out of their Shell” features new singer Marianne Knight with a marvellous treatment of Bill Caddick’s “John O’Dreams” (with the Tchaikovsky tune), the traditional “Bold Donnelly” and Andy M. Stewart’s “Man in the Moon”. Guitar player Declan Askin wrote the traditional-like “Western Waves” and turns out to be a fine singer as well. Marianne plays no mean flute either — she then took out her whistle and she blew it sharp and shrill — and set out with the boys for a “Tae in the Bog” and swap some other tunes. Tunes such as “Pikeman’s” which dates from the 1798 rebellion when it was used for drilling Pikemen. The checks in the tune are the point where they would thrust into the dummy enemy. “Out of their Shell” has been produced by Dervish’s Seamie O’Dowd (-> FW#26) who brings in guitar, fiddle and dobro to polish it up. No need to actually, everything’s fine. Walkin’ T:-)M
Froots Jan/Feb 07
This County Mayo band named after a local megalithic monument, impressed highly on their debut album LIKE A WILD THING in 2001. While playing the basic Altan and Lunasa game line-up wise, they did endeavour to affix an individual slant through using contemporary song choices and clever subtle tune arrangements.
Out of their Shell, Ceide’s second album, sees some logical and unusual developments in their respective game plan. Firstly, adding female vocalist Marion Knight increases the song quotient, bringing a colourful and distinctive feel. While some might find this move confusing, with Ceide’s guitarist Declan Askin handling vocals adequately on their debut and here restricted to a background role, Ms Knight turns out to be something of a find. She has a nice, raw, unblemished sounding voice that is less sweet or strident for many of her contemporaries. This makes for some fine performances on The Man in The Moon, Western Waves and Bold Donnelly, the latter the only traditional song on show.
Musically, the tide pull of accordion, flute and fiddle handled by Tom Doherty, Brian Lennon and John McHugh, works well together laced with bass, guitar and percussion. The result is bold and precious with a well-placed balance of melody over dynamics.
This is a sure footed line-up bakes its recipes before unveiling them to the outside world.
Ceide are indeed out of their shell and while the sound is different, the basic promise remains intact. www.ceide.net John O’Regan
Taplas The Welsh Folk Mag-Aug/Sept 06 Adolygiadau o Reviews
Meanwhile Mayo-based Ceidc continue to impress with their second CD, which is greatly enhanced by the addition of singer Marianne Knight.
The tight unison playing of fiddler John McHugh, flute player Brian Lennon and accordionist Tom Doherty is nicely underpinned by the guitar of Declan Askin and double bass of Kevin Doherty, who invite favourable comparisons with the mighty powerhouse of Donogh Hennessey and Trevor Hutchinson.
The selection of tunes is interesting and varied too, with the wide range of sources duly acknowledged. Dervish’s Seamie O’Dowd produces and provides as some pleasing second guitar on the song Man in the Moon, which is one of the highlights of this excellent CD. Although the best-known version is probably that of Scottish singer Andy M. Stewart, this version comes from Donegal musicians Ernie O’Rahilly and Liam Deery.
And like Lunasa’s earlier CD, this comes recommended by Matt Molloy himself, at whose bar in Westport the band originally came together. Nick Passmore
The Irish Post 27/5/06
“Out Of Their Shell” is the second album by the Mayo-based traditional band Céide, it’s the first to feature their new singer Marianne Knight, who also plays bodhrán and adds a jazzy flute to the spirited ‘Bold Donnelly’.
“Her clear, bright voice and crisp ornamentation make her one of the most exciting vocalists to come along in years.
Marian is one of that numerous band of musicians known as the FBI (foreign born Irish) she learned her music at that well known musical nursery St. Wilfrids branch of Comhaltas based in the Irish centre, Cheetham hill, Manchester.
The material on the album has come from years of playing together trying new tunes and selections there is very relaxed feel to this album.
“These five lads from various backgrounds first started to play together at a regular Sunday night session in my pub in Westport. It soon became clear that they were developing a distinctive and original sound, combining the best of traditional music with contemporary songs and arrangements. This recording does great justice to their individual and collective talent. It has a very broad appeal and I highly recommend it. “Matt Molloy.
With a recommendation like that the album is a welcome addition to the discerning traditional fans album collection. Joe Mullarkey
Irish Music Review
“In conclusion, Out of Their Shell is the most striking album to be released by an Irish traditional band for some years and absolutely worth investigation”, Geoff Wallis
The Chicago Irish American News, July 06
We really, really like Ceide. Mayo-based, this group has a growing rep with other musicians, and a slowly but steadily growing American audience, as well. Big future, based on the fact that they are wonderful now! A talented sextet they offer some thumpin’ great tunes, lovely airs and some fine singing from recent addition, Marianne Knight. The album is titled, Out of Their Shell. Also got it from the aforementioned Copperplate.
This is terrific, traditional music played with gusto and understanding—a rare combination. It got us dancing around the room, and with this arthritis, that ain’t easy! Go Ceide!! Rating 3
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Eilis Kennedy – Time to Sail
Press Reviews
Mike Harding, BBC Radio 2 presenter 18.9.02
I think this is one of my albums of the year so far, because it’s got some of the finest versions I’ve ever heard of Crazy Man Michael, Lord Franklin and the Nic Jones song, Canadeeio. I want to play now what I think bar Sandy Denny’s version of Who Know Where The Time Goes. I think this is 100% gold.
BBC Radio 2 Folk Web Site
Kerry-born Éilís (say Aylish) Kennedy comes of an Irish family where both music and the Gaelic language were part of everyday life, a happy fact reflected in this debut album. Time To Sail was recorded in her home town of Dingle and features, apart from her own pure, natural voice, a ton of top Irish artists including Máire Breathnach (fiddle, viola), William Coulter (guitar), Virginia McKee (clarinet), Bruce Abraham (slide guitar) and Séamus Begley (vocal).
Subtle and lush arrangements woven around traditional songs in two languages are the order of the day. Most of the ten tracks have been round the block many a time but Kennedy reworks them with a freshness that belies any qualms of pastiche. The Factory Girl, bouncing along on Gregg Sheehan’s funky percussion, dives into two slide guitar and kalimba-drenched barn dances; gorgeous layers of cello and clarinet drive away any echoes of Sandy Denny in Crazy Man Michael and Who Knows Where The Time Goes; Black is the Colour’s characterful phrasing and spooky slide guitar/woodwind soundscape prevents it neatly from stepping on Cara Dillon’s justly acclaimed version. Of the less familiar material, two Gaelic songs in particular tug the heartstrings – Amhrán na Leabhar (The Song Of Books), an 18th century poet’s lament for the loss of a boatload of beloved books to the sea and a song of loves’ tribulations, Tá Mé ‘mo Shuí.
Whatever it is, that indefinable quality that raises one singer above the many in these days of talent glut, Éilís has it. A great debut from a major new talent, Time To Sail is making big waves on both sides of the pond. Let’s hope some UK gigs are in the offing – I hear she’s really stunning live. Mel McClellan – November 2002
Live Ireland Web Site Nov 02
What a discovery Eilis Kennedy is! We have been stunned by her debut album, Time To Sail.
Eilis lives in Dingle, Co. Kerry and runs a music bar with her husband John. Also a high school teacher, Eilis is currently on a career break. We are the lucky ones.
This album showcases a major new voice in Irish traditional music. Some of the country’s best musicians have gathered around to appear on this album. The guest list includes the likes of Maire Breathnach, William Coulter, Seamus Begley, and Bruce Abraham on a great slide guitar.
There are more. Here’s the point. This woman can sing. Really sing! A lot of the female voices currently heard in Irish music are very similar, and they must be listened to closely to hear any difference. The great ones–Triona and Maighread ni Dhomnaill, Cathie Ryan, Maranna Mc Closkey and Fionola o’ Sciochru can be identified by voice in a storm! Different. Clear. Strong.
And, now, we add Eilis Kennedy to that very special list. This is a wonderfully produced album, with a really striking cover. Lovely. Also on offer here is the definitive version of “Franklin”, the song about the 19th century explorer, Lord John Franklin, lost in a polar expedition in 1845. We heard Altan and others do this, but Eilis’ version stopped us dead in our tracks.
A gob- smacking stunner. Great other tunes–uptempo, ballads, airs, a really lovely mix. Get your mitts on this one! and be prepared to listen and fall in love.
This is an incredible new talent on the international scene following recent tours with William Coulter. WOW! Bill Margeson
Pay The Reckoning Web Site Review
A major new talent emerges!
Kennedy’s debut is a thoughtful, intelligent and well-balanced collection of songs (and the odd tune), delivered by a singer whose control, phrasing and ability to communicate are a delight and whose backing musicians provide tasteful and sympathetic arrangements which complement her approach perfectly.
Kennedy evidently has an affection for the material which emanated from the folk revival in England in the 60s and 70s, as four of the tracks on offer attest. Her version of Sandy Denny’s often-covered “Who Knows Where The Time Goes?” in our opinion manages to surpass the fragile beauty of the original. Her rendition of “Crazy Man Michael”, another song which will be forever associated with Denny from her performance on Fairport Convention’s “Liege and Lief”, is yet another case in point.
However Denny is not the only troubadour of that era to inspire Kennedy. She manages to knock us for six with a poignant reading of the classic “Canadeeio” (which puts the versions by both Nic Jones and Bob Dylan in the shade). And still she finds time to resurrect, dust down and polish to a high lustre “Lord Franklin” – a song which John Renbourn and Jacqui McShee placed their stamp on many years ago.
Elsewhere you’ll find yourself tapping your foot along to the sparse (but dramatic!) “Factory Girls” – a nod to the song tradition “across the pond”. And you’ll be captivated by the Australian song “Andy’s Gone”.
Her version of “Black Is The Colour” invites comparisons to the recent revival of the song by Cara Dillon. The critics went wild over Dillon’s rendition on its release. However they hadn’t heard Kennedy at that stage and we respectfully suggest that anyone who rates highly Dillon’s reading of the song ought to give Kennedy a listen. Perhaps they’ll agree with us that Kennedy’s version is a much more characterful rendition.
Three songs in Irish complete the set. “Nead na Lachan” is a jaunty jig which serves as a great introduction to the album. “Amhran na Leabhar” and “Ta Me ‘Mo Shui” on the other hand are much more complex and moving numbers which show off Kennedy’s voice to great effect.
A mighty album, then! One which will find its way to your CD player time after time and whose nuances and subtleties will become more revealed on each playing.
Net Rhythms Web Site
I know next to nothing about Éilís, aside from the facts that she hails from Dingle in County Kerry and that Time To Sail is, astonishingly, her début album. It is a very fine collection, mixing traditional and contemporary material in a thoroughly engaging manner and with an equal affinity for either category of song.
Admittedly, the track-list contains some over-familiar titles — Lord Franklin, Black Is The Colour, Canadee-I-O and two associated with Sandy Denny (Who Knows Where The Time Goes?, Crazy Man Michael) — but it’s to Éilís’s credit that her versions of the vast majority of these turn out to be among the finest available (notwithstanding my personal hobby-horse about some spurious words in CMM); and I’d even rate Éilís’s version of Black Is The Colour (which closes the album in fine style) above Cara Dillon’s then-matchless reading of only a year or so ago.
Éilís is an exciting singer, who is clearly inspired by the texts she sings. She has a real flair for communicating expressively but not over-ornately, and possesses an enviable control of phrasing and dynamics. Her degree of accomplishment is uniformly impressive, on slower and faster material alike — her lightness and vocal control on the jig-paced opener Nead Na Lachan and the energetic Factory Girls contrasts well with the emotional impact of the Henry Lawson setting Andy’s GoneA-Droving, forinstance.
All of which makes it all the more surprising that her name was not previously known to me. She manages to be both moving and tasteful in her interpretations, and to this end she is aided considerably by her choice of supporting tone colours and accompanying musicians, which includes Máire Breathnach (fiddle), Virginia McKee (clarinet), William Coulter (guitar), Barry Phillips (cello) and Bruce Abraham (slide guitar).
This is a superb album, with a well-defined character and a stamp of real lasting quality, and a credit to all concerned. David Kidman
Folk Roots Magazine
Eilis Kennedy from Dingle Co Kerry is a quietly growing presence on Irish singing circles. Her debut album Time To Sail unveils a massively underrated vocal talent with a quiet mastery of her craft. Her voice is a thing of gentle sublime beauty, the like for which mothers would be sold and kings ransoms exchanged.. Her sweet, clear, and flowing tones make short work of demanding songs in both English and Gaelic. The material chosen includes some demanding songs from traditional epics Amhrán Na Leabhair and Ta Mé Mo Shuí, Canadee I O and Lord Franklin both hallowed pages from the Nic Jones and Martin Carthy songbook and Sandy Dennys seminal Who Knows where The Time Goes. While some of these approach standard status , Eilis not only handles these songs with care but also infuses them with a fresh buoyancy and relevance. . Two classic examples are Who Knows Where The Time Goes, a hard choice baring in mind the mighty shots Sandy, Judy Collins and Mary Black have had at this simple yet sublime allegory to Trevor Lucas. With William Coulters steel string guitar and Barry Phillips mournful cello, Eilis supple voice exhibits a steely yet reserved emotional strength. Likewise, Ta Mé Mo Shuí is equally minimalist in approach with her vocal performance shining in the quiet majesty of comfortable songs and arrangement. Its not all heavy weather though as Nead Na Lachain skips merrily along on waves of enthusiasm and a feisty percussive treatment of The Factory Girl mixes afro-American idioms with Irish vocal nous. Exhibiting a sense of restraint and care she brings a freshness to her performances suggesting comparisons with Kate Rusby, Bill Jones or closer to home Mary Black or Cara Dillon. Time To Sail is a work of gentle yet firm vocal majesty and adroit choice of material a sweetly beguiling affair the like of which falling in love with is not only just possible but inevitable.
The Irish Times December 2001
Without a lick of paint or a blast of fanfare, Eilis Kennedy ( one time member of the Melting Pot from Baile na nGall) has released a spectacular solo debut. Kennedy, a singer whose vocals need neither searchlight nor scaffolding to bore holes into the soul, belongs to a select company of singers (alongside Karan Casey and Virginia Rodriguez) possessd of the finesse of a seamstress and the precision of a neurosurgeon. Tá Mé ‘Mo Shuí straddles the folk/trad divide effortlessly, Kennedy’s guileless vocals hammocked by Barry Phillips’ perfectly-judged cello. Her re-working of The Factory Girl , funkily imbued with a new-found hip-swivelling optimism, gels startlingly with a pair of barndances that lift and seperate the sentiment and rhythms as though they were genetically engineered for one another. A magnificent collection. “. Siobhán Long, The Irish Times
Irish Music Magazine
Every once in a while, an album comes along which heralds a potentially, major yet underrated vocal talent. My first exposition to Eilis Kennedy and her debut album Time To Sail was through hearing Nead na Lachan sail through the radio waves, her clear sparkling voice and a clever arrangement made me want to checked out this Dingle based native. Now having listened to Time To Sail several times, my thoughts are unchanged Eilis Kennedy is an untapped major vocal talent waiting for the moment to shine. Why? For starters, she has a soft yet lyrical voice, which clearly sails through the albums ten, tracks and is equally at home with traditional and contemporary material. Some of the latter chosen is quite daunting including Sandy Dennys classic Who Knows where the Time Goes, Fairport Conventions Crazy Man Michael and Nic Jones s Canadee -i-o.
In the case of Who Knows where the Time Goes where lesser hands would have made a histrionic meal, Eilis interprets Sandy Dennys wistful allegory to her then lover Trevor Lucas with a quietly impressive authority and Canadee -i-o emerges as a fresh delightful performance. Where Eilis Kennedy scores is in the subtle arrangements framing her sparkling vocal chords and a tasteful choice in material. Time To Sails success is due to taste on all fronts- a gorgeous record no more no less.
Hot Press
Currently on furlough from a teaching career, this fine singer has taken her time in releasing her debut album. It has been quite a while in the planning, but is well worth the wait. An engaging mix of the traditional and comtemporary, it showcases to strong effect a warm voice and also a talent for picking damn good songs. The opening track Nead Na Lachan sets the tone; bouncy and full of movement, it demonstrates an easy relationship to rhythm. The real test of an album such as this
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