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Showing 17–32 of 57 results
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Gerry Diver – Diversions
Press Reviews
Live Ireland Web Site
THIS is a young fiddler!!! Wow! Joined by a myriad of guest stars, this Manchester-based fiddler is overwhelming! All the energy, all the drive, all the talent!!
This may well be our favourite album out of all these, and he is a serious contender for Newcomer Of The Year, or Musician of the Year! Now, go find this album. Get on it, and you will be rewarded.
All the influences, Mc Goldrick, Carty, Mairin Fahy, this boy has done his homework, practiced and practiced and come up with his own deal! We are blown away. (God help us, he also plays a great banjo and a passable bass!!) Lots of diversity. Let’s repeat. Wow!! Bill Margeson
Net Rhythms Music Web Site
Donegal-born, Manchester-based fiddle player Gerry presents a very eclectic mix of tunes indeed on this his debut album.
Opening with a stirring set of reels, followed by a Grappelli-style Hooley (mm, that tasty jazzy shuffle!), a fairly laid-back version of Bonnie At Morn (with vocal by Lisa Knapp, who also sings The Blacksmith later on), then a set of Roumanian Hora. Get the picture?
Sure, Gerry excels himself instrumentally as you’d expect (principally on fiddle, but with occasional excursions onto banjo, guitar or bouzouki), always the musical virtuoso but without being over-flashy, and sometimes he’s multi-tracked.
Variously, he enjoys instrumental support from Ed Boyd, Tim Edey, Ollie Blanchflower, Gino Lupari, James O’Grady and Richard Pryce (to name but a few), and there’s even a Pete Townsend credited on double bass on one track!
Taken individually, each track is a gem; Gerry has the knack of pulling together disparate musical strands into a seamless whole, at any rate within the compass of each of the individual tracks; the drawback is that in the final analysis I can’t help feeling that the very Diver-sity of styles and material weakens rather than strengthens the album’s overall identity – but you may well disagree. David Kidman
Froots October 2003.
Belfast fiddler Gerry Diver’s debut album lives up to it’s name, with everything from Jazz, Western swing and homegrown traditions. While his approach is cheeky and competent, it struggles as times to make a definitive personal statement.
However, its victories outnumber its defeats; potentially a major border crosser in embryonic form.
Hot Press. Sept 2003
This is a grand jolly debut CD. No slouch on the fiddle and banjo, Donegal’s Diver also plays guitar, bazouki, bodhran, bass, shaker and is a dab hand at writing new tunes, several of which feature on the album notably, Hot Summer Hooley, a bouncy tribute to the swing jazz style of Stephane Grappelli. A pair of Rumanian horas and two Peter Ostroushko tracks add an international element to the mix and Lisa Knapp sings a Northumbrian lullaby called Bonnie at Morn as well as an interesting waltz tempo version of the classic The Blacksmith. Sarah McQuaid
Pay The Reckoning. Music Web Site September 2003
Diver (fiddle, banjo, guitar, percussion, bass) is a major talent. No two ways about it. You don’t even need to listen to the album to know that he’s in the first division. Simply check out the list of people who’ve gone out of their way to guest with Manchester’s maestro. Lisa Knapp (vocals, fiddle), Tim Edey (guitar, accordion), Lucy Randall (bodhran, bones), Gino Lupari (bodhran, bones), Ed Boyd (guitar, bouzouki), Ollie Blanchflower (double bass), Jo May (djembe), James O’Grady (pipes), Ben Clark (drums), Edel Sullivan (fiddle), Pete Townsend (bass), Johnny Hennessy-Brown (cello), Les Hill (pedal steel) and Richard Pryce (double bass) contribute their various and varied talents to a smorgasbord of an album.
Diver’s tastes are diverse. Eastern European influences feature at various points on the album, as does a Western Swing/country jazz aesthetic on the epic “Hot Summer Hooley”.
However Irish traditional tunes form the album’s bedrock. Some quality sets here, grounded in the “pure drop” approach, but accommodating more than a little experimentation. “Ferny Hill/Rakish Paddy/Christmas Eve” is a real corker and leads into the compelling “The Orthodox Priest/Charlie Lennon’s/The Sailor’s Bonnet”.
“Henry’s Jig/Calliope House/The Munster Buttermilk” gets our vote for the highlight of the album. The first jig was composed by Diver himself as a tribute to his dad. The closing jig is the first tune he ever learned. There’s a very real sense of the forces that drive Diver in this set; that, despite his love of exotic musical forms from other places, his roots are very much in the Irish tradition. A modern classic. Utterly contemporary and yet solidly traditional.
Folking.com Music Web Site
Gerry Diver brings to mind a young Kevin Burke from the opening track ‘The Shepherd’s Bush Reel/Goldhawk Road/
The Procrastination Reel’ and it’s bound to set the listener in mind of The Bothy Band on heat (!) with its driving rhythm
and soaring fiddle.
The only problem I have with it is that all of the musicians seem to have a problem in keeping up and unfortunately nobody seems to have a chance to draw breath such is the unrelenting speed. There are quite a few clipped notes in order to attain
the speed which is a shame really as Gerry is without doubt a fine musician.
The second track, a more evenly paced Grappelli style jazz infused number called ‘The Hot Summer Hooley’ really swings
and collaborator Tim Edey’s “Django” guitar is the ideal compliment but why, oh why the inclusion of the pedal steel guitar – more than a bit jarring for my tastes I’m afraid.
No, I must admit that although I know the album is supposed to focus on the instrumental talents of Gerry it is on the songs
that I am most impressed. The simplistic approach taken on bouzouki backing the delicate (but delicious) vocals of Lisa Knapp is a real coup.
‘Bonny At Morn’ has long been a favourite of mine and Lisa gives it depth without making it insipid. It has to be said that when he’s not going for gold in the speed stakes this talented multi-instrumentalist proves his worth either leading the field or accompanying.
For me, Gerry has a lot of potential but it appears at the moment it’s a case of trying a bit too hard although hopefully by
that all important second album he’ll achieve his ultimate goal. Pete Fyfe
The Irish Post 19.7.03
You’re unlikely ever to find yourself thinking: now, what I’d really like to listen to is some Irish traditional music mixed in with a bit of Stefan Grappelli/ Northumbrian/ Rumanian/ English/ Ukraine music. But should that mood ever descend upon you, I have the very album.
Diversions contains all the above — plus a few self penned numbers as well.
Of these, The Shepherd’s Bush Reel and The Procrastination Reel put me in mind of the old joke: How do you tell one Irish tune from another? Answer: by their names.
The thing is there’s about 6,000 pieces in the Irish national store of traditional music stretching back these last 300 years or so.
Now we’re talking here about a very precious music, the best in the world as far as I’m concerned, and I seldom listen to anything else.
But one would have to say that being a fairly rudimentary music, as all folk music is, 6.000 pieces is really all we need.
Everything you can do with the ‘ould music’ has more or less been done — and there’s nothing about any of the self-penned music on this CD to persuade me otherwise.
Let me say here and now: there’s some absolutely terrific musicians on this album, not the least Gerry Diver on fiddle himself.
There’s some exceptional accordion playing from Tim Edey, and of course, you can’t really improve on Gino Lupari on the bodhran.
But by the end of the album you feel with all that musical firepower as his disposal, Gerry might have been better visiting just one or two places in the world and confining his musical style accordingly. Malcolm Rogers
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Goitse – Tall Tales and Misadventures
“Holy smokes!!! – I thought the whole bunch of us was going to jump out of our seats when Goitse played our Showcase at the World Music Centre at the University of Limerick. Surely, we’ll see you in the U.S. and in Milwaukee.’ – Ed Ward, Executive Director and Founder of Milwaukee Irish Festival
‘Goitse are band that were conceived and developed here at the University of Limerick over the four years. The band has developed in that time into one of the more individual and exception voices in folk and traditional music.?Individually the members of the ensemble are leaders in their field. Áine Mc Geeney is one of the leading young traditional fiddlers in a northern style whose vocals is a marriage of contemporary and traditional technique. Colm Phelan is one of Ireland’s leading young percussionists, and an exceptional bodhran player, providing new dimensions to the voice instrument. Conal O’Kane brings new complexity to guitar accompaniment through his adoption of contemporary themes and styling. James Harvey is simply the best young tenor banjo player about at the moment and Tadhg O Meachair is one of the busiest and individual musicians in Europe today.?Goitse produce a new sound, and are leading exponents in their field individually. They have managed to help reinvigorate a tradition looking for new directions in ensemble and contribute to this practice in a unique and startling way.?I recommend Goitse whole-heartedly.”? – Niall Keegan, Course Director, ? BA Irish Music and Dance
“Goitse impressed me with their tangential take on the tradition, yes they can play it straight but they have the musical imagination and the dexterity in their fingertips to move, groove and syncopate with the best of them.?Alumni of the University of Limerick’s prestigious Irish World Music Academy they are glowing examples of the potential-energy we all know is locked inside traditional music.?The difference with Goitse? Bravery. They have the spark to make it (trad) explode.”? – Sean Laffey, Editor Irish Music Magazine
‘Grab hold of them while you can!”? – Michael O Suilleabhain, Head Of World Academy of Irish Traditional Music and Dance, UL.
www.liveireland.com 2015 Livie’s Awards
TRAD GROUP OF THE YEAR: Goitse
Goitse has established itself as a massively popular band among trad fans the world over. Rightly so. This wonderful quintet released Tall Tales & Misadventures to worldwide recognition in 2015. Rightly so. This talented group is highly respected and still young enough to have all their best years in front of them. They are wonderful. Their music is unequalled for energy, ability, and intelligence. So young to be so good. Wow!
Press Reviews
SONGLINES Feb 2015
* * * * Let these rascals spin you a yarn
Album number three from the Irish ?ve-piece Goitse (the name is an informal Irish greeting, meaning (‘come here’) follows 2012’s splendid Transformed with more than agreeable panache.
Tall Tales & Misadventures reins in much of the excess energy and impetuosity that characterises the band in performance and which spilled across their ?rst two outings on disc.
Usefully so. It should do much to raise the pro?le of this energetic, but tightly knit ensemble, formed while still students at Limerick University’s Irish World Academy of Music and Dance.
There’s a vivid and vital sense of an out?t reaching its maturity; this is playing of considerable ?nesse, ?exibility and ?air. Taking centre stage is Aine McGeeney, whose feisty ?ddle and silky vocals are beautifully evocative on the plaintive ‘Ye Lovers All’. James Harvey’s characterful banjo is delicate and delightfully brittle on ‘ Changing Lanes’ , while the dextrous piano accordion of Tadhg O Meachair is gleefully virtuosic on’ Misadventures ‘, a particular highlight.
There’s tremendous subtlety on display,too. courtesy of bodhran champion, Colm Phelan and Conal O’Kane’s eleganty expressive guitar. In all, it’s a big forward for a band with a promising future ahead of them. Michael Quinn
R2 Magazine Nov/Dec 14 ***
Everyone else does it so l should join in – it’s pronounced “Gwi-cha”, which only goes to prove my theory that Gaelic was invented just to piss off the rest of us.
Tall Tales & Misadventures is the third album from this young quintet from Limerick. Goitse play Irish music with a light touch.
There are no guest appearances except for Martin Brunsden’s double bass on four of the eleven tracks and Kieran Munnelly’s backing vocals on ‘Carrick-A-Rede’. For the most part, the band could play the album live. The opening set is the ‘Tall Tales’ of the title. The note relates how banjo player James Harvey mailed himself across the border into the USA because his visa was late and he learned the last tune in the set from the delivery van radio. The fiction is maintained for ‘Trip To Dixie’. The misadventures involve an over-enthusiastic sprinkler system, a golf cart and a ‘Salmon Coloured Ticket’, all related in tune.
The album mixes the fun with moments of beauty such as Tadhg O Meachair’s tune ‘A Decent Lunch’, which opens the ‘Kansas City Knockout’ set, and ‘Ye Lovers All’. The up-tempo Gaelic song ‘Ta Sé ‘Na La’ is something they should do more of. Dai Jeffries
Froots Mag 11.14
Originally formed in Limerick University this Irish quintet delivers an authoritative third album. Sprightly instrumentals with exciting and unexpected twists topped off with winsome vocals. The rough edges have been honed into an exciting energetic package with requisite bulls eyes hit.
www.liveireland.com
We KNOW we have previously reviewed Tall Tales and Misadventures by Goitse. But, it was a case of too little, too early. This is their best album yet. What is not to love about Goitse? On Imeda Bhroga’s and my LiveIreland,com show, based out of Dublin, Ireland every Sunday at noon, Chicago time, there are few more-requested groups than Goitse. As with Socks in the Frying Pan, Goitse has benefitted tremendously from the attention and support received worldwide from LiveIreland.com. If you’re Goitse, you want to be supported in Chicago by Maryann Keifer and Erik Carlson and Mary Caraway. If you want to break worldwide, the only game in town is LiveIreland.com Goitse deserves every bit of popularity and support they are receiving, no matter the source. There are no more talented young groups in the music right now than Goitse and Sock in the Frying Pan. Tall Tales and Misadventures will show you why. This is a stunning bit of business. Bill Margeson
Folkwords.com
‘Tall Tales and Misadventures’ from Goitse – an effervescent flow of expression (September 01, 2014)
There’s something incredibly infectious about Irish music. Whoever you are, part of you cannot help but pick up on the energy and passion that pervades. The wealth of this music appears increasingly in the hands of young Irish bands who are committed to explore their tradition and equally happy to innovate and create. This time the band in question is Goitse and their latest album ‘Tall Tales and Misadventures’. A product of Limerick University’s Irish World Academy of Music and Dance, the band is well-recognised and appreciated, and rightly so.
Mixing their own compositions with traditional tunes they create sets with a figure-hugging intensity and invisible seams. The flow of expression and that permeates this music is so effervescent you fully expect it to carry you away – sprightly tune or emotive ballad the depth of Goitse’s music invites you to join the party. The album opens with ‘Tall Tales’ and closes with ‘Misadventures’ to relate the trials and tribulations experienced by a travelling band. Along the way, the band also created the special magic of ‘Trip To Dixie’ and ‘Changing Lanes’ — both scintillating sets. Songs like ‘Ye Lovers All’ and Tá Sé ‘Na Lá are made for Áine McGeeney’s softly expressive voice.
Goitse are Áine McGeeney (fiddle, vocals) Colm Phelan (bodhran, percussion) Conal O’Kane (guitars) James Harvey (banjo, mandolin) and Tadhg Ó Meachair (piano accordion, piano). For those of us with a touch of Erin’s blood flowing in our veins that wish we were close enough to our own personal roots to master the Gaeilge, ‘Goitse’ is an informal greeting meaning ‘come here’ — and when ‘Tall Tales and Misadventures’ comes your way, that’s exactly what you should do. Reviewer: Tim Carroll
“This act is now so polished and professional it is no wonder that they are one of the most popular acts on the international festival circuit” – Chicago Irish American News
‘Music that’s brimming with energy and creative zeal’ Irish Music Magazine
“With Tall Tales and Misadventures, Goitse have taken their expressive landscape of sound to a whole new level” – Eileen Mc Cabe
“This mix of gentle grace and gloves-off grit is becoming a hallmark of Goitse’s recordings” – Living Tradition
“The new album is a stunner.” – Live Ireland
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Hanz Araki & Kathryn Claire – A Winter Solistice Celebration
A Winter Solstice Celebration.
The longest night of the year is made bright with the light of music, storytelling and wonder. Ancient carols and winter songs of the Celts are given new life with stunning harmony, and the collection of brisk dance-tunes are sure to keep you warm even on the coldest nights.
‘Each of us bring to the table a varied collection of songs and stories that reflect the same themes of longing, love, loss, beauty, and celebration. These concerts give us the freedom to explore some of these experiences thoroughly through the music that has arisen from the last several hundred years of human existence,’ said singer and flautist Hanz Araki.
www.thecelticconspiracy.com
Press Reviews
The Living Tradition June/July 2013
This is one of four CDs by these two Americans reflecting the music of the seasons. They have good lyrical knowledge and love of Celtic music. The longest night of the year is made bright with the light of music, storytelling and wonder. Ancient carols and winter songs of the Celts are given new life with stunning harmony and the collection of brisk dance tunes is sure to keep you warm on the coldest nights.
From I Heard A Bird Song, The Sussex Carol,Seven Joys Of Mary and Christmas Eve, to In ‘Dulci Jubilo, Coventry Carol, Pat-a-Pan, Apples In Winter and The Wexford Carol, the CD then finishes with the glorious Ring Out, Wild Bells by Alfred, Lord Tennyson.
Hanz and Kathryn come from a background of music ~ Kathryn’s family were all musicians and singers and Hanz’s father was a professional musician and master of the shakuhachi(bamboo flute). The album is mostly recorded live, with very little overdubbing. They bring old tunes to life with impeccable flair ~ a magical treat to your spirit. Kathy and Bob Drage
netrhythms.com
Hanz and Kathryn may not be household names over here in the UK, but on the Pacific Northwest coast of the US they’ve acquired a healthy reputation for their interpretation of Irish traditional music. He is a flute player par excellence, specialising in the wooden flute (his Japanese ancestry placed him ideally for an early career playing the shakuhachi), whereas she’s a classically trained fiddle player who also plays guitar; both of them sing too (and really well). They make a fine musical partnership indeed, and have become popular on the US touring circuit, presenting a choice of theme-based concerts that examine elements of the Celtic tradition.
In that connection, they’ve recorded and released no fewer than four studio CDs within the space of one year, the first of these being A Winter Solstice Celebration, which serves up a spirited, warm-hearted and intelligently realised half-hour-long menu of ancient carols, winter songs and brisk, sprightly dance tunes. Many of the selections turn out to be favourites of Kathryn’s from her childhood, and the genial affection with which they’re played here bears ample testament to this. The disc’s various medleys are creative conjoinings of fondly remembered tunes: particularly successful I thought was the Jeanette Isabella/Sussex Carol set, and there’s also a nicely paced version of In Dulci Jubilo for us to savour midway through the CD. Of the several vocal items, the highlights are probably The Wexford Carol and the duo’s haunting a cappella rendition of The Coventry Carol; and the disc opens and closes with a (very) brief snatch of poetry recited by their friend Finn MacGinty. Other contributors to the mostly-live recording sessions are special guests Cary Novotny (guitar), Joe Trump (percussion) and Suzanne Taylor (piano). And the inserted liner note sheet contains some intriguing (if occasionally rather odd) details regarding the duo’s sources (for instance, we learn that the song Remember O Thou Man was learned from a video of Richard Thompson singing it in a taxi cab).
The whole musical experience is attractively harmonious and pleasing (if over rather too soon), and should bring an appropriate measure of comfort and joy to the purchaser. David Kidman
Folkwords web site
The timing is perfect. Forget the rampant commercialism. Concentrate on the tradition. And if Celtic winter traditions are your delight then ‘A Winter Solstice Celebration’ by Hanz Araki and Kathryn Claire (collectively part of The Celtic Conspiracy) should make it on to thousands of Christmas lists.
Released for the first time in the UK, this album is integrated within a quartet of CDs under the Celtic Conspiracy banner – but back to ‘A Winter Solstice Celebration’ – these are tunes and songs designed to grace the longest night of the year. From the depths of tradition half-whispered within ancient carols, through the long-established discourse of time-honoured narratives, to scintillating tunes that hold the promise of light returning after the winter nights — this is a winter solstice celebration to savour.
The rich tones of Finn MacGinty open and close the album with two short spoken exhortations — one from Oliver Hexford to open, ‘I Heard A Bird Sing’ and to close ‘Ring Out Wild Bells’ by Alfred, Lord Tennyson. The old carolling tradition is well-represented by such stalwarts as the devotional ‘The Seven Joys of Mary’ the 12 th century Irish nativity carol ‘The Wexford Carol’ and the 16 th century mystery play carol ‘The Coventry Carol’ . To dance your way through the solstice night there are classic tunes from ‘In Dulci Jubilo/Drops of Brandy/Three Sea Captains’ to ‘Apples in Winter/The Frost is All Over’. Seeking their music and songs from England, Ireland and Scotland, Hanz and Kathryn, accompanied by an acclaimed group of musicians, have delivered a perfect seasonal package.
Performing on the album are Hanz Araki (flute, whistles, vocals) Kathryn Claire (violin, guitar, vocals) joined by Cary Novotny (guitar) Joe Trump (percussion) Suzanne Taylor (piano) and Finn MacGinty (spoken word). Reviewer: Dan Holland
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Hanz Araki & Kathryn Claire – Songs of Love and Murder
Biogs:
Irish flute player Hanz Araki is the quintessential world music musician. After six generations, the name Araki is synonymous with the Japanese shakuhachi (an end-blown bamboo flute) which Hanz mastered making his professional debut in 1988.
After four years of concert appearances and teaching at the prestigious Keio University in Tokyo, Japan, Hanz returned to his hometown of Seattle, WA and found himself drawn to the world of Celtic music. The penny-whistle and the Irish flute became his single-minded focus, and jigs and reels became a second language. His unique style and passion were soon recognized and met with high praise.
Hanz also discovered his voice was well-suited to the songs of Scotland, Ireland, and England and is highly regarded for his interpretation of folk songs in what is one of the most exciting living traditions.
After several tours across the US, Canada, and the UK (first with the Juno Award winning Paperboys, then Casey Neill) as well as a return to Japan, now as a well-respected Irish flute-player, Hanz moved to Portland, OR in 2006. This move proved to be most fortuitous as it led to the musical partnership with Oregon-native
Kathryn Claire.
A self-taught guitarist and accomplished vocalist and fiddle-player, Kathryn has asserted herself in a new generation of traditionally-inspired musicians. Early classical training gave her a strong foundation, but naturally gave way to her own creative inclinations. Her violin-playing exhibits a technical grace which is matched only by her truly captivating voice. While she possesses the rare ability to move seamlessly across genres, her love and deep respect for traditional music has long been a driving influence, and those roots can be heard in her own original music, as well as her own distinctive take on folksongs.
Kathryn and Hanz quickly discovered a shared love of harmony — and a well-matched work ethic — and a creative process began that has produced a tremendous body of work. Their shared passion for traditional music is magnetic and they have become a favorite at music festivals and venues in the US and abroad. Frequent collaborators include Cary Novotny, Joe Trump, and Cal Scott (US); Takeaki Nagahama, Hirofumi Nakamura (Japan) and Aiko Obuchi (Japan).
Press Reviews
R2 March/April* * *
Songs Of Love & Murder is the fourth CD recorded in just one year by the proli?c American duo, Hanz Araki and Kathryn Claire. It’s a collection of well-known murder ballads and related tunes.
The son of lrish and Japanese parents, Araki’s father is grandmaster of the shakuhachi Japanes flute. Claire studied classical violin and voice, but is also a self-taught guitarist and songwriter. Residents of Portland, together they have amassed an impressive body of award-winning albums.
ln addition to singing, Araki plays flute and Claire plays fiddle and guitar. They are supported by Cary Novotny (guitar), Joe Trump (percussion) and Suzanne Taylor (piano). Araki plays a lyrical low whistle counter-melody to Claire’s lovely rendition of ‘Helen Of Kirkconnell’, while a simple but effective piano accompaniment underpins Araki’s singing of the haunting ballad, ‘The Banks Of Red Roses’.
The songs are broken up with flute and fiddle tune sets accompanied by relentless percussion, which I found rather too intrusive, particularly on ‘Unlucky In Love’.
Songs Of Love & Murder was recorded live, and the arrangements are simple but in keeping with the songs. It’s not going to set the world alight, but it’s well performed and is an enjoyable listen nevertheless. Keith Whiddon
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Helen Roche – Shake the Blossom Early
Press Reviews
The Hot Press, May 05
This excellent debut album by London-based singer Helen Roche actually came out at the end of last year, but is too good to bypass for reasons of timeliness alone.
Roche inherited her love of Irish traditional singing from her Liverpudlian father and grandfather, and has a fine dark reedy voice that comes across beautifully on spare arrangements like those here.
A variety of guest musicians feature, from harpist Harriet Earis to Colman Connolly on uilleann pipes and low whistle, guitarists Michael Lempelius and Andy Metcalfe, cellist Richard Bolton, and Conán McDonnell on bodhrán and piano accordion but never more than two at a time, and several tracks are left unaccompanied.
Standouts include The Lisburn Lass, with McDonnell playing a haunting harmonium-like drone on piano accordion, and a lovely harp and cello setting of The Verdant Braes Of Skreen. Sarah McQuaid Eight/Ten
Taplas, The Welsh Folk Magazine
London Irish singer Helen Roche, on the other hand, is a bit of a find and one of the stirs of 2004’s Return to Camden Town Festival.
Accompanied simply, but effectively, by west Wales harpist Harriet Earis and piper Coleman Connolly, among others, her repertoire comes mainly from northern singers like Paddy Tunny, Joe Holmes and Geordie Hanna, as well as the Keane sisters of Caherlistrane and her father.
With a voice of similar pitch to Dolores Keane and Niamh Parsons, but sounding like neither of them, her quietly confident delivery reveals that she has already mastered that elusive knack of becoming the conduit of the song, letting if live and breathe unhindered by elaborate ornamentation or syrupy arrangements. She breathes new life into the more well-known in this selection of love songs, like As I Raved Out and The Irish Maid, while Willie-0, the Donegal version of The Lover’s Ghost, which she sings unaccompanied, is simply sublime.
I can recommend this CD wholeheartedly! Nick Passmore
www.netrhythms.com
Helen comes from a Liverpool-Irish background; her formative musical years embraced eclectic tastes (including interest in Eastern European singing traditions) and spells as singer-songwriter and rock bassist, but has more recently returned to her roots, spending the past three years gaining an
increasing reputation on the London Irish music scene.
Shake The Blossom Early may well be her debut release, but you wouldn’t think it from its level of accomplishment and sheer good taste. It’s a collection of love songs from the Irish tradition, many from the north of the country, performed with minimal – yet undeniably effective – accompaniment that allows for a sensible degree of concentration on Helen’s considered interpretations of the texts.
The opening Green Grows The Laurel is probably the exception, in that it utilises (juxtaposes) a mazurka in counterpoint to the verses of the song itself; elsewhere, the sparse instrumentation provides just the right amount of complementary aural interest or embellishment where necessary, whether just bodhrán (The Dark-eyed Gypsy) or deft guitar and cello (As I Roved Out) or harp and uilleann pipes (The Irish Maid). Her supporting musicians (Colman Connolly, Harriet Earis, Conán McDonnell, Michael Lempelius, Richard Bolton, and the CD’s producer Andy Metcalfe) do a grand job, admirably restrained yet abundantly sympathetic.
Within the context of the simplicity of the arrangements, there are some unusual ideas too, like the use of piano accordion as a drone on The Lisburn Lass. Though there’s an attractive lilt to Helen’s singing, she never sounds twee or “pretty”, for the timbre she achieves is satisfyingly full-bodied.
It may seem a contradiction in terms to say so, but Helen’s mastery of unobtrusive decoration within a fairly direct vocal delivery is a notable feature of her singing style – of the three unaccompanied tracks here, her rendition of Lovely Annie (learnt from the singing of Paddy Tunney) perhaps provides best evidence of this.
Helen’s a singer with genuine responsiveness to the texts; hers is an enchanting presence, and your 50 minutes will be well spent in her company.
This is a very lovely album, one of whose selling-points could well be its quality as an antidote for those who prefer to avoid the prettified tones of the “Mike Harding babes”. David Kidman
The Irish World 3.12.04
For the past three years, Helen Roche has been lighting up the London Irish music scene and now following much persuasion from her fellow
musicians has recorded this album of 13 tracks. Why did it take her so long?
This is a collection of love songs from the Irish tradition, Roche’s voice is incredible- emotive and stirring. The collection of songs are very traditional yet given arranged thoughtfully by Roche.
‘Shake the Blossoms Early’ is obviously a very personal album for Roche as it is her first and she explains each song in the cover and where she first came across each song, highlighting the beauty behind traditional music in that it is a constant chain. As she explains the fourth song on the album ‘As I Roved Out,'” This I learned from my father. He learned it from Planxty, who learned it from Paddy Tunnery, who learned it from his mother Brigid.”
Helen grew up in England and Mid Wales, and inherited her singing from her father, Jules and grandfather Bill, both of Liverpool.
She has already had a broad musical career delving into other music cultures before returning firmly to her Irish roots.
Including a number of different musicians and instruments with the harp, low whistle, piano accordion, cello and guitar this is varied album yet very true to traditional Irish ballad singing.
Roche has already garnered interest from her live performances at the Ennis Trad festival, Willie Clancy Week in Miltown Malbay, and the Liverpool Irish Festival, as well as sessions around London, so now this album will continue and grow on that.
A hugely promising recording start for an already popular live musician. Tara McWeeney
www.irishmusicreview.com
this thoroughly gorgeous, fulfilling and utterly essential album. Shake the Blossom Early is a consummate delight. Geoff Wallis
Pay The Reckoning 26.10.04
We’ve known Roche for some time, our paths crossing at this and that session where, when the ebb and flow of the nights’ proceedings have
reached an appropriate spell, Helen has regaled the assembled musicians and punters with her beautifully intense songs of love lost and love
gained, of hearts lifted and broken by love. Few singers have Roche’s ability to demand a gathering’s complete attention; to quieten even the
most rowdy of pubs and then to fill the space with a swell of sound.
The launch of Helen’s album is a gear-shift; time to bring her voice and her vision to a wider audience. They won’t be disappointed. Helen’s exceptional way with song may be well-known to a select few at the time of writing, but Pay The Reckoning predicts that by this time next year, there’ll be few afficionados of traditional song who won’t have been charmed by Helen’s CD.
There is a delicacy about Helen’s singing which underscores the often savage emotion of the songs which she favours. An inspired collector,
Helen has zeroed in on songs which suit her perfectly, from Dobbin’s Flowery Vale where raw feelings are masked in an outpouring of euphemisms
as florid as Dobbin’s Vale itself to Willie O, whose unflinching directness is heart-scalding. Along the way, Helen treats us to some of the top-drawer standards of the Irish tradition – The Verdant Braes of Skreen, Green Grows The Laurel, When A Man’s In Love and I Wish My Love amongst others.
Equally top-drawer are Helen’s backing musicians, Harriet Earis (harp), Colman Connolly (pipes), Conan McDonnell (bodhran, accordion), Michael Lempelius (guitar, bouzouki), Richard Bolton (cello) and Andy Metcalfe ( the album’s producer on guitar). The arrangements are subtle and sympathetic, always adding to and never distracting from Helen’s central role in the endeavour.
We’ve watched this CD develop from the sidelines – at times, here and there, receiving snippets about progress.
Many of Helen’s friends in London and,indeed, across the world have fretted with Helen during the gestation. Well, we’re pleased to report that the wait’s been well worth it!
But the waiting’s over and the end result is a credit to all concerned but particularly to Helen. Well done, girl … now, let’s see what happens!
Helen grew up in England and Mid Wales, and inherited her singing from her father Jules and grandfather Bill, both of Liverpool. Eclectic musical tastes led to a spell performing as a singer-songwriter, and as bass player in a rock band. She also pursued an interest in the Bosnian, Sephardic and Yiddish song traditions, before returning to her roots in the Irish tradition. Her performances have enthralled session audiences, including those at the Ennis Trad Festival, Willie Clancy Week in Miltown Malbay, and the Liverpool Irish Festival, as well as sessions around London, where she now lives.
Helen performs next at the Liverpool Irish Festival on October 30th & 31st, and the Ennis Trad Festival, Co. Clare,11th – 15th November
The musicians: Harriet Earis (harp) and Colman Connolly (uilleann pipes & low whistle) are members of the band Siansa, and also perform as a duo, Luasca. Colman teaches at the London Piper’s Club.
Michael Lempelius (Guitar and bouzouki) has played in numerous bands in Germany and the UK, and has toured with harmonica player Brendan Power.
Conán McDonnell (piano accordion & bodhrán) is a well-known and dynamic player in sessions in Belfast, London, and festivals everywhere, from County Clare to the Catskills.
Andy Metcalfe (guitar) is an accomplished professional musician and producer, who has performed
and recorded with a huge variety of artists including David Gray, Glenn Tilbrook, Sandy Shaw, Nick Harper and Debbie Harry – more recently turning to flatpick bluegrass guitar and swing.
Renowned as a jazz, blues and folk guitarist and cellist, Richard Bolton (cello) has worked with a
broad range of performers, including June Tabor, Maddy Prior, Pete Cooper, Willard White, and bluesman Billy Jenkins, and has also been involved in numerous film scores and theatre projects.
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Kate Purcell – Independent Soul
The West of Ireland and in particularly Co. Clare is the home turf of many talented, respected and indeed famous musicians. One such respected musician is Co. Clare native, Kate Purcell. Some of you may already be familiar with Kate from being resident entertainer at Dromoland Castle for a number of years. A residency Kate really enjoys in parallel with her touring & recording commitments alongside being mother of two young children!
“Independent Soul” is Kate’s third album and will be released via her own label Dream Records. Unlike her previous releases, together with featuring some of her own co-written material with long time writing partner and best friend of over twenty years, Mary Fitzgerald, this album also contains Kate’s versions of some of her favourite songs.
Kate has recently been on a three week tour in the USA, where she regularly gigs. Purcell’s albums to date feature contributions by artists such as Tommy Flemming, Martin Hayes Charlie McGettigan, Steve Cooney, Brendan Begley and Tommy Hayes and this album is no different. Kate has been invited to guest on some of her peers projects also. Indeed, she duets with Tommy Flemming in his most recent album. She recently appeared in Vicar Street along with Paul Brady, Neil Hannon, Jack L and Lisa Hannigan as part of the “Gigs for Gaza” series there
A natural born singer, possessing a truly rich and moving voice, capable of captivating every ear and touching each spirit. Growing up in Feakle in County Clare her early musical influences were inevitably traditional/folk. However, she has a deep love for all music types siting influences in the most recent chapters of her career as including Alison Krauss, Sinead O’Connor, Jack Lukeman and Mary Chapin Carpenter.
Her music has taken her across Europe, Hong Kong and as previously sited the USA. Kate Purcell has one ‘of those’ voices that simply ‘needs to be heard’!
Press Reviews
Taplas
SINGER, songwriter, guitarist Purcell is joined by a host of well known Irish musicians: Steve Cooney, Martin Hayes, Winnie Horan and others. But don’t be fooled. This is more country style with no significant instrumental breaks. The guests mostly embellish the vocals, though there is some particularly enjoyable nylon string guitar and harmonica playing. It’s fairly slow paced and includes
songs from Ewan McColl, U2, some traditional and much of Purcell’s own co-written material. Imogen O’Rourke
Rock’n’Reel
County Clare native Kate Purcell calls on the considerate talents of Ireland’s folk and traditional music fraternity on Independent Soul, her third album, including contributions from guitarist Steve Cooney, fiddlers Martin Hayes and Winnie Horan and accordion players Brendan Begley and Tim Eady.
Independent Soul is consistently appealing, Purcell’s breathy and assured vocals adding much to a series of standards including The First True Ever I Saw Your Face’ (credited here to one misspelled Ewan McColl-tut), a deliciously evocative Lili Marlene and a poignant and atmosphere ‘Suspicious Minds’. She excels on the masterful and very personal reading of traditional song ‘The Green Hills Of Clare, which speaks to emigrants everywhere.
Purcell and writing partner Mary Fitzgerald manage to pull a couple of treats out of the bag to close the album with ‘All About Love’ and ‘This House Can Whisper’, two originals that showcase their mellow blend of jazzy acoustic roots-pop. Seen McGhee
The Irish Democrat
KATE PURCELL’s third solo album, is an eclectic and thoroughly charming mix of original material and a selection of some of her own favourite songs, spanning a variety of popular music genres.
I must admit to approaching the album with a degree of unease – largely down to the inclusion of Ewan McColl’s The First Time Ever I Saw Your Face. Although there are a number of fine versions in existence, McColl’s love song has been done to near death on more than one occasion – the Celine Dion and Englbert Humperdink MoR monstrosities springing most readily to mind.
Unfortunately, my apprehension diminished not a jot when I saw that other of her personal favourites included Hans Leip’s Lilli Marlene, popular with both Axis and Allied forces during the second world war.
By the time I’d learned from the accompanying blurb that Die Hard actor Bruce Willis counts himself as one of her biggest fans, I was ready for the worst. I needn’t have worried.
The album kicks off with one of five fine original songs penned with best friend of twenty years Mary Fitzgerald. A slightly edgy love song, it provides an ideal curtain-opener to a collection of songs which showcase the songwriting and musical talents of both women.
The two friends are assisted throughout by a clutch of top-drawer Irish musicians: Steve Cooney (guitars), Martin Hayes and Winnie Horan (fiddle), Breandan Begley and Tim Eady (accordion), Mark Kinsella (harmonica), Jim Hornsby (dobro) Gavin Murphy (piano and keyboards) and Tommy Hayes (percussion).
The arrangements are uncluttered, understated and tight. Always subtle, they allow prominence to to be given to Kate’s distinctively rich but mellow voice. They also succeed in creating a warm and intimate feel. It’s a combination which, I am happy to report, lifts her interpretation of McColl’s love song well beyond the clutches of MoR mediocrity.
There’s only one traditional song on the album, The Green Hills of Clare. This is given a contemporary make-over, with some fine guitar and fiddle playing complementing the sweet and sonorous tones of Purcell’s voice. The singer-songwriter’s love of country music is apparent on the album’s self-penned title track and on her rendition of Suspicious Minds, the latter featuring the excellent harmonica playing of Mick Kinsella.
However, the album’s biggest, and for me, most pleasant, surprise is Purcell’s version of the U2 song Bad. Stripped of any pomp-rock pretensions, it emerges powerfully reborn, filled with passion and the tension of a troubled love.
Overall, the cover versions turned out to be far better than I’d at first anticipated, though I’m still not partial to Lilli Marlene. However, there’s no doubt that the album’s real strength lies with the original Purcell-Fitzgerald compositions, their subtle arrangements and the excellent musicians who lent a hand in the production of a fine album. Let’s hope that it’s a partnership that continues to thrive in the years ahead. David Granville
No other debut album has caused such an audience reaction
Mike Harding – BBC Radio 2
“This Ennis-based singer completely enthrals with her album “Shadows Of You”. What a voice! And, she is a gifted writer. She is a major, major new talent who will only get more famous as more people hear her magic. It is on Dream Records. Find it… Wow!
“This is wonderful. Music of the heart, intuition, ability, understanding and beauty”.
Bill Margeson LiveIreland.com U.S.A
“To say her voice is pure is inadequate, when Kate Purcell gives herself to a song she moves into another dimension” – The Examiner
The Irish World 05/05/09
Kate’s Mates
Independent Soul’ is the latest release from Clare native, Kate Purcell.
By Shelley Marsden – 05/05/09
Her third album, released through Dream Records, it features material that was co-written with friend and long-time collaborator Mary Fitzgerald but also, for the first time, Purcell’s own covers of some her favourite songs (including a take on U2’s Bad).
If you’ve never heard of Purcell before, you’re in for a pleasant surprise. Her voice is simply something that has to be heard to be believed, and her rich vocals are capable of moving the most heard-hearted listener.
Highlights include a gorgeously stripped back version of Ewan McColl’s The First Time I Ever Saw Your Face, followed by a traditional-sounding take on Patsy Cline’s I Fall To Pieces (with Brendan Begley on vocals), making gorgeously subtle use of the accordion. A tricky song for any singer, it showcases her powerful voice to perfection.
A highly-respected performer, Purcell’s albums have always included contributions by artists like Tommy Fleming, Martin Hayes, Brendan Begley and Charlie McGettigan.
Album no.3 continues to open its arms to fellow-musicians (Brendan Begley, Winnie Horan, Tim Eady and many more). Purcell duetted with Tommy Fleming on his latest album, and
appeared at Vicar Street in Dublin with Paul Brady, Lisa Hannigan, Neil Hannon and others for its ‘Gigs for Gaza’ series.
Growing up on the fertile terrain of Co Clare (in the small village of Feakle) and surrounded by people like fiddle virtuoso Martin Hayes – he was her neighbour – you could say Purcell’s path towards Irish folk was pretty much pre-destined.
Yet as well as reflecting her Irish influences (The Green Hills of Clare is the singer’s own composition), Purcell also developed a love over the years for contemporary styles, particularly
blues and American country from artists like Alison Krauss and Mary Chapin Carpenter and her music spans these genres – an attractive mix of the traditional and the contemporary.
Check it out. Shelley Marsden
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Louise Killeen – Brilliant Tease
www.louisekilleen. com
Find me on: facebook (Official Fan Page)
www. reverbnation.com/louisekilleen
Produced by Ciaran Byrne & Bill Shanley, in the Cauldron Studio, Dublin. Engineered and mastered by Ciaran Byrne.
Guitars: Bill Shanley & Louise Killeen
Drums & Percussion: Danny Byrt
Piano, Hammond organ, Rhodes, Wurlitzer: Justin Carroll
Electric & Double Bass: James Blennerhassett
Brass & Strings: Gavin Murphy
Right hand man: Michael Manning
Thanks for all the hard work guys.
All tracks written by Louise Killeen
Press Reviews
Irish Music Magazine Sept 2012
So those reality song competitions can produce the goods. Louise Killeen apparently contested You’re A Star back in 2005 and based on this new CD of eleven self penned tracks it almost makes me sorry I did not view.
Louise from Shannonbridge, Co. Offaly defies categorisation based on this collection. One minute I am thinking Lobo, next I compare her to Clifford T Ward or even Fivepenny Piece (showing my age) and then I settle for just thinking this is her and she has a broad field of influences that are either conscious or unconscious.
She hops from the soulful to a lovely bouncy Charming Hands that lifts the spirits immediately. I love her use of that phrase “risk it for a biscuit”. In fact her lyrics have that excellent “true to life” feel rather than the usual “high faluting” phrasing so often used especially by new writers.
All the tracks without exception show a confident and very talented writer. But her voice makes her an even greater phenomenon. She is one of the easiest to listen to artistes I have heard in a long while and I would like to hear her sing a full concert.
Everywhere Out There is a lovely slow song filled with emotions and again using wonderful phrasing betraying a widely read artiste who has listened closely to the greatest singers and writers.
The title track is more upbeat again and sounds so realistic in its observations the listener feels as if they know the subject – Katie. Sadly Killeen provides us with the words on the insert but not the background to the songs.
The KVT Song is a documentary song about what one surmises is her home tavern and if so would be a great soundtrack if the pub takes on television advertising.
She ends the album with Starstruck and I am sure many of her listeners will feel just that after this CD. Let’s look forward to many more. Nicky Rossiter
R2 Magazine ***
Most promotional albums are fairly minimal affairs. If you’re lucky you’ll get a decent press release; if not there’s always the Internet. Louise Killeen’s album comes in a paperback-sized cover with a similarly shaped booklet and all the information you might need. Whatever the purchaser gets, I’m not going to swap.
Louise has been big in her native Ireland for about six years. She is open about her identity as a gay woman and that’s obvious from her lyrics-this is who she is and this is what she sings about. She’s backed by a small band that includes producer Bill Shanley, on guitar, and bassist James Blennerhassett.
The songs are fresh and generally upbeat even when they are confessional. ‘Ease Up On Me Dear’ is autobiographical and defiantly explicit while ‘Coalmines’ deals with pain and loss in a way that tries to put mistakes behind her while accepting the inevitability of repeating them. All that in two verses and a chorus!
I can’t tell if Louise is setting herself up as a role model but Brilliant Tease will certainly be seen that way. And if you’re not part of that demographic, don’t worry-it’s still a fine album. Dai Jeffries
Net Rhythms.com
The well-appointed press release and fulsome, glossy accompanying booklet augurs well for this record, which would seem to mark the debut on disc for this accomplished young singer-songwriter from Shannonbridge, Co. Offaly. But it’s kindof touted as her “coming-of-age album” so it’s hard to believe it’s a debut, since to a large extent Louise’s reputation precedes her, at least in Ireland, for she first caught the public’s eye with weekly appearances on RTF’s You’re A Star show as long ago as 2005, since when she has chalked up two prestigious songwriting contest victories.
Well yes, on the evidence of this 32-minute offering, Louise definitely has a talent for songwriting – and it’s songwriting of the upfront, refreshingly candid and laid-bare and often daringly no-holds-barred variety, which can be notoriously difficult to bring off but which Louise by and large manages with a generous helping of quirky wit.
But the problem with Brilliant Tease is that I can’t in all honesty endorse the extravagant claims made for Louise – the music doesn’t exactly “make you sit up and listen”, and her performing style, while suitably melodic and pleasingly sung, rather skates over the power of the lyrics, underplaying their import to an often infuriating degree. It’s all too bright and breezy, even on the heart-rending Not Yours and the would-be-touching power ballad Everywhere Out There.
The basic demeanour and character of Louise’s music, as a kind of love-child of folk and pop, harks back to the late-60s Denny & Strawbs (Ease Up On Me Dear), Judy Dyble (Coalmines) or the deceptively easygoing early-70s s/s like James Taylor (This Love). It’s all seriously radio-friendly, entirely likeable and listenable, but the companionable arrangements (modest gentle electric and acoustic guitars, organ, piano, soft rhythm section), though impossible to fault, seem altogether too tasteful (even polite) for the intended cutting-edge of Louise’s lyrics. David Kidman March 2012
The Irish World Newspaper
A UNQUE KIND OF ARTST: LOUISE KILLEEN’S BRILLIANT TEASE PROVES AN UNEXPECTED DELIGHT
Louise Killeen, a singer-songwriter from Shannonbridge, Co Offaly, first caught the public’s attention back in 2005, with weekly appearances in RTE series You’re a Star, when it became obvious she was a unique performer offering something a little different to the norm.
Her new album Brilliant Tease, produced by Ciaran Byrne & Bill Shanley in Dublin’s Cauldron Studio, confirms that talent with its fresh, adventurous, quirky spirit and honest, punchy lyrics – songs as full of intimacy as they are fun. Joining Louise (guitar) on ‘Brilliant Tease’ are Bill Shanley (guitar) Danny Byrt (drums, percussion) Justin Carroll (piano, Hammond organ, Rhodes, Wurlitzer) James Blennerhasset (electric and double bass) and Gavin Murphy (brass, strings).
Killeen grew up as a gay woman in a small town in Ireland, and is wonderfully open about her sexuality. Unflinching in how much her songs have her heart on their sleeve, this lady is one of those who it’s not an exaggeration to call an ‘artist’s artist’. Her Midlands roots can be heard all over her work, yet this album is not at all colloquial in reach. It’s brutally honest, and it’s utterly enthralling.
An intoxicating and confident blend of folk and pop, it’s not a surprise to hear her influences are strong, seasoned icons such as James Taylor and Simon & Garfunkel – though Brilliant Tease is very much forging its own path.
Luka Bloom said of her, “Louise Killeen is a unique Irish woman. She has a unique story to tell. On Brilliant Tease she tells her story with great honesty, great songs and a sweet production. It is more brilliant than tease, because it delivers.”
With two prestigious song-writing contest victories to her credit, Louise Killeen has already proven that her cutting-edge sound strikes a chord with people – and this brilliantly unique, coming-of-age album from one lady’s distinctive world-view should prove a refreshing addition to the music-lover’s collection.
You owe it to yourself to check this woman’s music out – in a year or two you can lay claim to discovering Killeen before the rest of the world did! Shelley Marsden.
Folk Words Web Site (February 13, 2012)
‘Brilliant Tease’ – accomplished song writing from Louise Killeen
Absorb these songs as they wash over you. Relax while they pull you into the warm velvet Louise Killeenembrace of pure, ecstatic, accomplished song writing. That’s what’s the tempting embrace of ‘Brilliant Tease’ from Louise Killeen offers the listener. There’s deep emotion, brutal honesty, eternal sanguinity and enthralling narrative encased in these alluring songs. Each one will haul you into Louise’s worldview of life and you’re hooked.
From the instinctive, primeval emotion of ‘Ease up on me dear’ to the inspired, penetrating lyrics of ‘Coalmines’ — ‘And we’ve been down, down together in the coal mines, Black from the lies that we let in’ — Louise demonstrates her lyrical skill. There’s a bouncy, energetic feel to ‘Easy Talk’, which again cuts a clear path with its incisive lyric, while ‘Everywhere out there’ displays a more wide ranging and sweeping style, the words still remain as sharp as ever. The eponymous ‘Brilliant Tease’ is another outing for Louise’s expressive wordsmith quality (it prompted multiple hits on the ‘replay’ button) well worth listening to again and again. The killer track, exceptional for its ability to reflect poignant distress ‘This Love’ exposes a palpable sadness — beware this song is melancholy in physical form.
Joining Louise (guitar) on ‘Brilliant Tease’ are Bill Shanley (guitar) Danny Byrt (drums, percussion) Justin Carroll (piano, Hammond organ, Rhodes, Wurlitzer) James Blennerhasset (electric and double bass) and Gavin Murphy (brass, strings).
There’s sadness, love, optimism, reflection and resilience wrapped around Louise’s songs. Nothing added that’s not required and nothing removed to reduce the passion. This album has the wings to fly — just watch it soar. You will find ‘Brilliant Tease’ on Louise’s web site or Reverbnation. Tim Carroll
The Irish Post 18.02.12
LOUISE KILLEEN is a singer/songwriter from the small town of Shannonbridge, Co. Offaly and Brilliant Tease is her terrific debut album. It is easy to see why she has won two prestigious
song-writing contests.
And in a business that can appear sometimes to be awash with mediocre singer/songwriters Louise’s
wonderful refreshing lyrics and catchy melodies stand out like a beacon.
Her influences are cited as artists such as James Taylor and Simon and Garfunkel and she has developed that classy easy but powerful vocal delivery that makes you listen to the words.
Growing up as a gay woman in a small Irish town, Louise is totally honest about her sexuality and her album is full of laid-bare lyrics that can alternate between fun and intimacy but always set to strong melody tastefully played by an excellent bunch of musicians. Recorded in Dublin and produced by Ciaran Byrne and Bill Shanley this is an album that will delight her existing fans but should also, if there is any justice, help establish her as a major artist.
Some tracks are already becoming radio favourites but my own personal choice would be Coalmines. This track has a gorgeous feel and is just a beautiful song of any genre. . Joe Giltrap
Fatea Web Site
“Brilliant Tease” is the new album by Irish singer/songwriter Louise Killeen. Louise is well-known in Ireland, having appeared regularly on RTE’s “You’re A Star ” programme. She has also won two national songwriting competitions and her talent is obvious from the songs on this album.
She pulls no punches in her lyrics. In the opening song “Ease Up On Me” she deals candidly with her sexuality which “Created such a scandal that my parents couldn’t handle ” in her “One track town ” where “Johnny’s out of luck, I’ve started checking out his sister”.
The majority of the songs are catchy, radio-friendly numbers. The lyrics are witty and interesting. “Charming Hands” for example, contains the immortal line ” If you’ll risk it for a biscuit, so will I “. “Easy Talk” has a reggae-ish backbeat and a catchy infectious chorus . The backing band play tastefully and understatedly, with some nice organ ,acoustic and electric guitar work.
Not all the songs are up-tempo. “Everywhere Out There” is a slow ballad which builds slowly to a string -enhanced ending and “Not Yours” is an emotional break-up song, with obviously heartfelt lyrics. The album closes with a humorous vignette about life at the local pub “KVT Song (Killeen’s Village Tavern)”.
It is clear that Louise Killeen is a talented songwriter who is not afraid to take risks with her lyrics. This is an extremely listenable album. If I had to make one minor criticism, I would say that the musical setting for her songs is, perhaps, a little too polite and restrained. Peter Cowley
RADIO WDCB Chicago
Louise Killeen has a wonderful voice. It is warm and immediately accessible. Open. Honest. What a wonderful talent! This is a major star in the making and we want to follow this young lady closely. Wow!
Frankobserver
LOUISE KILLEEN AND SUCH A BRILLIANT TEASE
Louise Killen hits the right note! Rarely but from time to time, a CD lands on my desk that isn’t resigned to the ‘coffee mat’ or coaster application.
I received such a CD from Louise Killeen. She was new to me but as always, I played it, expecting the usual mix of mediocrity which seems to be acceptable nowadays and sadly has become the norm. It dominates much of our viewing and listening.
However, the first track ‘Ease Up On Me Dear’ went by and I thought ‘not bad at all. I’m going to listen to more.’ By the time I reached track 3 — which I thought was called ‘risk it for a biscuit’ but that turned out to have the improved title of ‘Charming Hands’, I was beginning to get hooked. I played it twice more before I continued with the rest of the tracks.
Louise is from County Offaly in Southern Ireland and she is awfully good! Most of the tracks are outrageously catchy and everyone will have a particular favorite. ‘Our Katie’, ‘This Love’, ‘Everywhere Out There’, ‘Easy Talk’ — they grew on me like a beard on Santa Claus.
Brilliant Tease is not perhaps the best produced album ever but most of the arrangements are very good and classy. The lyrics are exceptional and it has the ‘feel good factor’. Although there is some melancholy sadness in some of the words, the mood is always optimistic and the album left me feeling a bit better with the world. And anything that can do that in these miserable times has to be a positive.
I understand Louise Killeen has won a couple of songwriting competitions and I’m not surprised. She is a wonderful talent. I have not had the privilege of seeing Louise play live but that day hopefully won’t be far away. Every radio station should be playing her material, especially the incredibly radio friendly ‘Charming Hands’ which stands up against anything else out there.
If you get a chance, listen to the ‘BRILLIANT TEASE’ and sit back and bathe in the talent of Louise Killeen.
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Maranna McCloskey – At Last
Like so many, Maranna left her Dungiven home in 2001 to spend a year in Australia. On a visit to Fraser Island, she was moved to compose a song based on the aboriginal history of the island. Realising she missed writing and performing, she was prompted to record a 4-track EP and won two Irish American News ‘Top Tir’ awards: Best Female Newcomer 2002 and her own composition, ‘Fraser Island’ was named Vocal Cut of the Year 2003.
When she returned home, Maranna bought a house and joined the University of Ulster as a clinical trials technician. Even though domesticity beckoned, Maranna still harboured a desire to record a solo album. As luck would have it, she was invited to sing at a St. Patrick’s Day concert in San Diego with The Brian Baynes Band, Eric Rigler and The San Diego Symphony Orchestra – one of the leading orchestras in the US. Experiencing the buzz of the music industry again and feeling too young to ‘settle down’, she decided to sell her house to finance the recording of a full length solo album with producer Brian Baynes.
While Maranna herself admits that selling her house is a bit of a gamble, it is not a complete leap in the dark – “Having performed in front of receptive audiences all over the world, I knew that I had to take this risk. Ten years ago, I wouldn’t have been able to record the album, I wouldn’t have had the finance or the confidence – but now I know that I don’t want to waste my talents and I want to express sentiments that resonate with my audiences.”
This album demonstrates that as an artist, Maranna has matured into a songwriter of considerable depth and as a vocalist she has grown into her gift with new found confidence.
She says “It has been wonderful to have the opportunity to record some of my favourite folk songs as well as my own material and I hope I have created music that is universal in its appeal. I look forward to performing these songs to live audiences as it is truly exhilarating to see how an audience responds to my lyrics and voice.”
This album is the fruit of a lot of labour and represents Maranna’s growth and maturity. Touching, melodic, memorable, emotive – all words that describe, but don’t fully capture the sound of ‘At Last’.
Maranna will launch her debut album at two local venues in February 2008.
Friday 20th February 2008 at The Benedy Community Centre, Dungiven Tel: 02877742423
Thursday 26th February 08 in the Senior Common Room, University of Ulster, Coleraine
Her website is: www.marannamccloskey.com
Her myspace is: www.myspace.com/marannamccloskey
Press Reviews
Froots Aug/Sept 09
Maranna McCloskey stepped into precarious shoes when she replaced Cara Dillon in Northern Irish youth supergroup Oige in the mid-905. Since then Ms McCloskey has returned to academia,
working as a laboratory technician, but the occasional flutter of vocal activity has surfaced at times, including an impressive 4-track EP Fraser Island in 2003.
Now comes the Northern singer’s first solo album. Vocally, she resembles Triona Ni Domhnaill at times, her throaty strains emitting a raw sexuality on Going To Mass Last Sunday-the uptempo arrangement adding a forceful side to a song more usually suited to funeral paces. The Gaelic Ca Raibh Tu Ar Feadh An Lae Uaim, a version of Lord Randall, is seated in a genteel almost elevator
folk arrangement contrasting a bloody tale of patricide.
Materially, the mix of traditional ballads and contemporary self-penned songs, like the superb Fraser Island, largely cohabit peacefully but the overt pop of Our Last Embrace provides the sole
stylistic false move. Here the balance between Karan Casey balladic stylings and Andrea Corresque poppisms sits too close for comfort. However the local classics like Lonely Irish Maid and Verdant Braes Of Screen are given crystal-clear readings with subtle backings befitting her refined tones.
Obviously Maranna McCloskey will be compared to Cara Dillon vocally and stylistically, and ideologically the musical approaches aren’t too dissimilar. However Maranna’s clear vocals and command
of her material prove compelling enough to hold interest and her songwriting promises much.
For the moment. At Last should be filed under one to watch, but I feel her best work is yet to come. John O’Regan
Rock’n’Reel
Former vocalist of Oige (she replaced Cara Dillon), Maranna McCloskey offers telling evidence on At last to show why she was chosen to fill their former singer’s shoes. Opening with the euphoric
drive of traditional cut “Going To Mass Last Sunday’ also provides an indication of why she is the recipient of so many Irish music awards.
The gentle melodic sweep of Gaelic song ‘Ca Raibh Tu Ar Feadh An Lae Uaim” displays the beauty of both the language and McCloskey’s voice, while the joyful, heady acoustic rush of “Lonely Irish Maid” simply reaffirms what a class act she is. The stately maturity of “Fraser Island’ is perhaps the finest example of the album’s self-penned material, though the less than effective use of
keyboards on ‘The Cashel Air” slightly mars what is an otherwise fine collection of Irish folk music. Danny Moore
The Irish Post 12.6.09
Brave Maranna is on a winner with new album
MARANNA McCLOSKEY is a name to watch out for. Her album At Last was judged Vocal Album of the Year by www.liveireland.com which just happens to be the world’s biggest Irish music internet site.
The Derry-based lass has a beautiful voice and she certainty knows how to use it to full effect. A former member of traditional band Oige, with whom she played lots of festivals in Europe, this is her second solo album.
It is an album where traditional sonqs rest easily beside contemporary original material and that really is down to the combination of voice and production.It kicks off with a driving version of Going To Mass Last Sunday featuring some lovely uilleann pipe playing by Eric Rigler. Strangely enough my favourite track is Our Last Embrace which is one of four tracks written by Maranna herself and which features nice saxophone. That is what I mean about traditional and contemporary being comfortable side by side.
I am sure many musicians would say that self-belief can be both a blessing and a curse and given that Maranna McCloskey sold her house to finance this album I would say it is certainly a blessing in this instance.
I hope she manages to sort out some gigs in Britain in the near future. She is booked to appear at the prestigious Milwaukee Irish Festival in August and somehow I suspect that in the long-term her brave decision to fund her own recording will prove to be a good one. It certainly deserves to be. Joe Giltrap.
The Living Tradition May/June.09
McCloskey’s a young woman from Co. Derry with a good grounding in traditional singing, having won at various fleadheanna ceoil. Like many with this background she broadened her scope, joining the group Oige as replacement for her schoolmate Cara Dillon, before going solo.
The CD’s ten tracks include four of her own compositions. Her choice of songs is well made for her soft but firm voice, well ornamented without being florid. Tradition plays a large part here.
Her one song in Irish is new to me and I wish I’d heard it before this; it’s pure beauty. Her version of The Verdant Braes of Screen is much softer in tone than I’d sing it but better suited to a woman’s voice. I resisted the temptation to sing along with it; it wouldn’t have done the song or McCloskey any favours. I’ve not heard Magherafelt May Fair for many years and I’m pleased she included it; it brings back memories of happy times at home.
I’m not too happy about the tempo of Going to Mass Last Sunday; unrequited love needs a less jaunty treatment. And I’m sorry but I just didn’t understand her own song, Fraser Island. It’s about something bad happening in Australia but there’s no real narrative to it so I was left puzzled. Her slow air, The Cashel, named for her home townland near Dungiven is superb but I wish it had been longer; I was mortal sorry when it ended. Another one I’ll need to learn.
In the tradition of leaving the best till the last (track), her own At Last is a movingly simple affirmation of her religious belief. It’s short but says enough to make this born-again atheist think that the Devil definitely doesn’t have all the best tunes. I can easily hear it sung quietly and reflectively during Communion. All in all, this is a really good CD from a fine singer. Mick Furey
The Irish Democrat
THERE’S NO doubt that Ireland is blessed with a deep and rich well of musical tradition, one which continues to nurture a seemingly endless reservoir of young creative talent.
Derry-based vocalist and songwriter Maranna McCloskey , whose debut solo album At Last was released in February, is an example of such talent. The album features a mixture of traditional and original self-penned ballads, the latter given a more contemporary treatment by McCloskey and producer Brian Baynes. It also includes a single instrumental tune,
Cashel Air, composed in honour of her home townland.
Her sweet, crystal-clear vocals befit one whose ‘apprenticeship’ led her to capture three Derry Fleadh singing championships and a couple Ulster titles for good measure. Whilst still a student, she replaced her school friend and neighbour Cara Dillon in the popular Irish traditional group Oige, with whom she won many admirers. In 2001, she left her Dungiven home to spend a year in Australia – a trip which inspired her award-winning song Fraser Island, based on the isle’s aboriginal history. The song is one of three well-crafted McCloskey ballads on the album, the others being the parting song Our Last Embrace and the title song At Last, which quietly reveals McCloskey’s religious belief.
On her return to Ireland, McCloskey bought a house in Dungiven and got a job as a clinical trials technician at the University of Ulster. She looked set for a spell of steady domesticity. However, an invitation to sing at a St Patrick’s Day concert in San Diego with The Brian Baynes Band, Eric Rigler and the San Diego Symphony Orchestra put paid to that plan. In the end, the house was sold to finance the album. A bit of a gamble, but given At Last’s critical reception, it looks like one that she’s unlikely regret.
The traditional ballads featured include the delightful Cá Raibh Tú Ar Fleadh An Lae Uaim?, sung in Irish, To Mass Last Sunday, Lonely Irish Maid, The Home I Left Behind and Magherafelt May Fair. But, whether performing traditional or contemporary material, her voice is never anything less than honey-sweet and resonant.
For this reviewer, the juxtaposition of traditional with contemporary material gives the album a distinctly refreshing air, although I accept that the addition of saxophoneit and cello on
some numbers may not be to everyone’s taste. Whatever the style, praise is due for Brian Baynes subtle and masterful production, which provides the perfect setting for McCloskey’s beautiful vocal sound. Baynes also contributes guitar, piano, bass, keyboard, mandolin and percussion.
Other fine musicians featured on the album include Eric Rigler (Uilleann pipes and flute), Jon Szanto (drums), Mary Szanto (cello) and Gerard Nolan (saxophone). Some will recognise Rigler for his piping on the film Titanic.
After several plays I’m confident that we’re going to hear a lot more of Maranna McCloskey in the future. In fact, if I were a gambling man, I’d put my house on it. After all, she did. David Granville
www.folking.com
There are any number of female singers who peddle a blend of traditional and contemporary song, but few seem to strike the balance quite so well as Maranna McCloskey. Bland and clichéd traditional pastiche is firmly avoided on At Last, yet a subtle contemporary treatment is applied that doesn’t detract at all from the traditional roots that feature so proudly. What’s more, Maranna can actually sing. This may sound a little obvious, but what I mean is that she doesn’t allow her voice to wither in the background in a faux Celtic mysticism. When Maranna sings you enjoy the full palette of her soulful voice, subtly morphing to complement the nature of the song. In many respects Maranna could draw comparisons to the likes of Dolores Keane, in as much as she has something worthy to give to any song, regardless of its origin, though it is the sensibilities of the tradition that undoubtedly flavour her work. At Last was recorded in San Diego with a collection of American and Irish ex-pat musicians, and it’s this distance from home that takes the music in an interesting direction.
It’s to the tradition that Maranna turns to open the album, with a vibrant reading of “Going To Mass Last Sunday,” where the cadence of Maranna’s voice contributes as much to the playful pace as Jon Szanto’s imaginative percussion, or the racing uilleann pipes of Eric Rigler. This is followed with the complete contrast of “Cá Raibh Tú Ar Feadh An Lae Uaim?” (Where Have You Been All Day?), where Maranna turns in a sublime vocal, with a captivating clarity of enunciation. Mary Szanto’s cello and an elegant guitar arrangement from producer, Brian Baynes, bring added class, though the sheer beauty of Maranna’s voice is truly in a class of its own.
Maranna’s own songs certainly warrant further attention, aimed firmly at the discerning, contemporary adult music market. “Our Last Embrace” provides the first opportunity, with a committed vocal played alongside a sultry saxophone. “Hold me / Won’t you kiss me tenderly?” — I certainly wouldn’t have to be asked twice! “Fraser Island,” Maranna’s paean to the Aboriginal history of the island, is already the recipient of an Irish American News award following its inclusion on an earlier EP, and it’s not difficult to understand why this expansive lyric would attract such an accolade.
The crowning glory of the album for me is Maranna’s extraordinarily beautiful rendition of “The Verdant Braes Of Screen.” It’s not that there’s anything at all wrong with the sensitive instrumental accompaniment, but I’d love to hear the vocal track alone, just to be assured that it really is that beautiful! Maranna’s voice never sounds forced, never stretched, never false — she genuinely has a naturally effortless approach to traditional material, to which few singers could lay claim.
I genuinely hope that Maranna sets about spreading her magic further through the traditional repertoire. Mike Wilson
Irish Music Magazine, April 09
At Last it’s Maranna McCloskey
Bill Margeson brings us a story about another singing sensation from Dungiven, Co Derry
Derry”s Maranna McCloskey is just out with a brand new album entitled, At Last. For the people familiar with the talented alto’s singing, this will come as welcome news fully justifying the title of the album. It has been a long time coming, and it is already receiving solid reviews and airplay, as witnessed by the Dublin-based LiveIreland award for Vocal Album of the Year, 2009.
Maranna was born in the mid 70’s in Dungiven, Co. Derry. There is a musical pattern to her talent that begins in her childhood, and it is common in the Irish music scene. Musical backgrounds tend to produce musical talent. This is not as self-evident as it may seem, at least not in regard to Irish music. A musical family is the alpha hallmark in traditional music for
the overwhelming number of stars now on the scene in the music, and so it is with Maranna.
She began singing Irish traditional music at the age of seven, under the tutelage of her father, Tommy Gerard. There was also a musical mom, Lucy, the Kelly cousins and a host of friends guaranteeing that these songs, literally learned around the family fireplace, would be carried on and sung in the future. Derry is known for terrific singers. These family backgrounds are essential to understanding the continued membership in the traditional circle. Also common in these artists is early and frequent participation in the musical competitions known as fleadhs. Again, Maranna is no exception here, beginning her competitive efforts at the age of nine. Her list of championships is impressive, including three championships in the Derry Fleadh for English traditional singing and two champion trophies as winner of the Ulster Fleadh in the same category. Off to secondary school, Maghera College, where she was further encouraged musically and took up the silver flute, as part of a classical music education. “The theory and knowledge I gained there is so important to me today as I write music. It is really practical, ” she states.
Now, the pattern gets a little less clear, but not to worry-it all comes right in the end. Off to university to get a degree in-are you ready?—Biological Sciences. University of Ulster at Coleraine. But, as we said, not to worry. For it is at this time that Cara Dillon, she of last month’s cover story here in IMM, left the popular trad group, Oige. Maranna was immediately
asked to replace her, and Maranna’s warm alto provided a startling counterpoint to Cara’s soprano, as the group launched into a busy concert and festival period all over Europe.
The group’s only album, Bang On, featuring Maranna is still eagerly hunted by trad aficionados, as an example of her early work.
Pattern continues. After leaving the group following several years, Maranna decided it was time to take a career break from her scientific laboratory profession, and off she went for a year to Australia. Of course, it goes without saying that she continued singing in pub sessions and for friends. But, Australia, and a very close encounter with a crocodile beckoned, and the adventure began. While there, she wrote one of the tunes included in At Last, describing the magic of a place called Fraser Island. She returned home, and went to work for the University of Ulster as a laboratory clinical trials technician, whatever that is, please God—and earned a Master’s degree in Biotechnology. Another pattern emerges—the music never leaves her ears, heart or soul. Her voice, an incredibly warm and expressive alto, had drawn a lot of attention in the Oige days, and won her New Artist of the Year Awards for an EP she released in 2003, containing four songs, among them, Fraser Island -which also won her Composition of the Year from Dublin-based, LiveIreland. A St. Patrick’s Day invitation from San Diego, California of all places, arrived from Brian Baynes and his band to join them and piper, Eric Rigler with the San Diego Symphony Orchestra in performance. Music fans may well remember Rigler as the piper for the film, Titanic. “It was such a thrill to be asked, I couldn’t believe it. I couldn’t wait, and counted the hours until I got on the plane—and the whole experience was even more wonderful than I could have imagined. It is such a treasured memory to me,” exclaims Maranna. In the performance, Brian was again captivated by her voice and knowledge of the tradition. Many cups of tea, lots of scones and hours later, At Last was planned and agreed to, including Eric Rigler’s eager participation. The album was worked on for the following year in Baynes’ Avoca Studio in San Diego, which saw Maranna flying back and forth to record the project. Along with a bumper crop of frequent flyer miles, the flights allowed the quiet time necessary to set everything in its proper place. “I came to love those flights. Lots of time and space, working on a dream,” she concludes.
Released at a packed debut event in Derry, the album is already making a mark. Also included is a beautiful air, written by Maranna entitled, The Cashel Air for the townland in which Maranna was raised in Derry. There are 10 selections on the album, including four penned by Maranna—including a redone version of Fraser Island. “Eric Rigler and Brian Baynes are geniuses. I am so thrilled to have this album onboard now, and can’t wait to start performing selections live for audiences. Now that it is done, it is all like a dream. All the costs and work and efforts have all come together. I am blessed, that is for certain.”
The album is deeply traditional in feel and ambience with classics such as The Home I Left Behind joining trad favorites such as Lonely Irish Maid and Going to Mass Last Sunday. Both of
the latter songs were learned from a favorite of Maranna’s, Rita Gallagher of The Frosses in Co. Donegal. Drawing a lot of attention also is the song, The Verdant Braes of Screen. Maranna learned this at the age of 10. It is a local song in Derry and refers to the town of Ballinascreen. A lovely tune, it tells of a man trying to seduce a woman of the town who knows the man not being exactly honest in his advances, as she believes him in love with another. “A Derry woman’s virtue is not captured so cheaply!” laughs Maranna. Many of the songs center on the
is geographic area, as they are of the area, as is Maranna herself. Magherfelt May Fair is named for a fair that still takes place in that town every May 1. The hymn-like At Last concludes the album—and is spiritual in tone, though the casual listener may think it simply a romantic song.
So, At Last. All of these influences, all of these experiences, ranging from a youth spent in the music, through influences like the revered Rita Gallagher, Dolores Keane, Cathie Ryan and Eddi Reader, world travel, Oige and even that incident, perhaps best saved for another time, with that Australian crocodile all result in this creation. American Public Radio calls her The
New Queen on the Scene. Surely those who love the rich alto tones featuring her warmth-and that is the only word for it, will agree. At Last, at last. Indeed. Bill Margeson
www.netrhythms.com
The golden-voiced Maranna, who lives in Co. Derry (Dungiven), is already a veteran fleadh singing champion and recipient of the www.LiveIreland.com Vocal Album Of The Year Award: some credentials, and well deserved by all accounts. Her latest album, At Last, marks an exciting new development in her career by showcasing four of her own compositions: these are mostly inspired by her personal observations of life, ancient legends and her own spiritual beliefs, yet they’re expressed in an accessible and non-exclusive language and as a bonus couched in a musically eminently radio-friendly language; Fraser Island is particularly beguiling, I find. The originals sit well alongside Maranna’s lithe, appealingly contoured treatments of traditional songs, which not only fully reflect the singer’s effervescent personality but also accord ideally with the musical settings. These are formed out of genial acoustic-based arrangements and centred around Brian Baynes’ crisp yet full-toned production, with his own guitar and mandolin and Eric Rigler’s uilleann pipes and whistles well to the fore, and set the seal on a decidedly attractive set. I do however find that due to the slightly over-poppy nature of a few of the settings (where Gerard Nolan’s saxophone is to the fore and a more insistent backbeat is employed), much of the record leaves a niggling impression of insubstantiality. It’s only 36 minutes long in total, and its ten tracks breeze by and leave little permanent mark beyond a feeling of a wholly pleasing half-hour spent in convivial company. Nothing wrong with that at all, but I still feel there should have been more to it somehow. David Kidman April 2009
£14.99 -
Mary McPartlan – Petticoat Loose
Mary McPartlan follows her multi award winning release of 2004, The Holland Handkerchief (Mojo Folk Album of 2004, Meteor nominated) with another blockbuster release, Petticoat Loose.
Mary McPartlan’s second CD, entitled Petticoat Loose, will be officially launched on February 21, 2008 at 8.30pm in the Liberty Hall Theatre, Dublin. Mary will announce details of her upcoming Petticoat Loose tour shortly.
The new album from Mary Mc Partlan entitled ‘Petticoat Loose’ represents her association with many high profile artists in the traditional music world and her lifelong friendship with the poet and playwright Vincent Woods. With the assistance of an Arts Council Deis award, Mary pursued the project which culminated in a new body of work which includes six new pieces of music. Three songs were written by Vincent Woods and set to music by Mairtín O’Connor including the title track ‘Petticoat Loose’. Two old Irish pieces originating from her native Drumkeerin were set to music by Brendan O’Regan and a new song in the Irish language from Connemara, music and lyrics by Padraig Ó hAoláin, translated by Tim Dennehy.
The CD represents her close association with the NUI Galway ‘Orbsen’ choir and the Romanian string quartet in residence in NUI Galway, ConTempo. The crafting, development and recording of all the material comes from her long association with the multi-instrumentalist and producer Seamie O’Dowd. Many of the tracks on the CD are deeply personal in their lyrics and are autobiographical, representing her life to the present day in their poetic and political expression.
Artists appearing on Mary’s CD include Mairtín O’Connor, Brendan O’Regan, Gary O’Briain, Frankie Gavin, Cathal Hayden, Rick Epping, Eddie Lynch, Johnny ‘Ringo’ McDonagh to name but a few. The impeccable backing vocals came from Ruth Dillon, Bernie O’Mahony, Mary Staunton, Gemma and Laura McPartlan and her daughters Mairéad and Meabh Noonan.
The album was recorded and engineered in Kenny Ralph’s Sunstreet studios in Tuam and is due for official release mid February 2008. There are thirteen tracks on the CD.
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.
Also available from Copperplate by Mary McPartlan: The Holland Handkerchief
Press Reviews
The Living Tradition Aug/Sept 08
Managing the transition from a successful first album to a second one isn’t easy. Performers, seasoned ones included, sometimes don’t get it right, some even falling by the wayside. Fortunately, this hasn’t happened to Mary McPartlan, for her new CD Petticoat Loose is simply splendid, and a step-up from its predecessor The Holland Handkerchief – which was impressive enough…
So why is this CD so good? Well, just mentioning here some highs from the thirteen tracks should give an answer. Mary’s voice is so versatile for a start. It’s very personal, opening with Vincent Woods’ song Sanctuary, celebrating her home place with its good and bad sides. Her voice echoes the old and the newer Ireland too, as in Cumha, (a Parting Sorrow) where lyricist Padraig Ó hAolain and translator Tim Dennehy have cleverly woven various Irish cultural signifiers into the text such as ‘the murder machines’.
There are other impressive tracks like the delightful Kiss The Moon, all about life and hope, and the similarly jaunty Sios Faoi Braoch Loch Aileann (Down By Loch Aileann Side); sticking with the Irish language, there’s likewise the splendid Caoine Sheain Mhic Searraigh (Lament for John McSherry). There’s Generous Lover’ magisterial and perfect for Mary’s voice, and there’s a beautifully produced Victor Jara; within this one, there are unspoken echoes of Mary’s own one-time beleaguered community. The title track, Petticoat Loose is yet another perfect vehicle for her with its complex arrangements and strange menacing lyrics. The CD has only one weak track, Lume Lume, a lugubrious Romanian drinking song. The sleeve notes talk of how the ‘exuberant strings’ of the musicians ‘let themselves go’ in this: sadly, exuberance and people letting themselves go is the last thing that’s manifested.
This issue leads to my one concern – the CD’s sometimes erratic sleeve notes, including poor proofing, eg Proinn Duignan and Prionn Duignan. Also, only some of the lyrics are printed, but not all. Why? The two Gaelic songs aren’t translated (and their local Irish is already difficult…) whilst Lume Lume’s words simply aren’t there, still less explained. Similarly, the notes veer from the insightful (“Mary can
£14.99
