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With an album by four performers named Shannon, Gavin, McGoldrick, and Murray, it shouldn't be terribly surprising that Tunes leans toward Celtic music. What is surprising is that each of these performers would be quite capable on his or her own, but as a quartet, together they offer an enticing blend of traditional music. For all of the talent, however, Tunes is a tastefully low-key affair, with the artists, if you will, allowing the jigs and reels to take center stage. The arrangements -- accordion, fiddles, flutes, and guitars -- are quietly integrated, and the individual instrumentals -- both new and old -- weave together as if of one piece. Most of the pieces, like "Billy in the Low Ground," are connected to others (in this case, "Lost Girl"), allowing the material to shift and grow as it progresses, and most run between three and four minutes, not unlike the music one might hear at a country dance. In the end, the album's title perfectly captures the simplicity of this project as well as its success. With great talent and no pretense, Shannon, Gavin, McGoldrick, and Murray have created the kind of music that Celtic folk used to make on their back porches. ~ Ronnie D. Lankford, Jr.
Sharon Shannon: Sharon Shannon; Jim Murray (guitar, nylon-string guitar); Michael McGoldrick (whistle); Frankie Gavin.
Personnel: Sharon Shannon (accordion); Michael McGoldrick (whistling, flute); Mary Shannon (banjo); Frankie Gavin (fiddle); John Joe Kelly (bodhran); James MacKintosh (percussion).
Audio Mixer: Tim Martin.
Recording information: Daisy's Cottage, Co Galway, Ireland (08/2004-01/2005); Pulse Studios, Dublin, Ireland (08/2004-01/2005).
Additional personnel: Tony Molloy (bass instrument); James MacKintosh, Mary Shannon, John Joe Kelly.Dirty Linen (p.90) - "A strong and lively set of music form four of Ireland's best....It's a collection to be savored." Sharon Shannon Tunes Songs | 1. | Cappataggle Shuffle: Jim Donoghues/The Cappataggle Shuffle/The ..., The |
| 2. | Rookery: Paidin O'Rafferty's Jig/The Rookery, The |
| 3. | Jewels of the Ocean: The Jewels of the Ocean/Lizzie in the Low Ground, The |
| 4. | Road to Corrandulla: The Lochaber Badger/The Road to Corrandulla, The |
| 5. | Billy in the Low Ground: Billy in the Low Ground/Lost Giri |
| 6. | Summer's Coming: Summer's Coming/Pasucais of Coana |
| 7. | Calum's Road |
| 8. | Mickey Joe Mikes: Mikey Joe Mikes/The Diddeley-I-Pod |
| 9. | Bass Rock: The Bass Rock/The Road to Errogie, The |
| 10. | Cat's Miaow: The Cat's Miaow/Tickle Her Leg/Drag Her Around the Road, The |
| 11. | Clare Reel: The Clare Reel/An Coilleach, The |
| 12. | Bucks of Oranmore: King of the Pipers/The Bucks of Oranmore, The |
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Tunes Review
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Purchase Tunes CD To buy, Click on price to add to cart | Deep Purple Who Do We Think We Are CD (1973)
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After establishing itself as a hard-rock giant, thanks to endless touring and the release of such milestone records as MACHINE HEAD and IN ROCK, Deep Purple was in a state of turmoil when it went into the studio to record 1972's WHO DO WE THINK WE ARE? Despite all the infighting, the band pulled together long enough to record seven tracks that only bolstered the band's reputation.
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There's a lot about Kim Richey's Rise that is intriguing. All of it seems to circle around the balancing of playful and contemplative moods. The lyrics, the instrumentation, the arrangements -- all are means to that intriguing end. She sits a song that reminisces about the greatest show on Earth ("The Circus Song") right next to a haunting ballad that struggles peacefully to hold on to the memories of a love affair ("Fading.") The mood shifts dramatically between the two, but it's OK. It's real. It's so much how a heart beats and how a mind thinks that you don't really notice. The timing of an album's release is always interesting to watch as well. In the same way Sheryl Crow's C'mon C'mon was a perfect spring/summer listen, Rise hitting the streets in October can't have been a coincidence. The crisp air and shimmering colors of autumn bleed into the quietude and introspection of winter in the same seamless way these songs flow into one another. The really cool thing is that these tunes are a total grab-bag of styles, rhythms, and attitudes, like a game of musical Tetris being played from track to track. Producer Bill Bottrell guides the pieces with a careful and creative hand, making each song excitingly ...
| | Alice Peacock Real Day CD (2000)
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Alice Peacock wisely opens her debut album with her strongest song, and it's a very strong song, indeed. "I Hear You Say" explores the Venus and Mars distinction between what men say to women and how women interpret it. "Every now and then you say something I understand," she begins, responding to a boyfriend's remarks, then goes on to offer a girlfriend's gloss: "And you will say that everything is gonna be okay/That you could never ask for more... I hear you say that you're easily impressed." The translation may be rough, but somewhere between what he says and what she hears, you can tell things aren't going to work out. "I Hear You Say" impresses because it has something fresh to say about love and the war between the sexes, the imperishable subject of pop music, and because Peacock delivers its lyrics with a conviction that doesn't miss their undercurrent of humor. The equally feisty "Get Your Own," which follows, starts out sounding like another, more exasperated breakup song, and it only gradually becomes apparent that the narrator is actually talking to a female friend who has overstayed her welcome. The one-two punch of these two powerful, individual songs can make the first-time listener to Real Day giddy with anticipation: Can the rest of the album be this good?
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| | Michael McGoldrick At First Light CD (2002)
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/John McSherry.
Personnel includes: Michael McGoldrick (flute, Mancurian pipes); John McSherry (pipes); Paul McSherry, Andrew White, Ed Boyd (guitar); Manny Lunny (bouzouki); Dezi Donnelly, Aidan O'Rourke (fiddle); Donald Shaw (keyboards); Ewen Vernal (bass).
Producers: Michael McGoldrick, John McSherry, Donald Shaw.
Here's a dream team for you: flutist Michael McGoldrick and piper John McSherry, both of them founding members of the great trad band Lunasa and both of them world-class players in the traditional style who nevertheless don't mind tweaking tradition once in ...
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