Amelia Hogan opens the album with that original piece, "Rolling In The Gold," a song about California. She sings, "And they come from all over/And hoped that they'll get rich," which is still true, though here she sings of the time of the gold rush. There are so many songs about California, and it's easy to understand why. There has always been a promise held in its land, making it an appealing subject. This song is pretty and uplifting and joyous, reflecting the way many of us view this place. And though it's an original number, it has the vibe of a traditional tune. It features some really nice work on mandolin, and its lyrics provide the album its title. "Made up of a sunburn/And scented tall giants/It’s burnished wildflowers/In each gilded beam/And a tidal pool sparkle/And salt waves I cherish/You’ll have gold aplenty." That's followed by a cover of "Blue Is The Eye," a song by Ye Vagabonds, who included it on Nine Waves. There is a magical feel to this rendition by Amelia Hogan, in part because of the work on flute, in part because of the subject, the mysterious realm of the ocean, and the hope of immigrants who travel across it. It's a beautiful and comforting song. "Lie down and sleep, sleep well my darling/Blue is the eye watches over the sea."
The album changes gears a bit then with "They Call The Wind Maria," a song that comes from Paint Your Wagon, and was written by Alan Jay Lerner and Frederick Loewe. Amelia Hogan delivers a thoughtful, contemplative rendition. There is still that magical feel, heard largely in the work on Celtic harp. And while the previous song was about the sea, this one is about the wind. In both, the elements are personified. Here she begs of the wind, "Maria blow my love to me." Then in "The Snow Hare," she sings, "The hare turns white as the year turns black." We're at the point where even the prior naysayers are finally acknowledging climate change. In this song, a hare is unable to use his white fur as camouflage and so is vulnerable to predators. Amelia gives an incredible vocal performance. Her voice seems to come from the past, from some eternal place, as she looks at this current moment with sadness.
Amelia Hogan gives us a great take on the traditional number "Wayfaring Stranger," her rendition having a somber feel. I suppose the world has always been cruel to those who wander, but these days it seems particularly cold. What has happened to us as a species? That sense is reflected in this striking rendition, in its pace, in its delivery. That's followed by "Patriot Game," written by Dominic Behan. Ardent patriotism has always alarmed me. At one point in my favorite movie, Harold And Maude, Ruth Gordon says, "What sense in borders and nations and patriotism?" Patriotism often leads to unspeakable acts, with the participants feeling secure in the notion that they are right. Yet love of the land itself is something different, as is love of the people upon that land. "This Ireland of ours has for long been half free/Six counties are under John Bull's tyranny/And most of our leaders are greatly to blame/For shirking their part in the patriot's game." Amelia Hogan cuts out the verse that begins, "I don't mind a bit if I shoot down police."
Music is the main passion of my life, but another important element is the work of William Shakespeare. It was through my love of Shakespeare that I came to really appreciate the work of Trevor Peacock, for he had roles in some of the BBC productions of the complete canon, all of which I watched during my initial Shakespeare study many years ago. (I also loved him in The Vicar Of Dibley, starring Dawn French.) It was a while before I realized he also wrote songs, including the big Herman's Hermits hit "Mrs. Brown, You've Got A Lovely Daughter." Holy moly! On this album, Amelia covers his "Little Yellow Roses," a song that both Adam Faith and Jackie De Shannon recorded in the early 1960s, and she delivers a gorgeous and moving rendition. "My father taught me that all men are equal/Whatever color, religion or land/And taught me to fight for the things I believed in/So that's what I did - with a gun in my hand." I wonder if an armed rebellion will become necessary in this country. It's a frightening notion, but perhaps even scarier is us letting the fascists in their red caps dismantle our democracy, which is what they are now doing. By the way, Jackie De Shannon sang different lines in that verse, leaving out the gun. Amelia Hogan's rendition is powerful and haunting. She performs this one solo, her work on shruti being the only accompaniment for her remarkable vocal performance.
"Home By Bearna" is a traditional number, and this rendition feels like a delightful dance, with good work on bodhran and fiddle. That's followed by a cover of Gordon Bok's "Bay Of Fundy." Something about this track grabs me, something in its delivery, its pace. There is a haunting aspect, especially in lines like "Cape Breton's bells ring in the swells/They ring for me, they ring for me." Then "Come Away In" offers a sweet and pretty invitation. "Come away, come away in/Welcome into the house/Where we have bread to eat." There is such a light and friendly feel to this song that the world it evokes seems to be without danger or malice. This is the world we all want to live in, I imagine, even as some people are doing much to create a world that is harmful, that is contrary to everything we hear here. This song was written by Karine Polwart. It is followed by "The Laverock Sang," which was written by Brian McNeill, who included it on his 1985 record Unstrung Hero. There is something timeless about this song too, something magical and beautiful, and Skyler Blakeslee delivers some wonderful work.
"Haunted Hunter (Walker In The Snow)" is a traditional number that relates a compelling ghost story. "Not far upon my journey had I gone along the way/When a dusky figure approached me in a capuchon of gray." This stranger become companion, though without speaking. Amelia's voice is given prominence, with some soft accompaniment on guitar and flute. That's followed by another traditional number, "Dh'eirich Mi Moch Maidainn Cheitein," this one with a lighter, more joyful spirit, and sung in Gaelic. The album concludes with "Who Will Watch The Homeplace," a song written by Kate Long, who included it on her 1998 album Pieces Of Heart. Laurie Lewis had released her own version in 1993 on her True Stories album (where it is titled "Who Will Watch The Home Place"). Amelia Hogan's rendition is delivered a cappella, with Christa Burch and Ray Frank joining her. "Who will fill my empty place/When I am gone from here?" A sadness and a longing run through this track. I've been thinking about death a lot lately, and about the future of humanity. Will people continue to hold dear any of the things that we deem important? I wonder, I wonder.
CD Track List
- Rolling In The Gold
- Blue Is The Eye
- They Call The Wind Maria
- The Snow Hare
- Wayfaring Stranger
- Patriot Game
- Little Yellow Roses
- Home By Bearna
- Bay Of Fundy
- Come Away In
- The Laverock Sang
- Haunted Hunter (Walker In The Snow)
- Dh'eirich Mi Moch Maidainn Cheitein
- Who Will Watch The Homeplace
%20%E2%80%94%20Scaled%20(46_).png){kind=tracking}
No comments:
Post a Comment