ALBUM REVIEW: Pùr - 'The Lassies' Reply'

Pùr, The Lassies Reply (MacDug Music, 2009)



Bringing something different to this year's homecoming celebrations, The Lassies' Reply is a contemporary interpretation of a selection of songs by Robert Burns. What makes this recording special, if not unique, is that Burns' work is performed in a combination of Sots and Gaelic, with Roderick Macdonald translating Burns' original words in to the Gaelic tongue. Pùr themselves are the Gaelic singer, Katie Mackenzie, and the fiddler and Scots singer Shona Donaldson, who can both lay claim to being amongst the brightest young talent on the Scottish traditional music scene. Both ladies have voices that possess an unending beauty, and their voices alone would make this recording an utter pleasure to listen to.

Adding much to the listening pleasure are the graceful arrangements and measured production work of Irvin Duguid, lending his customary distinguished feel to the overall sound, and deploying some of the best of Scotland's traditional music talent, who provide a replete and absorbing aural palette from which Duguid chooses so well.

Opening with "My Heart's In The Highlands," Katie and Shona exchange verses over a classy backdrop of strings, Irvin Duguid's piano, and the gorgeous clàrsach of Mary Ann Kennedy. This is a stylish, sumptuous arrangement, surpassed only by the chiming clarity of the vocals. But just as you might be thinking that the tone for the album is set with this opening number, Shona takes the lead on an inventive, upbeat rework of "John Anderson, My Jo," with John Goldie's nimble guitar being the perfect foil for James Mackintosh's pulsating percussion. There is a similarly dark, contemporary edge to "The Slaves' Lament," with a driving bass line that results in an enticingly catchy arrangement, and also boasts some undeniably cool harmonica playing.

Even Katie's Gaelic interpretation of "Ae Fond Kiss" (Aon Phòg Ghràidh) is delivered with a bold, carefree swing that rescues the song from the routine humdrum with which it is oft marred. There is a lively rebirth for the Scots/Gaelic fusion of "Green Grow The Rashes, O" (Chan eil ach cùram air gach làimh), that captures well the joyous spirit of Burns' lyrics, and Katie's beautifully lucid and intimate reading of "My Luv' Is Like A Red, Red Rose," exquisitely imparts the sentiments of a delicate romance.

Well, the girls have certainly done good! The Lassies' Reply is an album that draws together several strands of Scotland's rich traditions, and offers genuinely fresh interpretations of Burns' work, with a broad appeal. The accompanying publicity suggests that "if Robert Burns were alive in 2009, these are The Lassies he would be writing about." With beauty in such abundance, there are surely plenty of modern-day gentleman wordsmiths who'd be more than happy to oblige in Burns' absence.

Visit Pùr on MySpace here!

Visit the MacDug Music web site here!

ALBUM REVIEW: Julie Fowlis - 'Uam'

Julie Fowlis, Uam (Shoeshine Records, 2009)



I've been following the career of Julie Fowlis for a few years now, and I greet each album release and gig with a certain degree of anticipation, and a fear that Ms Fowlis may slip from the undoubtedly high standards that she achieved from the outset, with her beautiful debut album, mar a tha mo chridhe, and her bolder follow-up, cuilidh. Julie's third album, Uam, puts me firmly in my place, with a slap round the face for having even the faintest of doubts! With Uam, Julie has indeed created another album of much finery, yet one that is distinct from her earlier releases. If the beauty of mar a tha mo chridhe was rooted in its fresh innocence and naivety, and the beauty of cuilidh owed much to an exuberance, buoyed by the interest generated by her debut album, then the beauty of Uam comes from a feeling of assurance; there is a sense that Julie is very much at ease here.

So, what's changed? Well, in many ways, nothing has changed. The strength of Uam still lies in the beauty of Julie's voice, and the manner with which she is able to instil in a song the subtler nuances of character and emotion, that reach out to the listener regardless of their linguistic grasp of Gaelic. One change that lends the album a certain degree of consistency, and doubtlessly adds to the feel of ease and togetherness, is the presence of the musicians that have formed Julie's touring band since the release of cuilidh: Éamon Doorley (bouzouki), Duncan Chisholm (fiddle), Tony Byrne (guitar), and Martin O'Neill (bodhrán). These guys are all fine musicians, with a dexterity and subtlety that do much to lift Julie's voice and further illuminate the songs and tunes.

Over the last few years, the success that Julie has enjoyed has allowed her the opportunity to be involved in various music projects, that have meant working with some of the folk scene's celebrated and legendary monikers, a few of whom appear on Uam. So we have the delights of Phil Cunningham, Eddi Reader, Jerry Douglas and Sharon Shannon making cameo appearances with their distinctive contributions, though with a modesty typical of Julie Fowlis, none of these contributions could be considered gratuitous, with each performer fitting seamlessly on Uam.

Of all the musicians who contribute to Uam, there is none more worthy of particular attention than Mary Smith. A generous acknowledgement of a singer that Julie much admires, Julie and Mary come together on "Hé gràdh, hó gràdh" and "Bodachan cha phòs mi." To hear two generations of singers sharing these songs is to witness the tradition being kept alive, by the sharing and passing on of songs and tunes.

It is still an arresting experience to hear Julie singing against minimal accompaniment, and there are a number of such moments to savour on Uam. "A Mhic Dhùghaill 'ic Ruairidh" finds Julie's voice pitted against the brawn of Allan MacDonald's highland bagpipes for an intense tale of love and tragedy, whilst on "Hò bha mi, hé bha mi," Julie sings together with Mary Smith and Allan MacDonald on a stark a cappella night visiting song. Songs like these lend Uam a traditional feel, whilst the punchy "Thig am bàta" allows for a more current feel, courtesy of Martin O'Neill's pulsating bodhrán rhythms.

Whether your preference is for the more traditional sounds, or the subtle contemporary leanings, one cannot deny that Julie exudes sheer class in whatever she tackles. For me, "Bothan Àirigh am Bràigh Raithneach" has to be the prime exemplar of Julie's elegance on Uam. Sung over the most delightful Phil Cunningham piano arrangement, and lifted from the conventional sounds of the tradition by the rare sound of Julie's oboe, this really is a song of outstanding allure.

The rest of the album bears the fruit of a diverse selection: a lively Gaelic/English duet with Eddi Reader on "Wind and Rain," the Breton flavours of "Rugadh mi 'n teis meadhan na mara," and a sprightly tune or two to lift the spirits.

Uam translates as 'from me' and the choosing of this name is just one small, but thoughtful reminder that Julie's music remains a personal and precious gift that she wishes to share with us all. The importance of this to Julie is further highlighted by the extensive liner notes with plentiful translations and explanations. It's unlikely that there are many better gifts that one could receive.

You can find Julie's web site here!

Or why not visit Julie's MySpace page here!