The Chieftains
The Chieftains 1 (1963)

autor nieznany

The debut album by the Chieftains, recorded when they were still a semi-professional outfit, is more restrained than their subsequent efforts. The opening number introduces each of the bandmembers, Paddy Moloney and Sean Potts on pipes, followed by Michael Tubridy on flute and David Fallon on bodhran, Martin Fay on the fiddle, and then Tubridy on the concertina. The group would later acquire what can only be called a more soulful approach, but the playing here was a revelation at the time, if only for its stripped-down authenticity.
The music - mostly airs, reels, and jigs - and performances lack the otherworldly quality that characterized the Chieftains' 1970s albums, but the melodies are still extremely pretty, and make up in immediacy and high spirits what they lack in mystique and mysticism. Martin Fay's fiddle is more prominent here than on subsequent records, where Moloney's pipes became the major voice within the group. Highlights include „Comb Your Hair and Curl It / The Boys of Ballisodare,” „The Musical Priest / The Queen of May”, „The Walls of Liscarroll”, and „The Connemara Stocking”.

The Chieftains
The Chieftains 2 (1969)

Bruce Eder
All Music Guide

This is the real stuff, the very best of the group's early albums and the best representation of the Chieftains' original sound. If anything, the group is more confident the second time out, and the material, consisting of traditional airs, jigs, and polkas, is stronger than on the first album. Opening with the gorgeous double jig „Banish Misfortune, Gillan's Apples”, which goes back to the time of the 16th century fiddler Raftery of Connacht, the record simply gets better all the way through. Though more familiar as a harp piece, „Planxty George Brabazon” (written by the harper-composer Turlough O'Carolan) comes off stunningly here played on pipes, flutes, etc., without a plucked instrument in sight; „The Foxhunt” is a great showcase for Martin Fay and Seán Keane's fiddle skills; the mournful, somber, but beautiful „Am Mhaighdean Mhara” was the tune that Stanley Kubrick absorbed into his movie Barry Lyndon, and tells a magical story of torment and lost love. Production on the album is first-rate and, in particular, makes excellent use of stereo separation.

The Chieftains
The Chieftains 3 (1973)

Bruce Eder
All Music Guide

The weakest of the group's albums, Chieftains 3 suffers from a sameness to the material. The album starts out rousingly enough with the double-time jig „Strike the Gay Harp”, and has a handful of memorable tracks, such as „Carolan's Concerto"; „The Trip to Sligo”, a haunting theme-and-variations piece; and „Sonny's Mazurka”, a beautiful piece written by a departed colleague of the band, played with poignant, inspiring intensity. It is clear on repeated listening, however, that the group had reached an impasse in repertory after three full LPs. The presence of guest lilter Pat Kilduff on „The Hunter's Purse” shows the Chieftains trying to broaden their musical range. It wasn't until the next album, Chieftains 4, with the addition of Derek Bell on the harp, that the group would take the next major step in its development and break away from its status outside of Ireland as only a successful cult act.

The Chieftains
The Chieftains 4 (1973)

Bruce Eder
All Music Guide

This record, made on the eve of the group's breakthrough in the United States, is where the modern Chieftains sound began. It is filled with too many instances of hauntingly beautiful music to name, from the gorgeous, reflective „Morgan Magan” to the rousing fiddle reel „The Bucks of Oranmore”. Not only is all of the material absolutely first rate - and all of it holds up on repeated listening - but this was the first of the group's albums to include harpist Derek Bell. His presence has the curious effect of softening but deepening their sound, and adding a degree of lyricism that they'd previously lacked. There are moments on this album where the group sounds as much like a chamber orchestra as a folk ensemble, and it fulfills both roles exceptionally well (as listeners to the numerous albums that have appeared since can attest). The lineup here - Paddy Moloney (pipes, tin whistle), Sean Potts (tin whistle), Michael Tubridy (flute, concertina, tin whistle), Martin Fay (fiddle), Seán Keane (fiddle), Peader Mercier (bodhran, bones), Derek Bell (harp) - is generally considered the peak of the group's membership and history, and lasted until the end of the decade.

The Chieftains
The Chieftains 7 (1977)

Sarah Adams

This album was the first album picked up by Columiba Records for release in America. It is a good album with a number of strong tracks made complete with the ubiquitous O'Carolan tracks. The album wins the prize for the most original artwork. If one looks at the albume cover, a person can find instruments amid the coins and leprechauns on the cover. Note the dance area where several are dancing. It is a bodhran.
Some of the strongest tracks on the album are „O'Sullivan's March” which reappears on Film Cuts and The Best of The Chieftains released in the 1990s. „Hedigan's Fancy” features a flat set of pipes played by Paddy Moloney and is a wonderful addition. It is sad that the flat pitch pipes are not used more often. They are almost softer and more sweet than the concert pitch. Ace and Deuce of Pipering arranged by Sean Keane and it reflects playing the pipes but using instruments other than pipes to similate the sound of the drones and chanter. The first time I heard this song, I could not figure out what they were doing until after several listenings of the track. Unfortunately Columbia never included the liner notes on the original cassette tape release. Two other tracks also caught my attention. „Fairies Lamentation and Dance” reflects the lament of the fairies and the dance that reflects the pain or sadness of their lives in this epic tome. „Dochas” (Hope) is a beautiful statement on the desire for poitical and cultural freedom. It has quickly become one of my favorite tracks on this album. It is a gently written song but it speaks volumes.
Chieftains 7 was nominated for a Grammy Award in 1978 in the category of Ethinic Music.

The Chieftains
The Chieftains 8 (1978)

Sarah Adams

Of the three releases picked up by Columbia, this is the weakest album but it is still a good album. This album marks the end of one part of the Chieftains history. This is the last album to feature Sean Potts and Michael Tubridy in the lineup.
The album starts out with „The Session”, an array of jigs and reels set up to resemble a session in a pub or something. It is an interesitng track and is full of energy. „Miss Hamilton” from composer Cornelius Lyon from the 17th and 18th centuries and has a strong baroque influence but is a delightful tune to listen to. „If I Had Maggie in the Wood” is one of the fist recordings featuring the singing of Kevin Conneff and „Dogs Among the Bushes” shows the Scottish influence in this colleciton of reels and strathspeys. „Wind Among the Barley / Reel” With the Beryle is the dance version of the old ballad by the same name. It is a tune full of energy and if one listens closely one can hear Kevin Conneff play two bodhrans throught dubbing. The recording reflects the idea of dancers dancing throught the beating on the bodhrán.
This album is a good one and shows the old style of The Chieftains. There is a nice blend of slow airs and fast reels and jigs. It is a strong album but it is not as stong as some of the other Chieftain releases.

The Chieftains
The Chieftains 9 (1979)

Sarah Adams

Chieftains 9: Boil the Breakfast Early is the first album to feature Matt Molloy on flute. On this album it is clear to see the effect that Matt was going to have on the flute. Molloy's style of playing the flute complements the fiery fiddle playing of Sean Keane and that energy is evident.
This is an overly strong album and all the tracks are beautifully mixed and arranged. A number of tracks stand out in my mind for obvious strength. „Boil the Breakfast Early” is a collection of reels and jigs woven together to reflect each musician's strengths and leads off with some phenomenal bodhran playing by Kevin Conneff. „Mrs. Judge”, according to the liner notes was an O'Carolan tune that Beethoven attempted to arrange. It is a beautiful piece and complements the energy on the album. The track that really captures my attention was „Carolan's Welcome”. It is a hauntingly beautiful air played for the Pope's visit to Ireland. It is a beautiful piece the really gets under your skin and is masterfully played by Matt Molloy.
„Up Against the Buachlawns” reflects the energy that Molloy and Keane have in playing in this tune. One cannot help but to feel the energy radiating from this track. „Chase Around the Windmill” is a collection of tunes that showcase the talents of each musician accompanied by the bodhran playing of Kevin Conneff.
Overall this is a very strong album and signals a new and exciting direction for the Chieftians. I really like the energy in this album. Chieftians 9: Boil the Breakfast Early was nominated for a Grammy Award in 1980 in the Ethnic Music category.

James Galway & The Chieftains
Over the Sea to Skye: The Celtic Connection (1990)

Sarah Adams

This is the second collaboration between Galway and the Chieftains. Music on this album includes Scots and Irish tunes and Concert selections recorded in Sydney, Australia with Galway. I am fond of several tracks on this album. The album starts off with the mysterious Carolan piece „Carolan's Quarrel with the Landlady”. My other favorites included Three Hornpipes: Eugene Stratton, The Banks, and Arthur Seat which was arranged by Sean Keane. This track really showcases Keane's pyrotechnic fiddle style. One can almost grab a partner and go waltzing or perhaps even tango across a ballroom. The album also includes the haunting piece „The Dark Island” featuring Molloy on flute; „Lilibulero” is where Moloney has taken a Scottish tune and paired it with a Jacobite tune of „The White Cockade” creating an unlikely marriage between the green and the orange. The album also features „A Fanfare” written by Martin Fay. The concert tracks are the most interesting. One can almost visualize a fairy waking up, stretching, and break into a lively dance to celebrate the dawning of a new day. The most fun track to listen to was the Solo Salutes at the end where each person played a solo inbetween choruses of „Rachamid Bhean Bheag”. The most interesting solo was turned in by Derek Bell who burned up the ivory on the piano with a lively ragtime piece. All in all it is an interesting and lively album to listen to and one cannot help but tap his toes.

The Chieftains
Reel Music: The Film Scores (1990)
Film Cuts (1996)

Sarah Adams

The following two albums are compilations of film scores done by the Chieftains.
„Reel Music”; Treasure Island, Barry Lyndon, Rob Roy, Three Wishes for Jaime, Tristan and Isolde, The Grey Fox , and The Year of the French.
„Film Cuts”; Circle Of Friends , Barry Lyndon, Tristan and Isolde, The Grey Fox, Far and Away, and Ireland Moving.
The Chieftains recent release is a compilation of filmscores they have done. The only difference between the two releases is that „Film Cuts” has only five new tracks and only three for Tristan and Isolde. The track for Rob Roy is a remix of „O'Sullivan's March” which was arranged by Michael Turbridy originally appears Chieftains 7. I like the new mix because it is softer than the original recording on Chieftains 7. My favorite track is an Air called „You're The One” from Circle of Friends. The tune written by Michael Kamen is performed with emotion. The piece starts out with Bell on the harp and is joined by Martin on the fiddle and complimented by the rest of the group. It is well done. Other new tracks include knuckle fighting theme from „Far and Away” and Dublin from „Circle of Friends” and the train sequence from „Ireland Moving”.
I was disappointed not see other soundtrack work from „The Emerald Isle”, „The Purple Taxi”, and „Two If By Sea” and other projects the Chieftains. The liner notes are basically the same with the exception of „Rob Roy”, „Circle of Friends”, and „Far and Away”. There is a new photo of the boys which was been stretched lengthwise to fit across two pages in the liner notes for the CD making them look heavier than they are. It would have been interesting to see other tracks from Barry Lyndon.
„Reel Music” is the first compilation of the filmscores they have done. It is strong and shows the versatility of Paddy Moloney as a composer and arranger and how the group adapts it to the image on the screen. It is interesting to see how Moloney has adapted Irish music to fit the particular topic of each film by giving the score an indelible Irish stamp whether the film is Irish or not. My favorite tracks on this release are the love theme from „Tristan and Isolde”, the main theme from „The Grey Fox” and the love theme from Barry Lyndon.
All in all both releases are excellent and exhibit the diversity in projects the Chieftains have participated under the tutelage of Paddy Moloney.

The Chieftains
Another Country (1992)

Bob Gottlieb
All Music Guide

A classic for lovers of good and heartfelt music played with joy. This has Paddy Moloney and the Chieftains combining forces with one of the best assemblages of country musicians put together. A diverse group it definitely is, stretching from Ricky Skaggs to Don Williams to Colin James running into Willie Nelson and Chet Atkins and so forth in a cornucopia of audio delight. From the opening joy of „Happy to Meet”, tcrossing the musical streets to „Heartbreak Hotel”, to the romping joy shown by the players in „Cotton-Eyed Joe” and „Cunla”, this CD is a never-ending country grab-bag of musical mastery. The players seem to be a unit that has been been down the long hard road of wire fenced stages in cheap bars together honing its skills, which arrive at fruition here.

The Chieftains
Long Black Veil (1995)

Sarah Adams

The Chieftains had a stellar lineup on their 1995 release which included Van Morrison, Marianne Faithful, Mark Knopfler, Sting, Rolling Stones, Ry Cooder, Tom Jones and Sinead O'Connor. This is one of the Chieftains better releases and a change from their past albums where vocals were not as common. The album has emotion, depth and character. My favorite tracks were „Mo Ghile Mear” with Sting, „Dunmore Lassies” with Ry Cooder, and Ferny Hill written by Sean Keane and Matt Molloy. I particularly liked how the Chieftains and Ry Cooder explored the depth and structure of „Dunmore Lassies” because the song is normally played for dancing. The performances of Mark Knopler was strong, Tom Jones impressed me and Sinead O'Connor was amazing. I feel this album is one of the best the Chieftains have ever done with their last releases not far behind. I must also note this album was nominated for two Grammies: Best Contemporary Folk Album and Best Pop Vocal Collaboration. They won a Grammy for „Have I Told You Lately I Love You” with Van Morrison. In addition, besides winning a grammy for best pop collaboration, the album has also garnered to two gold records.
The video is an interesting journey in how the album was made with sound clips interspersed with scenes from the recording sessions and background music for the interviews with the members of the Chieftains, Sting, Ry Cooder, Marianne Faithful and Mark Knopfler. Ahmet and Dweezil Zappa also make appearance on the video with Tom Jones when the song „Tennessee Waltz / Tennessee Mazurka” was recorded at Utility Muffin Research Kitchen, the home of Frank Zappa. It was interesting to hear comments on the group and thier music from each of the members of the Chieftains and how they see the future and the changes they have seen. I enjoyed the video. The funniest moment came at the end after the credits when the intereviewer asked Derek if he could change anything in the last 31 years what it would be? Derek replied „I could always do with better food”.

The Chieftains
Santiago (1996)

Sarah Adams

The Chieftains latest release, „Santiago”, is a journey into the Celtic region of Galicia featuring Los Lobos, Linda Ronstadt, Carlos Nunez and a number of Galician and Spanish artists. The album is a tantalizing mixture of energy and discovery. This is not the Chieftains first foray into music of other Celtic lands. The first foray was Chieftains 10: Cotton-Eyed Joe with Welsh and Manx tunes and Breton music in Celtic Wedding.
The album tracks reflect a journey that the listener can experience while listening. The first track „Txalaparta” sets the listener up for a wonderful and energetic tour of Galician music with out forgetting to touch on the medieval past of the music and Latin American and Cuban connections. The first five tracks of the album are linked together under the banner „Pilgrimage to Santiago”. It reflects the beginning of the journey and shows the colors and sounds of the region touching on both spirit of the people and spriituality of the landscape. The other tracks on the the album compliment and strengthen the leading track and the builds upon the „Pilgrimage to Santiago” to complete the album.
Some of the tracks I enjoyed the most are „Guadalupe” with Los Lobos and Linda Ronstadt, „Galleguita / Tutankhamen” with Ry Cooder, and „Tears of Stone”. It was tough to pick these tunes because all the tracks are strong and complement each other. „Guadelupe" stands out in my mind because how similar the music of Mexico is to Galicia and the Chieftains masterfully played along with them. It was also nice to see Linda Ronstadt singing in Spanish. „Galleguita / Tutankhamen” captured my attention becuase of blending of the Chieftains style of playing with Cuban music and Afro rhythms made the song a fun track to listen to. One can not help but tap your toes and sway with the rhythms. The track reflects the energy there must have been when it was originally recorded. My personal favorite is the love song „Tears of Stone”. Beautifully done and true is the sentiment the song evokes. The liner notes for this track reflect the true meaning of this song. I also liked the „Dueling Chanters” track featuring Paddy Moloney and Carlos Nunez and how the pipes interplayed with each other. „Dublin in Vigo” was another fun track to listen to and reflected the spirit of a live session in Vigo, Spain. If you have seen the video for The Long Black Veil, you willl notice The Chieftains playing with some Galician albums and if you listen closely you will notice the song they are playing also appears in „Dublin in Vigo” on the album.
The album was produced expertly by Paddy Moloney and mixed by Jeffery Lesser. The album has a great sense of flow and spirit and great fun to listen to. It is a wonderful journey to someplace exotic but yet familiar. It is also nice to see The Chieftains explore and interpret different music because it can only broaden there horizons to future endeavors. It is a fun album to listen to and a wonderful way to explore Galician music and how it reaches around the world.
OLE!!

The Chieftains
Santiago (1996)

Manuel Carro

I have seen a certain interest in the latest Chieftains' work, named „Santiago”, and in which some traditional Galician music is arranged and performed. The album features some very valuable guests: the Galician bagpiper Carlos Nuñez (a Chieftains' old friend), the outstanding Basque trikitixa (Basque diatonic accordion) player Kepa Junkera, the Asturian rabel (a sort of primitive fiddle's cousin) and bagpipe player Xuacu Amieva and the Portuguese cavaquinho (a sort of Portuguese mandolin; I am not certain about the precise differences) player Julio Pereira.
I must say that this review is harder than others I have seen, but I also have to say that I am concerned about the „Galicianness” of the record, and not about the record itself. First of all, I have neither personal nor professional affiliation with the performers, the producer, or the record company, and I have nothing personal against them. I have very much enjoyed precious musical gems they have produced throughout their careers, and I expect to do so again in the future. This comment is about *this* particular record.
When I was told the CD was out, I rushed to the music store and bought it, with great illusion, which turned into deception. What most disappointed me is that many people might end up with an erroneous view of how traditional Galician music is and how it is commonly interpreted. The notes in the inlay card (at least in the Spanish edition) certainly do not help a lot in placing each song/tune in context; even more, in some cases they sounded confusing to me. For those of you who have it, one of the latest works of Liam O'Flynn („The Given Note”, I think) has a couple of tracks with Galician themes which, for me, are certainly closer to a good interpretation. In any case, the Chieftains' CD might be worthwhile if you are a Chieftains fan, or if you just want to have a taste of Galician music.
The 1st, 2nd and 3rd tracks feature Julio Pereira and Kepa Junkera playing txalaparta (an ancient Basque instrument made of wooden logs which are hit with other, shorter, logs); then Kepa plays a beautiful Basque dance (Arku Dantza) and an Arin-Arin (literally, I believe, „fast-fast”) on the trikitixa. The 3rd track is Xuacu Amieva singing and playing rabel, and the 4th is Julio Pereira on cavaquinho. In track number 5, a choir sings a couple of Middle Age anthems related to Santiago's Cathedral. I would say that tracks 1 to 5 (grouped together under the name of „Camino de Santiago”) is the best part of the CD.
Track 6 (Dueling chanters) is very probably a show off on stage (just look at the title...), very effective in a live performance (I have seen Carlos Nuñez playing, and he is really amazing). Unlike what the notes read, no Galician would take the jig they play as a Muiñeira, nor I think any Irish musician would accept the „Polca de Vilagarcia” as a reel. I did not dislike „Galician Overture” (track 7), mainly because it is not, and it is not claimed to be, a traditional piece. Sure it is not any of Beethoven's overtures, but it is not expected to be either.
In track 8, Linda Ronstadt and Los Lobos try to sing a Galician theme quite unsuccessfully. It is not only that they mix Galician and Spanish (not only in different verses: they use words in both languages even in the same sentence, and this sounds _awful_ to my ears) but also that their personal interpretation is completely different from what is supposed to be a Galician song. Sure they are not supposed to know it, but the producer should have taken care of it. Alas, the producer is Paddy Moloney... sorry about this, folks, but I just cannot stand this track. I always skip it.
Track 9 (Miño Waltz) is OK as a virtuoso piece (as the CD notes seem to admit), but it retains, once again, very little of any Galician spirit. It certainly does not remind me of the Miño river, and, well, it simply does not sound as melodic as a Galician waltz should. Track 10 (Setting Sail / Muiñeira de Freixido) is a 10 years old arrangement made for the movie „The Treasure Island”. The beautiful, well-known, Muiñeira de Freixido lacks one of its parts (precisely the one which sounds more „Galician”). Carlos Nuñez usually omits this part. Track 11 (Maneo) is „the piece with most Spanish flavor”... something like that is written on the CD inlay card. That's because the Flamenco style used in the guitar and in the clapping (I guess that this is what „Spanish flavor” refers to) has nothing to do with Galician folklore. Guitar has _never_ been used in Galician folklore, neither the clapping style in this track has been. By the way, „Maneo” is the name of a type of songs, and not the name of this particular one, and they are intended to be sang, not turned into instrumental pieces.
I wonder what track 12 is doing here. Resorting to the „emigration”, the Chieftains insert a Cuban song into the record. They did something along this lines before: the country piece „Cotton-Eyed Joe” appears in one of their works as an offspring of an Irish piece. In this particular case, I sincerely wonder which Galician song „Santiago de Cuba” comes from. Of course, there might be a connecting line which I fail to see, and I might be plain wrong.
Track 13 is a nonsense. I have heard this song many, many times before, and neither the lyrics nor the rhythm have a point in common with the original, popular, Galician setting.
„Non te namores, meniña” (track 15) is another classical tune, both in Galician folklore and in Carlos Nuñez's repertoire. The arrange they play here reminds me of one played by Milladoiro several years ago. Regrettably, this performance lacks a great amount of the charm I have heard in others.
The last track, recorded live in a pub in Vigo, Galicia, has some good points. The first fragment (the first bars of the „Alborada de Veiga") is, despite its beauty, almost unanimously regarded as the alborada with less popular spirit (it was composed by Pascual Veiga for an orchestra). By the way, the piece falls outside the range of the Galician bagpipe; Carlos Nuñez stops in time. After this, all the people in the pub sing a is popular song, but its intrinsic quality falls within the same range as that of „ten bottles of wine on the wall, take one down...”. On the other side, in the following song, Wenceslao Cabezas tambourine playing (he is usually named as the best Galician tambourine playing) and singing is, for my taste, very remarkable. The two last pieces are very well known muiñeiras.
That's all. A little bit of disappointment because of the selection, some more disappointment because of the treatment, and some more disappointment because of the general spirit of the CD makes me feel its only usefulness is as an example of how not to do things.

The Chieftains
Santiago (1996)

autor nieznany
All Music Guide

The Chieftains' conquest of new frontiers in world music continues with their latest RCA Victor release, „Santiago”. Joining the four time Grammy Award-winning superstars on a musical pilgrimage to Galicia are Linda Ronstadt, Los Lobos, Carlos Nunez, previous Chieftains collaborator Ry Cooder and renowned Galician artists from around the world as listed above. „Santiago”, was produced by the Chief of The Chieftains, Paddy Moloney.
„It was more than 20 years ago that a dear friend first introduced me to the wonderful music of Galicia”, writes Paddy Moloney in the liner notes for „Santiago”. Moloney describes it as a green and hilly region in the northwest comer of Spain whose culture bears a strong resemblance to Brittany, Wales, Scotland and Ireland. It was once described as „the world's undiscovered Celtic country”, writes Moloney.
The origin of „Santiago” dates back to 1984 after a Chieftains performance in the seaport of Vigo. It was there that they first heard Carlos Núnez, who, says Moloney, „literally became the seventh member of The Chieftains” on their world tours. As they traveled, they drew inspiration for the music included on „Santiago”, but left room to include the first song they ever played together, „Setting Sail / Muineira de Frexido”.
Among the highlights of „Santiago” are the ancient instruments played. The Basque country of Northeastem Spain provided them with the sounds of the Txalaparta on the opening track, „Pilgrimage to Santiago”. „These large wooden planks would have been laid out on baskets and maize leaves and played with sticks”, according to Moloney. „The rhythm was originally intended to recreate the sound of horses on the move”. The suite also features the rebel, a three stringed ancestor of the violin. On „Dueling Chanters”, The Chieftains' uilleann pipes played by Moloney meet the gaita, Galician bagpipes, in a unique interplay. Linda Ronstadt and Los Lobos are featured on „Guadalupe”, while Ry Cooder's mandola graces „Santiago de Cuba” and „Galleguita/Tutankhamen”. The album closes with a live track, „Dublin in Vigo”, recorded appropriately enough, at a pub called The Dublin in Vigo.
And of course the Santiago saga continues with it winning a Grammy Award in 1997 in the World Music category for best album!

The Chieftains
Fire in the Kitchen (1998)

Jessica Jacob

When I heard that The Chieftains were coming out with another new album I was in a huge hurry to buy it as soon as I could. I was very excited about it because I heard it had a lot of Canadian musicians in it and up there they've got some really awesome Celtic music. I ordered it from some online company and ended up getting it about a week after it had come out which I wasn't happy about but I got it eventually.
It's definitely very different from anything else I've ever heard them do. (I don't have The Long Black Veil but it's the same idea with a bunch of guest musicians). I recognized a couple names like Leahy, Great Big Sea, Ashley MacIsaac, and Natalie MacMaster. The rest are previously unheard of to me but they're pretty good. I don't really enjoy all the songs but I usually just skip to some of my favorites.
There is one REALLY stupid thing on this CD and I refuse to listen to the song. The beginning to the song is really nice and a short part by Paddy on the pipes but otherwise it's retarded. Ever heard the song that goes „bring back, bring back, bring back my bonnie to me”? Someone sings that song on the CD. The first time I heard it I burst into fits of laughter because it was so crazy. (I never liked this song anyway so maybe that's why I think it's so ridiculous. But I've always thought of it as like a child's song anyway.) It's not exactly the same but it's close enough and the song just gets under my skin. That's one of the biggest things I don't like about the CD. Otherwise I think it's really cool.
Leahy is the first band to play on the album. I like them a lot but they're pretty much all fiddles and it's rather tiring after a while. Their rendition of The Mason's Apron is great! Ever since I've heard Matt Molloy play that song I have loved it!
Great Big Sea performs a song called Lukey/Lukaloney. I have to say it's probably one of the best songs on the whole album. There's some great music and the words to some of the verses make you laugh. Like the one where they sing, „I says Lukey the blinds are down ha me boys, well I says Lukey the blinds are down your wife is dead and she's on the ground ah ha!” and it goes on to another amusing verse and then an instrumental. Then they sing some more. I love listening to it over and over and singing along with it.
Ashley MacIsaac's songs are some very pretty fiddle music. I can't not pass this song up when I listen. I like the second part called The Contradiction the best.
Natalie MacMaster does a very neat song called Fingal's Cave. It starts out with her playing fiddle and then more and more musicians join in. Near the end in the last minute or so she dons some hardshoes and you can hear her stepdancing around. It's really awesome because I love listening to Irish dancing taps in songs.
There's a song called A Mhairi Bhoidheach sung by Mary Jane Lamond. She has a very pretty voice and Kevin Conneff adds his wonderful vocals in backing during the song. She too stepdances at the end. I think she's a little better than Natalie MacMaster myself but they're both very good. What is truly amazing is she goes from singing to stepdancing and a couple seconds later is singing again. I could never do say my slip jig and then expect to be able to start singing! That's what truly amazes me about this woman (aside from her lovely singing) and I like the song all the more.
The next song is Rattlin' Roarin' Willie performed by Barra MacNeils. This song is GREAT! For one thing it's so lively and another the words to the song are just so cool. Well I can't say the words since you can't understand them hardly at all but how they're sung is cool. When they sing „rattlin' roarin' willie!” you can't help but grin a little because it sounds kinda silly. I like it a lot though. After they're finished singing they (I figure The Chieftains are in this track too) launch into a Chieftains song I recognize but I cannot place. I think I heard it once on An Irish Evening but I'm not sure. It's really good though.
The last good song is the last song on the CD called Le Lys Vert. It's a very nice little song and one of the best instrumentals of them all except there are some vocals near the end. Those are pretty fun to listen to also. The last 2 minutes are the best part of the song and really make me want to get up and dance.
I can't say I'm estatic about how this one turned out (I can't rave like I would over say Santiago, An Irish Evening, or Celtic Wedding) but it's a good CD anyway. I guess I missed listening to just The Chieftains. This is one of those albums where they kind of take a little backseater and let their guests take over the show. I hope their next album, whenever it might come out, is a lot better. It probably will be. The Chieftains have never released anything bad! Let's hope they never do ;)

The Chieftains
Long Journey Home (1998)

Sarah Adams

This album is the soundtrack for the PBS series from Lennon Documentary Group and Walt Disney Studios, The Irish In America: The Long Journey Home. The music paints a tapestry of the Irish in America. The album features Mary Black, The Chieftains, Elvis Costello, Vince Gill, Van Morrison, Sinéad O'Connor, Eileen Ivers, Liam Ó Maonlaí, Sissel, Irish Film Orchestra and guest appearances from several other artists.
The soundtrack is strong and is a departure from what many will expect of a program about the Irish. The Irish music theme is alive and well throughout the entire score and shows the versatility of Paddy Moloney to marry the image on the screen with the music. His selections of some of the tracks were a good choice and represented the goal of the producer of the film. The orchestration of the music is strong. Two of the tracks were either written by Paddy Moloney or in collaboration with Brian Keane, who also produced the music for the film. The album boasts star power of Ireland's best and Irish-American performers.
The album has a number of tracks that really got my attention. I particularly liked Paddy's Lamentation as performed by Mary Black. It shows the lament of an emigrant who came to America and fought in the US Civil War in the 1860's. The other track that really caught my attention was O'Carolan's Farewell To Music performed by the Irish Film Orchestra and Derek Bell. It is a very poignant and powerful track. Vince Gill delivers a nice performance on The Bard of Armagh / Streets of Laredo track demonstrating how the song would be sung in Ireland and how it changed to suit the Irish experience in America and compelling performances were delivered by Sinéad O'Connor and Sissel. Eileen Ivers demonstrates her prowess on the fiddle on the track, O'Donnell's Lament / Reel With The Beryle. A nice touch to the album is the presence of Gaelic Irish presenting to the listener an example of Ireland prior to the famine and its rich Gaelic heritage in music.
Overall the album is a nice balance of orchestrated music and traditional Irish music and delivers the message of the film to the listener. It is well balanced and the arrangement of the tracks is strong. It is a departure from what is used to hearing from the Chieftains but it demonstrates their vitality as musicians. The album is well done and well balanced. Give it a listen!!