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Loreena McKennitt: Elemental

 A l b u m   D e t a i l s


Label: Quinland Road Records
Released: 1985
Time:
 36:34
Category: Celtic
Producer(s): Loreena McKennitt
Rating: ******.... (6/10)
Media type: CD
Web address: www.quinlanroad.com
Appears with:
Purchase date: 1999.12.01
Price in €: 14,99



 S o n g s ,   T r a c k s


[1] Blacksmith (Trad. arr. Loreena McKennitt) - 3:20
[2] She Moved Through the Fair (Trad. arr. Loreena McKennitt) - 4:05
[3] Stolen Child (W.B. Yeats/Loreena McKennitt) - 5:05
[4] Lark in the Clear Air (Trad. arr. Loreena McKennitt & Pat Mullin) - 2:06
[5] Carrighfergus (Trad. arr. Loreena McKennitt & Cedric Smith) - 3:24
[6] Kellswater (Trad. arr. Loreena McKennitt) - 5:19
[7] Banks of Claudy (Trad. arr. Loreena McKennitt) - 5:37
[8] Come by the Hills (Trad. arr. Loreena McKennitt) - 3:05
[9] Lullaby (William Blake/Loreena McKennitt) - 4:26

 A r t i s t s ,   P e r s o n n e l


LOREENA MCKENNITT - Synthesizer, Guitar, Accordion, Harp, Vocals, Adaptation, Arranger

CEDRIC SMITH - VOcals, Guitar, Arranger
DOUGLAS CAMPBELL - Vocals
GEORGE GREER
PAT MULLIN
SHANNON PURVES-SMITH - Violins

BILLY MATHER - Engineer, Mixing
DAVID STREET - Photography

 C o m m e n t s ,   N o t e s


1994 CD Quinlan Road 101 1994 CS Quinlan Road 101 1994 CD Quinlan Road 101 1994 CD Quinlan Road QR101 1994 CD Import 10472



Loreena McKennitt's debut album and Quinlan Road's inaugural release. Like all her subsequent recordings, this album was self-produced. Its nine tracks showcase McKennitt's talents as a singer and harpist with fresh and memorable arrangements of traditional Celtic favourites, and musical settings of much-loved poems by Yeats and Blake. Featured guests include Cedric Smith and Douglas Campbell.

from the Label QuinlanRoad.com



This 1985 album represents the debut of Loreena McKennitt. If there was justice in the world, it would have represented her commercial breakthrough. (That didn't come until 10 years later). Though her work became more complex as time passed, all the elements were already in place: her beautiful voice, ethereal arrangements, and her exotic adaptations of traditional songs. McKennitt is smarter than Enya and a better singer to boot. Her version of William Blake's "Lullaby," the best yet put on CD, is alone worth the price of this CD.

Charles R. Cross, Amazon.com



McKennitt's first album features mostly traditional songs and light, open arrangements. This is her best album for folksong fans.

Steve Winick, All-Music Guide



Those who have followed Loreena McKennitt's career since the beginning have had the pleasure of watching her musical talents grow and develop into a fusion of global styles and personal creativity that have defined albums such as The Visit, which first earned her widespread notice, and subsequent recordings The Mask and Mirror and The Book of Secrets.

But people familiar only with Loreena in her latter years might be surprised by her earlier work. The earliest available is Elemental, and it shows Loreena still steeped in the Celtic roots which have always been an integral part of her music, but never again would so completely dominate it.

Even at this early phase, however, Loreena was already breaking boundaries. Although Elemental is made up entirely of traditional material, she stamped an indelible mark on each track to make it her own.

This also predates the formation of Loreena's "Idling Porsches," the core of musicians who support her work. Pretty much everything here is performed alone, multiple vocal tracks allowing her to harmonize to herself, her own guitar and keyboards complementing her accordion and harp.

"Blacksmith," which tells the tale of a woman scorned, has been recorded often, but this version sounds the most scornful of the bunch. Loreena sounds bloody annoyed in the song, as she should, and I'd hate to be the blacksmith who'd raised her ire.

She follows that up with a sparse rendition of "She Moved Through the Fair." Distant bells and birdsong provide her backdrop here; otherwise, it's a lovely a capella version that evokes true melancholy.

Next is perhaps the most famous tune from this album, "Stolen Child." For this, Loreena composed the melody around the words of Irish poet W.B. Yeats. This track marks the beginning of her tradition of bringing great poetry and prose to music. This warning against faeries is primarily told by Loreena's voice and harp, although she did add guest musicians Pat Mullin on cello and George Creer on acoustic bass to add fullness to the sound.

Mullin sticks with her for the next track, "The Lark in the Clear Air," this album's only instrumental. The harp and cello make for a gorgeous duet.

If you haven't read the liner notes, the next track will startle anyone expecting Loreena's voice on the homesick ballad "Carrighfergus." True, Loreena plays harp and sings harmony, but she invited singer/guitarist Cedric Smith to take the lead on this one. Although, damn it, I wanted to hear Loreena singing, Smith carries the tune beautifully, and Loreena's faint background vocals are a perfect accent.

She's back, singing out strongly on the spritely "Kellswater" and somber "Banks of Claudy." The last of her songs on this album is the proud anthem, "Come by the Hills," which shines in its simplicity.

The final track is unlike anything else I've heard Loreena do, and it never fails to send a shiver down my spine. Written for the Stratford (Ontario) Festival production of Blake, "Lullaby" is an atmospheric presentation of several lines by poet William Blake. Beginning with a rumble of thunder, then a light touch on the harp, the piece at first is simply Loreena singing solo, nonverbal "loo-loos" -- but then guest reader Douglas Campbell launches into the poem with power and passion in his deep voice. As he rails against sin, Loreena continues to sing gracefully behind him, building to a climax that is astonishingly touching to hear.

I envy those lucky enough to be enough in the know to pick up a copy of Elemental back when Loreena first released it. It's an excellent album which signalled the beginning of an amazing career ... and, fortunately, it's still possible to find a copy and hear how Loreena got her start.

by Tom Knapp
Rambles - a cultural arts magazine Rambles.Net



When Loreena McKennitt released her first album, Elemental, in 1985, listeners thrilled to her delicate renditions of mythic tales and poems and especially to her vituoso harp playing; what was most amazing about that album, however, was that McKennitt had been playing the harp only two years at the time of its release. McKennitt, who grew up in rural Manitoba, Canada, studied classical piano for ten years, took five years of voice training, and had extensive stage and theater experience. From her first album onwards, McKennitt has sought to explore the British (and especially) Celtic tradition in its most lyrical and haunting manifestations. A literate and engaged musician, she has set the poems of Yeats, Tennyson, and Blake to song, while also branching out from her British preocupations to experiment with tinctures of jazz and eastern music.

Leon Jackson, All-Music Guide



A few songs are about lost love. Another song is a poem by William Blake read with the power of Elliot Hayes' voice. All songs are different from eachother in many ways and the overall impression is very good.

The song that brings joy and happiness and the song I like the most is Banks of Claudy where a young maid meets her absent lover again after six long weeks. One part of the song goes like this:

" ... oh it's when he saw her loyalty, no longer could he stand, he flew into her arms saying, Betsy I'm the man ...".

There are also a poem by W.B. Yeats, Stolen Child, which I have not quite figured out yet. I think I'll wait and let it come to me, soon it will. The melody of this song is one of my favourites on the Elemental album.

Copyright © Conny Andersson 1998



When Loreena McKennitt released her first album, Elemental, in 1985, listeners thrilled to her delicate renditions of mythic tales and poems and especially to her vituoso harp playing; what was most amazing about that album, however, was that McKennitt had been playing the harp only two years at the time of its release. McKennitt, who grew up in rural Manitoba, Canada, studied classical piano for ten years, took five years of voice training, and had extensive stage and theater experience. From her first album onwards, McKennitt has sought to explore the Celtic tradition in its most lyrical and haunting manifestations. A literate and engaged musician, she has set the poems of Yeats, Tennyson, and Blake to song, while also branching out from her British preocupations to experiment with tinctures of jazz and eastern music.

Leon Jackson
 

 L y r i c s


BLACKSMITH

A blacksmith courted me
Nine months and better
He fairly won my heart
Wrote me a letter
With his hammer in his hand
He looked quite clever
And if I was with my love
I'd live forever.

But where is my love gone
With his cheeks like roses
And his good black Billycock on
Decked round with primroses
I'm afraid the scorching sun
Will shine and burn his beauty
And if I was with my love
I'd do my duty.

Strange news is coming to town
Strange news is carried
Strange mews flies up and down
That my love is married.
I wish them both much joy
Though they can't hear me
And may God reward him well
For the slighting of me.

Don't you remember when
You lay beside me
And you said you'd marry me
And not deny me
If I said I'd marry you
It was only for to try you
So bring your witness love
And I'll not deny you.

No witness have I none
Save God Almighty
And may he reward you well
For the slighting of me
Her lips grew pale and wan

It made a poor heart tremble
To think she loved a one
And be proved deceitful.

A blacksmith courted me
Nine months and better
He fairly won my heart
Wrote me a letter
With his hammer in his hand
He looked quite clever
And if I was with my love
I'd live forever.


SHE MOVED THROUGH THE FAIR

My love said to me
My Mother won't mind
And me Father won't slight you
For your lack of kind
Then she stepped away from me
And this she did say
It will not be long love
Till our wedding day

She stepped away from me
And she moved through the fair
And fondly I watched her
Move here and move there
And she went her way homeward
With one star awake
As the swans in the evening
Move over the lake

The people were saying
No two e'er were wed
But one has a sorrow
That never has a sorrow
That never was said
And she smiled as she passed me
With her goods and her gear

And that was the last
That I saw of my dear.

I dreamed it last night
That my true love came in
So softly she entered
Her feet made mo din
she came close beside me
And this she did say
It would not be long love
Till our wedding day.


STOLEN CHILD

Where dips the rocky highland
Of sleuth wood in the lake
There lies a leafy island
Where flapping herons wake
The drowsy water rats
There we've hid our fairy vats
Full of berries
And of reddest stolen cherries.

CHORUS
Come away oh human child
To the waters and the wild
With a faery hand in hand
For the world's more full of weeping
Than you can understand

Where the wave of moonlight glosses
The dim grey sands with light
By far off furthest rosses
We foot it all the night
Weaving olden dances
Mingling hands and mingling glances
Till the moon has taken flight
To and fro we leap
And chase the frothy bubbles
Whilst the world is full of troubles
And is anxious in its sleep.

CHORUS

Where the wandering water gushes
From the hills above glen car
In pools among the rushes
That scarce could bathe a star
We seek for slumbering trout
And whispering in their ears
Give them unquiet dreams
Leaning softly out
From ferns that drop their tears
Over the young streams

CHORUS

Away with us he's going
The solemned eyed
He'll hear no more the lowing
Of the calves on the warm hillside
Or the kettle on the hob
Sing peace unto his breast
Or see the brown mice bob
Round and round the oatmeal chest.

CHORUS

For he comes, the human child
To the waters and the wild
With a faery hand in hand
For the world's more full of weeping
Than you can understand.


LARK IN THE CLEAR AIR

Instrumental


CARRIGHFERGUS

I wish I was in Carrighfergus,
Only for nights in Ballygrant
I would swim over the deepest ocean,
Only for nights in Ballygrant.

But the sea is wide, and I can't swim over.
Neither have I wings to fly,
If I could find me a handsome boatsman
To ferry me over to my love and die.

Now in Kilkenny, it is reported,
They've marble stones there as black as ink
With gold and silver I would transport her
But I'll sing no more now, till I get a drink.

I'm drunk today, but I'm seldom sober.
A handsome rover from town to town.
Ah, but I am sick now, my days are over,
Come all you young lads and lay me down.

I wish I was in Carrighfergus,
Only for nights in Ballygran.


KELLSWATER

Here's a health to you bonny Kellswater
Where you get all the pleasures of life
Where you get all the fishing and fowling
And a bonny wee lass for your wife.

Oh it's down where yon waters run muddy
I'm afraid they will never run clear
And it's when I begin for to study
My mind is on him that's not here.

And it's this one and that one may court him
But if any one gets him but me
It's early and late I will curse them
The parting lovely Willie from me.

Oh a father he calls on his daughter
Two choices I'll give unto thee
Would you rather see Willie's ship a sailing
See him hung like a dog on yonder tree.

Oh father, dear father, I love him
I can no longer bide it from thee
Through an acre of fire I would travel
Along with the lovely Willie to be.

Oh hard was the heartbreak I'm finding
She took from her full heart's delight
May the chains of old Ireland come find them
And softly their pillows at night.

Oh yonder there's a ship on the ocean
And she does not know which way to steer
From the east and the west she's a-blowing
She reminds me of the charms of my dear.

Oh it's yonder my Willie will be coming
He said he'd be here in the spring
And it's down by yon green shades I'll meet him
And among wild roses we'll sing.

For a gold ring be placed on my finger
Saying love bear this in your mind
If ever I sail from old Ireland
You'll mind I'll not leave you behind.

Here's a health to you bonny Kellswater
Where you get all the pleasures of life
Where you get all the fishing and fowling
And a bonny wee lass for your wife


BANKS OF CLAUDY

As I walked out one morning
All in the month of May
Down by a flowery garden
I carelessly did stray

I overheard a young maid
In sorrow did complain,
All for her absent lover
Who plows the raging main.

I boldly stepped up to her
And put her in surprise.
I know she did not know me
I being in disguise.

I says, "Me charming creature,
My joy, my hearts delight,
How far have you to travel
This dark and dreary night?"

"I'm in search of a faithless young man.
Johnny is his name.
And along the Banks of Claudy
I'm told be does remain."

"This is the Banks of Claudy
Fair maid where on you stand.
But don't depend on Johnny
For he's a false young man.

Oh don't depend on Johnny
For he'll not meet you here.
But tarry with me in yon green woods
No danger need you fear

Oh it's six long weeks or better
Since Johnny left the shore
He's crossing the wild ocean
Where the foam and the billows roar

He's crossing the wild ocean
For honour and for fame.
But this I've beard, the ship was wrecked
All on the coast of Spain."

Oh it's when she heard this dreadful news
She flew into despair
By the wringing of her milk white hands
And the tearing of her hair.

Saying "If Johnny he is drowned
No man on earth I'll take,
But through lonesome groves and valleys
I'll wander for his sake."

Oh it's when he saw her loyalty
No longer could he stand
He flew into her arms saying
"Betsy I'm the man."

"Saying Betsy I'm the young man
The cause of all your pain
But since we've met on Claudy Banks
We'll never part again."


COME BY THE HILLS

Come by the hills to the land where fancy is free
And stand where the peaks meet the sky and the rocks reach the sea
Where the rivers run clear and the bracken is gold in the sun
And cares of tomorrow must wait till this day is done.

Come by the hills to the land where life is a song
And sing while the birds fill the air with their joy all day long
Where the trees sway in time, and even the wind sings in tune
And cares of tomorrow must wait till this day is done.

Come by the hills to the land where legend remains
Where stories of old stir the heart and may yet come again
Where the past has been lost and the future is still to be won
And cares of tomorrow must wait till the day is done.

Come by the hills to the land where fancy is free
And stand where the peaks meet the sky and the rocks reach the sea
Where the rivers run clear and the bracken is gold in the sun
And cares of tomorrow must wait till this day is done.


LULLABY

O for a voice like thunder, and a tongue
To drown the throat of war! - When the senses
Are shaken, and the soul is driven to madness,
Who can stand? When the souls of the oppressed
Fight in the troubled air that rages, who can stand?
When the whirlwind of fury comes from the
Throne of god, when the frowns of his countenance
Drive the nations together, who can stand?
When Sin claps his broad wings over the battle,
And sails rejoicing in the flood of Death;
When souls are torn to everlasting fire,
And fiends of Hell rejoice upon the slain.
O who can stand? O who hath caused this?
O who can answer at the throne of God?
The Kings and Nobles of the Land have done it!
Hear it not, Heaven, thy Ministers have done it!
 

 M P 3   S a m p l e s


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