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Loreena McKennitt: Parallel Dreams

 A l b u m   D e t a i l s


Label: Quinlan Road
Released: 1989
Time:
 43:48
Category: Folk, Celtic, World
Producer(s): Loreena McKennitt, Brian Hughes
Rating:
Media type: CD
Web address: www.loreenamckennitt.com
Appears with:
Purchase date: 2018
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Samain Night (L.McKennitt) - 4:27
[2] Moon Cradle (P.Colum/L.McKennitt) - 4:29
[3] Huron 'Beltane' Fire Dance (L.McKennitt) - 4:20
[4] Annachie Gordon (trad. arr. L.McKennitt) - 8:22
[5] Standing Stones (trad./L.McKennitt) - 6:56
[6] Dickens' Dublin [The Palace] (L.McKennitt) - 4:40
[7] Breaking the Silence (L.McKennitt) - 6:23
[8] Ancient Pines (L.McKennitt) - 3:35

 A r t i s t s ,   P e r s o n n e l


Loreena McKennitt - Ambience, Arrangements, Bodhran, Harp, Keyboards, Sound Effects, Synthesizer, Ukulele, Vocals, Human Whistle, Liner Notes, Producer

Brian Hughes - Ambience, Electric Bass, Digital Remastering, Guitar, Co-Producer on [1,3,5,7], Sound Effects, Synthesizer

Shelly Berger - Bass, Pzud
Al Cross - Percussion
Ritesh Das - Tabla, Turntables
Patrick Hutchinson - Uillean Pipes
George Koller - Bass, Cello, Tamboura
Rick Lazar - Congas, Udu
Oliver Schroer - Fiddle, Violin
Dave Woodhead - Accordion, Mandolin

John Whynot - Engineer, Mixing on [2,4,7,8]
Jeff Wolpert - Digital Remastering, Mixing on [1,5,6]
One Eyed-Jack - Engineer
George Seara - Digital Editing, Sequencing
Elisabeth Feryn - Cover Photo, Photography
Scott McKowen - Design

 C o m m e n t s ,   N o t e s


1989 CD Quinlan Road - QRCD103
1989 MC Quinlan Road - QRMC103
2004 CD/DVD Quinlan Road - 0774213510310
2016 LP Quinlan Road - QRLP103

Includes 6-page foldout of lyrics and credits.
Tracks [1,3,5,6] mixed at Inception Sound, Toronto.
Tracks [2,4,7,8] mixed at Metal Works, Toronto.

"Huron 'Beltane' Fire Dance" takes its inspiration, in part, from Huron festivities and the Gaelic Beltane celebrations.
"Breaking the Silence" was written as a tribute to Amnesty International.
"Ancient Pines" was composed for use in the documentary film Goddess Remembered.



One of the most successful independent releases ever in McKennitt’s native Canada, the self-produced 1989 album Parallel Dreams is also her first recording to feature the artist’s own lyrical contributions. From the poignant traditional ballad “Annachie Gordon” to the fiery Native American/Celtic fusion of “Huron ‘Beltane’ Fire Dance” to the evocative tale of a child’s yearning for home in “Dickens’ Dublin (The Palace)”, Loreena’s third recording shows a marked evolution beyond the realm of traditional Celtic music and heads down the road on an eclectic musical journey.

“Beyond the transportation into fantasy, dreams have served as a vehicle through which we have integrated our conscious and subconscious, the real and the surreal, the powerful and the intangible.
The dreams found in this recording span a wide range from the contemporary to the historical, as in the Romeo and Juliet story of Jeannie and her lover in “Annachie Gordon”, the singular as in the little Dublin street girl who dreams of having a home, to the plural in those who dream of freedom as reflected in “Breaking The Silence”, or the earth’s yearning for release from the oppression of the human hand in “Ancient Pines”. In the “Huron ‘Beltane’ Fire Dance”, I have tried to recall the reverence for dreams of the North American first peoples and the early Celts. If there is a recurrent thread that runs through these dreams, it is one of yearning toward love, liberty and integration. Of all the variations of dreams we may have, these surely are our parallel dreams.” – L.M.

loreenamckennitt.com



Parallel Dreams, the Canadian harpist/songwriter's quietly moving sophomore release, finds the mystical red-haired siren in true balladeer form. By far McKennitt's most romantic venture - the liner notes describe the project's central theme as a "yearning toward love, liberty and integration" - Dreams is more ambitious than her sparse, impeccably recorded debut, Elemental, tripling the amount of players and laying the groundwork for the immense scope she would go on to attain on future recordings. The heartbreaking trio of "Standing Stones," "Annachnie Gordon," and "Dickens' Dublin" - the latter features an effective radio-show sample of an unnamed Irish school child detailing the birth of Christ - stand among the artist's finest works, and the range and clarity of her voice is undeniably powerful. Parallel Dreams was an emotional and career-turning point for McKennitt, as her next recording would be the major-label spectacle The Visit.

Rating: 4/5

James Christopher Monger - All Music Guide



Parallel Dreams captures harpist/vocalist Loreena McKennitt at her absolute finest. Fully immersed in the Celtic style, this London, Ontario, performer's voice is lush and layered in warm harmonies, soaring overtop equally beautiful instrumentation. Flowing between traditional ("Annachie Gordon") and original ("Dickens' Dublin") fare, McKennitt slows down time and relaxes furrowed brows on this disc by staying true to her red-headed roots. Subsequent discs tend to experiment more with tangos and uptempo melodies; Parallel Dreams, however, is one long, luscious lullaby.

Denise Sheppard - Amazon.com
 

 L y r i c s


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 M P 3   S a m p l e s


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