(June 2001) 13 tracks: Dream Angus * Cradle Spell of Dunvegan * A Nighean nan Geug Taladh * Hush, Hush * Dean Cadalan * The Bressay Lullaby * Cave of Gold * Finn's Song * Christ Child's Lullaby * Cronan * The Silver Wood * The Mermaid's Song * A Phiutrag 's a Phiuthar.
This project of Celtic Lullabies has been a labour of love for Lynn Morrison (formerly of Iron Horse) over the past few years, during which time she gathered many songs. Her final selection on Cave of Gold was chosen by personal preference, sleep and story value, and how they all fit together as seamlessly as possible.
The individual lullabies were originally made to induce sleep and Lynn has applied this practical application to the overall structure of the album to great effect. Her tireless efforts are rewarded in what is surely a beautiful and soothing album.
Weaving strands of ancient Scottish sleep songs with more familiar melodies, this collection of lullabies drifts seamlessly through story and myth to a dreamy, timeless land where almost everything seems possible: fairies, mermaids, monsters, treasure caves, spirits and great heroes all inhabit this magical world. Layering warm vocals, traditional instruments and natural rhythms, the songs form a comforting blanket of sound to enchant young and old.
Lynn not only plays keyboards, fiddles, guitar and sings but she also composed some of the music, wrote one song and added verses to another. Lynn then enlisted the help of some very talented musicians who all tuned into the project perfectly. They are Marc Duff (whistles, wind-synth), Gregor Lowrey (accordion), Catriona McKay (clarsach), Rod Paul (mandolin, slide acoustic guitar, electric guitar, low whistle, percussion) and Wendy Weatherby (cello). In addition, Fraser Fifield plays bagpipes and the Tiree ringing rocks are played by Rick Bamford.
The natural sounds included on the album were recorded at Findhorn Beach, Oldshoremore, Smoo Cave, Rock Pools Pond and Dalraddie (thunder and rain).
"When my son was born, I started humming little tunes to help him sleep. I realised that, though I’d been singing traditional music across the world for years, I didn’t know many of the old lullabies at all. This set me on a treasure-hunt for sleep-songs, and I soon discovered that they had been one of the main musical strands in Celtic culture. Back then, music was used as much for practical reasons as artistic. And so you had lively reels and jigs to dance to at celebrations, more sombre ballads and laments to historically record great battles or heroes, and story-telling lullabies to naturally promote sound sleep." (Lynn Morrison)
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