Clannad -LandmarksBMG/RCA[APE]

专辑中文名: Landmarks
歌手: Clannad
资源格式: APE
版本: BMG/RCA
发行时间: 1997年
地区: 英国
语言: 英语
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概述:

专辑介绍:
由Ciaran Brennan创作于1997年，在Landmarks专辑中透露出Clannad那种与众不同的风格，一种混合了爱尔兰民歌、凯尔特节拍以及新世纪精髓的音乐。
Produced in 1997 by Ciaran Brennan, Landmarks delivers Clannad’s signature blend of Irish folk, Celtic world-beat and new-age spiritual music, which is what makes Clannad unique.
（摘自Clannad官方网站：http://www.clannad.ie/albums/landmarks.html）
Maire Brennan: 领唱，键盘，竖琴
Ciaran Brennan: 伴唱，贝司，键盘，吉他，曼陀铃
Noel Duggan: 吉他，伴唱
Padraig Duggan: 曼陀铃
Maire Brennan: lead vocals, keyboards, harp
Ciaran Brennan: vocals, bass, keyboards, acoustic guitar, mandolin
Noel Duggan: acoustic guitar, vocal
Padraig Duggan: mandolin
（摘自The Clannad Newsblog网站：http://www.clannad.nl/Lmpress.html）
Hearlding the return of today’s quintessential World Music group, “LANDMARKS” bears the lush yet engaging sounds and native styles that – when so instinctively combined with a contemporary sensibility – stand as the Clannad hallmark.
Gathered in a house on 33 acres in the remote Ballybetagh Wood outside Dublin, Clannad’s Maire and Ciaran Brennan and their uncles Noel and Padraig Duggan discovered much of the new album’s contemplative and stirring tone within the natural beauty that surrounded them. “Looking out on the Ballybetagh Wood everyday was truly inspirational and became a starting-off point for a number of the songs,” says lead vocalist Maire of the recording sessions.
As was the case with the Irish quartet’s previous album – 1996’s #1 World Music hit, “LORE” the songs of “LANDMARKS” are representative of Clannad’s uniquely crafted form of musical story-telling. Sung in both English and Gaelic, the songs reverently tell of the Irish countryside, its history and people. “Back in the days when the English occupied the land, and you weren’t allowed to write directly about Ireland, people would write about the country in other ways – perhaps by singing about Ireland as a woman,” says Maire. Over time, that came into our own writing as well. It’s a cryptic kind of way of relating to feelings or describing emotions.”
It is that idea that gave “LANDMARKS” its title. “With the song ‘Loch Na Cailli,” we’re talking about a lake in Donegal,” explains Maire. “These are things that Irish people have always talked about. I mean there’s hardly a stone in Ireland that there isn’t a song written about it. The difference with us is that we paint pictures with our songs. It’s not so much telling a story with verses and choruses. Instead, it’s done through emotions and feelings.
Written by Noel, “Bridge of Tears” – highlighted by its seamless, stirring vocals – is about a place where loved ones would go to say their good-byes. “Whether it was to immigrate or go off to England for jobs, this bridge is where they’d shake hands or hug,” says Maire. “it’s a very precious place.”
Maire’s “Of This Land” relates to the history of Ireland and its future. “There’s a lot going on about Ireland with regards to how we’ll be able to live together in peace, you know?” she says. “The sadness of that predicament is what I describe in the song. If you think about it though, there’s always been a lot of sadness attached to Irish songs, but there’s also a lot of hope … always hope. A song can be melancholy but, at the same time, have this great feeling that everything’s going to be better.
With “LANDMARKS,” the familial quartet also journeys back to the most fundamental aspects of their internationally heralded sound. Skilifully produced by Ciaran Brennan (also the group’s chief songwriter), the Irish foursome’s sixteenth album (and fourth Atlantic studio release) boasts such delicately powerful tracks as “Let Me See”; “An Gleann” (with its sparse but melodic piano touches and melancholy guitar lines); and “A Mhuirnin O” (a stand out for its quick, fluid rhythms and bodhran-driven call to dance).
In addition to the group’s core members, the album’s cast of musicians features an impressive list of familiar names and longtime collaborators: keyboardist Ian Parker, a musical partner for more than a decade; Scottish guitarist/composer lan Melrose, a top artist on the German acoustic music scene (also well known for his work with the Duggans and harpist Thomas Loefke); guitarist Anto Drennan; drummer Paul Moran, a fixture with the band since 1982; whistle player Vinnie Kilduff, a veteran from “ANAM” and the last Clannad world tour; piper John McSherry; soprano sax player Mel Collins, the Clannad confidante and road vet; and Brennan sibling Deirdre on bodhran. “It’s a real family atmosphere,” says Maire of the mood when this crew of friends and players assemble.
Recorded last year over a period of six months, “LANDMARKS” proved especially momentous in its ease of creation. Work was completed at the band’s deliberate pace, and as the demands of family allowed. “We took three weeks off in the summer, another two weeks off here and there – the schedule wasn’t at all rigid,” says Maire. “It’s lovely to be able to do an album like that. Making ‘LANDMARKS’ was a pleasure and I think that shows. When you have a relaxed atmosphere it makes everything possible. We’re all sharing musically and really enjoying our work together. To be able so say that after so many years and so many albums is really great.”
Taking their name from the Gaelic language of their native Donegal – an abbreviation of “an clann as Dobhar,” meaning “a family from the town land of Dore” – Clannad have woven a unique and timeless sound from the various strands of music which surrounded them as they grew up in the remote coastal region of Gweedore.
In their earliest days, the members of Clannad were – like typical teenagers – influenced most immediately by the pop charts. They would master Beach Boys, Stones, and Joni Mitchell covers, which they’d perform at local dances. They soon graduated to playing at the bar run by the Brennans’ father, Leo, himself a former cabaret band leader. The influence of Leo’s wife Baba, a schoolteacher who ran the local choir, provided an ideal counterbalance. Soon, the group were attuned to so many different styles of music that they were able to hear the potential in sounds few others appreciated – the folk music of their own homeland.
“Donegal wasn’t called ‘The Forgotten County’ for nothing,” Ciaran explains. “It’s so remote to the rest of Ireland and so its legacy of traditional songs wasn’t as well appreciated as those of, say, Kerry and Galway. Contributing to the lack of awareness was the fact that many of these songs had never been arranged. A lot of local people were convinced that their own music was somehow uninteresting. We saw the beauty of it.”
Once their interest in the sounds of Donegal was whetted, the young Brennans and Duggans collected as many examples of local traditional songs as they could by persuading old and young alike to do a turn on stage in Leo’s bar. Regulars from across the locale would sing their personal repertoire into a tape recorder and offer any background history they could on particular songs. It was painstaking work, and not everyone was won over to their cause.
Maire remembers those days well: “Even in Ireland, people said to us, ‘Look, you’re a good band. You’ve got great voices and everything, but stop singing those Gaelic songs. You’re never going to get anywhere with them.’ Now, we might have decided to take heed of that advice back in ’72 and ’73 if we wanted just to make money, but we continued to work at it because it was something we loved.”
To further add to their growing archive, the group even visited such outlying communities as Tory Island off the coast of Donegal, where only some hundred people now live. Soon they had more than 500 Gaelic songs at their disposal, and they set about giving simple arrangements to even the most obscure ones.
Ciaran’s skill at bringing a contemporary sensibility to this material stemmed from his own increasing sensitivity to the cultural heritage all around him. He credits Donegal’s MacGrianna family from Rannafast, writers and poets from the ’40s and ’50s, and various writers from Gweedore with opening him up to this rich historical and cultural legacy. “When people ask me to define the Clannad sound, I always say that if they were to visit Donegal, they wouldn’t need to ask,” Ciaran has oft been heard to say.
Clannad’s musical promise was confirmed when, in 1970, they entered and won the local Letterkenny Folk Festival – first prize being a recording contract with the Irish arm of Philips. Borrowing money for a P.A. system and a van, the group threw themselves into touring, sometimes playing as many as three times a day – at colleges, convents, or anywhere there was a willing audience. The line-up at that time comprised Maire on lead vocals and Irish harp, with Ciaran on double bass and vocals, brother Paul (who left the band in 1989 to work on a number of projects, including WOMAD) on tin whistles, flute, and vocals, and twins Noel and Padraig on guitar and mandolin/harmonica, respectively.
During the ’70s, Clannad recorded six traditional albums, each of which helped to shape and refine the band’s now unmistakable sound. Soon, their touring schedules began to spread to mainland Europe. A standing ovation in Berlin in 1976 persuaded them to turn professional. In 1980, Enya Brennan joined the band, singing and playing keyboards on “CRAN ULL” and “FUAIM” before leaving to pursue her own highly successful solo career.
Clannad’s big break came in 1982 when Yorkshire television asked the band to write an original theme for Harry’s Game, a three-part adaptation of a fictional Northern Ireland-based thriller by Gerald Seymour. In doing so, the company was instrumental in helping the band towards an achievement they are still immensely proud of – the legitimizing of their native language as a medium for pop music lyrics, throughout Ireland and around the world. In the process, the group ended up making history. The million-selling “The Theme From Harry’s Game,” with the first Gaelic lyric ever to chart in Britain, hit the top five and won the band a British Academy of Film and Television Arts award nomination and an lvor Novello award in the best television soundtrack category.
The group continued their success on the small screen in 1984, when they began composing the music for the English television series, Robin of Sherwood. The series, which also introduced Clannad to American audiences through continuous domestic broadcasts, earned the band the esteemed British Academy of Film and Television Arts Award.
The timeless appeal of “Harry’s Game,” on the other hand, was further illustrated a decade later by its inclusion in the 1992 hit film Patriot Games and the song’s selection as the theme for a nationwide Volkswagen advertising campaign.
“When ‘Harry’s Game’ came out, i remember somebody asked us, ‘Where’d you get the sound?,”‘ says Maire. “We were all a bit taken aback with that -‘Wow, we do have a sound.’ It was a surprising thing for us to consider because our sound was something that gradually grew along with us through our collecting of Gaelic songs. It wasn’t a conscious process on our part.”
Clannad’s debut Atlantic album, “ANAM,” was released in the U.S. in 1992 and became an enormous American success – spurred on by an overwhelming reaction to “Harry’s Game,” including extensive video exposure on VH1. The song went on to garner the Billboard Music Award for “World Music Song Of The Year.”
Also in 1992, Maire released her first solo album, simply entitled “MAIRE.” Working in yet another new arena, Maire also sang on Robert Plant’s 1993 solo album, “FATE OF NATIONS.”
Clannad’s Grammy-nominated 1993 album, “BANBA,” which took the group to #1 on the nation’s World Music chart, garnered considerable radio airplay with “I Will Find You: The Love Theme From Last Of The Mohicans” (the track was also included on the movie soundtrack). Coinciding with the release of “BANBA,” Clannad embarked on their first U.S. tour in five years, a series of concerts which won critical raves and audience ovations across the country. In support of the “LORE” album, Clannad stepped out in 1996 on ambitious, SRO tours of Europe, Japan, Australia, and New Zealand.
For this close-knit group, their musical journey is both remarkable in its personal accomplishment and historic in its contributions to Irish culture – thus, in 1996, they received a lifetime achievement award from the Irish recording industry (the Irish Recorded Music Award).
It is indeed fascinating to consider that what today is so widely regarded as Celtic music was first called “Clannad music.” There is perhaps no greater testament to the impact of this groundbreaking group than that. It all begins with Clannad.
（摘自The Clannad Newsblog网站：http://www.clannad.nl/Lmpress.html）
乐队介绍:
Clannad have given a unique voice to modern Irish music. They have combined a deep love of traditional strains with a bold approach to writing and recording. Their legacy is a hugely impressive collection of albums, touching on folk, rock, ambient, jazz and world music. Many of these records have featured lyrics in their native Gaelic tongue, while others have been performed in English. Either way, those vocals have plugged directly into the popular imagination.
They grew up in the parish of Gweedore, Donegal, in the secluded north-west. Maire, Pol and Ciaran Brennan sang and played from an early age in their father’s bar, Leo’s Tavern. Soon they were accompanied by their uncles, Padraig and Noel Duggan, winning a talent contest in Letterkenny in 1970. Their first album, ‘Clannad’ was released in 1973. They were celebrated at home, and found an appreciative folk audience in Germany. The 1982 album , ‘Fuaim’, featured sister Enya.
‘Theme From Harry’s Game’ was released in the winter of 1982. Radio programmers and audiences were captivated by the dense harmonies and the Gaelic words. It leapt into the Top five in the UK charts. The ‘Magical Ring’ album followed in 1983, and by now brothers Pol and Ciaran were writing evocative and powerful music. This was furthered on ‘Legend’ a soundtrack commissioned for the television series, ‘Robin Of Sherwood’ in 1984. During this period, the band received numerous awards including an Ivor Novello and a BAFTA for their ground-breaking work on this album.
This primed the band for one of their most mesmeric records. ‘Macalla’, released in 1985, featured more electronic arrangements, while Maire’s voice was reaching the extremes of joy and melancholy. A chance remark to their friends in U2 resulted in Bono singing a duet with Maire on the track ‘In A Lifetime’. This charted twice, in 1986 and again in 1989. The follow-up, ‘Sirius’ was completed in Los Angeles with some of the city’s most famous musicians, as the Clannad sound took another unscripted change.
‘PastPresent’, released in 1989 brought the music of Clannad to an even bigger audience. Summarising their first four RCA albums it became a much-loved fixture in the UK chart eventually going Top 5. The BBC had obviously noted the huge success of the soundtrack to Robin and commissioned a project that would become the outstanding album ‘Atlantic Realm’. This was followed in the same year by Clannad’s first soundtrack work on an animation, ‘Angel And The Soldier Boy’.
Maire, Padriag and Noel were writing more now, supplementing Ciaran’s work. The latter was also honing his skills as a producer. Their ‘Anam’ album made the top 20 in 1990. ‘Theme From Harry’s Game’ featured on the 1992 film Patriot Games, featuring Harrison Ford, raising the band’s profile again in America. The band’s music was increasingly in demand for soundtrack work, appearing on Last Of The Mohicans, (1992) and Message In A Bottle (1999).
The ‘Banba’ album once again gave Clannad a Top 5 hit in the UK charts in 1993 and marked a momentous anniversary; 20 years together as a professional group.
They released the albums ‘Lore’ (1996) and the Grammy Award winning ‘Landmarks’ (1998), again proving that no other act had such a distinctive imprint, such a variety of style and tone. It was time, they sensed, to pursue other projects, with the full knowledge that family business would resume in the near future.
（摘自Clannad官方网站：http://www.clannad.ie/biography/index.html）
The story of Clannad began with a musically inclined tavern owner who offered a platform for a group formed by the children in his own and another family. The siblings came from the families of O Braonáin (Brennan) and O Dugáin (Duggan) from the Gaelic-speaking coastal town of Gweedore (pop. 6,000), in the county of Donegal, in Ireland’s wild and remote mountainous Northwest.
The tavern was owned by the O Braonáin’s father, Leo, who was from Sligo County, North of Donegal. Leo was a celebrated Irish bandleader. He played saxophone, clarinet and accordion, originally modelled on the American swing bands of the 1930’s and 40’s, like the Glenn Miller band, before setting in Gweedore. Leo’s wife, Ni Braonáin (Baba), was a music teacher and choir mistress and played organ and harmonium. Their children grew up listening to a wide variety of music, from Gaelic songs to jazz and contemporary pop. The grandparents, on Baba’s side of the family, taught them Gaelic songs and mythological stories, folklore and legends, and translated American pop songs for the Gaelic pantomimes.
As children, Máire and her brothers studied music with the late Fr. O’Callaghan, Parish Priest of Dunloe. “He was an all-round music teacher” Máire explains, “a wonderful singer and pianist”. After this, Máire had her voice trained by James McCafferty of Derry (Dana studied with him also), before going to school in the Ursuline convent in Sligo. There she learned to play the harp as did Mary O’Hara before her. Ballet lessons followed, in Derry, the nearest place to Gweedore where you could study ballet at the time.
Máire’s singing career started early, in her Grandfather Brennan’s band. “We went to Scotland to do Irish dances on St. Patrick’s. We sang in my father’s pub also, everything from Beatles to traditional. At this time Paul was also at boarding school in Sligo while Noel and Padraig had gone to Dublin to pursue careers as radio officers and Ciaran was studying music in Dublin.”
In the summer of 1970 it came as a surprise to Máire, having finished her schooling, to discover that her two brothers and her twin uncles had formed a band calling themselves “Clannad” (The name Clannad is taken from the Gaelic language of their native Donegal, an abbreviation of “an clan as Dobhar”, meaning ” a family from the town land of Dore”) and had won the finals of Slagadh ’70.
Ciarán (pronounced Keeron) played bass and guitar, brother Pól tin whistle, flute and guitar, whilst their twin uncles (their peers in age) Pádraig (Paric) O Dugáin played the mandolin, harmonica and guitar, and brother Noel the guitar. Maire did not take this lying down, out came her harp and she showed the rest of the band that she could make a major contribution to their sound. Máire played harp and sang lead vocal. Then with Máire as a member of the band, Clannad entered and won first place in the Letterkenny Folk festival. This victory led to their first recording contract with records and the release of “Clannad ” in 1973.
During the 70’s, the group recorded a handful of albums; “Clannad” (1973), “Clannad2” (1974), “Dulaman” (1976) , “Clannad In Concert” (1978) and “Crann Ull” (1980).
As the ’80s arrived, Clannad developed a more layered and electric sound with great musicians and Ciarán and Pól also playing keyboard instruments. Sister Eithne (Enya) joined the band on keyboards and vocals from 1980-1982. In 1980 Clannad travelled to Germany to record their fourth album, Crann Ull (Apple Tree) with noted producer Conny Plank. The next year they recorded Fuaim (Sound) expanding their sonic horizons with help from guest jazz and rock musicians , like Neil Buckley, Noel Bridgeman and Pat O’Farrell, but not forgetting their folk roots. The album “Fuaim” contained a Scots Gaelic song featuring voices and synthesizers, called ‘Mhorga’s Na Horo Gheallaidh’
The musical director for “Harrys Game”, a three part thriller about Northern Ireland for Yorkshire Television, heard this track and asked the band to write something similar for the theme song. The song “Theme From Harry’s Game” was reaching No. 5 on the British Top Thirty in November 1982. Clannad were touring Europe when “Harry’s Game” charted and had to fly back for an appearance on “Top of the Pops”. Later they received the Ivor Novello Award, ( the British Grammy) for this song in the category “Best T.V theme” of the year. A few years later, “Harry’s Game” was used in a Volkswagen-commercial and this meant the band’s break-through in de U.S.A. And, with this song, the Clannad-sound was born.
Máire;” When “Harry’s Game” came out, I remember somebody asked us, “Where’d you get that sound?”. “We were all a bit taken back with that. Wow, we do have a sound ! It was a surprising thing for us to consider because our sound was something that gradually grew along with us through our collection of Gaelic songs. It wasn’t a conscious process on our part.”
The album “Magical Ring” (1983) which contained “Theme from Harrys Game” was nominated for a British Academy of Film and Television Arts Award (B.A.F.T.A.). The band also received awards for “Magical Ring” from Hotpress, independent Newspapers and Toshiba. Clannad were then invited by the director of “Robin of Sherwood” the T.V. series to write the music. The band went on location and met all the actors. The music from the series was condensed to an album titled “Legend” (1984) which became Clannad’s first album to be released in the United States. The album was produced by former Moody Blues producer Tony Clarke and earned the band a BAFTA award for the best soundtrack of the year. Legend matched Magical Ring for sales, selling over 150,000 copies with 42,000 copies sold in one month.
Clannad spent much of 1985 recording in Dublin, London and Switzerland with producer Steve Nye, working on their new album – Macalla (which means echo in Gaelic). Released at the start of 1986 the album spawned another hit single -“In A Lifetime”, featuring Bono from U2 duetting with Máire, “In A Lifetime” charted as the band undertook a 28 date sell out British tour. Later that year Clannad appeared at “Self Aid”, a 13 hour marathon of music in Dublin which was designed to make an impact on the jobless of Ireland, and undertake their annual Irish tour.
After several months writing new songs in their house at the foot of the Dublin mountains Clannad entered Rockfield recording studios in Wales to commence recording in April 1987. The band then travelled to London to continue recording in Livingston and Angel Studios. With all the backing tracks and most of the vocals completed the band were ready to move to the complex recording studio in Los Angeles to mix the album. Clannad spent more than five weeks at the complex with many guest musicians appearing on the album. These included Bruce Hornsby, Steve Perry (who is singing in Gaelic on “White Fool”), J.D. Souther, Russ Kunkel, Robbic Blunt, Philip Donnelly, Mel Collins and many more. Entitled “Sirius” (the brightest star in the sky), in 1987 the album was co-produced by Greg Ladanyi and Russ Kunkel and mixed by Greg Ladanyi. Greg Ladanyi is one of America’s top producers, having worked with Don Henley, Jackson Browne, Toto and Asia amongst others, while Russ Kunkel is one of the foremost drummers in America. Sirius is seen as a major development for Clannad and is an album which has surprised and delighted Clannad fans all over the world.
The following years Clannad wrote the music for two soundtrack projects, “Atlantic Realm” (1989) for the BBC natural history series documentary about the Atlantic Ocean and “The Angel And A Soldier Boy”, an animated film.
In 1989 Pól left the band and started a solo career, when he recorded the album “Trisan”, a mix between Celtic and Japanese musical styles. Also the compilation-album “Past Present” was released, a year later followed by the album “Anam”. This album (plus the songs “In A Lifetime” and “Harry’s Game”) was also released in the U.S.A. in 1992. The album became an enormous American success, spurred on by an overwhelming reaction to “Harry’s Game”, including extensive video exposure on VH1. The song went on to garner the Billboard Music Award for “World Music Song Of The Year”.
The year 1993 was another important year in the group’s history. The album “Banba” was released and nominated for a Grammy Award. This album was also released in the U.S.A. and took the group to the #1 on the U.S. World Music Chart, garnered considerable radio airplay with “I Will Find You”, the love-theme from the movie “Last Of The Mohicans”. The track was also included on the movie soundtrack. Coinciding with the release of “Banba”, Clannad embarked in their first U.S. tour in five years, a series of concerts which won critical raves and audience ovations across the country.
In 1996 the album “Lore” was released and became another #1 U.S. World Music hit. In the same year Clannad received the Irish Recorded Music Award, a lifetime achievement award from the Irish recording industry.
Clannad’s latest album is “Landmarks” (1998) . In addition to the group’s core members, the album’s cast of musicians features an impressive list of familiar names and long-time collaborators; keyboardist Ian Parker, a musical partner for more than a decade; Scottish guitarist/composer Ian Melrose, a top artist on the German acoustic music scene and also well known for his work with the Duggans and harpist Thomas Loefke; guitarist Anto Drunnan; drummer Paul Moran, a fixture with the band since 1982; whistle player Vinnie Kilduff, a veteran from “Anam” and the last Clannad world tour; piper John McSherry; soprano sax player Mel Collins, the Clannad confidante and road vet; and Brennan sibling Deirdre on bodhrán.
With “Landmarks”, Clannad also journeys back to the most fundamental aspects of their internationally heralded sound. On february 24th 1999 Clannad won a Grammy Award for their album “Landmarks” in the category “best new age album”. Three members of the band, Ciaran Brennan and Padraig and Noel Duggan received the Grammy in Los Angeles.
After the release of “Landmarks”, the band took some time for themselves.
Already in 1992 vocalist Máire Brennan released her first solo-album, called “Máire”. This album was followed by “Misty Eyed Adventures” (1994), “Perfect Time” (1998) and her latest “Whisper To The Wild Water” (1999). In between Máire appears on some miscellaneous or special tracks; “As Tears Go By” (1994) on the RCA Victor album “The Symphonic Music of the Rolling Stones”, with Shane MacGowan: “You’re The One” – (1995), “Ó Bhean a’Tí” on the album “Common Ground” (1989), “Come Josephine, In My Flying Machine” (1989), with Alan Parsons on his album “The Time Machine”, the song “Call Of The Wild” (1999) and with Michael McDonald: “Don’t Give Up” (1999) an addition to her album “Whisper To The Wild Water”.
In between Clannad wrote a song for the motion picture “Message In A Bottle” called “What Will I Do”. (1999)
Rumour has it that Clannad and Máire are both working on a new album, scheduled for the end of 2001 or beginning of 2002. There is another rumour, for two years already, about a live album to be released. Time will tell.
In 2002 Máire Brennan changed her artistname into Moya Brennan, after years of misspelling and mispronunciation.
In the mean time we’ve learned more about her new album. It’s called “Two Horizons” and was released on the 21st of July 2003 in Australia and in September 2003 in the rest of the world. Moya will be touring around the world to promote her new album. The tour will start around november 2003 and continues in 2004.
Moya also composed and sang the song “Tell me now” for the soundtrack of the movie “King Arthur” that is running in cinemas all over the world.
Rumours about a new album are getting louder and louder. On the bands website http://www.clannad.ie is announced that recording a new album might start in 2004. Moya Brennan, the bands singer has announced in various interviews that the band started recording a new album, to be released within 18 months (from about May 2004)
This is what she said in an interview with the magazine Sunday Independent LIFE august 15th 2004
And there’s a new Clannad album in the offning:”We hope to have the next album within 18 months. It’s going to be very exciting because of all the different influences – we’ve all been doing our own thing in between.”
If this will all happen as been said, time will tell.
During the beginning of 2005 it appears that recording a new Clannad album takes more time than expected. Nothing is announced officially, but i think that the long break of the band members from Clannad and their personal careers are, at least, not helping to get together and write and record a new album.
In between Moya and her own band recorded a so called “Live sessions” album. Tracks from the concerts are recorded in the studio and released on the latest album “Óró” (April 2005) The album is only available on concerts.
The two Duggans brothers (Noel and Padraig) also recorded an album, apart from Clannad. In February 2005, the album “Rubicon” is released by “The Duggans And Friends”. The album contains 15 songs, mostly Irish traditional.
In July 2005 the Brennans get together to honour their parents during the Earagail Arts Festival. Highlight is a special concerts with from Clannad, Moya and band, the five Brennan sisters, the Gaoth Daobhair choir, the next generation and of course Leo and Baba themselves.
（摘自The Clannad Newsblog网站：http://www.clannad.nl/Story.html）
专辑歌词:
An Gleann
“An Gleann” meaning “The Glenn”, was the opening track of Clannad’s 1998 studio album Landmarks. The song, written by Ciarán Brennan, opens with sampled keyboards and drum programs, adding an ambient strain to Clannad’s style, while Anto Drennan’s electric slide guitar provides subtle rock-blues undercurrents. By this time, the Clannad sound had reached its full potential, and the resultant music skillfully blends contemporary rock, ambient, folk, and New Age sounds to the group’s distinctive male-female vocal harmonies.
（盖尔语）
Dul síos an gleann tráthnóna aréir
D’imigh an scáth as tóin a ‘tsléibh
An drúcht ‘na luí ar bharr an fhéir
An saol uilig ‘na gcodhladh
D’imigh an scáth as tóin a ‘tsléibh
Gan baol ar bith go maidin
Dúrún an dúiche seo
Ó ghlúin go glúin
Lonad mar fhís sa cheo
Rún go ciúin
Sé cumhacht na gcrann fan áit
‘Spreag na baird ‘san fhilíocht
Na clocha ‘tá coisbicthe fan árd
Thíos fá gleann dá locha
I dtobar i dúin
Gartan cholmcille
Sin go lá a’luain
Dul síos an gleann tráthnóna aréir
D’imigh an scáth as tóin a ‘tsléibh
An drúcht ‘na luí ar bharr an fhéir
An saol uilig ‘na gcodhladh
D’imigh an scáth as tóin a ‘tsléibh
An drúcht ‘na luí ar bharr an fhéir
D’imigh an scáth as tóin a ‘tsléibh
Gan baol ar bith go maidin
Dul síos an gleann tráthnóna aréir
D’imigh an scáth as tóin a ‘tsléibh
An drúcht ‘na luí ar bharr an fhéir
An saol uilig ‘na gcodhladh
D’imigh an scáth as tóin a ‘tsléibh
Gan baol ar bith go maidin
D’imigh an scáth as tóin a ‘tsléibh
Gan baol ar bith go maidin…
（英语译文）
Going down the glen yesterday afternoon
The shadow cleared from the foot of the mountain
The dew lying on the top of the grass
All the world asleep
The shadow cleared from the foot of the mountain
No danger at all ’til morning
The mystery of this land
From generation to generation
A place like a dream vision in the fog
A quiet secret
The power of the trees there
Inspired the bards to their poetry
The stones that are blessed under the heavens
Down by Glendalough
In a well in a fort
The hospitality of Colmcille
Will be until Judgment Day
Going down the glen yesterday afternoon
The shadow cleared from the foot of the mountain
The dew lying on the top of the grass
All the world asleep
The shadow cleared from the foot of the mountain
The dew lying on the top of the grass
The shadow cleared from the foot of the mountain
No danger at all ’til morning
Going down the glen yesterday afternoon
The shadow cleared from the foot of the mountain
The dew lying on the top of the grass
All the world asleep
The shadow cleared from the foot of the mountain
No danger at all ’til morning
The shadow cleared from the foot of the mountain
No danger at all ’til morning…
Fadó
（盖尔语）
Anois i dtús an fhómhair
Is mé smaointiú siar
Ar an laethe aerach’i bhfad ó shoin
‘S mé a’ súgradh le mo mhian
Bhí áilneacht aoibhinn ar a h-aghaidh
Is sólás in a croí
Ba sin fadó a bhuachaill
Ba sin fadó, fadó
I ndúbhlaíocht an gheimhridh
A casadh orm í
Go h-éascaí stuama ‘s muid linn fhéin
Thug sí domhsa lámh
Ghoid mé póg on bhainbíon óg
‘S thit mé léi i ngrá
Ba sin fadó a bhuachaill
Ba sin fadó, fadó
A bhuachaill óig
I bhfad sul a bhfaca tusa ‘n lá
A bhuachaill óig
I bhfad sul a bhfaca tusa ‘n lá
Nar dheas dá dtiochfadh an trá sin
Ar seal beag liom arís
Ó bhéarfainn dí gach uile ní
‘S mo dhílseacht léi go bráth
Tá’n saol seo cruaidh, tá’n saol seo corr
Tig scamall ar an ghrian
Ba deas fadó a bhuachaill
Ba deas fadó, fadó
A bhuachaill óig
I bhfad sul a bhfaca tusa ‘n lá…
（英语译文）
Now in the beginning of autumn
And here I am thinking back
To the merry days of long ago
When I frolicked with my love
Her face possessed blissful beauty
Her heart, joy and solace
That was long ago, my boy
That was long ago, long ago
In the depths of winter
Did I meet her
When we were alone, swiftly and poised
She offered me her hand
I stole a kiss from the young queen
And fell in love with her
That was long ago, my boy
That was long ago, long ago
My young boy
Long before you saw the light of day
My young boy
Long before you saw the light of day
Wouldn’t it be splendid if I could get back
That time for a short while
Oh I would bring her anything
And she would have my eternal loyalty
This life is cruel, this life is strange
A cloud darkens the sun
It was nice long ago, my boy
It was nice long ago, long ago
My young boy
Long before you saw the light of day…
A Mhuirnín Ó
“A Mhuirnín Ó” (which translates to “O Sweetheart”) was written by Ciarán and Máire Brennan in the traditional vein. The song’s heroine sees a handsome stranger on market day. He plays music and eventually wins her heart. Better yet, he makes a chance purchase of a winning lottery ticket and subsequently increases his fortunes, thus making him far safer bet for marriage than before. This is a perfect example of Clannad’s ability to provide a contemporary twist to narrative stories as found in traditional ballads. In 1998 Noel Duggan stated in Rock ‘N’ Reel magazine;”We class these songs as our landmarks – as songs that will be traditional in years to come.”
（盖尔语）
Chorus (after each verse):
A mhuirnín ó an dtiocfaidh tú na bhaile
A mhuirnín ó an dtiocfaidh tú liom
A mhuirnín ó an dtiocfaidh tú na bhaile
A mhuirnín ó
(Repeat)
Bhí sé thíos i lár a’ mhargaidh
Dól sé ‘s cheol sé ar rith an lae
Nuair a tháinig an oíche gan pingin ina bhríste
Is mairg nár ghlac mé comhairle na mná
Casadh orm é le heiri na gréine
An ógánach gleoite go folláin ‘s go beo
Nuair a thóg sé a hata agus labhair sé le gáire
Thit mé i ngra leis, chreid mé go deo
Bhí cnaipí airgid ar mo chóta
Is ribní síoda a bhfearr sa tír
Slabhraí óir is clocha luachmhar
Mheall mé le saibhreas é go fíor
Ní rabhas ag a nduine cé’n pháirt dén tír é
Labhair sé go uasal soinneanta só
Bhí ‘n tiombá thart go raibh tiarna ina theaghlach Ní raibh sé i bhfad bhí mé geallta do
Tá’n ceangal fada ‘s deacar a scaoileadh
Bhfearr i bhfad a bheith cinnte do
Níor ghlac sé i bhfad gur bhris sé mo chroí sa
A leoga ní seo mo scéilín ó
A ‘gur shiúl sé síos i lár a mhargaidh
‘S cheannaigh sé carda ar phunt nó dhó
Bhí an tádh ina rith leis, bhain sé an “lotto”
Anois bhéidh an chuideachta againn go deo
（英语译文）
Chorus (after each verse):
My darling love, will you come back home?
My darling love, will you come with me?
My darling love, will you come back home?
My darling love
(Repeat)
He was down at the market
He drank and sang all day long
When night came and he hadn’t a penny in his pocket
Oh what a shame I didn’t take the missus’ advice
I met him at sunrise
A charming, healthy and lively young lad
When he lifted his hat and spoke with a smile
I fell in love with him, thought it would never end
My coat had buttons of silver
And the best silk ribbons in the country
Golden chains and precious stones
I truly enticed him with my glitter and gold
No one knew from which part of the land he came
He spoke nobly and with pleasant ease
Rumor had it that there was a lord in his family
It wasn’t long ’til I was engaged to him
The bond is long and difficult to untie
It’s much better to be sure of it
It didn’t take long ’til he broke my heart
Indeed this is not the story I’d prefer to be telling
But then he went back down to the market
And bought a ticket for a pound or two
Luck was on his side, he won the lottery
Now we’ll forever be living the good life
Of This Land
How gentle was the breeze that surrounded the way
How loud the sea’s roar on the four winds everyday
Sharing love, wounded gifts from ancient long ago
Together they closed in the circles we know
Will we treasure all the secrets with life’s changing scenes?
Where our hearts were warm with love, so much love
Will the flowers grow again as I open out my hand?
Precious time, time for healing the beauty of this land
(Repeat)
How soulful those words that confuses the way
How wild the mountains’ stare as they guard our every day
Take for granted noble hearts in the golden age that’s flown
Between us, recall on a strong road we’ve known
Will we treasure all the secrets with life’s changing scenes?
Where our hearts were warm with love, so much love
Will the flowers grow again as I open out my hand?
Precious time, time for healing the beauty of this land
Court To Love
Coming into certain lines of justice
A venue for a Venus and Eve
Take the balance of their beauty between them
A vain look can deceive
I’m only paying court to love
As deep as you can find
On the blind side of your heart
Safe inside your mind
When the length of days are dawning
It feels right in the light of understanding
There’s always something bound to be a warning
When it’s infinite it never meets
I’m only paying court to love
As deep as you could wish to find
On the blind side of your heart
Safe inside your mind
(Repeat)
I’m only paying court to love
As deep as you could wish to find
On the blind side of your heart
Safe inside, safe inside your mind
Court to love…
The Bridge Of Tears
The mist has cleared from Muckish Hill
Our parting coming nearer
The last embrace, the final touch
With nothing more to say
Nothing more to say
As silence fell around the bridge
Not a single word was spoken
A bitter breeze, a lonely stream
Echoed through the glen
Echoed through the glen
（盖尔语）
Droichead na ndeor
Agus droichead na gcaointe
Droichead na gcaointe
Agus droichead na ndeor
（英语译文）
The bridge of tears
And the bridge of sorrows
The bridge of sorrows
And the bridge of tears
Ochón ‘s ó
Memories fade with passing age
In forlorn hope we wait for
Distant hills still haunt us now
Until the end of time
Until the end of time
（盖尔语）
Droichead na ndeor
Agus droichead na gcaointe
Droichead na gcaointe
Agus droichead na ndeor
Droichead na ndeor
Agus droichead na gcaointe
Droichead na gcaointe
Agus droichead na ndeor
（英语译文）
The bridge of tears
And the bridge of sorrows
The bridge of sorrows
And the bridge of tears
The bridge of tears
And the bridge of sorrows
The bridge of sorrows
And the bridge of tears
Autumn Leaves Are Falling
Autumn leaves are falling ’round us
Time to gather all those many thoughts
Of all the things that might have been
Or gained at such a cost
For some of us there’s endless hoping
For some of us a craziness, too
Holding onto better reasons
Works for me and you, you know it’s true
And when the stakes are higher
Never play with fire
Leave it alone
I wandered through a country churchyard
And wondered what kind of life they led
Walked into a castle ruin
Of gentry that had fled
For some of them had endless hoping
Some of them crazy, too
Holding onto better reasons
We’ll never truly know
Those trees will tumble down on a stormy day
And those leaves will fade away, fade away
The autumn leaves are falling ’round us
I’m here to gather all my many thoughts
Of all the things that might have been
As the ground has turned to frost
Leaves are falling, autumn leaves are falling…
Let Me See
Chorus:
Let me see generation times
Will we hear children singing rhymes?
Sweet memories gone by, they’re gone by
Let me be wiser with my eyes
Let me see my love by my side
Let me see heaven
Lonely years of searching the wilderness
How this world can lead us all astray
Don’t let me cry over colorless pictures
No more bitter winds
No more troubled seas
Just forgive me and let me see
Let me see my love, let me see
Let me see my love, let me see
(Chorus)
Crossing the room, I recognize the child in me
I’ll close my eyes to release away all my fears
We silence the rose to see it blossom back again
Step by step we walk on
Word by word we talk on
Just forgive me and let me see
(Chorus)
（摘自The Clannad Newsblog网站：http://www.clannad.nl/Lmpress.html）
专辑曲目:
1.An Gleann
2.Fadó
3.A Mhuirnín ó
4.Of This Land
5.Court to Love
6.Golden Ball
7.Bridge of Tears
8.Autumn Leaves are Falling
9.Let Me See
10.Loch Na Caillí

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