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Sidewaulk
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| Price | $16.87 | |
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Shipping & Fee Details
| Price | $16.87 | |
| AmazonGlobal Shipping | $14.75 | |
| Estimated Import Fees Deposit | $0.00 | |
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| Total | $31.62 | |
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Sidewaulk
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| Price | New from | Used from |
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MP3 Music, January 1, 1989
"Please retry" | $9.49 | — |
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Audio, Cassette
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From the brand
Track Listings
| 1 | Alasdair Mhic Cholla Ghasda |
| 2 | Balindore |
| 3 | Fisherman's Dream |
| 4 | Sidewaulk Reels |
| 5 | Iain Ghlinn' Cuaich |
| 6 | Fosgail An Dorus/Nighean Bhuaidh' Ruadh |
| 7 | The Turnpike |
| 8 | Both Sides the Tweed |
| 9 | The Weasel |
| 10 | Oh Mo Dhuthaich |
Editorial Reviews
Amazon.com
This gang of Scots broke a lot of barriers, paving the way for the overwrought synth pop of Enya that was just up the road. Hebridean vocalist Karen Matheson is the prize of this band, and this record is her shining moment. The disc opens with Matheson singing a traditional "waulking song," a thundering vocal piece with drums and a wash of keyboard. She is soulful on "The Fisherman's Dream," perhaps a bit too lush on Dick Gaughan's "Both Sides the Tweed," and delivers a piece of traditional "mouth music" with a modern gusto. Most of the instrumental tunes are more vibrant than their later recordings. Accordions, fiddles, whistles, recorders, guitars, and bouzoukis more than balance the occasionally overbearing electric bass and synthesizers, maintaining a lively contemporary feel and a traditional power. --Louis Gibson
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.59 x 5 x 0.51 inches; 4.66 Ounces
- Manufacturer : Green Linnet
- Item model number : 48248109420
- Original Release Date : 1993
- Date First Available : December 7, 2006
- Label : Green Linnet
- ASIN : B000005CNQ
- Number of discs : 1
- Best Sellers Rank: #315,882 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #219 in Scottish Folk
- #388 in Scottish Music
- #470 in Celtic New Age (CDs & Vinyl)
- Customer Reviews:
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In this case, I find Capercallie to be a delightful blend of traditional Scottish music and more contemporary touches. Throughout the diverse and experimental ten tracks of 'Sidewaulk', the band loses none of the powerful energy or vitality so associated with Celtic music, and complements this with an innovative electrified rhythm sections and tantalizing touches of the New Age. Some reviewers take issue with the presence of synthesizers on some tracks. Firstly, I would say that their use is fairly subtle and sparing, and does not at all dominate the traditional instruments or vocals--in other words, 'Sidewaulk' does not sound like any old mediocre 1980s pop record. I personally also find the blend of instrumentation aesthetically appealing. Another favorite Celtic/fusion group of mine is the more recent Kila, and while Kila's musicians are Irish, when I listen to Capercaillie, I sometimes wonder if Kila, which rose to prominence in the mid-late '90s, were influenced by this '80s-born group. The opener of this record, an energetic musical and vocal highlight titled, in Scots Gaelic, 'Alasdair Mhic Cholla Ghasda', almost seems to be echoed with the fade-in that begins 'The Compledgegationist', (a made-up word to my knowledge), the opening track of Kila's excellent 2000 album, Lemonade & Buns, and the incorporation of bases, electric guitars and keyboards to traditional Celtic rhythms and melodies is certainly a common element of both groups.
So Capercaillie, while it incorporates many strong traditional Celtic influences, is in no way afraid of moving beyond them. This is not a strictly traditional group, so if fusion-oriented music isn't your thing, be advised that this album may not be to your tastes. For me, I love the blend of sounds going on here. Lead singer Karen Matheson has a lovely, enchanting voice, well-suited both to the Scots and English language. To witness her virtuosity, listen to track 6, the Gaelic, 'Fosgail an Dorus//Nighean Bhuaidh' , and track 8, 'Both Sides the Tweed' back to back. The former is an energetic, rather fun medley of two traditional tunes, while 'Tweed', a more recent composition is a slow-tempo, reflective song about finding harmony and peace between societies ('Tweed', in this case, refers to a river near the border of England and Scotland.) Matheson renders both tracks beautifully--the former pulsating, the latter soft, serene, and profound. Listening to these two sublime tracks, one can sees how well--at least in my opinion--Matheson's voice is suited to a variety of musical styles and forms. 'Tweed' is a particular highlight of the album, using poetic lyrics to convey a powerful social message: "Let friendship and honor unite, and flourish on both sides the Tweed... think them poorest who can be a slave, and richest who dare to be free."
Apart from just about anytime Matheson opens her mouth, I find track 4, Sidewaulk Reels, and track 7, The Turnpike, to be particular highlights. The instrumental tracks are as energetic and exciting as the best Celtic jigs and reels, combining lovely sounds of fiddle, concertina, whistle, and recorder (a personal favorite of mine), with a great rhythm section, featuring some decidedly meaty bits of back-up from the bass guitar player. Donald Shaw's concertina does tend to dominate many tunes, while I myself prefer the flowing, flying sounds of recorder and fiddle, but this is a minor reservation for me as I still find these sets excellent overall, and there is a remarkably energetic and appealing effect gain by placing the old-style concertina alongside Capercaillie's astounding, electrified rhythm section--a striking contrast, if you will. I am listening to The Turnpike now, hearing some delight fiddle interludes, as the rhythm section grooves not quite like anything else I've ever heard--and then, without missing a beat, we dive straight from one melody to the brilliant next, into an invigorating concertina workout--sublime.
Overall, if you enjoy Celtic music, including Scots-language vocals, with generous overtones of New Age and pop-ish music, or you enjoy good experimental/fusion-oriented music, do give this talented group a try. While those of more strict traditionalist tendencies may not enjoy it as much, I think anyone approaching this group with an open musical mind will likely find *something* enjoyable or interesting about it. Personally, I find this sort of experimentation, fusion, and progress fascinating, and wish such beautiful music as that made by Capercaillie were more widely known and available. Society should promote art, and the music of Capercaillie is most definitely artistic. Giving something a little different a try, and maybe you'll float away, as I have, on this enchanting blend of songs and sounds.
Now with new members Manus Lunny and John Saich, the skill level of guitar, bouzouki, and bass reaches new heights. You can especially notice this in the bass lines, as Saich's melodic bass lines give a new depth to Capercaillie's sound.
Of course, Karen Matheson, Donald Shaw, Charlie McKerron, and Marc Duff are in excellent form. Karen's voice really shines here as both Gaelic and English songs take center stage (Sidewaulk is the first Capercaillie album to have English songs as well as Gaelic songs).
With wonderful songs and impeccably performed tunes, how can you go wrong here?
Most of the songs give an even greater showcase of Capercaillie's singer Karen Matheson but, to tell the truth, the original versions are better. Giving songs like "Alisdair Mhic Cholla Ghasda" an afro-sounding beat might make them hip and modern, but the remixing takes away from the traditional nature of Capercaillie's repetoire.
Because a lot of the tracks of SECRET PEOPLE were already pretty contempory-sounding, a few songs like "Bonaparte" and "The Miracle of Being" aren't very different from the originals. But nonetheless, I would encourage anyone to pick up SECRET PEOPLE (or any other Capercaillie album) before listening to this interesting, though uninspired, diversion.
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