Joy Dunlop - Faileasan (Sound In The Signals Track By Track)

Joy Dunlop was nice enough to do a track by track for Sound In The Signals for her new album Faileasan. Check out the full track by track after the jump.

Growing up in rural Argyll, I was immersed in distinct, local Gaelic music traditions that were an integral part of community life. Sadly, this rich musical repertoire remains relatively unexplored outside the area; leaving our unique west coast flavour unknown to many. It was as a result of this that the idea for ‘Faileasan’ was born: my own reflection of Argyll’s traditional heritage.

In order to produce a genuine representation of Argyll’s cultural standing, every part of this album project was sourced from the area: from the songs and musicians, to the CD design, photography and studio recording. ‘Faileasan’ aims to give you a taste of what Argyll’s music, song & language truly means: a showcase of our local heritage, past and present.


10    Ma phòsas mi idir, cha ghabh mi tè mhòr (If I marry at all, I won’t wed a big girl)

It was the title of this light-hearted, humorous song that initially caught my attention, as at 6’1, I’m not what you’d describe as a small girl! I loved the obvious irony of singing phrases like “I won’t marry a big woman, I won’t marry a tall woman!” and I thought that the tune was really catchy and something that would work well with a full band line up. I initially started working on the song with Sorren, my guitarist and then I brought in the rest of the band once we had an initial arrangement idea. I love the sound of the smallpipes on this track, I think that they really catch your attention and open the album in striking style.

20    An Roghainn (The Choice)

Sorley Maclean was one of the most significant poets of our time and in 2010, his emotive poem ‘An Roghainn’ was set to music by folk ambassador Donald Shaw, as part of the Celtic Connections’ concert ‘Seudan a’ Chuain.’ (Jewels of the Sea) I fell in love with the song as soon as I heard it; Donald’s gorgeous melody is the perfect vehicle for Sorely’s powerfully emotive prose and the feelings and story of the song just moved me to tears. This is the first time that An Roghainn has ever been recorded and I was truly grateful to both Donald and Urras Shomhairle (The Sorley MacleanTrust) for allowing me to have this on my album. I always love performing this track live and it never fails to touch the audience.

30    Hì il o 's na hug i hò ro

I enjoy the beautiful simplicity of this traditional love song. It initially started as just a voice and guitar arrangement but I’d always had the idea of adding additional backing vocals so it sounded more like a duet. Karen Matheson is one of Gaeldom’s most famous Gaelic singers with a gloriously warm voice and as she originally comes from the next village to mine, I couldn’t think of anyone better to have on the track. I was so thrilled when she agreed to sing with me and I think that she adds a real richness to the track.

40    ‘S daor a cheannaich mi phòg (Dearly I paid for the kiss)

I found this song and its background information whilst exploring the wonderful archives of The School of Scottish Studies in the University of Edinburgh. It is a wonderfully rhythmic Gaelic ‘waulking’ song – these are songs that would have been sung during the tweed preparation process. I instantly thought that we could make a great arrangement with it as despite the fact that it is a very sad song of unrequited love, it has a great melody which lends itself well to musical interpretation.

The version that we finally recorded was actually our 2nd arrangement of this track; although the first attempt was fantastically catchy I felt it was just too upbeat for a song about such a sad subject matter!

50    Buain na rainich taobh Loch Èite (Cutting bracken beside Loch Etive)

This is a popular Argyll love song about a boy who met a girl called May at the lochside whilst cutting bracken. It was the story of the song that first appealed to me: upon approaching the girl, the poet addressed her in English and she, very wisely in my opinion, replied in Gaelic that she was not interested in a man of his language! However, he appeals to her better nature and reassures her that his love for Gaelic is true, thus changing her mind.

Although it’s a really a simple cèilidh (social gathering) song, the nicest thing about performing this track live is having the audience singing along with you in the choruses.

60    Puirt à beul Earraghàidhealach (Argyll mouth music)

Gaelic ‘puirt à beul’ or mouth music are rhythmic songs that would have been sung for dancing and are some of my own particular favourites to perform. This set of songs celebrates every element of Argyll life, although the story behind the second song is the most interesting in my opinion. It was composed by Iain MacEachearn (Am Pìobaire Cam) from Islay, for a girl whom he had been courting. As he was not very attractive in appearance, she did not want to be seen with him during the day and when he met her at a market in Bowmore, she ignored him. He wrote this song there and then, saying he would never look at her again and denying he had ever been courting her – proof that the best way to get revenge is through song!

I always find that ‘puirt à beul’ appeals to any type of audience as the rhythmic drive can’t fail to get your toes tapping. They’re also perfect to combine with Scottish stepdance as the words and percussive steps work so well together.

70    Eilean Luinn (Isle of Luing)

This is a typical example of a Gaelic song praising the numerous attributes of a particular place, in this instance a small island just south of Oban. My brother Andrew, with whom I’ve been performing since we were very young, accompanies me on this track. I always enjoy playing with Andrew as apart from him being one of the best accompaniments around (not that I’m at all biased!), we have an instinctive musical understanding of each other that makes everything so much easier and more enjoyable. A popular cèilidh song, my outstanding memory is of the wonderful Mòd Gold medalist Hugh MacQueen from Cullipool, Luing performing this at the Meur Chruachain cèilidhs in Taynuilt Village Hall.

80    Cumha Chailein Ghlinn Iubhair (Lament for Colin Campbell)

I first heard this lament whilst delving through the wonderful online song resource ‘Tobar an Dualchais’ (Kist O’ Riches). It was composed by the great Gaelic bard Duncan ‘Bàn’ MacIntyre after the murder of Colin Campbell of Glenure, more widely known as the ‘Appin Murder.’ Colin Campbell was the government-appointed factor to the estates of the Stewarts in North Argyll, and known locally as 'The Red Fox.' He was shot in the back by an unknown marksman in the woods of Lettermore, Appin on 14th May 1752.  The search for the killer targeted the local Clan, the Jacobite Stewarts of Appin, who had recently suffered evictions on Campbell's orders. The chief suspect, Allan Stewart (Ailean Breac Stiùbhart) having fled, led to James Stewart (Seumas a' Ghlinne) being arrested for the crime and eventually hanged, following a trial which most believe to have been rigged.

This song gives the bard’s perspective of the event and although I am only singing a quarter of his account, the full song can be found in the book, 'Songs of Duncan Bàn MacIntyre.' There are also several tunes to be found for the song, but this was the version that I found most appealing. In my opinion, this type of acappella singing is what makes the Gaelic repertoire so special.

9 - ‘S fhada an sealladh (Distant is my view)

I first heard this fantastic waulking song whilst delving through the archives of the School of Scottish Studies, performed by Nan Mackinnon, (Nan Eachainn Fhionnlaigh) from Vatersay, 1903-1982. The interesting melody instantly struck me as something with which I could work and I had a great time collaborating with singers & musicians in the studio to produce a different take on a traditional work song. The icing on the cake for me was being able to include a sample of Nan’s original recording at the start and end of this track as I feel that it really makes sense of our contemporary arrangement.

90    Crònan Charsaig (Carsaig’s lullaby)

This sweet lullaby was written by the father of a friend of mine in 1958, to lull her to sleep as a child and it was a song that I often heard sung at cèilidhs in Argyll. I wanted to include it on the album as it represents the newer end of the traditional Gaelic song spectrum and is so indicative of our local cultural heritage. As it was originally written to content a fretful child, I wanted to produce something that was both soothing and beautiful therefore, I think that Donald Shaw’s beautiful accordion harmonies work particularly well in this case.

11- Taigh an Uillt (Taynuilt)

Taynuilt is a small village in Argyll close to where I was born and raised and these beautiful words were written especially for Taynuilt Gaelic Choir (with whom I still sing) in praise of their village, by the wonderful writer Iain Crichton Smith. The tune was composed for the choir by Mary Anne Kennedy and I am extremely lucky to be the first person to both perform and record this song. I wanted to create a sound that represented the warmth and friendliness of the village and as a result, I fondly refer to the track as my “Disney” number - the only things it’s missing is a key change in the last verse!

The birdsong that you hear at the end of the song was actually recorded by accident – we had some unseasonably warm weather when I was in the studio and Argyll was bathed in glorious sunshine. This meant that the local wildlife were out in force, there was no escaping their triumphant chirping. I decided to use this though as I felt that it added an extra layer of authenticity to the track and was a lovely way to bring the album to a close.