Rough Guide to Scottish Music

Locations
Call Number: CD World Europe British-Isles Rough 2003
On Shelf At: Downtown Library

Location & Checkout Length	Call Number	Checkout Length	Item Status
Downtown 3rd Floor, CDs 2-week checkout	CD World Europe British-Isles Rough 2003	2-week checkout	On Shelf

Compiled by Pete Heywood from previously-released recordings.
Compact disc.
Program notes and discography ([12] p. : ports.) in container.
Chuir I gluin air a bhodach ; DJ MacLeod's ; The Ness pipers ; The Earl of space (Battlefield Band) -- Fair Helen of Kirkconnel (Emily Smith) -- Cowden Hall (Finlay MacDonald) -- Millennium village (Islay's charms ; Farewell to millennium village ; Pierre's right arm ; Alec C. MacGregor) (Deaf Shepherd) -- Skye waulking song ; Chuir m'athair mise dhan taigh charraideach (My father sent me to a house of sorrow) (Capercaillie) -- Niel Gow's lament for his second wife (Bob Hobkirk) -- Utiseta (Roseness) ; Churchill barriers ; Deerness reel) (Jennifer Wrigley, Hazel Wrigley) -- Fordell ball (Jack Beck) -- Coilsfield house (Pete Clark) -- Do ghaidheil shiatail (Christine Primrose) -- Calypso (The carnival reel ; The calypso piper) (Robert Mathieson) -- Brother Gildas ; Calliope house (Boys of the Lough) -- Logie o'buchan (Heather Heywood) -- Cailleach an airgid ; Rachainn a shuiridh' air oighrig (Cliar) -- 6/8 march, hornpipe (Donald Black, Malcolm Jones) -- Dancing on the moon (Celtic cousins ; The flaggon ; Dannsa air a' ghealach) (Blazin' Fiddles) -- Gaelic air & hornpipes (My love, my joy ; Duncan Johnstone ; Doctor MacInnes' fancy) (Pipe Sergeant Gordon J. Walker) -- Rowan in the rock (Alison McMorland, Geordie McIntyre).
Various musicians.

REVIEWS & SUMMARIES

Summary / Annotation
Author Notes

COMMUNITY REVIEWS

Solid Introduction submitted by Meginator on August 31, 2019, 10:17pm The songs on this compilation seem to broadly fall within two categories: fast-paced instrumentals, featuring pipes and an assortment of other traditional Scottish instruments, and huge ballads, often (but not always) featuring female vocalists and wind instruments. The juxtaposition is intriguing: both traditions are inherently and obviously Scottish, yet they can feel quite distinct from one another without deeper inspection. More interesting still is listening to this album with Irish and other Celtic traditions in mind; these traditions are obviously mutually influential, yet something sets this music slightly apart. Though these tracks, too, carry a lot of similarities, the instrumentation differentiates them from one another, with fiddles, bagpipes, flutes, harps, and even steel drums (see Robert Mathieson’s baffling, yet irresistible “Calypso”) carrying the country’s shared rhythms and melodies. Despite its focus on traditional folk styles, the music here can feel deeply modern, and the album feels like a timely glimpse into Scotland’s distinct musical heritage.