AM I CHOOSING
THE MOST BEAUTIFUL PEOPLE ARE BROKEN
TWELVE WHITE HORSES
SING FROM THE SEA
YES WE WILL
ARE ON THE OCEAN
BURY ME UNDER THE WEEPING WILLOW
TO THE WORK
THE MOUNTAINEERS COURTSHIP
SINGLE GIRL MARRIED GIRL
O MOLLY DEAR
SLEEP BABY SLEEP
STANDING ON THE PROMISES
THE WANDERING BOY
MIDNIGHT ON THE STORMY DEEP
Here You Come
Seven More Times
MUTTER' DAUGHTER (Released JUNE 2015)
A REALLY COMPLICATED ALBUM TO MAKE.....I LOVE IT , WHAT WE DID,
BUT I WAS SEARCHING FOR SOMETHING THAT I COULDN'T QUITE GRASP FOR
A LONG TIME. WE MADE THAT ALBUM PROBABLY 4 DIFFERENT WAYS BEFORE
I WAS ABLE TO LET IT GO.......SOME OF THE VERSIONS WE RECORDED ARE
INCREDIBLE IN THEIR OWN RIGHT (QUEENIE IS PROBABLY MY CURRENT FAVOURITE)
..........THEY DIDN'T FOR SOME REASON FIT WITH THE MUTTER THAT CAME
TOGETHER AS A FINAL ENTITY......
BUT FOR THOSE WHO ARE INTERESTED........TA DAH.......
WE HEREBY GIVE YOU------- MUTTER'S DAUGHTER
A COLLECTION OF BEAUTIFUL OUTAKES FROM MUTTER
LIVE (Released MARCH 2014)
As much fun
as albums like the infamously over- dubbed Thin Lizzy classic, Live
And Dangerous, are, I've always felt that a live record should remain
as raw and untouched as possible. Regardless of whether it was made
over a period of a few nights, or a complete long-haul tour, the
finished LP should reflect what the audience heard during that specific
show. There is, I guess, an element of 'historic record' involved.
Or that's the way I see it. Maria Live by the multi-talented Dubliner,
Maria Doyle Kennedy, is a very good example of how it should be
done. Under the guiding hand of producer Kieran Kennedy, she lets
the original performances speak for themselves and the results are
hugely impressive. Recorded in Vicar Street and the Pepper Canister
Church, MDK's voice is very much front and centre stage: the renditions
of 'Sing from the Sea' and 'Call Me' in particular are stand-outs.
Not exactly a warts and all release (there are very few missteps
here, I can assure you), the other highlights include Maria's stark
re-imagining of Pat Benatar's evergreen 'Love Is A Battlefield'
and the diabolically good murder ballad 'O Molly Dear', which she
sings superbly. Serving as both essential listening for long-time
fans and an excellent introduction to her back catalogue, Maria
Live captures the singer at her impressive best: her voice, throughout,
could charm the very stars from the skies.
(Released SEPT 2012)
a richly imagined record, one that marries folk forms with torch-song
melodies and draws on flamenco rhythms, avant-rock, Celtic, Mediterranean
and Appalachian airs. There are misty mountain songs like 'Sing
From the Sea', with its serpentine twelve-string figures and dusky
soul vocals. There's the spellbound 'Hola Luna', a Celtic fable
in the form of a perfect pop tune. Then the harmony-laden Dusty
country-soul of 'The Most Beautiful People Are Broken', the woozy,
swoony '12 White Horses', the Nilsson-ish cool hand on the brow
that is 'Am I Choosing Right'.
Over the span
of ten meticulously crafted songs, Sing casts ethereal spells, oblivious
to worldly babble. No matter how distinguished the guests, they
all become transformed in some fashion: Damien Rice changes from
a dark balladeer to a man transfixed by sirens. Paul Brady is recast
as a Strabane-Andalusian banshee, barely recognizable as himself.
And the great John Prine duets on the lovely 'Yes We Will', assuring
the listener that the two people in this song will go on, because
Sing is a
subtle but powerful record, one that deals in the currencies of
joy and doubt, magic and grief. These are wise, measured and sometimes
tender airs, sung by a woman at the peak of her creative powers,
arranged, produced and played by a man at the height of his. These
songs, we'll wager, will soundtrack baptisms, revels, weddings and
wakes. They might bury us yet. Peter Murphy
STORMS ARE ON THE OCEAN (Released Jan 27th 2011)
Doyle Kennedy's last album proper Mutter was a collection of ghost
songs, avant folk songs, eerie fairytales and cinematic snapshots
of bedraggled actresses walking barefoot onMulholland Drive. It
was also one of the most bewitching records of 2007. The Storms
Are On the Ocean might well have been named GrandMutter. A collection
of Appalachian standards dressed in beautifully darned gowns, its
spiritual siblings are Plant's Band of Joy, PJ's White Chalk and
Gillian Welch's stark daguerreotypes. Here are courtly tunes, murder
ballads, child ballads and death fugues all beautifully backlit
by Kieran Kennedy's acoustic guitar, banjo and piano. These apocryphal
airs often recall Dylan's definition of folksong: Traditional
music is based on hexagrams. It comes about from legends, Bibles,
plagues, and it revolves around vegetables and death. All these
songs about roses growing out of people's brains and lovers who
are really geese and swans that turn into angels, about skulls and
flowers and death and curses and nine times this and ten times that.
Each song deals from the bottom of the deck, every line is freighted
with its opposite meaning. Under pretty petticoats, the lover's
vow 'Bury Me Under the Weeping Willow' wears garter-strapped to
its thigh the loaded threat of suicide. 'O Molly Dear' is haunted
by death premonitions that might be self fulfilling prophesies.
There are lullabies that double as infanticide ballads ('Sleep Baby
Sleep'), songs as simple and profound as Blake ('The Wandering Boy'),
and wry riddles like 'The Mountaineer's Courtship', which contains
half the information required to re-DNA Bonnie 'Prince' Billie after
the bomb. Always the listener is reminded that these mountain holler
hymns were written as Irish and Scots morality tales, Elizabethan
verse and Presbyterian psalmistry before the Puritans brought them
to Plymouth Rock. The Joan of Arc acapella 'Standing On the Promises
of God' smells of Salem witch trials, while 'To the Work' is a Shaker
paean to the dignity of transcendence through holy toil. Here's
your soundtrack to Lesy's Wisconsin Death Trip or Miller's The Crucible.
A beauty...........Peter Murphy
(Released May 18th 2007)
for mother) is the third album from Maria Doyle Kennedy,
a marked departure from her 2001 debut Charm and the limited edition
Skullcover CD from 2004. Four years in the making, recorded at many
locations including Cork, Wicklow, Dublin and Monaghan, Mütter
is a gloriously unsettling collection of classic pop melodies. Cuts
such as Opera, Skin and Here You Come, are intensified by Kieran
Kennedys masterfully treated guitars and inventive keyboard
backdrops. The timbre of the record evokes an alternative ambient
hybrid, warm airs and carefully crafted words offset by wintry tinges
of the Cocteau Twins and The Cure. The bristling Fuckability is
the exception: swampy flowing rhythms spiked with Stereolab synth
hooks, growling bass, and an unashamedly carnal vocal. The album
was, Maria admits, conceived under the influence of Chuck Palahniuks
2003 coma fable Diary, the testimony of a woman on the verge of
a nervous breakdown, and a valentine to the occult power of art.
I was chasing this record down when a friend handed me the
book and said, Ive read your album, Maria
says. It became the key that unlocked the mystery for me.
Faced with decisions to make about a song, I asked
myself, What would be true to Mistys journey?
It was easy after that Consequently, Mütter sounds
twinned with eerie 70s cinema classics like Dont Look Now
and Picnic At Hanging Rock. Mother could be a calm riposte to Lennons
primal scream; 40 Days is a minor key panic attack, the scratchings
of a soul trapped under cryogenic ice; and the gorgeous Swoon is
the point where Sandy Denny meets Sigur Ros. Elsewhere, the near
baroque Call Me,evokes the sound of Billie Holiday fronting a Michae
lNyman score. Above all, this music is haunted and haunting, an
album of shadows and unreal light whose after-effects linger long
in the mind.
Mütter is a body of interwoven songs as complex and fragile
as a spider web Peter Murphy
(Released SEPT 2004)
result of road weariness is a thing of beauty such as Skullcover,
then maybe we should all hit the road. Maria Doyle Kennedyfs
distinctive voice has evolved further into its own delicious space.
This covers CD recorded in 2004 for a limited edition website release
justly makes its debut on the back of her 2007 collection, Mutter.
Swinging from a gorgeously creaky version of the Buggles gVideo
Killed the Radio Starh to a truly apocalyptic take on Red
Sails in the Sunset and a beautifully pastoral Death
of Queen Janeh (borrowed from the Bothy Band), Maria Doyle
Kennedy reinvents each and every song with an enviably jaded brio.
Meteor awards may come and go, but MDK is still one hell of a musical
force to be reckoned with....Siobhan Long
2. Video Killed The Radio Star
3. And I Love You So
4. Red Sails In The Sunset
6. Going Down
8. Sailin Around
9. Death Of Queen Jane
10. Still In Love With You
11. Could Not Love You More
13. S O S
14. West Virginia
(Released AUG 2001)
her debut solo album 'Charm' in 2001 to widespread critical acclaim.
'Charm' was a triumph of self determination that encompassed everything
from unadulterated rock and roll to left field Americana and the
kind of lyrical sensibly that suggested Lorca rewriting creepy Eastern
European fairy tales.
4. Stars Above
I Scare Myself
Safe From Harm
Loving U Is Killing Me
Revenge Is Sour
Stars Above (Acoustic).
OF MARIA'S DVD (Released JAN 2008)
The Film Band
of Marias. This is a behind the scenes look at the Maria
DK tour of Austria, Czech Republic and Slovakia in November 2008.
The Maria Doyle Kennedy Film of the Music of Mutter. The films were
shot in different locations around the world, USA, Australia, Spain,
France, Ireland, England and more.
THE BAND OF
SEVEN MORE TIMES
JOY OF A BOY
SAFE FORM HARM
now Sold Out.
SIRENA 1992-1996 (Released JUNE 27th 2011)
1992 and 1996 these recordings are only seeing the light of day
now. Early band recordings. Some of the songs made the album Charm.
DONT GIVE UP