MELLOW CANDLE, FLIBBERDIGIBBET,EISTHLINN

Eisthlinn (2001)**°

Singer Allison O'Donnell has now her residence in Kalmthout, Flanders, Belgium. Flemish folk is in

a boom last years. Strangely enough (except for the electro dance music may be) this part of Belgium never experienced much progressive movements in any music genre. Also Flemish folk stayed rather traditional in style. Although many artists have the skill to open up in live explorations most recordings that make it onto CD are just ok, never fantastic. Almost all of them that I heard so far (with "Something Within" from Vera Coomans & Tom Theuns as one beautiful exception) on a pure musical inventive, personal, creative and renewing way for me don't have much interesting or original to offer for an historical international perspective on musicality. I don't understand why in studio most recordings are even more clean and simple. This item has luckily a good balanced production with technical abilities . It's mostly still rooted in what I now call old fashioned styles, played in a giggly jangling mode. This might be satisfying for lots of people, but in this way it's clear that also this item suffers from too obvious influences. In the selection of material there's some lack of imagination (3 songs are made famous by Sandy Denny), as well as in deeply interpreting the songs. The voice of Allison is pleasant but in fact doesn't reach too deep into the experience of the songs. The skilled musicians won't help this much either. "Banks of the Nile" for instance is unnecessarily rushed both in its vocal delivery and musical arrangement thus denying the song's sense of tragedy that the subject matter evokes. I liked very much the way the CD starts with an Indian tune, played almost on an Irish way, then perfectly inclined with two Irish tunes. Like most Flemish folk, all the music is played incredibly correct, and while in general this sounds rather fine, at the same time it lacks the excitement of a spontaneous spiritual nature, which progressive music had experienced so often in the seventies. Still I am sure this CD is pleasant enough for fitting into the ears of those who are already firmly fixed into what happened in general in Flemish folk music. If you look for a musically balanced CD and you like several of the traditional tunes when played very well with an added voice which sounds very pleasant you might like this CD very well.

Who cooperated here ? Philip Masure as guitarist participated with the new famous Belgian bands like Orion, Laïs, Ambrozijn. Wim Poessen, flute player, was influenced by the most traditional Irish folk bands (like Dubliners,..) and learned the Irish styled flute and pipes. Guido Picard,(together with Guido he is also a member of the traditional dance folk band "Limburgs Dansorkest") mandolins, cittern, mandola, bouzouki, played before in local folk and blues bands, specialised with his private recordings in Belgium folk music. He played with Orion, Laïs and many more. Janneke Donnersloot, is a Dutch violin player mostly for folk dance music.

Review : L.Woolfe ("Mark & the Woolfeman" -singer/songwriters radioshow-) and me, GeraldPsyche ("PVHF"-progressive crossovers radioshow) both producers on Radio Centraal, Antwerp

Eishtlinn WebPage :(Dutch/English) http://www.folk.be/eishtlinn/

& http://users.skynet.be/berkenhage/folksite/geschiedenis/eeicht.html

with Kissing Spell entry : http://www.kissingspell.com/main/SpirCat/Eishtl

Guido Piccard & Mesure webpage http://www.folk.be/picmas/index.htm

Philippe Mazure http://www.folk.be/masure

Introduction about Éishtlinn, by JOHN O'REGAN :

" Éishtlinn in a nutshell is a melting pot of ideas and musical idioms stirred up and cooked to perfection. A diverse collection of individual talents well versed in folk, bluegrass, old-timey styles, Celtic and world music combine their talents to arrive at their own sound. One thing that cannot be said is that they have surrendered their personal identities to be a 'Celtic' band and play the standard tunes by numbers. Certainly Celtic music is part of their agenda but it's not the be all and end all. There's exotica and objectivity in equal doses and the fresh personalized slant that is always present adds a sense of uniqueness to the project.

Éishtlinn is five interlocking pieces, which when joined, bond like an ancient spell casting its allure over any unsuspecting listener. So far audiences in Belgium have had the pleasure of experiencing them in a live setting and the reaction has proved that there is a new neo-Celtic force rising from the Flanders mist. The name Éishtlinn is taken from the Gaelic and means 'listen to us'.

Personally, the band is made up of Alison O'Donnell, Philip Masure, Guido Piccard, Wim Poesen

and Janneke Donkersloot. During the period of the inception of éishtlinn, rock guitarist Ron Verstappen,

also known for his flute and pipe playing, brought some of his own influences to the group. Alison O'Donnell sings, writes and plays bodhrán. She is Dublin-born but has lived in London, Johannesburg and Brussels. Alison is a veteran of seminal Irish folk-rock band Mellow Candle and the South African based Celtic folk band Flibbertigibbet. She has also performed in musical theatre and satirical revue, session work, and collaborated on numerous projects with other artists. Whilst living in the U.K. she pursued a career in public sector administration and on relocation to Belgium formed éishtlinn with Philip Masure, guitarist, multi-instrumentalist and is joiner with a thousand band projects, including Orion, Laïs and Ambrozijn. Philip drafted in flautist Wim Poesen, tune-writer, whistle player and piper, who has been a regular visitor to Ireland for many years; cittern and mandolin player Guido Piccard, also master of the hommel; and Janneke Donkersloot, fiddler, specialising in American traditional and old-time music. Together they complete the Éishtlinn line-up.

Éishtlinn is a varied bunch of experienced musicians, writers and performers. Not surprisingly the musical palate is varied too, with Irish, American, British, Balkan and Eastern European rhythms interconnecting and creating music of rich fluid value. Much of their material is self-composed and this adds to the freshness of the style and the sound of the music they create. Nothing is out of place in the Éishtlinn game plan. Every note, word turn and nuance has its place and everything is in its rightful order. The result is fluid and complex, sometimes playful, sometimes very profound and occasionally just for fun. The effect of hearing them is of a group of musicians who have welded their individual styles and backgrounds to create something personal and unique. To witness Éishtlinn in full flight on stage is to take a roller coaster ride through a myriad of ancient and contemporary idioms all fused together into a living being delivered with

a contagious excitement and sense of purpose. This is no idle self-indulgent musical stew. There is a distinct form and structure to Éishtlinn's music and the audience is invited along to partake of the feast of sounds created therein.

Éishtlinn's first album 'Éishtlinn' offers a tantalizing glimpse of their collective musical talents, used both imaginatively and creatively. This is music born of experience, of absorption of influences and creative wisdom, and with Éishtlinn this is exactly as it should be."

Eishtlinn released the following album on the Kissing Spell label :

An article about Mellow Candle written for 'Mojo' :

"Alison O'Donnell reclines on her living room couch in Brussels reflecting on her time with seminal Irish folk-rockers Mellow Candle. "It was an intensively creative period in my life. At the outset we were enthusiastic Dublin schoolgirls and were ready for anything!"

'Swaddling Songs', Mellow Candle's debut album has achieved 'Holy Grail' status and created a myth around an obscure Irish band. Mellow Candle's story begins in 1963 at the Holy Child Convent in Killiney, Co. Dublin. Pianist/vocalist/songwriter, Clodagh Simonds formed 'The Gatecrashers' with fellow students, Alison Bools (now O'Donnell) and Maria White. The trio, soon known as 'Mellow Candle' quickly became school concert regulars. "Over the years, and after Maria had left, the nuns encouraged Clodagh and I despite the fact that it interfered with our studies. We were usually allowed to have one of the school music rooms during our lunch hour. Quite a few girls dropped by to listen to us including Sinead and Sorcha Cusack".

Mellow Candle found getting gigs outside the convent walls fruitless. In 1968, frustrated, 15 year old Clodagh wrote to Radio Luxembourg DJ Colin Nichol with a demo tape. "We tried all the hotels but no one would listen to us. Nobody here has ever offered us an audition. They must have thought we were immature - just stupid kids with a dream. But we're not, I swear to you". Nicol passed the tape to producer Simon Napier-Bell who arranged a recording session in London. Mellow Candle's first single "Feeling High"/ "Tea with the Sun", both Simonds originals, emerged on Napier-Bell's short-lived SNB Records. Complete with kitchen sink production, "Feeling High" received airplay on Radio Luxembourg and Manx Radio. Clodagh's parents thought learning a language better than playing music so she went to Italy for six months.

Once home, Clodagh, Alison, guitarist Dave Williams, a Trinity College student and bass player Pat Morris reformed Mellow Candle. Managed by Brian Tuite and Thin Lizzy overseer Ted Carroll, they made their live debut at Liberty Hall supporting The Chieftains. Gigs in Dublin's Mansion House, Liberty Hall, and 'The Mug's Gig' in Slattery's Capel Street (with Donal Lunny and Andy Irvine supporting) and opening slots for Thin Lizzy and Skid Row created a vibe. "We didn't need a drummer for a long time because Paddy Morris had a very percussive slapping style of bass playing. He was much straighter than the rest of us. During the making of the demo for the album, we went to an Andy Warhol movie in London about homosexual cowboys. Some way in Pat stands up, loudly proclaims what a load of crap it is and marches out with the rest of us slinking along behind him." Slots followed at the 1971 Wexford Festival of Living Music where John Peel noted 'The seeds of something promising are there', the 'Headland' festival at Dublin's RDS Showgrounds with Alan Price & Georgie Fame and Arthur Brown's 'Kingdom Come', and also at The Mansion House. One gig in particular almost proved to be Mellow Candle's undoing. "Marmalade's manager came all the way from England to listen to us. He probably thought we were awful given the fact that Terry O'Neill, who was operating the sound system, was well into some fantastic trip and thought he was operating a light show as opposed to a sound system. We couldn't hear anyone or anything and the result was a disaster but Terry thought the gig was wonderful!"

Enter ex-Creatures bassist Frank Boylan and Kevin Ayres' drummer William Murray. "Frank was a heavy smoker and a diehard rock and roller whereas the rest of us were into more mystical stuff". I thought Willie was very sophisticated when I first met him in London because he drank Earl Gray tea which I had never heard of!" Mellow Candle signed with Deram in London on April 18th 1971. Based in a tatty rooming house in Belsize Park, they made for the kitchen one day, bumping into Gay and Terry Woods who were also living there. Amongst others, in the U.K.and Ireland they gigged alongside Lindesfarne, Genesis, Curved Air, Tír na n'Óg, Horslips, Donovan and Fairport Convention.

'Swaddling Songs' was released in April 1972 preceded by a double A side single 'Silversong'/ 'Dan The Wing'. Christened a 'Tax loss' by the NME, 'Swaddling Songs' was a glorious fusion of traditional and contemporary folk-rock, laced with Clodagh and Alison's soaring vocals and zigzag harmonies but bombed. Frank Boylan was replaced by ex Spirogyra bassist Steve Borrill and Mellow Candle changed their name to Grace Before Space but split up in 1973.

Alison O'Donnell and David Williams moved to South Africa where they formed folk band Flibbertigibbet

and worked in the satirical 'Tortue Reviews'. Alison currently sings with Flanders-based Éishtlinn, 'a mix of Irish, North American and European styles, a cultural melting pot!' David Williams became head of light music with the South African Broadcasting Corporation (SABC) in Capetown. Frank Boylan disappeared and

Willie Murray played with Sandy Denny and Richard and Linda Thompson's 'Sour Grapes' before moving to the US with Clodagh. They formed 'The Same' with Stephen Bray (Madonna's producer) and Carter Burwell (soundtrack composer for 'Millar's Crossing' /'Rob Roy') and were resident in CBGB'S from 1977-78. Murray relocated to Dallas working as a photographer for 'Playboy', and more recently to Ireland dying from pancreatic problems in 1998. Clodagh worked with Jade Warrior, Mike Oldfield, Robert Fripp and Andy Warhol. She studied music and became one of Richard Branson's personal secretaries. She returned to Ireland, recorded 'Six Elementary Songs' and now lives in Dublin.

Collectors' kudos given to 'Swaddling Songs' and Kissing Spell's 'The Virgin Prophet' compilation suggest Mellow Candle's influence is finally recognised. "This revival of interest in Mellow Candle is fascinating but it's something I always hoped would happen. I am delighted to see people getting into 'Swaddling Songs' and 'The Virgin Prophet'. I'm proud of what the band achieved and wish it could have continued a little longer".

OsmosysAlison O'Donnell & Isabel Ní Chuireáin :

Mise Agus Ise / Myself and Herself (UK/B,2006)

Rooted in contacts with the public hankering for the family-herd-replacing folk cafés from Belgium to Dublin, Allison searched for her roots in her homeland, confirming some, at a few times teasing Irish traditions, but also added some personal renewal. There’s a varied result, with some self-arranged independency, partly based upon common-typed traditional styles. Even when following the obvious in a nice recognisable way, Allison also shows some matured ideas in her voice performance, and tried a few different things. The reggae like rhythm on “hangover from hell” is sung with deliberate strange, and within the rhythm melodic-contradictorily harmonies, based upon folk. Also “In the web” shows a matured singing, something which I can’t think she would have tried when she was younger. The most successful track I think is “Mother of Pearl” a longer track, using a smooth jazz rhythm. Alison’s voice here shows she is also capable of going into a new, more jazz direction.

PS. Two original Mellow Candle members participated: Dave Williams and Frank Boylan.

Features : Frank Boylan & Dave Williams (both former Mellow Candle members), Denise Boyle, Al Cowan, Martin Crossin, Jimmy Faulkner, Brian Fleming, Andy Laking, Philip Masure, Dave McCune, Isabel Ni Chuireain, Alison O'Donnell, Sean Whelan.

Audio : "The Blackcap", "The Talk of the arcade" & on http://www.myspace.com/alisonodonnell

Other reviews : http://www.terranovamusic.com/...

& http://www.freakemporium.com/site/release/ALCD236/releasepage.html

& http://www.pvcw.freeserve.co.uk/efnshop/OSMOCD033.htm

Article : http://www.tradmusic.com/groupinfoa.asp?groupID=2143

Homepage : http://www.alisonodonnell.com/