The Pagan Activist

 We would like to introduce to you our regular columist for 'Pagan Chorus' - Mike Gleason!

The Pagan Activist

 

Mike is a long-time Pagan (30+ years).  For the past decade he has been doing book reviews both for print media and on-line, including working for The Pagan Activist.  He is NOT a musician or a professional music critic.  He is simply your "average Pagan on the street."

 

He is always on the lookout for new performers and welcomes recommendations and samples. 

 

A message from Mike:

 

"I need to make a few things clear about the upcoming reviews.

 

First - I am NOT a musician of any sort, nor do I pretend to be a professional music reviewer,

 

Second - I do NOT have any connection to any of the companies supplying me with music to review

 

Third - Most Importantly, I do these reviews simply to let folks know what is available.  If you know of something (a new group, a new CD, etc.) email me and let me know (gleason.mike@comcast.net).  Just make sure your subject line includes the words "New Review?" so I will get to it quickly."

 

I will be using the following rating system for my reviews:

 

 = Irresistible

 = Good

 = Mediocre   

 = If you are desperate       

 

Zero Drums = Forget It!

 

Any book with a rating of  and up will be available for purchase HERE on this website.

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Barley Rigs CD 

by Broceliande  

© 2004 (available from www.flowinglass.com)

$17.50

 

For those folks who appreciate good medieval-inspired music Broceliande has been a gem.  They have produced (in association with the independent distributor Flowinglass Music) a series of seasonal-themed CDs.  This autumnal collection completes the cycle.  Three of the four are available from www.flowinglasscom (unfortunately “Gathering May” is sold out at this time.

 

Not all of the lyrics are easily understandable – some are in French and some are in Middle English which can present a challenge to understanding.  Add to that the fact that the liner notes are not complete (some verses are not included) and it means that, if you want to understand everything you will have to pay attention.  But, that is not a bad thing in and of itself.

 

It is also possible simply to pop in this CD, sit back with a cup of herbal tea (or good brown ale) and enjoy the sweet sound of these dedicated musicians.  These songs, dominantly concerned with the harvest, sweep you along from the local pub to the drawing chamber of the local gentry.  There is a little something for everyone on this disc.

 

Now that they have completed their season cycle, perhaps we can look forward to a cycle dedicated specifically to the Sabbats.  I know I would be amongst the first in line for a chance to add those to my collection.

 

If you have seen my recent reviews you know that I have been encouraging the support of this group and of Flowinglass Music (the independent distributor responsible for bringing them to my attention).  I cannot say it enough – if you enjoy their work let them know, and tell your friends.  It is all too easy fro small enterprises to succumb to a lousy economy.  Let’s not lose a valuable resource such as this.

 

 

Barley Rigs  =

 

 

Fairy Queen 

by  Kenny Klein 

©  available from www.kennyklein.net 

$17.00 (U.S.)

 

This is a “Dark Wave” style with more electric tone than some of Kenny’s other works.  My first impression was that I wasn’t going to enjoy this disc.  It wasn’t my style, or so I told myself.  Then I listened to Kenny’s lyrics.  And I discovered that whether he is producing a traditional ballad or something a bit (okay, a LOT) more off the wall, his music has the ability to evoke unexpected responses.

 

In spite of the fact that I know better than to prejudge anything, I had to remind myself that it is necessary to be open to unexpected offerings.

 

If there is a theme to this disc, I really didn’t see it, but that is not necessarily a bad thing.  There are a number of offerings in a variety of styles, with the opportunity of appealing to a wide range of tastes.

 

I heard echoes of Jethro Tull and Steeleye Span on some of the tracks, as well as a variety of other influences scattered throughout.  Not everything I heard resonated with me but the overall impression I came away with was one of satisfaction.  I was glad I took an hour to sit back and listen to what was being offered.

 

I especially liked “Maria’s Not a Catholic Anymore.”  Although short, it reminded me of a couple of other songs I have always enjoyed (Dar Williams’ “Christians and Pagans” and Jim Alan’s “Talking Wicca Blues”), both of which reflect reality.  Then there is “Dead Gerbil Jam”…you have to hear this one.

 

Fairy Queen   =

 

 

Meet Me in the Shade of the Maple Tree 

by Kenny Klein 

©  available from www.kennyklein.net   

$17.00 (U.S.)

 

“Pagan Gospel Bluegrass,” who’d have thought of that combination?  Kenny7 Klein, of course.  This latest offering from the talented mind of Kenny Klein is a one-of-a-kind disc, although I have hopes that this style may catch on and inspire further offerings.

 

The 11 tracks on this disc are dedicated to a variety of Pagan themes, from Diana and Lilith to a blue eyed Pagan girl, and range from historical to light-hearted approach.  They all share a basic bluegrass orientation and that could be a stumbling block for some folks.  But, seriously, put aside any preconceptions you might have and take the time to listen to these songs.  Some might be called “serious” songs (I prefer “sincere”) and some are just for fun.

 

The title track “Meet Me in the Shade of the Maple Tree” is, for me, somewhat reminiscent of Gwydion Pendderwen’s “I’ll Be Reborn.”

 

I must admit to a bias towards the type of music that can be played and enjoyed around a campfire (not a lot of electric additions).  If that isn’t your cup of herbal tea, you may want to give this CD a pass, but if you do you will be denying yourself a truly pleasurable experience.

 

 

Meet Me in the Shade of the Maple Tree   =

 

 

Dragon Ritual Drummers - Volume 2        

by Dragon Ritual Drummers  (www.dragonritualdrummers.com) 

$20.00

 

This wasn’t going to be a reviewed CD.  I had already done two discs by this group earlier this year (“The Epic” and “Passage”).  This one was supposed to be for personal listening pleasure.  It is the second CD released by this group and is bit more “raw” and, in some ways, less polished than their more recent efforts.  Regardless, as soon as I put this CD in my player and heard the familiar rhythms calling Papa Legba I knew I had to review this disc.

 

If you are one of those people who thinks that all drumming sounds the same, I urge you to pick up any CD by this wonderful group and begin your education in the wide world of drumming.  These musicians take you from the Afro-Caribbean world of the lwa (“Papa Legba,” “Brazil,” and “Bamboula”) to the world of the Native Americans (“Summoning the Dragon, Intro”) and into other worlds as well – and that’s just on this CD.

 

The group need not apologize for the “rawness” of this work.  There is power and emotion, energy and strength in quantities enough to spare.  Their music is drawn from human-powered expression and produces songs which reach down into your psyche and stirs things up.  With the exception of the final track (#9 is unlisted), which I won’t attempt to describe, you will hear nothing but drums, other percussion instruments and human voices.

 

There is something to be said for instrumental music.  And within that narrow field percussion music must occupy a particularly powerful position.  While strings and horns can evoke strong emotions through their interplay, percussion occupies, and always has occupied, a primary and primal spot.  It is as capable slowing your pulse down for a quiet meditative time, or making it race.  Mankind has known this for centuries – try to imagine a military organization without a drum corps, or a dance troupe without a reliance on percussion.

 

I know that it takes a long time to bring out new albums – three years elapsed between their first release and this one – but I sincerely hope it won’t be another three years between “Passage” and their next release.

 

I was unable to attend the last local (Massachusetts) performance of this group, but the next time they come through you can bet that I will do all in my power to be there.  The energy I can feel on their CDs is amazing, and I can only imagine what it would be like to experience it live.

 

If you want to feel your spirit soar, spend some time with this CD (or any of the others produced by this group).  “Dragon Ritual Drummers  Volume 2” belongs in your collection.

 

Dragon Ritual Drummers - Volume 2  =

 

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Passage CD 

by  Dragon Ritual Drummers  © 2007   

(www.dragonritualdrummers.com)  

11 Tracks

 

If you are one of those individuals, which I was, who have never heard this group before, I urge you to get this CD and take the opportunity to listen to it.  It contains a stunning variety of drumming.  There are rhythms that grab you by the heart-strings and draw you to dance.  There are rhythms which transport you to other cultures.  There are rhythms which make you feel good.  In short, you will find something for everyone on this CD.

 

This is their newest release, and contains a version of their popular single “Pagan Soldier.”  I had heard about this song from folks connected with Pagan Troop Support, so I was looking forward to hearing it.

 

I was going to say that it was amazing how well they captured the martial spirit without the use of vocals, but then I realized that most good martial music does that.  Instead, I will say that it was amazing how well they drew together components for this song.  Pipes and bass drums are expected; kettle drums are a given, but the combination of instruments lends a special feel to this song.

 

After listening to this CD a few times I found it rapidly becoming one of my favorites and, truthfully, I only have few CDs I listen to on a regular basis.  Most of my CDs sit in my collection and gather dust.  This CD is NOT one of those.

 

Go to their website and download “Pagan Soldier.”  If you like it, and I am betting you will, purchase this CD and enjoy the wide range of drumming it contains.  You won’t be disappointed.

 

Passage =

 

The Epic:  A Drum Opera  CD 

by  Dragon Ritual Drummers 

(www.dragonritualdrummers.com) 

Limited Edition

 

I probably should have reviewed this CD before I did “Passage” (see my previous review) since it preceded it.  There were two reasons I put it off, however.  Both of those reasons were person, but only one had any real validity to it.  The valid reason was that I wanted to hear “Pagan Soldier,” but didn’t want to have to shift gears after listening to it.  The non-valid reason was a reaction to the word “opera” in the title of this CD.  I’m not a huge fan of opera in general, so I allowed that to influence my judgment.

 

Before you slip this CD into your player, take a few minutes to read, and experience, the booklet which accompanies it.  It explains the source of inspiration for both the opera and the group which has brought it into existence.  As with a y opera, an understanding of the underlying story is an important part of appreciating it.

 

Unlike most operas, knowledge of a foreign language is not beneficial for appreciating “The Epic.”  This is, after all, a drum opera.  The language is that of rhythm and tone; of pacing and volume; and of emotion.  The range of sounds drawn from these human-powered instrument (you won’t find any sampling or synthesizers on any of their CDs) is amazing.

 

I listened to this CD as I lay on my bed, with headphones on, and was swept up (and into the story) by the power and subtleties of this group.  I will be looking to add more of their work to my library.  I strongly recommend this CD, and all their work.

 

The Epic:  A Drum Opera =

 

Invocation 

by  ANUNA  © 2002           

available from http://www.anuna.ie    

Liner notes with lyrics   

$15.98

 

Praise for ANUNA                      (Guest Review by Lynn Gleason)

 

I am certain that fans of “Riverdance” and PBS viewers are already aware of this enchanting Dublin-based choir.  While they seem to be an unusual choice for a review of Pagan music, I promise that there is a connection.  ANUNA founder, Michael McGlynn explains this in their recent PBS special, “Celtic Origins.”

 

Mr. McGlynn explained that part of what makes Irish spirituality unique is the integration of the Pagan mythology with the Christian faith.  A prime example if this is ANUNA’s 2002 album “Invocation.”  Mr. McGlynn credits the inspiration for “Invocation” to the work of the pre-Christian Irish poet Amergin.  This connection is cemented in the song “Wind on Sea.”  With lead vocals shared by Michael and his twin brother, John, this piece carries the spirit of ancient Ireland and translates it in such a way that one can envision old Amergin standing on Erin’s misty shores, calling out this beautiful poem to the heavens.

 

Another beautifully haunting piece is “Sleepsong.”  This song comes from a scene in the legend known as “The pursuit of Diarmuid and Grainne” which can be found in the Fenian Cycle.  Here, we find that couple seeking shelter in a cave.  Though Grainne herself is terribly afraid that they will be discovered by her betrothed, Fionn, she sings this song (or some variation thereof) to soothe her anxious lover and give him rest.  It is worth noting that this song is sung as a duet between Michael and his wife Lucy.  For myself, that information makes this piece incredibly heart warming

 

Of course, there are other examples of ANUNA’s Pagan influences found throughout their extensive catalog, but “Invocation” has the highest concentration of pre-Christian inspiration.  However, even the Latin pieces are soul stirring and their adaptation of W. B. Yeats’ “Inisfree” is definitely worth a listen.  I recommend ANUNA to anyone who loves traditional music of all flavours.  For those who dismiss them as a “Christian choir,” you really should have a closer look.  You’ll be amazed at what you’ll find.

Invocation =

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The Best of Pagan Song

Compiled and © 2004 

Serpentine Music

(PO Box 2564  Sebastapol, CA  95473   1-800-270-5009   www.serpentinemusic.com) 

ISBN 02477-1004-2   

$18.00

(U.S.)

 

My 23 year-old daughter and I have many differing opinions, and we often agree to disagree on things, but as soon as she saw this CD, she asked if she could give it a spin on her player.  Looking over the play-list she cheered the inclusion of “Burning Times” (Charlie Murphy), “We Won’t Wait Any Longer” (Gwydion Pendderwen), “Christians and Pagans” (Dar Williams), and “Magick” (Gypsy).  Then she started reading the liner notes and discovered that “Every Woman Born” (Ruth Barrett) was written in honor of my daughter’s Fairy Goddess Mother’s (Z. Budapest) 40^th birthday.  Needless to say, that made her day. [See her impressions attached to the end of my review]

 

The hour’s worth of music on this disc runs the gamut from irreverent to deeply moving (kind of like the spread from Discordians to family traditions).  As such, it is a great metaphor for the Pagan movement in its entirety.

 

Although there are some songs and artists I am unfamiliar with, many of them are old favorites I have worn out copies of tapes and LPs with, and by, some of them.  I have, as a result of listening to these wonderful songs revised and expanded my “wish list” of albums to add to my collection.

 

I have to agree with my daughter’s comments and evaluation.  I must say I look forward to exploring the catalog of Serpentine Music.  I am sure I will find more treasures waiting to be discovered.

 

Sheri’s Comments:  A magnificent compilation for ritual, parties, or even a teaching tool.  Old timers like me will find this a wonderful reminder of why we have come this way and why we’ve stayed.  Newbies who may not be aware of our universal presence in the arts will most likely find themselves inspired to pick up the standard.  All said, it’s just an incredible album.  Whether you’ve been an initiate for 30 years or a student for three months, “The Best of Pagan Song” affects all that connects to the self, the Mighty Ones, and to the universal Pagan community we can all achieve if we believe in ourselves, each other, and the Lord and the Lady.

 

Blessed Be!

  

The Best of Pagan Song

 

 

Barley Moon CD   

by   Kenny Klein  

available from www.kennyklein.net  

$17.00

(U.S.)

 

In Kenny’s own words this is a “Folk-Rock/Celtic project.”  I’m sure that there are those who, like me, really like folksy bluegrass style.  And I’m equally sure there are a number of people who will automatically turn their backs on it, just from that description.  Do me, and yourself, a favor, however, and take the time to listen to the 12 tracks on this CD.

 

Kenny has been performing at Ren Faires and Pagan gatherings for years, but his music has much wider appeal, in my opinion.  His topics range from Herne the Hunter to life in California.

 

His warm balladeer’s voice evokes memories of nights around a campfire.  The strings and drums which accompany him blend seamlessly with the moods he evokes, and draw the listener in.

 

Megan Gerraughty’s voice (on “Ossain’s Farewell”) is difficult to describe.  My first thought was “ethereal” but that doesn’t really convey a true impression.  In the end I would simply describe it as impressive and appropriate for the song.

 

For those listeners who grew up during the decades before disco, acid rock, and metal music, this disc is a pleasant trip down memory lane.  It may not appeal to the newer generations, but give it a listen and you may find yourself drawn in.

 

Barley Moon CD  

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"Sacred Sounds of Santeria"  CD 

collected by Raul Canizares 

©  2004 Destiny Recordings  

ISBN 1-59477-002-6 

60 minute CD 

$12.95 (U.S.)  $18.95 (Canada)

 

This CD is a reissue of a previously issued cassette tape.  It is not likely to appeal to a large audience, since it consists of songs to the orisha of Santeria (or Lucumi as it is sometimes called).  There are no translations provided.

 

The liner notes provide a bit of background and recommendations from a Cuban high priest on who could benefit from each of the songs included in this collection.

 

The songs are divided into two sections – those recorded in the studio and those recorded “in the field.”  The recordings, therefore, vary in quality.  The studio versions have much more polish and consistency, while the field recordings are not as crisp and sharp.  For all of that, the field recordings come across with a certain level of power and immediacy that the studio sessions just cannot convey.

 

For those who have an interest in this faith, who have never actually attended a ceremony, these songs and rhythms can begin to give a feeling for the energies involved.  For those who are occasional participants in the ceremonies, these recordings can serve as a reminder between attendances.

 

Because these songs were recorded in Cuba, and are primarily in the language of the orisha (various African-derived dialects), they can be used as a meditation tool without distracting the conscious mind by easily understood lyrics.  One can allow the sounds and rhythms to carry one along.

 

One word of warning may be appropriate with reference to these songs.  They are designed to invoke the orisha, so they may “ride” their followers.  The orisha expect to possess their followers, and even when they don’t do so, the power of their presence may be unsettling (and/or overwhelming) if you are not used to it.

 

This disk is a welcome addition to an all-too-small group of readily available recordings of “traditional” or “indigenous” music.  There is a need to preserve these songs and rhythms, and the technology available today should make this easier to accomplish.  Field recordings offer a better feel for the culture they come from.

 

Mr. Canizares has added a few non-Lucumi songs, also recorded in the field.  These are from faiths which are related to Lucumi, and share the same sense of power.  There is an instance of a song in Spanish (after all, Cubans do speak Spanish in their daily lives), but most of the songs are untranslatable to the average listener.

 

The CD is enjoyable on several levels – as an example of Afro-Cuban music, as a sampling of the power and majesty of Afro-Cuban religious expressions, and as background when reading material relating to the Lucumi faith (such as Mr. Canizare’s excellent Cuban Santeria).  While it isn’t for everyone, it can certainly by an eye-opening experience if you allow it to be.

 

Sacred Sounds of Santeria

 

 

Sacred Sounds of the Female Orisha 

collected by Raul Canizares 

CD ©2005  

Destiny Recordings 

ISBN  1-59477-071-9   

60 Minutes      

$12.95  (U.S.)

 

This CD consists of nine tracks to separate orishas (the Santerian designation of Christian saints/divinities).  A couple of these tracks might seem a bit surprising to those outside of he religion who know a little bit about it – “Warriors/Babalu” and “A Santa Barbara” are addressed to orisha who no one would mistake for female, but as the liner notes make very clear there is a reason for their inclusion.

 

Those unfamiliar with praise-songs of the orishas will probably not gain a lot from these recordings, unless they listen with their hearts as well as with their ears.  Those who are followers of the orishas will be transported back to ceremonies they have attended in the past.  Several of the recordings were made in Cuba while the rest were produced in the U.S.

 

Raul Canizares, who collected and produced the recordings which are the basis for this CD was the head of the Santeria Temple Orisha Consciousness Movement in Manhattan, and the author of Santeria Cubano and Shango:  An African-American Titan, as well as the producer of another CD – “The Sacred Sounds of Santeria”.

 

The emphasis of this collection is the female aspects of divinity.  It helps to know some of the stories associated with these strong female images, although it isn’t absolutely necessary.  The liner notes give a little sense of the strength of these goddesses.  There are no shrinking-violets in this collection.  Even the orishas associated with love are strong, independent figures.  Their songs convey this as well.  The rhythms are forceful and compelling.  You can feel their presence and power as their songs are sung.

 

You can understand the inclusion of the two tracks not normally associated with female images if you understand that the first song (which lasts nearly 13 minutes – nearly one quarter of the run of this CD) resulted from a desire to include the warrior companions of Eleggua (who is the “gatekeeper” of the rituals of Santeria) to insure the success of a fest to the Mother Goddess.  The inclusion of the second track referenced (A Santa Barbara) makes sense when you realize that many people so identify Shango (who is very much an archetypal macho-man) with Saint Barbara that the confuse the genders.  Add to that the fact that Shango has been known to use cross-dressing as a way to accomplish his ends (anyone from a Northern European tradition remember Thor appearing as a bride for similar reasons?).

 

I wouldn’t expect this CD to appeal to everyone, just as I don’t expect the religion of Santeria to appeal to everyone.  But if you are interested in Afro-Cuban religions and/or music, this CD IS one you will want to have in your collection.

 

 

Sacred Sounds of the Female Orisha  

 

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Crossroads

by  Jenna Greene  © 2007 

Greene Lady Music  

14 tracks         

Liner notes include all the lyrics   

Total Running Time:  60 minutes

www.greeneladymusic.com 

$17.50 (shipping included) through December 20^th

 

While I wouldn’t recommend this CD for use in ritual (I don’t recommend any vocals for ritual use, in general), this is a thoroughly enjoyable musical voyage.  It is a mixture of hauntingly beautiful songs and the spoken word.

 

These are not “traditional” Celtic songs (i.e., ones which have composed part of the Celtic heritage for generations), but there are strongly Celtic-themed songs.  They tell stories which seem comfortingly familiar, even though they are new.  They call to a part of the psyche of which we are often reluctant to acknowledge, not because we fear it, but simply because it lives in the background of our daily life.

 

Jenna’s voice is well suited to these songs, as is the instrumental accompaniment.  They blend into a unison which calls the listener to sit down, forget about daily concerns, and simply enjoy.  Enjoyment for the sake of enjoyment is a lost art in today’s world, I fear, but a few more CDs like this may help to restore it.  I know that producing music is a joy for the average musician (and putting out a CD can be a major pain).  I am hoping that, for Jenna, the joy outweighs the pain.  I sincerely hope that she receives enough encouragement to follow this CD up with more.  I know that I am eagerly awaiting future releases.

 

Don’t get this CD just because it has a Celtic flair; don’t get it just because I am recommending it whole-heartedly.  Get it because, once you take the time to put it into your CD player, you will find yourself losing track of time and forgetting about the rude people and lousy situations you have encountered. 

 

I haven’t had the pleasure of hearing her in a live performance, but I hope to rectify that in the future.

 

Crossroads 

 

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