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1. WINDOWS Insert the CD into the CD ROM drive and the CD should autoload If the CD does not autoload run start exe from the root of this CD ROM Follow the onscreen instructions MAC Insert the CD into the CD ROM drive Double click the Enhanced icon Follow the onscreen instructions No Warranties The enhanced elements on this CD are provided to the user without warranties expressed or implied of any kind Neither Q uinlan Road Limited nor its distributors shall be liable for any actual or consequential damage arising from the use of or the inability to use the enhanced elements con tained on thisCD MODE D EMPLOI DE L DITION REVUE ET AUGMENTEE DU CD Systeme d exploitation WINDOWS ins rez le CD dans le lecteur de c d rom de votre ordinateur qui devrait automatiquement t l charger les donn es grav es sur le CD Si l ordinateur ne t l charge pas de lui m me ces donn es il vous faudra proc der manuellement en ex cutant la commande start exe la source du programme de ce CD ROM et suivre les directives telles qu elles apparaissent l cran Syst me d exploitation MACINTOSH ins rez le CD dans le lecteur de c d rom de votre ordinateur et double cliquez l ic ne Enhanced Suivez les direc tives telles qu elles apparaissent l cran Avis de non responsabilit les donn es de l dition revue et augment e de ce CD sont fournies l utilisa teur sans garantie aucune exp2. vocals accordion BRIAN HUGHES Guitar balalaika TOM HAZLETT Bas RICK LAZAR Udu drum percusion HUGH MARSH Fiddle T his was originally conce ved for the N ational Film Board of Canada documentary THE BURNING Times directed by Donna Reid LM A l origine cette pi ce intrumentale a t cr e pour le documentaire THE BURNING TIMES r alis par Donna Rad et produit par l Office nationale du film du Canada LM The photographs in this booklet were taken at Quinta dasTorres a 16th century hunting lodge near Azat o Portugal T he lodge and its gorgeous courtyard full of orange trees where this piece was conceived reminded me of the Unicorn Tapestries which hang in The Cloistersin New York City Both tapestries and lodge are rich with earthy preChrisian iconography depicting the mysterious life cycle of the seasons LM Les photographies dans cette pochette ont t pri ss a Quinta das Torres un pavillon de chasse con lt ruit au XVli me g cle pres de Azelt o au Portugal Le pavillon et la magnifique cour adjacente remplie d orangers ou j ai compos cette chanson me rappeaient les tapisseries aux motifs de licornes conserv es au mus e T he Cloisters a New York En effet ils partagent la m me riche iconographie prechr amp ienne illustrant le myst rieux cycle des saisons LM C OURTYARD Lu LLABY 4 50 Muscand Lyric Lorena M cKanitt W herein the deep night sky The stars lie in its embrace
3. Knight and true THE LADY OF SHALOTT But in her web she still delights To weave the mirror s magic sights For often thro the silent nights A funeral with plumes and lights And music went to Camelot Or when the moon was overhead Came two young lovers lately wed am half sick of shadows said THE LADY OF SHALOTT A bow shot from her bower eaves H e rode between the barley sheaves The sun came dazzling thro the leaves And flamed upon the brazen greaves Of bold Sir Lancelot A red cross knight for ever kneel d To alady in his shield That sparkled on the yellow field Beside remote Shalott H is broad clear brow in sunlight glow d On burnish d hooves his war horse trode From underneath his helmet flow d H is coal black curls as on he rode As he rode down to Camelot From the bank and from the river H e flashed into the crystal mirror Tirra lirra by the river Sang Sir Lancelot She left the web she left the loom She made three paces thro the room She saw the water lily bloom She saw the helmet and the plume She look d down to Camelot Out flew the web and floated wide The mirror crack d from side to side T he curse is come upon me cried THE LADY OF SHALOTT In the stormy east wind straining The pale yellow wods were waning The broad stream in his banks complaining H eavily the low sky raining O ver tower d Camelot Down she came and found a boat Beneath a willow lef
4. 05 M usc Lorena M cKennitt Lyric Alfred Lord Tennyson adapted by Lorena M cK ennitt On either side of the river lie Long fields of barley and of rye T hat clothe the wold and meet the sky And thro the field the road run by To many towered C amelot And up and down the people go Gazing where the lilies blow Round an island there below The island of Shalott Willows whiten aspens quiver Little breezes dusk and shiver Thro the wave that runs for ever By the island in the river Flowing down to Camelot Four grey walls and four grey towers Overlook a space of flowers And the silent isle enbowers THE LADY OF SHALOTT aa a Only reapers reaping early In among the bearded barley H ear a song that echoes cheerly From the river winding clearly Down to tower d Camelot And by the moon the reaper weary Piling sheaves in uplands airy Listening whispers tis the fairy THE LADY OF SHALOTT T here she weaves by night and day A magic web with colours gay She has heard a whisper say A curse is on her if she stay To look down to Camelot She knows not what the curse may be And so she weaveth steadily And little other care hath she THE LADY OF SHALOTT And moving through a mirror clear T hat hangs before her all the year Shadows of the world appear T here she sees the highway near W inding down to Camelot And sometimes thro the mirror blue The Knights come riding two and two She hath no loyal
5. OREEN have long cons dered the creativeimpulseto be a vist a thing of grace perhaps not commanded or owned so much as awaited prepared for A thing also of mystery T his recording endeavours to explore some of that mystery It looks as well into the earlier eastern influences of the Cats and the likelihood that they started from asfar away as Eastern Europe before bang driven to the weten margins of Europe particularly in the British Ides With thar muscal influences came rituals around birth and death which treated the land asholy and haunted this life itsaf asa vist Afterwards ones soul might move to another plane or another form perhaps a tree T he Cats knew then as we are relearning now a deep repet for all the life around them T his recording agpires to be nothing as much asa reflection into the weave of these things LM Longtemps j ai pense que l ingpiration artistique tait en fait une manifestation un tat de gr ce pour ains dire qu on ne pouvait inviter ou poss der mais auquel on devait se soumettre et se pr parer Un amp at emprant demystere sil en es un Cet enregitrement propose d effleurer ce mystere L album explore galement I histoire des C ates ses premi eres influences venues de l et el l hypothese sion laquelle ils raient venus d auss loin que l Europe orientale avant d avoir repoussss vers les fronti res de l Europe occidentale tout particuli rement sur lesiles Britanniques A leu
6. The courtyard still in its sleep And peace comes over your face Cometo me it sings H ear the pulse of the land The ocean s rhythms pull To hold your heart in its hand And when the wind draws strong Across the cypress trees The nightbirds cease their songs So gathers memories Last night you spoke of a dream W here forests stretched to the east And each bird sang its song A unicorn joined in a feast And in acorner stood A pomegranate tree With wild flowers there No mortal eye could see Yet still some mystery befalls Sure as the cock crows at morn The world in ts stillness keeps The secret of babes to be born heard an old voice say Dont go far from the land The seasons have their way No mortal can understand LM Vocals harp keyboards BRIAN HUGHES Electric guitar ANNE BOURNE Calo TOM HAZLETT Bass The OL Ways 53 M usc and Lyric Lorena M cKennitt T he thundering waves are calling me home to you The pounding sea is calling me home to you On a dark N ew Year s night On the west coast of Clare heard your voice singing Your eyes danced the song Your hands played the tune T was a vision before me We left the music behind and the dance carried on As we stole away to the seashore We smat the brine felt the wind in our hair And with sadness you paused Suddenly knew that you d have to go M y world was not yours your eyes told me so Yet it was there felt the crossroads o
7. am H enderson Scott M cK owen Elisabeth Feryn Bill Bruce Bob Stamp Tim Wilson Thom Sparling Ross Porter the staff at Studio 306 and Inception Sound and the many others whose creative visits came to bear upon this project T hanks too to Festival Records Thanks to those at Warner Music Canada Special thanks to Stan Kulin DaveTollington K aren Shook Special thanks also to Warner Bros Records Roberta Petersen Carl Scott Peter Standish Ruby M archand T hanks to Jeri H aden Greg Ross Ann Cutting T he assistance of FACTOR is gratefully acknowledged All songs written and or arranged by Loreena M cK ennitt All songs are copyright throughout the world by Quinlan Road M usic Ltd SOCAN BM I In Canada the United States Australia and N ew Zealand all rights are administered by Quinlan Road M usic Ltd Throughout the rest of the world all rights are administered by BMG Music Publishing International amp 1991 2006 Quinlan Road Limited All rights reserved Unauthorized reproduction copying and rental of this recording or art work is prohibited by law and subject to criminal prosecution Tous droits r serv s Sauf autorisation la reproduction la duplication la location de ce disque et de sa pochette sont interdites sous peine de poursuites judiciaires Quinlan Road P O Box 933 Stratford Ontario Canada N 5A 7M 3 Madein E U Fabriqu en E U www quinlanroad com ENHANCED CD INSTRUCTIONS
8. e you do me wrong To cast me off discourteously And have loved you oh so long D elighting in your company GREENSLEEVES was my delight GREENSLEEVES my heart of gold GREENSLEEVES was my heart of joy And who but my Lady GREENSLEEVES have been ready at your hand To grant whatever thou would st crave have waged both life and land Your love and goodwill for to have GREENSLEEVES was my delight GREENSLEEVES my heart of gold GREENSLEEVES was my heart of joy And who but my Lady GREENSLEEVES T hy petticoat of sendle white With gold enbroidered gorgeously T hy petticoat of silk and white And these bought gladly GREENSLEEVES was my delight GREENSLEEVES my heart of gold GREENSLEEVES was my heart of joy And who but my Lady GREENSLEEVES LM Vocals keyboards BRIAN HUGHES Guitar GEORGE KOLLER Calo always wondered how Tom Waits would sng Gremdeg s When preparing my previous recording Parallel Dreams while waiting to do something ds we pontaneoudy recorded this track in one take without intending to rdeaseit However hereit is Tom LM Je me suis toujours demand e comment Tom Waitsinterpr amp erait la chanson Greendeeves Alors que nous pr parions l album pr c dent Paralld D reams nous avons pontanemant enregi gr cette chanson en une sule prise dans nos temps libre sans pense l indure sur l album Eh bien Tom la void LM Tanco To Evora 403 M usc Lorena M cKennitt LM Harp Keyboards
9. f time And wondered why As we cast our gaze on the tumbling sea A vision came o er me Of thundering hooves and beating wings In clouds above As you turned to go heard you call my name You were like a bird in a cage spreading its wings to fly The old ways are lost you sang as you flew And wondered why LM Vocals Harp bodhr n keyboards BRIAN HUGHES Electric and acoustic guitars TOM HAZLETT Bass PATRICK HUTCHINSON Uillean pipes HUGH MARSH Fiddle spent a haunting N ew Year sEvein Doolin County Clare Irdand some years ago and was moved by the antiquity of the cdebrations and the reminder that they may be the remnants of the old world meting the new LM Il ya pluseursann ss j ai pas un r vallon du nouve an inoubliable a Doolin dans le comt de Clare en Irlande e j ai d mue par lecaractere anti que des fesivit s et l id e qu dles sont peut tre autant de vestiges du pas venant a la rencontre de la nouveaut du presant LM CYMBELINE 448 M usc Lorena M Kennitt Lyric William Shakespeare Fear no morethe heat o th sun N or the furious winters rages Thou thy worldly task hast done H ome art gone and ta en thy wages Golden lads and girls all must As chimney sweepers cometo dust The sceptre learning physic must All follow this and cometo dust Fear no morethe frown o th great Thou art past the tyrant s stroke Care no moreto clothe and ea
10. of a thousand voices T hey pass by the bridge and me CHORUS LM Vocals keyboards accordion BRIAN HUGHES Balalaika electric guitar AL CROSS Drums GEORGE KOLLER Bass cello mad fiddle tamboura This piece was inspired by a Japanese tradition celebrating the souls of the departed by sending candle lit lanterns out on waterways to the ocean and by the Celtic celebration of All Souls N ight when bonfires were lit to mark the new year and warm the souls of the departed LM Cete chanson sinspire d une coutume japonai qui conige a rendre hommage a l me des morts en d posant des lanternes a bougie sur les cours d eau affluant vers l oc an et des festi vit s caltiques dela nuit de l halloween ou d immenss feux de joie amp aient allum s pour cA brer l arriv e du nouvel an et r chauffer les amestrepassees LM Bonny PorTMORE 3 57 M usc and Lyric traditional arranged and adapted by Lorena M cKanitt O Bonny PORTMORE am sorry to see Such a woeful destruction of your ornament tree For it stood on your shore for many s the long day Till the long boats from Antrim came to float it away O Bonny PORTMORE you shine where you stand And the more think on you the more think long If had you now as had once before All the Lords in Old England would not purchase Portmore All the birds in the forest they bitterly weep Saying where will we shelter or where will we sleep For the O ak and the Ash the
11. resse ou implicite N i Quinlan Road Lt e ni ses distributeurs ne peuvent tre tenus responsables de tout dommage direct ou indirect r sultant de l utilisation ou de difficult s d u tilisation des donn es grav es sur ceCD QR eD
12. rs influences musicales sajoutaient les rituels qui accompagnaient les mysteres de la naissance et de la mort et la croyance que la terre tait a la fois sacr e et anim e Aussi que cette vie tait comme une rencontre une viste au dela de laqudle l me pouvait transcender vers un autre plan ou incarner une autre forme comme un arbre par exemple Ains le peuple cate reconnaissit alors l importance comme nous le red couvrons aujourd hui d un r d respect pour toutes les formes de vie autour d eux Ce album n agire qu tre l expresion de ce sentiment LM Art Sours Nicht 505 Muscand Lyric Loreena M cKennitt Bonfires dot the rolling hillsides Figures dance around and around To drums that pulse out echoes of darkness M oving to the pagan sound Somewhere in a hidden memory Images float before my eyes Of fragrant nights of straw and of bonfires And dancing till the next sunrise CHORUS can see lights in the distance Trembling in the dark cloak of night Candles and lanterns are dancing dancing A waltz on ALL SouLs NIGHT Figures of cornstalks bend in the shadows Held up tall asthe flames leap high The green knight holds the holly bush To mark where the old year passes by CHORUS Bonfires dot the rolling hillsides Figures dance around and around To drums that pulse out echoes of darkness And moving to the pagan sound Standing on the bridge that crosses The river that goes out to the sea The wind is full
13. t To thee the reed s as the oak The sceptre learning physic must All follow this and cometo dust All lovers young all lovers must Consign to thee and cometo dust LM Vocals keyboards harp GEORGE KOLLER Bass star H eve are Shakespeares thoughts on this earthly vist taken from the end of Cymbdine which was written near the end of the author s life and set in ancient Britain when theRomanswereinvadingthelas out posts of the old Celtic order LM Reflexions de Shakespeare sur notre passage sur terre tir es du d nouement de Cymbeline drame crit vers la fin desa vie qui se d roule dans ile de Bretagne a l poque ou les Romains envahissaient le dernier des avant postes de l ancienne civilisation cate LM Produced by Loreena M cK ennitt Co produced by Brian H ughes All tracks recorded and mixed by Jeff Wolpert at Inception Sound Toronto Additional recording by John W hynot at Studio 306 Toronto and Grant Avenue Studio H amilton M astered by George Graves at Lacquer Channel Digitally remastered by Jeff Wolpert and Brian H ughes at Phase One Studios Toronto Digital editing and sequencing by George Seara Photography on pages 1 9 amp 12 Ann Cutting Photographs on pages 3 5 7 8 amp 10 Elisabeth Feryn Art direction Jeri Haden Design Greg Ross Additional design H eidi H oldsworth Creative Feats Inc Very special thanks to Brian H ughes Jeff Wolpert John W hynot Richard Flohil Grah
14. t afloat And round about the prow she wrote THE LADY OF SHALOTT And down the river s dim expanse Like some bold seer in a trance Seeing all his own mischance With a glassy countenance Did she look to Camelot And at the closing of the day She loosed the chain and down she lay The broad stream bore her far away THE LADY OF SHALOTT H eard a carol mournful holy Chanted loudly chanted lowly Till her blood was frozen slowly And her eyes were darkened wholly Turn d to tower d Camelot For ere she reach d upon the tide T he first house by the water side Singing in her song she died THE LADY OF SHALOTT Under tower and balcony By garden wall and gallery A gleaming shape she floated by D ead pale between the houses high Silent into Camelot O ut upon the wharfs they came Knight and burgher lord and dame And round the prow they read her name THE LADY OF SHALOTT W ho is this And what is here And in the lighted palace near Died the sound of royal cheer And they crossed themselves for fear All the Knights at Camelot But Lancelot mused alittle space LM Vocals keyboards Balalaika guitar TOM HAZLETT Bass ANNE BOURNE He said She has a lovely face oe Cdlo God in his mercy lend her grace HUGH MARSH THE EADY OF SHALOTT Fiddle BRIAN HUGHES G REENSLEEVES 4 15 M usc traditional arranged and adapted by Lorena M cKennitt Lyric King Henry VIII Alas my lov
15. y are all cutten down And the walls of Bonny PORTMORE are all down to the ground O Bonny PORTMORE you shine where you stand And the more think on you the more think long If had you now as had once before All the lords in Old England would not purchase Portmore LM Vocals keyboards BRIAN HUGHES Electric guitar ANNE BOURNE Calo TOM HAZLETT Bass PATRICK HUTCHINSON Uillean pipes The destruction of old growth foret has become an important conservation issue of late but it isnot a new concen M any of Irdand s old forests were leveled for military and shipbuilding purposes over the centuries and only recently have efforts been made to re establish then The Great Oak of Portmore stood on the grounds of Portmore Castle on the shore of Lough Beg LM La pr servation des for ts ancestrales est r cemment devenue une grande pr occupation maisle probleme nes pas nouveau De nombreusss for ts en Irlande ont t d vast es pour des raisons militaires ou pour la construction de navires et ce n et que r cemment que des mesures ont t prises pour les repeupler Le Grand Ch ne de Portmore sdleve sur le domaine du ch teau de Portmore aux abords de la rivi re Lough Beg LM Berween The Shapows PERSIAN SHADOWS 4 03 Music Lorena M cKennitt LM Harp keyboards BRIAN HUGHES Guitar balalaika AL CROSS Drums RICK LAZAR Percusson GEORGE KOLLER Bass HUGH MARSH Fiddle The Lapy or SHALOTT 11
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