Julee Glaub
Fields Faraway
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At a time when the role of American voice in traditional Irish song is being questioned on grounds of authenticity, we are given an album that, if it does not silence the debate completely, should quiet it down for a moment at least. The singing of Julee Glaub is not quaint, affected, or pretty. Her voice is imbued with that rare quality Spanish poet Federico Garcia Lorca defines as duende, or presence. "The duende," Lorca writes, "is not in the throat; the duende climbs up inside you, from the soles of the feet."

Julee has the capacity to sing beyond the song, to get down into the pure emotional core, and give back to us the song in a way that moves us utterly. In a world where it is almost impossible to feel anything, Julee gives us back our hearts. This is what traditional Irish song is about--conveyance of emotion. The ornamentation so crucial to the "Irishness" of these songs does not come forced or strained. They are an element integral to emotion as is evidenced by Julee's stunning Sean Nos rendition of The Flower of Magherally O. There is risk in this singing. Julee Glaub does not hide. She has lived these songs. We hear it and we say yes. Here is a voice that holds the birds in awe.
Kevin Goodan, New York, 2001
Musicians

Julee Glaub - vocals, flute
Gabriel Donahue - guitar, bouzouki, piano, low whistle, accordian, vocals
Brian Conway - fiddle
Kevin Goodran - bodhran
Jerry O'Sullivan - whistles, uillearin pipes
Brendan Dolan - flute, low whistle
Tony Cuffe - harp
Lina Hickman - flute
Ciaran Sheehan - vocals
Peg Hepburn Perry - reader

Produced & Engineered by Gabriel Donahue
Mastered by Emily Lazar at the Lodge, NYC
1 My Johnny Was a Shoemaker/Cup of Tea
2 The Factory Girl
3 Sweet Carnlough Bay/The Swedish Jig
4 The Flower of Magherally O
5 Willie Taylor/The Otter's Heart
6 My Dear Irish Boy
7 The Castle of Dromore
8 Heather Down the Moor
9 I'd Cross the Wild Atlantic
10 You Will Always Be Mine
11 Irish Ways and Irish Laws
12 The Wind That Shakes the Barley
13 The Ocoee Waltz
14 How Can I Keep From Singing?
The Ocoee Waltz
By Pete Sutherland

This waltz, written by one of New England's finest musicians, is included to honor the sweet memories of my black lab companion, Ocoee. He adored music and kept me singing for six good years. Coe, this one's for you.
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The name of the album comes from this poem and song. The poem, written by Katharine Tynan Hinkson (1861-1931), is read by my friend Peg Hepburn Perry whom I often find smoking, drinking coffee, and reading poetry on her front proch. I include this for Dr. Ed Wilson, a professor at Wake Forest University, who first opened the door to Ireland for me.
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The Wind That Shakes The Barley

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