PERSONAL NOTES
The Very Best of Craig of Farrington
20 YEARS of SWEET DELIGHTS - PG
1. "Now we have come to an end" . . . rather curious lyrics with which to open an album. Yet, for countless performers and patrons, those words will forever be linked with Bristol Renaissance Faire-my "home faire"-which celebrates its 20th season in 2007. At the end-of-the-day Minstrel's Jam, for more than a dozen years, the assembled cast and audience would join to sing Jerry Spurlock's "Bring on the Starlight" to close he day. I now honor it and its composer by performing it as a finale to my REQUEST SHOW.
2. In 1987, at King Richard's Faire (which formerly inhabited the Bristol site), I was befriended by a bare-footed, clown-nosed, guitar-playing minstrel from New Zealand-John England. Always a positive mentor [my 10-year-old son thought John was an angel] he let me record "The Magician" - his signature song - on Craig's New Tape - 1995.
3. "Wild Mountain Thyme" was first recorded in the 1957, but this beloved Celtic song has somehow become closely associated with Renaissance faires and festivals. The sole cut included herein representing my most recent album, Easy Being (Loving) - 2005, the Louisiana Renaissance Festival has embraced it as its closing song.
4. Often requested as a wedding song, the simple folk character of "Knowin' You" reflects a deeply emotional and honest passion-the joy and amazement inherent in new love. Having begun as a poetic exercise-each line beginning as the previous line ended-it donned a melody, grew into a song, and was introduced on Craig's New Tape - 1995.
5. My gifted-songwriter friend Jerry Barry and I dedicated "Star Lover" to John Hanses (AKA Brother Gregory), honoring the "Man with the Telescope" who introduced us to the wonders of The Night Sky. I arranged and recorded it on Blue Upon Blue Upon Blue - 1998. Jerry Barry's version can be heard on The Minstrels of Mayhem album, Blind Man's Bluff - 2004.
6. My musical rendition of Theodore Roethke's "I knew a woman" is often requested by my friend Chris Buehlmann, (Christoph the Insulter) who first heard me present it as a poem at one of his poetry nights. In the mid-90s I set numerous works by great poets to music. Several of these were recorded for Craig's New Tape -1995. (See cuts 10 & 14.)
7. Altering the original lyrics of this song (recorded by numerous Celtic bands and variously titled "The Sick Note" or "Bricklayer's Lament"), I made it more 'renfaire-friendly,' named it "Craig's not at the Faire" and released it on Blue Upon Blue Upon Blue - 1998.
8. In 1984, I auditioned for the Minnesota Renaissance Festival-my first venture into the venue. Artistic director Lee Walker had one firm rule: "Don't sing Greensleeves!" Being a fan of early music, it seemed a strange request at the time, but I later realized that the man had heard the song one too many times! In our 21st century world of never-to-be-deleted internet communications, it is hard to appreciate how truly great a song from the 16th century must have been to have survived so long, simply through the folk process. 19th century composer John Stainer has ensured the tune's continuing longevity. With his new lyrics, "What child is this" has become a beloved Christmas carol. I dedicated my Christmas album to my parents, and this cut, to my mother, Anna Belle Buethe Broers.
9. A lesser-known carol of French origin, "Pat-a-pan" has long been a favorite of mine. This cut, and the previous one, were both included on Craig at Christmas - 1999.
10. The poem holds a special meaning for my Darling, Renee, and my musical setting of Sir Walter Scott's "An Hour with Thee" has long been a favorite of Jerry Barry's. I recorded it for Craig's New Tape - 1995, and sang it on stage numerous times while touring as a member of The Minstrels of Mayhem from 1997-2000.
11. "So, would you like to sing?" The Guild of St. George, and those patrons of the Bristol Renaissance Faire who attend The Queen's Feast know it well . . . and no song in my repertoire is more frequently requested, or sung along with, than is "Mary Mac." I first encountered it on Helter Celtic, an album by the Canadian band, Dust Rhinos. Their cassette recording was a gift from my friend (a great music lover) the artist Erin McKee. It was recorded and included on my first CD-Blue upon Blue upon Blue-1998.
12. At least a half dozen people have given me the music and lyrics to "She moved through the fair" through the years-its most recent advocate being my friend Alice Wallace, a hurdy-gurdy player and puppeteer at the Louisiana Renaissance Festival. My arrangement is unique, compared with more well-known renditions, in its use of hemiola: (2+2+2 within triple meter). Rejecting a straight 3/4 meter, I chose instead to adhere to natural word accents within the lyrics. The story is found in Scots and Irish traditions.
13. The title song of my first album on CD-Blue upon Blue upon Blue-1998, the lyrics for "Blue upon Blue" come from a poem penned by Nannette Thornton of Madison, Wisconsin, who also performs the flute solos on this recording. The music was inspired by the chord changes of a Lutheran hymn.
14. My father, Merlin Ulysses Broers, M.D. has encouraged me to write more songs like "Banks o' Doon"-the opening track on Craig's New Tape - 1995 and one of his favorites within my repertoire. It is but one example of the many poetic masterworks (this one by Robert Burns) I was inspired to set it to original music during the 1990's.
15. I wrote "Hymn to Venus" for the bright planet worshipped by ancient religions from South America to Mesopotamia as part of a heavenly triad-co-equal with the Sun and Moon. Widely recognized as a goddess, the motion of this "star" seems to share some essential characteristics with human females. These commonalities are reflected in the lyrics of this, the final song on Blue upon Blue upon Blue-1998.
16. " " is the title of the song. The symbol somehow came to me at the untimely death of my dear friend, fiddler Malcolm Smith, in 1996. (Has it really been ten years?) Any musician will recognize a whole rest (pausa) with a "hold" (fermata) above it. I maintain that the symbol may be interpreted as representing a grave under a setting Sun. Fair-haired and handsome, Malcolm shared many characteristics with the classic Solar Hero of mythological fame, and these similarities are reflected in the lyrics. The penultimate cut on The Minstrels of Mayhem NOW-1997, I am grateful to Jerry Barry and Ty Billings for lending it for this project.
17. "The Parting Glass" is among the most beloved songs of Scotland and Ireland, and has long been utilized by Bristol Renaissance Faire at its closing gate show-hence its position as the final song in this collection. "Good night and Joy be with you all!" |
