Two thousand years ago the Celts were driven off of mainland Europe.
All Celts? No, one band bravely resisted the influx of modern pop and rock and found their own place in the world of music.
Armed with nothing but their voices and instruments, Rapalje is raiding clubs and halls far and wide, looking for victims to carry away on a musical journey through Scottish Highlands, Irish valleys, taverns and inns.
Caledonia is the Latin name given by the Romans to the land in today’s Scotland,
north of their province of Britannia, beyond the frontier of their empire. The etymology of the name is probably from a P-Celtic source. Its modern usage is as a romantic or poetic name for Scotland as a whole, comparable with Hibernia for Ireland and Cambria for Wales.
The exact location of what the Romans called Caledonia in the early stages of Britannia is uncertain, and the boundaries are unlikely to have been fixed until the building of Hadrian’s Wall. From then onwards, Caledonia stood to the north of the wall, and to the south was the Roman province of Britannia (consisting of most of what is now England and Wales).During the brief Roman military incursions into central and northern Scotland, the Scottish Lowlands were indeed absorbed into the province of Britannia, and the name was also used by the Romans, prior to their conquest of the southern and central parts of the island, to refer to the whole island of Great Britain.
The modern use of “Caledonia” in English and Scots is either as a historical description of northern Britain during the Roman era or as a romantic or poetic name for Scotland as a whole.
In music, “Caledonia” is a popular folk ballad written by Dougie MacLean in 1977 and published in 1979 on an album of the same name; it has since been covered by various other artists, including Amy Macdonald
Imagine yourself in a completely different world at Castlefest world music festival
The Fantasy festival of light in the Netherlands. A fest for young and old, where, as soon as you enter the gates, you find yourself in the Other World. Castlefest is a total experience with lots of music, fantasy writers, themed catering, medieval crafts and a large market which offers everything a fantasy fan is looking for.
Castlefest characterizes itself by a unique ambiance. This makes that regular visitors are looking forward to the next edition a year in advance. It creates a feeling where you find yourself in a completely different world, causing a daze and homesickness for weeks after the event took place.
Bart Peeters komt op de proppen met I’m into folk.
Tijdens een optreden van The Pogues op Pinkpop had Bart Peeters gezien hoe een duidelijk door de folk geïnspireerde groep als The Pogues het publiek kon begeesteren, beter nog dan de Red Hot Chili Peppers. Als het mij nu eens zou lukken, dacht Bart, al die folkclichés in één liedje te vatten. Hij ging op zoek naar een geschikt doordeweeks riedeltje op zijn gitaar, zo eentje, of het nu folk is, of flamenco of wat dan ook, dat vlot in het gehoor ligt. Daarmee zou de song moeten beginnen en dan zouden de clichés de revue mogen passeren. I’m into folk moest , dat wou Bart , cabaretesk klinken, grotesk zelfs. Het nummer werd uiteindelijk een pastiche, een doelbewuste slechte nabootsing van de oerdegelijke Ierse folkmuziek. Begin 1989 geraakten The Radios met I’m into folk tot in de staart van de BRT Top 30
“Amsterdam” is a song by Jacques Brel. It combines a powerful melancholic crescendo with a rich poetic account of the exploits of sailors on shore leave in Amsterdam.
Brel never recorded this for a studio album, and his only version was released on the live album Enregistrement Public à l’Olympia 1964. Despite this, it has been one of his most enduringly popular works.It was one of the songs Mort Shuman translated into English for the musical Jacques Brel is Alive and Well and Living in Paris.
Brel worked on the song at his house overlooking the Mediterranean at Roquebrune-Cap-Martin, the house he shared with Sylvie Rivet, a publicist for Philips; a place she had introduced him to in 1960. “It was the ideal place for him to create, and to indulge his passion for boats and planes. One morning at six o’clock he read the words of Amsterdam to Fernand, a restaurateur who was about to set off fishing for scorpion fish and conger eels for the bouillabaisse. Overcome, Fernand broke out in sobs and cut open some sea urchins to help control his emotion.
Originally the song was situated in Antwerp, but moved to Amsterdam as ‘Dans le port D’Anvers’ does not fit the meter. Noteworthy is that in modern Amsterdam there is still a port, but owing to widespread automation and decline in crew sizes, there are far fewer sailors on shore leave.
In writing the lyrics to “Lord of the Dance” in 1963,
Sydney Carter was inspired partly by Jesus, but also partly by a statue of the Hindu God Shiva as Nataraja (Shiva’s dancing pose) which sat on his desk, and was partly intending simply to give tribute to Shaker music. He later stated, “I did not think the churches would like it at all. I thought many people would find it pretty far flown, probably heretical and anyway dubiously Christian. But in fact people did sing it and, unknown to me, it touched a chord … Anyway, it’s the sort of Christianity I believe in.”