Delyth Evans – “Y Bardd/Mother’s Delight” (The Poet/Mother’s Delight).

   Hey guys! 🙂 

   Today, I decided on another piece from Delyth Evans/Jenkins’ album Ar y Ffin (On The Border). These are both traditional tunes. 

Harriet Earis Trio – “Earl of Hyndford”.

    Hey people! 🙂 

   For today, I chose yet another piece from  Harriet Earis Trio’s album which I really like, From the Crooked Tree. The piece itself is called Earl of Hyndford, which refers to a Scottish title but I have no idea if it’s about any of its bearers in particular. 

Robin Huw Bowen – “All Through the Night”.

   Hey people! 🙂 

   For today, I want to share with you this quite famous Welsh lullaby, also known as Ar Hyd y Nos in Welsh, and played by Robin Huw Bowen on the Welsh triple harp. I’ve shared one other piece by Robin Huw Bowen before, namely Ymadawiad y Brenin. I have also shared a different version of this song, sung by Meinir Gwilym

Song of the day (18th March) – Llio Rhydderch – “Yr Hufen Melyn a Mathafarn” (The Yellow Cream and Mathafarn).

   Let’s listen to this traditional Welsh tune known under a whole lot of different names. I’ve already shared a version of this tune called Hufen  y Cwrw Melyn played by Gwenan Gibbard. It is also known as Mathafarn. There seem to be quite a few places called Mathafarn in Wales, so the alternative name of this tune must refer to one of them. 

Song of the day (17th March) – Delyth Evans – “Andante”.

   And another harp piece for Friday, but much shorter and much different in vibe, by the frequently featured on here Welsh harpist Delyth Evans/Jenkins. It comes from her 1998 album Ar y Ffin (On The Border). 

Jonny Ash – “Rosies”.

   Hey people! 🙂 

   It’s kind of strange how many great indie rock bands have been born not even in Wales as a whole, but specifically in North Wales. I have featured many of my favourites in this category on here in the past, but today I’d like to share with you a song from another North Welsh rock act. From what I’ve read, Jonny Ash seem to have been a thing since at least 2020, but I first came across their music last year, when they released their single “Disco” through Bryn Rock Records, a label that I like to keep an ye on, out of sheer curiosity if nothing else, as it is ran by Jacob and Morgan Elwy, and Jacob, as the regulars will know, has been one of my faza people.

   I’ve liked their music ever since, and it seems to enjoy very good reception in their homeland as well, so I thought it would be a good idea to share something by them. I think Rosies is my favourite. It is about a bad experience at the Rosies nightclub. 

   The group is based in Wrexham, and consists of Callum Gaughran (vocals), his brother Dan (bass), Peter Roberts (guitar) and Mike Jones (drums). 

Catrin Finch & Seckou Keita – “Chaminuka”.

   Hi guys! 🙂 

   Last May, Welsh harpist Catrin Finch and Senegalese kora player Seckou Keita, a duo already well-established on the British folk scene, released their latest album called Echoes. I don’t think I’ve shared anything from this album so far, despite having featured quite a few songs from their previous albums. “Chaminuka” is a tribute to the late Zimbabwean mbira player, Chartwell Dutiro, who passed away in 2019. In case you don’t know what mbira is (I definitely did not  prior to reading about this album), it’s an African, particularly Zimbabwean I believe, percussion instrument, also known as thumb piano. The title of this song refers to Chaminuka, who is an ancestor of Shona people and I believe he was some sort of prophet or a religious figure. 

Declan Galbraith – “Nights in White Satin”.

   Hey guys! 🙂 

   For today, I decided to share with you a song from Declan Galbraith’s 2006 album Thank You, which he released when he was 14. This is his cover of The Moody Blues’ 1960’s classic Nights in White Satin, written by Justin Hayward after a breakup. Unlike back when Declan was my dominant faza peep when I was a teenager, these days I find that the original speaks to me more, but I still have a lot of sentiment for Declan’s version of this song. 

Morgan Elwy – “Riddim ROck Go Iawn” (Real ROck Riddim).

   Hey people! 🙂 

   Today, we’ll listen to a bit of Welsh-language reggae. This song comes from Morgan Elwy’s 2021 album Teimlo’r Awen (Feeling the Muse), which he released after winning that year’s Cân I Gymru contest with a reggae song Bach o Bach o Hwne (A Bit a Bit of That). Prior to that, Morgan was also part of a folk-rock band called Y Trŵbz, and a Manchester-based indie rock group  Lucy Lagoon. As the regular people here will know, his brother Jacob has been one of my faza peeps, which is why I’m interested in Morgan’s musical endeavours as well. 

   While I had a period as a pre-teen or thereabouts during which I listened to loads of reggae, especially our Polish reggae, and considered it my favourite genre, I don’t really feel extremely knowledgeable when it comes to this genre. Still, it seems quite clear that this song is one big reference to Real Rock by Sound Dimension. At some point it also mentions a “milky path” (llwybr llaethog) which makes me think that it could perhaps be a reference to a Welsh experimental group Llwybr Llaethog, which mix a lot of genres including a fair bit of reggae, but I guess it could just as well be a coincidence. The following translation, which probably contains some errors, has been written by Bibielz. 

   Real Rock Riddim runs in my blood, 

Standing on my hands and gloves on my feet, 

Not everything is so easy and under your thumb, [?], 

I’m thinking about the small things that worry everyone. 

 

Give me Reggae Riddim, dreaming of the sound of guitar, 

Nothing better than [?] to give rest to my square eyes, 

I miss the mountains and long for the sea, 

And the little birds singing in the forest like a choir. 

 

 

 

I want to go out tonight, but not without Mary Jane, 

I like how it makes me feel always with a smile, 

These pubs never play real Rock Riddim, 

And I have been preparing the whole afternoon. 

 

O o o o to the real Rock Riddim, 

O o o o listening to the real Rock Riddim. 

 

The gold of the world is the music that lifts a blue heart, 

Turn the speakers up, I want to hear the sound of the bass, 

Dancing in the kitchen or driving in a car, 

Wherever I’m chilling there’s always music playing. 

 

I’ve tried heavy metal and jazz, punk, soul and pop, 

But nothing hits the spot quite like reggae one drop, 

It will never disappoint me, my soul will [would?] never be full, 

Until I would have listened to the real Rock Riddim. 

 

O o o o to the real Rock Riddim, 

O o o o listening to the real Rock Riddim. 

 

Flying in the space like a star in the sky, 

Memories like galaxies fill my head, 

Can’t fall asleep, I’m hearing the echo of the beat, 

Waiting for the bass to come and knock me off my feet. 

 

Following the milky path that guides us, 

Through the adventures of time before realising, 

That there’s a reason for existence, every star, sea and galaxy, 

Has been put in its place for the sake of reggae without a doubt. 

 

To live and to be to find a free soul [?], 

Difficult at first, but it will come one day, 

Sitting round the fire, singing and laughing, 

All full of mischief, passing smoke and wine. 

 

O o o o to the real Rock Riddim, 

O o o o listening to the real Rock Riddim. 

Georgia Ruth – “Cynnes” (warm).

   Hey people! 🙂 

   So far, I have shared quite a few songs from Georgia Ruth’s 2020 album Mai (May), a very spring-themed or spring-like album of hers that I really like. Today I thought I’d share another song from it, which is in Welsh. I only understand little snippets from it really, but it seems to be about when the weather feels inconsistent with the season, like having sun in winter, for example, and the mixed feelings that this brings. 

Llio Rhydderch – “Alawon Môn – Anglesey Tunes”.

   Hey all you people! 🙂 

   Today I’d like to share with you something else from Llio Rhydderch, the Welsh triple harp player, and definitely my favourite one out of those triple harp players with whose music I’m familiar with. This is a set of three different traditional Welsh tunes, which originate from Llio’s native isle of Anglesey, including the popular Lisa Language (Fair Lisa), which I’ve shared on here in a few different versions before. 

Siân James – “Huna ‘Mhlentyn” (Sleep, My Child).

   Hey people! 🙂 

   I want to share another lullaby with you, because lullabies are great. This one is by Welsh singer and harpist Siân James,, who has been featured quite a few times before on here. The lullaby is better known under the name Suo Gân, which simply means lullaby in Welsh, and it’s one of more popular and widely known Welsh lullabies. I personally find it quite cute. Siân James sings only two verses here, but there’s also a third one, in which the mother calms her child’s fears, and while this  lullaby as a whole makes me think of Misha, that last verse is particularly appropriate for him as he’s so fearful that even little things like a bit of stronger breeze coming through the window can startle him awake sometimes. 

   It was composed in the 19th century, and this simple tune has since been set to other lyrics too, like multiple hymns. The translation below comes from Wikipedia’s page on Suo Gân

   Sleep child upon my bosom,
It is cosy and warm;
Mother’s arms are tight around you,
A mother’s love is in my breast;
Nothing shall disturb your slumber,
Nobody will do you harm;
Sleep in peace, dear child,
Sleep quietly on your mother’s breast.

Sleep peacefully tonight, sleep;
Gently sleep, my lovely;
Why are you now smiling,
Smiling gently in your sleep?
Are angels above smiling on you,
As you smile cheerfully,
Smiling back and sleeping,
Sleeping quietly on my breast?



Harriet Earis Trio – “Laughing Wolf”.

   Hi guys! 🙂 

  Today I’d like to share with you another piece from  Harriet Earis Trio’s album From the Crooked Tree. For those unfamiliar, this is a trio based in Wales, consisting of Celtic harpist Harriet Earis, as well as Andy Coughlan on bass and Sam Christie on drums. Their music could be described as an experimental blend of folk and jazz, and I really like it because I like when the harp is used in experimental settings like that, and the way they do it sounds really good and interesting. This particular piece is a jig composed by Harriet Earis herself. 

Elinor Bennett & Meinir Heulyn – “Cader Idris” (Idris’ Chair).

   And for today I would like to share with you another harp piece, this time a Welsh one. It is played by Elinor Bennett and Meinir Heulyn, both of whom play classical as well as Welsh traditional music. Elinor Bennett is actually the mother-in-law and former teacher of another acclaimed Welsh harpist – Catrin Finch, whose music has been featured here many times before. – The title of this tune refers to a mountain in Snowdonia of the same name, about which I’ve written more in the past, as I’ve featured two songs about the same mountain before, one by Rachel Newton and the other by the Harriet Earis Trio

Y Bandana – “Dwi’m yn Fabi Ddim Mwy” (I’m Not a Baby Anymore).

   Hey people! 🙂 

   Today I’d like to share with you a song by Y Bandana from their self-titled debut album. I’ve been able to write a translation for you and, surprisingly for me, it wasn’t  all that difficult. Although perhaps it shouldn’t feel so surprising as I already understood most of it from listening and there were only two phrases that were  new to me (for any fellow Welsh learners out there who might be curious, it was a novelty for me that “dim llawn llathan” (literally not a full yard) means that someone is not  all there/crazy, and also that spanking is “chwip din”). Still, it’s entirely possible that there are some errors, so if you speak Welsh and see something odd, please do enlighten me or something. 

   If you’re not familiar with Y Bandana, they were a Welsh-language pop rock group made up of two brothers, Siôn and Tomos Owens, their cousin Gwilym Bowen Rhys and his friend Robin Jones. They were very successful on the Welsh-language music scene. This song is quite funny in the way that Y Bandana’s songs often are, but I think it’s also just a tad bit disturbing. Unless it’s just me who overanalyses things as is my habit or I’ve misunderstood/mistranslated something here. 😀 But it sounds like the lyrical subject is being quite badly bullied by  a despotic older sibling, rather than – as I  thought before attempting this translation, just having heard this song many times over the years – slightly smothered by an overprotective parent. Not fun. Makes me feel relieved that I don’t have older siblings and didn’t have to go through something like this as a teenager. It’s natural for parents to be protective, sometimes overprotective, of their offspring, but when a year older sibling treats you like a baby, that’s kind of humiliating. 

      Every time I go to the club I get kicked out 

Although there are some who are older than me that are not quite all there  

Don’t you dare say that I’m not responsible enough 

‘Cause you’re only a year older 

I’ve had enough 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby anymore 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby 

You don’t have to hold my hand for me to be able to cross the street 

And just because you’re older than me I don’t get to say anything 

I don’t have to get a spanking if I break the rules 

Well, oops, I’ve broken one and it won’t be for the last time 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby anymore 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby anymore 

No, no, no, I’m not a baby anymore 

Wa, wa, wa, not a baby 

Phamie gow ft. The Royal Scots Dragoon Guards – ” Scott Monument”.

   Hey people! 🙂 

   Today I thought I’d share with you another piece by Scottish composer and multi-instrumentalist Phamie Gow, from her collaborative album with The Royal Scots Dragoon Guards – The Angels’ Share. – This composition refers to the Victorian monument dedicated to Walter Scott in Edinburgh. 

Rachel Hair Trio – “The Marching Gibbon”.

   Hey people! 🙂 

   For today, I’d like to share with you another piece by the Scottish Rachel Hair Trio, consisting of Rachel Hair (harp), Jen Butterworth (guitar and vocals) and Cameron Maxwell (bass). This tune was written by Glasgow-based jazz pianist and accordionist Tom Gibbs.