Damh the Bard
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Damh the Bard’s seemingly ubiquitous presence at pagan events has become
almost part of the ritual of arrival – his set is often a comforting
re-attunement after perhaps a stressful journey. You slip into his songs as
though into an old pair of favourite jeans. Many have become singalong classics.
Damh seems to be fast becoming, if not the Dylan of the Druidic Scene (his
voice is not one of ‘sand and glue’ as Bowie once sang of Mr Zimmerman’s,
and his songs don’t have the satirical topical edge as Bob’s did
in his heyday) then perhaps the Donovan (a songster for whom I have a huge
soft spot), with a similar knack of finding a fiendishly catchy melody, easy
on the ear vocals and the odd poetic touch. Yet Donovan’s songs are
laden with a quirky personal cosmology, a magical mundanity, whileas Damh’s
refer to the familiar pagan pantheon – hence his songs have a universal
quality (at least in pagan circles) which give them a timeless feel, although
by generally avoiding the personal, particular, and contemporary some things
are lost as well as gained – a focus and an edge perhaps.
This is easy listening for the common or garden druid, and there’s
nothing wrong with that. Life is brittle enough. These songs soothe and weave
a gentle enchantment. Some have a fine instrumentation on them – with
layers of music and vocal tracks. For something which is probably homespun
(literally grassroots music) it is very professional. This is Damh’s
most accomplished album to date, and no one could doubt his bardic credentials
listening to this cornucopia of song. The title track is stirring call to
arms – a strong start, which cuts straight to the chase. There’s
a lovely version of Eliza Gilkyson’s ‘When I become the Moon’.
‘The Wheel’ is seductively beautiful. ‘Morrighan’
has haunting accompaniment by Eala and a resonant anti-violence message. ‘Save
Me’ has perhaps the tenderest touch, a song for young souls struggling
to find their way on the world. ‘The Sun and the Rose’ has a chorus
so soaring, it could make you believe there’s mountains in Southern
England. ‘Domeanna’ is an amusing Traditional ballad, well strung
by Damh. ‘Isis Unveiled’ has a surprisingly good Arabesque melody
to it. The album ends with Damh the Bard’s ‘Hey Jude’ –
the anthemic ‘Winter King’, with a refrain guaranteed to stick
in your brain. ‘Spirit of Albion’ is filled with festival favourites,
like old friends gathered around a campfire. We are glad to share their glowing
company again as the wheel turns.
I think these songs will continue to live on as long as some of us still
listen to the land. Like Silver on the Tree and Spacegoats before him, whose
songs his echo in a dialogue across the decades, Damh the Bard has joined
the illustrious company of bards whose perpetual songs maintain the harmony
of Albion. May Damh continue to walk his songline.
Tallyessin
Audio CD 2006
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