CHEMINS DE TERRE

Alan breaks out of his gentler rock-infused presentations of traditional Celtic (Breton) folk music to issue full-on rock renditions of classic Breton folk tunes.

1. "Susy Mac Guire" (3:35) What sounds like a kind of modernized version of an old folk song suddenly turns rock with the introduction of a lead electric guitar in the final minute after Alan has stopped singing. Not a fan but I have to admit that it doesn't exactly ruin what was a nice Prog Folk song. (8.75/10)

2. "Ian Morrison Reel" (4:09) a very rock-ified version of an old Celtic reel. Smooth but not really a fan.(8.5/10)

3. "She Moved Through The Fair" (4:13) a more gentle though still electrified rendering of this classic Celtic tune. Nice. Great singing. Kind of a JOHN MARTYN sound and feel. I love the harp work. A top three song for me. (9/10)

4. "Can Y Melinydd" (1:59) flat and dull. (4/5)

5. "Oidhche Mhait" (1:53) great more-traditional rendering. Love the vocal work. The organ is nice, too. (4.4/5)

6. "An Dro Nevez" (3:45) fiddles dominate the opening before rest of the pagan music ensemble joins in, but then drums and electric bass join in and make it a rock song. (Nice bass play; drums are fair.) Strumming rhythm electric rhythm guitar joins in for the next. Then banjo while the electric guitar starts infusing some lead licks here and there. A completely instrumental song, the weave is most successful when drums and electric guitars stay out (though the guitar becomes respectfully distant [muted] in the final minute].) (8.75/10)

7. "Maro Ma Mestrez" (3:08) an a cappella song sung in what sounds like an Arabic (or Gypsy) tongue. (Is this Breton/Breizh?) It does sound familiar from all of the SEVEN REIZH albums I've collected. (8.75/10)

8. "Brezhoneg' Raok" (3:08) what starts out sounding like an Ian Anderson-led JETHRO TULL rock song turns into an outright LYNYRD SKYNYRD jam as multiple instrumentalists solo each for all the attention and glory over the final minute and a half. I don't know why I feel as if I'm betraying someone or something, but I'm ending up loving this! (Bassist Dan Ar Bras is really good!) (8.875/10)

9. "An Hani A Garan" (4:11) another great acoustic folk weave over which the lead singer seems to dive into another foreign (non-French, non-Gaelic) language. It is, admittedly, quite beautiful--even heart-wrenching. A top three song. (9.333/10)

10. "Metig" (4:07) swirling organ rises and is then joined by male vocal and then male chorus vocals in antiphonal support but then at the very end of the first minute violin introduces the rest of the band--a real ensemble of troubadours (using hand drums instead of drums). At 1:49 searing electric guitar joins in ejaculating intermittent lines to mimic/mirror the violin. Machine gun like snare drum and Scottish drum work also join in, taking the fore for a bit before the whole ensemble bursts into song together. It is interesting and kind of works. (8.66667/10)

11. "Kimiad" (3:34) a distant parade of bagpipes seems to move in the background behind the warm, intimate gentle picking of an acoustic guitar (or two). Male lead singer enters at the end of the first minute to sing a plaintive tale of woe in a low tone, within the mix, for the rest of the beautiful song. (8.875/10)

Total time 37:52

I have to admit to being quite resistant to the rock-roided versions of old classics (or even modern-sounding new compositions/variations of Celtic themes). It's kind of the same effect/reaction I've always had to Keith Emerson's rock treatment of classical pieces. But I have to give Alan credit: here, on Chemins de terre, Alan and company have made them work. Plus, he's incorporated enough respectfully more-traditional versions of the Celtic fare to allow me to slowly get used to the more aggressive rock versions or applications.

The Yacoubs broke away from Alan and produced two albums in the next year (Pierre de Grenoble and the Malicorne debut). The choice of the Yacoubs to collect and render songs from the greater French traditions instead of Bretonese songs leads me to believe that they were inspired by Alan but chose (perhaps out of respect for Alan) to stay out of Alan's territory--a commitment Malicorne would remain steadfast to for the band's duration.

B/four stars; an excellent excursion into Prog Folk's rock side, something every prog lover should hear (though not all will necessarily like). If you like the folkier side of Jethro Tull, you'll probably like this.