Brigid Boden ‎– Brigid Boden

Label:
A&M Records ‎– 31454 0439 2
Format:
CD, Album
Country:
Released:
Genre:
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Tracklist Hide Credits

1 Must Go On
Rap – D-Clan
4:03
2 I'll Always Stay
Rap – D-Clan
4:49
3 Child On A Cloud
Vocals [Tribal] – Ashley Maher
4:20
4 Oh How I Cry
Rap, Human Beatbox – JC 001*
4:01
5 Fairest 4:09
6 Sleeping Beauty 4:31
7 Spirits Never Part
Rap – JC 001*
4:56
8 Paddy's Call 3:52
9 Hymn To Her 4:06
10 Ask No Questions 3:49
11 One Glimpse Of You
Backing Vocals, Rap [Toaster] – Mikie Brooks*
3:49
12 Truce 3:32

Credits

Other Versions (4 of 4) View All

Cat# Artist Title (Format) Label Cat# Country Year
18387 Brigid Boden Brigid Boden(Cass, Album) A&M Records 18387 Turkey 1997 Sell This Version
31454 0439 2 Brigid Boden Brigid Boden(CD, Album) A&M Records 31454 0439 2 US 1996 Sell This Version
540 439-4 Brigid Boden Brigid Boden(Cass, Album) A&M Records 540 439-4 Indonesia 1996 Sell This Version
POCM-1215 Brigid Boden Brigid Boden(CD, Album) A&M Records POCM-1215 Japan 1996 Sell This Version

Reviews

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Grumpiness

Grumpiness

January 31, 2010
edited over 8 years ago

I bought this album, because I vaguely remembered Brigid’s name from a review I had read, and had formed some sort of positive association with the name, even though the review had not been particularly favourable. Something about the way the album had been described in the review had intrigued me, and so, when I saw the album in a store in Canada, I seized the day.

It’s quite impressive that I liked the album right away. Usually it takes me some time to get into an ensemble of music, but Brigid Boden grabbed me right off the bat. Simply put, Brigid Boden, is a collection of Celtic tunes put to a Hip Hop beat. This is a very risky combination and could easily have been a disaster, particularly with me as a critic, because I regard Celtic music as nearly sacrosanct, and would not have expected it to bed down well with hip hop. After listening to the album a couple of times, it became increasingly difficult for me to hear it without breaking into dance. I’m not talking about the predictable sort of riverdance style of dancing either; rather an absurd sort of mad flailing, and thrashing combined with inexplicable facial expressions and varied forms of stomping, and leaping; In other words, an unbridled expression of triumphant euphoria. I did this, any time the music played, no matter who was present, and with utter abandon. Needless to say, my friends began hiding the cd from me, in order to avoid being subjected to the sight of my bizarre capering.

Brigid’s vocals are very pure and clear. I don’t quite know how to describe them except to say that they remind me of distilled water. With such ethereal vocals, it would have been easy for the contrast with the beat to become too great, making the beat sound chintzy and the vocals weak, but songs have been arranged and mixed so well, that Brigid’s vocals merely seem like the head of the beast, and the beat is the feat, both working in perfect synestry, and creating a result which is simply cool.

I liked a full five songs from this album which is unheard of for me. Normally I like one, and if the album is very good, I might get up to three. The first track of any album should always be a good one, and the first track of Brigid Boden, “Must Go On,” is probably my favourite. All the best qualities of the music are presented emmediately with full impact. The effects used are scintillating, and well timed. The second track, “I’ll Always Stay,” took me a little while to get into, but is also genius with really interesting male backup vocals (resembling a musical sort of barking) and bagpipes, somehow managing to sound funky. “Spirits Never Part” is probably the most experimental piece of the ensemble with some nearly menacing reggae style vocals performed by Jonathan Chandra Pandy (JC 001). I liked this song for it’s oddness, but it probably wouldn’t appeal in the same way as the other tracks on the album. Number eight, “Paddy’s Call” is another stroke of genius with a really creative use of the Celtic vocal style known as Gob Music. Finally, “Ask No Questions” takes a rather gaping departure from the theme of the rest of the album, being almost gothic, and desolate, in terms of tone. The guitar on this track is played in a way I’ve never really heard before, and somehow sounds quite sepulchral.

The weakest part of the album is the lyrics which are, sadly, rather juvenile, but one hardly notices, because the rest of the elements are so good, they make up for it twice over.