Clandestine Albums (4)
'Clandestine Sampler'
Release Date 1/1/2000
Tracks 5
Label Candletime
See Album Tracklist and Review
What The Critics Say
For those who enjoy Highland piping, there are some prime examples on the Clandestine Sampler. Now, granted, bagpipe music is something people tend to either love or loathe -- very few listeners are indifferent to it. So those who love it are invited to harken, while those who don't may prefer to stick to the ballad-style vocal songs on this album. That being said, E.J. Jones is a very skilled and experienced piper whose playing is a key feature on several of the instrumentals. Every song on this album merits listening, and some tracks are outstanding. "Bush Reels" and "Lucy Cassidy" are both well-balanced and vibrant instrumentals, progressing smoothly from solo pipes to start, then into guitar, fiddle, and hand percussion. Gregory McQueen's expressive fiddle playing is a strong element on both of these. "The Haunting" is a two-part medley, beginning with bagpipes solo, then melding into an elegant mesh with fiddle, percussion, and guitar. To those with ancestors from Scotland, or a love of Celtic music, the sound is stirring -- another noteworthy performance as well. "Peggy" is a lyrical example of Clandestine's interweaving of instrumentals, from sultry guitar to soulful fiddle, subtle percussion and flute, and vocal harmonies by Jennifer Hamel and Emily Dugas. This one is absolutely gorgeous. How well the casual listener will relate to this album may depend on whether or not bagpipes are to their taste. Those with a preference for the instrument will enjoy it heartily. Meanwhile, the exquisite vocals will appeal to both casual and regular listeners. Definitely recommended for fans of Celtic music as a positive introduction to this talented group. ~ Murrday Fisher, All Music Guide
What The Critics Say
Clandestine is comprised of Texans who know how to play music from the land of shamrocks without making the greenery wilt. You can almost envision yourself crying in your Guinness after a breakup with your longtime love as the somber "Black Eyed Susan" cries through your stereo. Other songs, such as "Peggy" and "Lonesome Heaven," are full of color as Gregory McQueen's violin coaxes the same melodies as Jennifer Hamel's vocals. It's interesting to note that the album as a whole is not completely Celtic in its genre though. Although many of the songs are traditional Irish numbers, the tracks penned by Hamel are more along the lines of adult contemporary. This doesn't detract in any way from the band's music, because it's still well written and memorable ("Babylon," "Lonesome Heaven"). One of the highlights of the CD is "Back to Chico," which is similar to the suites of prog rock bands like Yes and King Crimson. It goes through various stages and tempo changes comparable to the drastic juxtaposition of wind-swept plateaus to low, quiet valleys. This album is not to be missed. ~ Stephen Howell, All Music Guide
What The Critics Say
During the late '90s/early 2000s, Clandestine became a darling on the Celtic folk circuit, and their utterly charming debut, The Haunting, shows why, displaying the Houston ensemble's savory stew of fiddle-and-bagpipe instrumentals and ruggedly poetic, highly melodic singer/songwriter fare. The Haunting finds Clandestine front woman Jennifer Hamel coming into her own as a composer on the maudlin "Innisfree" (with lyrics cribbed from W.B. Yeats) and the gorgeous opener, "Dunlavy's Castle." On the latter, the New York native approximates what it might sound like if Natalie Merchant knocked heads with Maid Marian, her impressionistic melding of history and fantasy a detail-rich revelation. Meanwhile, Highland piper E.J. Jones -- Hamel's former paramour and a fast friend since their school days at Carnegie Mellon University in Pittsburgh -- is his usual indispensable self. The same goes for rough-and-tumble fiddle virtuoso Gregory McQueen. In fact, each musician provides unmatched instrumental accompaniment on Hamel's tunes, while filling out the release with rousing medleys of self-penned and traditional material. ~ Hobart Rowland, All Music Guide
