Get Geared Up for St. Patrick's Day With Celtic Thunder

I first heard of Celtic Thunder in late 2007 after a friend of mine attended a concert and assured me that these Celtic crooners were "hotties" in her book. I continued to hear the name mentioned periodically and gathered that this was the male version of Celtic Woman, a group who musical stylings I loved, so when my dad stumbled upon their concert on PBS late last year, I was anxious to see if the lads measured up. Goodness, do they! Before I knew it, Dad and I had found ourselves a new obsession.

This self-titled album collects about half the songs from that concert, with a good mix of ensemble efforts and solos by the five vocalists, each of whom takes on a particular persona. Paternal George Donaldson is the only Scotsman of the group and the oldest by about ten years. Next oldest, in their late 20s, are classically trained Paul Byrom, who exudes melancholy poeticism, and rakish Ryan Kelly, dark and irresistible. Teen dream Keith Harkin, in his early 20s, and 14-year-old wunderkind Damian McGinty assure zealous interest from the pre-teen demographic. Separate or together, they are remarkable.

Heartland - This primal-sounding song, the first of many written by Phil Coulter, is a perfect way to open the album, since the Gaelic chorus and rumbling percussion together create true Celtic thunder. It's a group effort; each member has an opportunity to shine throughout the prayerful verses, while the men join forces for backing harmonies and the powerful refrain that translates to "Lord have mercy; Christ have mercy; Lord have mercy." The sense of reverence and majesty in this track is palpable, and I have to give props to Paul for his stirring delivery of the culminating statement of gratitude: "Thank you, Lord, you have brought us safe to shore. / Be our strength and protection evermore!" In fact, it may be my favorite Paul moment on the album. Meanwhile, Damian's big moment is merely a transposed rendition of the refrain, but the purity of his youthful voice maximizes the impact.

Mountains of Mourne - This traditional tune, written about a century ago, gave me my first impression of Keith. Though I later learned Don McLean had covered the song years ago, it was a new one for me, but it's right in line with yearning ballads such as Isle of Innisfree. Keith specializes in earnest romantic rambles tenderly addressing the object of his affections. This one is an epistle to a humble, small-town ladylove on the brassy beauty of London and the speaker's longing for the simpler pleasures of home. My dad settled on it as an early standout after I gave him this album for Christmas, so it's had more time to grow on me than his others, but from the lovely melody and gentle delivery to the accomplished lyrics and wistful yet humorous tone, I think it's earned its place as my favorite of Keith's songs. "I saw him one day as I was crossing the Strand, / And he stopped the whole street with a wave of his hand. / And as we stood talking of days that are gone, / The whole town of London was there to look on..."

The Voyage - And this song introduced me to George, who gives the group such gravitas. George's songs are thematically linked by family; in every instance, he comes across as passionate about his most intimate relationships, whether that's as a father, a son or a husband. I'm hard-pressed to choose a favorite among his, but this was an early front-runner, in large part because it reminds me so powerfully of the journey of Desmond, LOST's lovelorn, seafaring Scotsman. To my knowledge, no one has created a tribute video to Desmond and Penny using this song as a backdrop, but it seems as though it could have been written just for him in his post-Island life. (Pair it up with Candle on the Water for Penny, and you've got their whole story arc covered.)  The speaker in this slow, steady ballad has all the marks of a man in a truly time-tested relationship, and George's sincerity is the anchor preventing the lyrics, with their abundance of nautical imagery, from drifting off into corny waters. "I am a sailor, you're my first mate. / We signed on together, we coupled our fate. / We hauled up our anchor, determined not to fail. / For the heart's treasure, together we set sail."

Come By the Hills (Buachaill On Eirne) - I heard this song several times before I actually watched Damian perform it; listening to the album, it's not readily apparent that the lad with the pristine pitch and celestial vocals is barely a teenager. Here, his voice has an achingly timeless quality to it, particularly when he sings in Irish. It seems as though all the wonder the green isle could contain comes tumbling out of his mouth. Damian's milieu is harder to pin down, since it includes both sweeping songs of inspiration like this one and kiddie pop numbers about teen romances. The latter are fun, but I prefer this type, and this song in particular has the power to transport listeners to another place, and perhaps another time. It's simply glorious. "Come by the hills to the land where fancy is free, / And stand where the peaks meet the sky and the loughs meet the sea, / Where the rivers run clear and the bracken is gold in the sun / And the cares of tomorrow can wait till this day is done."

Remember Me (Recuerda Me) - I have to admit that after a couple of weeks of listening to Celtic Thunder, or more specifically listening to my dad listening to it, I sat down and watched the concert and found myself rather surprised to discover that Paul existed. Poor guy; his songs always wound up getting skipped. Paul has an absolutely magnificent voice, but he sounds like he belongs at the Met, or at least on Broadway, so he feels a bit out of place, especially since his accent is virtually absent when he sings. He's slowly winning me over, though, and while I'm not wild about the operatic delivery, Paul's sweetly sad tone and mastery of the melody make an impression. This also happens to be the first song with a wartime theme, which various members come back to on both albums. "A comrade strums on a sad guitar. / My mind is drifting to where you are. / I'm holding you as I used to do. / Remember me, recuerda me, mi amor!"

Desperado - When Dad first discovered Celtic Thunder, he was watching television downstairs, and after several minutes of listening to the muffled sounds of Irish instruments, I concluded that PBS must be airing that concert I'd heard about, so I tuned in upstairs, just in time to catch this right at the very beginning. "But this isn't a Celtic song," one part of my brain argued, while the other shushed away objections as I drank in the sublime cover of a longtime favorite. Prior familiarity with the Eagles classic may have had something to do with it, but I was mesmerized by Ryan's warmth as he gazed into the camera, eyes shining, smile gently hovering between concern and exuberance. Just watching it once was enough to secure the visuals in my mind for subsequent listens. Ryan's big numbers on the other albums have him assuming the mantle of a rogue, but here it's as though he's stepping outside of that persona to tenderly scold it. I've grown to love most of the songs on the two Celtic Thunder albums, but no other track inspires quite the same fluttery feeling this one does. It's a transcendent moment akin to Donny Osmond's uplifting performance of Close Ev'ry Door in Joseph and the Amazing Technicolor Dreamcoat, and it's enough to give Ryan the edge for me to declare him the most smokin' Celtic Thunderer. I could never get tired of this song. "Desperado, oh, you ain't gettin' no younger. / Your pain and your hunger, they're drivin' you home. / And freedom, oh freedom, that's just some people talkin'. / Your prison is walking through this world all alone."

Steal Away - There's nothing like an a cappella number to emphasize a group's ability to artfully harmonize. While this is easily the album's most repetitive song lyrically, the fascination lies in the seamless blending and vocal variation. Paul seems like the most prominent presence here, but it's George who provides the all-important lower register that gives the song such musical depth. "Steal away, let's steal away. / No reason left to stay. / For me and you, / Let's start anew, / And darlin' steal away."

The Island - Keith's up again with this song that's a curious mix of bitter anti-war sentiment and seductive escapism. The verses are world-weary and sarcastic, with strange staccato phrasing that takes a bit of getting used to. The speaker shifts gears as he moves into the chorus, imploring his addressee not to listen to his rants but instead to join him in his delicate daydreams about a secluded seashore getaway. This one makes me think of Nitty Gritty Dirt Band's American Dream, though its political underpinnings threaten to rattle the illusions of the carefree chorus, and frankly I find the searing commentary of the verses more compelling than the coupling. "Now I know us plain folks don't see all the story, / And I know this peace and love's just copping out. / And I guess these young boys dying in the ditches / Is just what being free is all about."

The Old Man - George's affectionate lament for a deceased father is the song that made Dad a fan. I'm always on the lookout for songs that celebrate dads who've made a difference, and this one's right up there with Leader of the Band in terms of the degree of respect shown to the subject. At times, it's even a bit more intimate than Dan Fogelberg's tribute, which focuses less on individual father-son moments and more on how the way his father conducted his life taught him how to live. But it's also sadder, which makes it a track to which I tend not to gravitate. "As a boy he'd take me walkin' / By mountain field and stream, / And he showed me things / Not known to kings / And secret between him and me..."

Brothers in Arms - Speaking of sad, this violin-soaked reflection on the tragedy of war is piercingly elegiac. Watch the concert, and it looks as though Ryan spends the entire song on the verge of tears. The melancholy melody and emotion with which he sings it remind me of Empty Chairs at Empty Tables, the song from Les Miserables in which Marius memorializes his fallen comrades. Examining the lyrics more closely, I also faintly hear Sam Gamgee's rumination from The Two Towers as he witnesses the death of an enemy in his first up-close experience of battle: "He wondered what the man's name was and where he came from; and if he was really evil of heart, or what lies or threats had led him on the long march from his home; and if he would not really rather have stayed there in peace..." Ryan breathes compassion and despair into this cover that is one of Celtic Thunder's most exquisite and unsettling songs. "Some day you'll return to / Your valleys and your farms, / And you'll no longer burn / To be brothers in arms."

Cal / Local Hero - This is the point when the talented instrumentalists have the opportunity to take the spotlight. They certainly demonstrate their expertise here, but it's a more effective showcase on the DVD when you can see who's doing what.

Lauren & I - Not only is Keith killer at singing sensitive love songs, he can write them too! Though this one hasn't grabbed me as much as most of his other efforts, I commend him for proving he's more than just a pretty face (and spectacular voice). I was surprised to learn he'd written this, since it's such a carefully orchestrated show, almost more theatrical production than concert. At what point, I wonder, was it decided that Keith's contribution would be incorporated? Anyway, a simple but nice little song. "And there's the stars way in the sky / Leading my way and I don't know where or why. / Still I can't see you..."

She - Paul doesn't shy away from the sap in his second big solo of the album. It's an ideal vehicle for him, as it allows him to show off his range and dynamics. This is one of those songs that builds gradually, allowing for dramatic key changes and a thrilling climax of glory notes. It still doesn't sound very Celtic to me, but at least he's not speaking Italian, and he so obviously relishes the gift of this song for his voice that I find myself wanting to cheer for him by the end of it. "She maybe the reason I survive, / The why and wherefore I'm alive, / The one I care for through the rough and ready years..."

Ireland's Call - This ensemble track feels like a finale, and it would have made such a perfect bookend to Heartland that I'm perplexed as to why it doesn't conclude the album. After this, Damian's hammy ditty feels downright anti-climactic; maybe they stuck it there to make up for the fact that he barely gets a moment to himself in this number and seems overpowered by the other four, to the extent that when I'm listening without watching, I can't pick him out at all. In Heartland, the men sound almost monk-like, while this unifying anthem is almost reminiscent of Burger King's "I am man, hear me roar" testosterone fests of a couple years ago. With lines like "We will fight until we can fight no more, / Till our final requiem is spoken," its militant bent seems slightly at odds with the pacifist pleas that otherwise run through the album, but while the song sure gets the blood pumping, it's more about brotherhood than obliteration. "Ireland, Ireland, / Together standing tall. / Shoulder to shoulder, / We'll answer Ireland's call."

Puppy Love - Oh, the agony of misunderstood teenage romance! Damian sings the heck out of this song, milking it for all the adolescent angst he can muster. He seems to delight in being overdramatic here, making it a fun bit of bubble gum that borders on silly. He does a great job, but it just feels like an odd way to end the album. "I cry each night, my tears for you, / My tears are all in vain. / I'll hope and I'll pray that maybe someday / You'll be back in my arms once again."

If the order of a couple of tracks is my main issue with the album, you can be sure that Celtic Thunder exceeded my expectations to become a group I may end up treasuring just as much as my beloved Irish Rovers. They are a new band, so I hope this is not a stand-alone musical event but a promising beginning; I look forward to hearing more from these dreamy dudes for years to come.