Celtic Thunder's It's Entertainment Lives Up To Its Name

Fifteen months ago, I first watched Celtic Thunder on PBS. Little did I know then that this quintet - now a sextet - was about to comfortably seat itself in the upper reaches of my hierarchy of musicians. Last summer saw the release of their third album, Take Me Home. Last fall, I had second-row seats to their concert in Erie, and luck was on my side later that night when I encountered them after the concert and even got a hug from an obliging Ryan Kelly, my favorite member of the group. They helped draw me into Twitter, which gave me a better sense of their personalities: George’s affection, Ryan’s humility, Paul’s wit, Keith’s ambition, Damian’s exuberance (which recently, much to my delight, has often been directed toward LOST).

Now this past month saw the release of It’s Entertainment, which marks a significant change for the group as Neil Byrne, previously known to fans primarily for his skills as an instrumentalist, steps up to join the lads for a couple of songs and even gets one to himself. It also marks a shift in focus, as the purpose of this particular album is to pay tribute to some of the lads’ musical heroes, and the greats of music in general. The tone, especially on the DVD, is generally light-hearted and very American.

The result feels both fun and affectionate, but some may be bothered by the fact that traditional Celtic music has little representation here and Irish songwriting legend Phil Coulter has penned only one new song for the occasion - and it, too, sounds extremely American. Not to fear, though; up next is a concept album set in Ireland of yesteryear. In the meantime, It’s Entertainment may be the least Irish of their albums, but it’s still a great accompaniment to your St. Patrick’s Day festivities.

Home - Damian McGinty joined the group when he was 14 years old, so he is the member who has changed the most in the three years since the group assembled. Their first concert saw him singing inspirational ballads like A Bird Without Wings and bubblegum numbers like Puppy Love. He knocked both out of the park. But by the time Take Me Home came along, his voice had matured to the point that the teenie bopper songs were starting to sound a little silly. I was hoping this album would give him something with more of an adult edge, so I was very happy with this selection.

It’s really a perfect choice for this young man who has been spending weeks or even months away from home since 2007 - and who happens to be a huge fan of Michael Buble. In this song, there’s a slightly world-weary edge to the homesickness. Like Bob Seger’s Turn the Page, John Denver’s Back Home Again and Paul Simon’s Homeward Bound, it acknowledges that a musician’s life isn’t all fun and games and that touring - and separation from loved ones - can be downright tiring. Damian delivers a smooth, soulful performance, and it becomes apparent that the boy is growing up. “May be surrounded by / A million people; I / Still feel all alone. / I just wanna go home...”

Life With You - George Donaldson is the elder statesman of the group, the only Scot, the only husband and the only father, and he’s yet to be given a song that doesn’t feel absolutely perfect for him. There’s such a depth to his delivery, which has an odd rippling quality that owes much to his rich Glaswegian accent. All of his songs have to do with faithfulness - to a parent, to a job, to a child, to a spouse. This up-tempo number reminds me of the Irish Rovers’ Years May Come, Years May Go, a song about cheerfully sticking together through the ups and downs of life.

While that song largely looks backward, this one looks forward. We get the sense that the speaker and his love haven’t been together all that long, and he is still amazed that he has her and wants to be sure she knows it. The bouncy keyboard accompaniment adds to the appeal of this song, as does the rather unusual staccato phrasing. “But since I met you I’m distraught / You wandered in and now I’m caught / I never thought I would see / Someone so truly good, some / One who’s so everything I’m not.” It’s the perfect companion to the Proclaimers’ more famous I’m Gonna Be (500 Miles), which George sings on Take Me Home and which is also included on the It’s Entertainment DVD.

Lough Swilly Railway - This is one song that definitely does sound Irish. It’s a fast-paced reel complete with a variety of instruments, including fiddles, guitar, piano and a sprightly type of hand-held percussion I can’t quite place. Every album has to have at least one of these instrumental tracks that shows off the skills of the band and makes you want to get up and do a jig. While it’s more fun when you can watch the musicians at work, this track remains exhilarating without the visual elements.

Hallelujah - This is probably the track I was most looking forward to, as I’ve been enchanted with the Leonard Cohen song since I first heard Rufus Wainwright’s version in Shrek and since I knew that the harmonies would be stunning. The fact that Ryan would be one of the trio here excited me, and Neil’s inclusion intrigued me. While I am disappointed that they sang only three verses, I’m not surprised, given Celtic Thunder’s tendency to shorten songs.

Piano is the predominant instrument here, augmented by understated strings. Neil gets to be the one to start things off, with the first verse to himself, before Ryan’s huskier voice joins his tender tenor for the chorus. Keith goes solo on the first couple of lines in the second verse, while the rest of the song is marked by close the communion of voices, with different singers slightly more audible at different times. The three men sound just as exquisite together as I had hoped - though the best in harmony is yet to come... “I heard there was a secret chord / That David played and it pleased the Lord, / But you don't really care for music, do ya? / Well, it goes like this, the fourth, the fifth / The minor fall and the major lift, / The baffled king composing hallelujah...”

Just Like Jesse James - This song is an anomaly. I’m glad I watched the DVD first, because at least that provides a bit of context; nonetheless, my parents and I turned to each other with puzzled expressions that said, “Who is this girl and why is she singing?” It seems the entire purpose of this song is to set up Keith’s apology in the next track, which doesn’t make a lot of sense because it is not the apology of the type of cocksure ne’er-do-well this song describes. Rather, it’s perfectly in line with the sensitive persona evident through the rest of his songs. If anything, this song should be directed at Ryan, who appears to be a total sweetheart in real life but, with his background in musical theater, has a blast playing the bad boy. “So if you're so tough / Come on and prove it. / You heart is down for the count and you know you're gonna lose it. / Tonight you're gonna go down in flames / Just like Jesse James.”

So yeah, the song doesn’t make a lot of sense. But now that I’ve got that off my chest, I’ll shrug off the objection because Charley Bird is a phenomenal singer. She has a wonderful tone to her voice that is melodious but tough, and I love listening to this track. I also feel badly for her because she appears to have been tossed in without any real promotion. There doesn’t seem to be a lot of effort to let people know who she is. This is even more egregious with the DVD, as Caroline Torti, a lovely dancer who seems perfectly equipped to convey the ferocity of the lyrics, seamlessly lip-synchs the song. It took a bit of investigation on my part to figure out they were two different people. I feel like both of them are kinda getting the short end of the stick here in terms of recognition.

Hard to Say I’m Sorry - It’s overwrought power ballad time, but I never really minded this one as I do several of the songs in this category, including I Want to Know What Love Is, which Keith Harkin sings on another album. This Chicago song always struck me as sweet and sincere, and as power ballads go, it’s on the understated side, with the crescendos feeling natural instead of forced.

Keith still comes across here like an incredibly kind, gentlemanly soul, a poor match with the man being berated in the song that precedes it. He’s more straightforward than usual here; he has a tendency to indulge in a bit of vocal acrobatics, but on this track he sticks pretty close to the melody, and his closing falsetto note is gorgeous. “After all that we've been through, / I will make it up to you. I promise to. / And after all that's been said and done, / You're just the part of me I can't let go.”

Bad Bad Leroy Brown - Devoted Jim Croce fan that I am, I was really looking forward to seeing Ryan tackle this long-time favorite. This is another one where you’re missing a lot by not getting the visuals, but it’s still a whole heck of a lot of fun to listen to. The piano and brass offer peppy back-up as Ryan narrates this gripping tale about a guy too big for his britches with obvious gusto.

You can really get a sense of his theatrical background here, even without the West Side Story-ish choreography that accompanies the song on the DVD; I love how he accentuates certain lines with a growl or a sultry exclamation. He’s said that he just loves performing this song, and I just love listening to it! “Well the South side of Chicago / Is the baddest part of town / And if you go down there / You better just beware / Of a man named Leroy Brown...”

Doo Wacka Doo - I’ve been surprised to discover just how witty Paul Byrom is, since he rarely gets the chance to show off that side with his songs, which tend to be operatic and quite solemn. That’s a Woman, his duet with Ryan, is an exception, but even so, his part of the song is pretty earnest, while Ryan gets to have all the snarky fun. He still comes across as very sophisticated here, especially whenever he says the word “dance,” but there’s a wonderfully light touch to this Phil Coulter original, which is written in the style of music of the Twenties and Thirties.

The brass, ragtime piano and brisk percussion all evoke the Roaring Twenties. Coulter’s lyrics are clever and at one point give him a chance to show off his operatic chops. They’re also affectionate, connecting a fascination with the music of this era to the love of his grandparents and a desire to step into the world of their youth. An extremely entertaining song that is perhaps the album’s most surprising track (Jesse James aside). “Doo wacka doo wacka doo wacka doo wacka doo, the band would play. / Doo wacka doo wacka doo wacka doo, they’d dance the night away...”

Amazing Grace - I would imagine I’ve heard this song more than all the others in the Celtic Thunder repertoire combined, and I’ve encountered more different versions than I could begin to count. It’s one of those hymns that seems to sit right near the top of nearly every church-goer‘s list of favorites, and it’s one that resonates with me even more this year than usual as it was featured in one of the few official promos going into LOST‘s sixth season, giving me high hopes for impending redemptive conclusions to the arcs of these conflicted characters. I was happy to see that this would be a part of the album. But I didn’t expect that it would be the track that would floor me more than any other, or that it would instantly become the definite version of the song for me. It’s a purely a cappella track, and it’s easy to imagine that they are singing under the dome of a magnificent cathedral.

Ryan, an organist’s son who has lent his voice to countless church services, opens the song with a reverence to suggest both sincerity and intimate familiarity with the hymn, soon to be replaced by Keith, after which Neil’s harmonies soar effortlessly over them into the upper register, giving the lines an Appalachian flavor. At least I think that’s Neil doing the high harmonies; it could be Keith, and I wish I could consult a video to get a better feel for who’s singing what. While the repetition of the first verse at the end is a group effort, Ryan’s is the most prominent voice in the concluding lines, though Damian goes on to repeat the final line. In between, each singer has his moment in the spotlight, though rarely is there only one voice to be heard at any given time.

George and Paul share lead vocals on the second verse, while the third is the most integrated of the verses, with no clear leader. Damian demonstrates how much deeper his voice has gotten in the solemn fourth verse, while Neil, who seems to now hold the honor of having the highest voice in the group, has the lead in the first half of the repeated first verse. And all the while, other members of the group weave in and out of elaborate harmonies, creating a profoundly moving listening experience. My only complaint is that, like Take Me Home’s Green Fields of France, this was not included on the DVD. Are the harmonies too complex to replicate on stage?

Hello Again - Neil Diamond is another of my favorite singer-songwriters, so I was happy to find one of his songs here. George’s deep, rumbling voice is perfect for the song; in the first line, he sounds so much like Diamond it’s eerie. As the song goes on, his own distinct voice shines through more as gently rippling chimes provide a nice counterpart to his low register. Another touching ballad about love and faithfulness. “Just called to say hello. / I couldn't sleep at all tonight / And I know it's late / But I couldn't wait. / Hello.”

When You Wish Upon a Star - Neil’s official introduction, to the accompaniment of a mellow-sounding keyboard. This feels like an appropriate song for this talented musician brought from the sidelines into the spotlight. I’m still getting used to his voice and learning to identify it for its own qualities rather than simply recognizing that it’s none of the other five. There’s a lovely tone to it, and he really excels at those high notes. More than anybody else in the group, I think, he has a voice that reminds me of a contemporary boy band. At any rate, this is a great track and a fitting way for Neil to shine. “When you wish upon a star your dreams come true...”

Standing on the Corner - This is Damian’s more light-hearted song, somewhat akin to his earlier teen idol-type tunes. Again he comes across as more of a young man instead of a teenager. His Irish accent disappears altogether as he tries to emulate a member of the Rat Pack, with a sophisticated swagger undermined by his confession that he hasn’t got a girl, and that attaining one is a dream that seems out of reach for him. He’s content to window-shop, believing his balance of charm and style insufficient to pay for the privilege of an actual date.

It’s a funny notion, since I kinda get the impression that of all the members of the group, Damian has the largest fan base, and getting a girl would be no problem for him whatsoever. Just a very lighthearted song enhanced by jaunty piano and jazzy percussion. It’s one of my favorites on the album, and Damian sounds like he had a blast recording it. “Brother, you don't know a nicer occupation - / Matter of fact, neither do I - / Than standing on the corner watching all the girls, / Watching all the girls, watching all the girls go by.”

Surfer Medley (Surf City / Fun, Fun, Fun / Surfin’ USA) - One of Keith’s defining characteristics is the fact that he is an avid surfer, so it was only a matter of time before he took on the Beach Boys. A very energetic trio of songs, which is a nice change since Keith’s specialty is slower romantic ballads. Nice to hear him just have a little fun out there.

Sway - This Mexican-flavored song is one that has been covered by singers ranging from Dean Martin to Michael Buble. Like Doo Wacka Doo, the style is a bit of a departure for Paul, which I don‘t mind; it‘s nice to see him branching out more into other types of music. A nice mellow track. “When marimba rhythms start to play / Dance with me, make me sway. / Like a lazy ocean hugs the shore / Hold me close, sway me more.”

Everything I Do (I Do It For You) - There’s not even a hint of Bad Boy Ryan in this song. Nothin’ but Dreamboat in this song instantly recognizable to most of my generation as the theme to Robin Hood: Prince of Thieves. Interestingly, Clay Aiken covered this on A Thousand Different Ways, and his version has a much more Celtic flavor to it than Ryan’s does. The instruments in this rendition are pretty understated, with just the guitar standing out as it does some unusual twanging from time to time.

But it’s Ryan’s earnest delivery, his smoky voice lingering over each pledge of devotion like mist over a Sherwood morning, that makes this track so irresistible. The healthy version of I’ll Be Watching You, with the speaker offering the best of himself for the sake of the one he loves instead of pining away as he peeks in her window. Meanwhile, my own heart goes pitter-pat... “Look into your heart. You will find / There's nothin' there to hide. / Take me as I am; take my life. / I would give it all. I would sacrifice.”

I Still Haven’t Found What I’m Looking For - It’s generally best for the album to end with a bang, and boy does this one do that! What’s more, this time it pays tribute to U2, the band helmed by Irish megastar / philanthropist Bono. It’s an opportunity for more phenomenal harmony as the lads come together for the one track on the album that truly showcases everyone at once.

The driving jungle rhythm of those drums, beckoning to adventure! The swirling strings that race along like the winds that chase the Fellowship of the Ring and threaten to deter them from their journey! And of course, the voices of the seekers, bonded in a strange, wistful exuberance, frustrated by the lack of answers but taking true joy in the journey. Again, rather like LOST. I just hope this is not the song we’re singing after the series finale. “I have climbed highest mountain. / I have run through the fields / Only to be with you / Only to be with you...”

The lads may still be searching, but if what you’re looking for is a thoroughly charming accompaniment to your St. Patrick’s Day celebration, or an album to put a dash of green into any old day, perhaps your quest can end with It’s Entertainment.