I’ve always been extremely partial to Irish music, and since I’ve been
immersing myself lately in Celtic Thunder, Ireland seems to be calling
to me now more than ever. So it was that, while browsing the Christmas
music display at the library, my eyes lingered on To Shorten the Winter: An Irish Christmas with Tommy Sands.
It was the word “Irish” that drew me in and the song list sealed the
deal. Although I was unfamiliar with most of the titles, two were songs I
recognized from the Irish Rovers, a band I’ve loved since before I
could talk. A look at the songwriter credits in parentheses revealed
that Sands had written most of the songs himself, a rarity for any
Christmas album. So I picked it up, and I’m glad I did. I may have just
discovered Northern Ireland’s answer to Bob Dylan.
Like the First Time It’s Christmas Time
- A chorus of children helps to drive home the message of hope in this
song that took form after Sands’ friend Dolores Keane suggested he write
a Christmas song for Ireland. The centrality of Silent Night and the focus on a desire for peace in the midst of troubled times puts me in mind of Celtic Thunder‘s Christmas 1915
(not to mention that it references both Derry and Tyrone, from which
three members of that group hail). A stirring song that dares to dream
of peace. “It wasn’t much like Christmas when peace was nowhere near /
But now a star is shining and hope is in the air.”
Down By the Lagan Side
- One of the only two songs on the album with which I was previously
familiar. I didn’t think of this as a Christmas song, but the message of
hope and togetherness fits the holiday. My favorite part of this
version, though, is the bagpipe solo at the end. “And when we dance,
we’ll dance together / When we cry we’ll hold each other / And when we
love we’ll love forever / Down by the Lagan side.”
The Bushes of Jerusalem - The Irish Rovers’
husky-voiced John Reynolds sings this song so gorgeously, and with such
heart, that I can‘t see any version bumping it out of its lofty place
in my hierarchy, even the original. As a singer, Sands just doesn‘t
resonate with me as deeply, but this lengthy reflection on Christ as a
revolutionary really shows off his skill as a songwriter. His version
also incorporates some interesting Middle Eastern-sounding
instrumentals. “They’re taking him to Calvary; it’s easier, you see, /
Than trying to turn another cheek and love your enemy…”
A Whiter Shade of Pale
- The first song on the album not written by Sands, this Bach-inspired
song benefits from Liam O’Flynn on the Uilleann pipes. This one doesn’t
seem too Christmassy to me either, but Sands explains that he especially
liked to sing it at Christmastime, “when all barriers, musical and
otherwise, melted in the wake of a few sods of turf.” “And so it was
that later / As the miller told his tale / That her face at first just
ghostly / Turned a whiter shade of pale.”
Hearts of Love
- The chorus of children is back in this song, which has a gentle music
box-like accompaniment to it. Sweetly nostalgic, this lullaby captures
all the joyful anticipation that accompanies an idyllic childhood
Christmas. The song takes on a poignant edge toward the end as the
speaker, an empty nester, confesses to wishing for the return of those
days when his children were young. “And I’d give anything to have them
home / Sailing through the sky like that bright star above / Moved by
the magic of the hearts of love.”
A Christmas Childhood / A Call to Hope
- Patrick Kavanagh wrote the poem Sands recites here, while Sands
composed the lovely flute melody that follows. The poem is richly
lyrical without the benefit of end rhyme, though some rhyme does creep
in occasionally, in surprising places, along with alliteration. Sands’
singing voice has a folksy quality to it that takes some getting used
to, but his speaking voice ripples with an expressive warmth here,
making it one of my favorite tracks. “Outside in the cow-house my mother
/ Made the music of milking: / The light of her stable lamp was a star /
And the frost of Bethlehem made it twinkle.”
You’re Welcome Here Kind Stranger - This warmly welcoming song by Sands puts me in mind of John Reynolds once again, this time his original song The Tinker,
in which a vagabond humbly offers his thanks to his hosts for their
hospitality. Once again, this isn’t specifically a Christmas song, but
it relates especially well to the season. “And maybe you’re a child of
one who fled this lovely shore / Good friend and kind relation, you’re
welcome home once more.”
Raglan Road - Another song by
Kavanagh, this guitar-driven ballad is a beautifully written,
non-season-specific song of love for a particular woman. Bagpipes
enhance the loveliness of this tender reflection that concludes on a
wistful note reminiscent of Dan Fogelberg’s Same Old Lang Syne.
“My reason must allow / That I had loved not as I should / A creature
made of clay / When the angel woos the clay / He’ll lose his wings at
the dawning of day.”
Slainte Mhaith - A Sands original, this song consists of several traditional Irish blessings. Along the same lines as the Irish Rovers’ Come Fill Up Your Glasses,
this grand assortment of toasts is appropriate for any time of year.
“May the children of your children have children of their own / May
peace and contentment be always in your home.”
Let Me Be Your Island
- Another Sands original, this cheerful song full of nautical images is
the third song in a row that doesn’t relate specifically to Christmas,
but it’s a delightful ballad nonetheless that’s very much along the
lines of Candle on the Water, the standout song from Pete’s Dragon. The song also goes wonderfully with The Voyage,
performed so beautifully by George Donaldson on the first Celtic
Thunder album. “Let me be your island in the dark and stormy ocean / I
will be your harbor when you’re rolling in the gale.”
The Mixed Marriage
- Sands also wrote this song, a sprightly duet with Keane that is equal
parts sad and funny, ending on a hopeful note. The song has to do with
the difficulty of people from different backgrounds getting married and
specifically applies to the divides that exist in Northern Ireland. The
lyrics are clever and often make me chuckle, though the underlying
meaning is a downer. “When Santa Claus shaves off his whiskers / we’ll
get married then.”
Matt Hyland - This traditional tune
has a sorrowful, spooky air about it, and its theme of mismatched
marriage makes it a natural follow-up to The Mixed Marriage. The
song doesn’t sound like one that will have a happy ending, so it’s
particularly satisfying to come to the joyful conclusion. I especially
like Sands’ vocals on this one; his voice seems at its best on
story-driven songs. “But when her parents came to know they swore they’d
ban him from the island / The lady knew that her heart would break were
she to part with young Matt Hyland.”
Slan Abhaile -
This Sands song is the third on the album to be largely a benediction.
It seems to speak to regretful parting in a romantic context, but in a
broader sense, this is him signing off and wishing all of his listeners
well. “But the party’s coming to an end / It makes the heart grow fonder
/ May good fortune always be your friend / And bless the road you
wander.”
As an aspiring songwriter myself, I really appreciate
Sands’ craftsmanship, particularly as a lyricist. His voice hasn’t yet
completely grown on me, but I expect that will change with time. I put
him among the likes of Dylan and Colin Meloy, whose brilliance as
wordsmiths overrides the rather harsh quality of their voices. I also
appreciate that he gives us a glimpse into his process with his liner
notes; not only does he provide full lyrics for each song, but he also
includes a paragraph or two of background. Few albums offer that sort of
detailed commentary, and I’m grateful for the insight. If you love
Irish music or quality folk music of any origin, I urge to you acquaint
yourself with Tommy Sands.
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