Little did I know what a treasure chest of music I would discover when Mark van der Stelt suggested I should write an introduction to
Back of the Moon‘s
album Luminosity. Not only was the music by the band itself mesmerizing, but so were the projects that the band were involved with afterward. There is the singer/songwriter extraordinaire
(go check out his three solo albums and discover the magic of ‘just’ a voice and a guitar), there is the lovely Celtic folk on Pendulum,
2016 solo album I reviewed a couple of months ago (link), and I haven’t even started exploring the trazillion records
has been involved with. But today I want to focus on the lovely concept folk albums of composer and multi-instrumentalist
something I have wanted to do from the moment I first listened to them on
Earlier I combined his two nature-inspired albums: The River (2016) and The Woods (2020) in one review
now I will focus on the third solo album Hamish has recorded up till now: The Railway.
Hamish Napier, to quote the bio on his webpage:
-“ is originally from Strathspey in the Scottish Highlands. For over a decade he has been an integral part of Glasgow’s vibrant folk music scene, whilst also touring in Europe and North America with Scottish folk quartet Back of the Moon (‘Folk Band of the Year 2005’ MG Alba Scots Trad Music Awards). Gaining degrees in Astronomy and Music when he first moved from his native Highlands to the city of Glasgow, Hamish was then awarded a year’s scholarship to study jazz piano and composition at the prestigious Berklee College of Music in Boston, USA. Hamish now teaches composition and music theory at Glasgow’s Royal Conservatoire of Scotland and at music schools and festivals worldwide. He has recently returned to his native Strathspey, composing three solo albums The River (2016), The Railway (2018), and The Woods (2020) in celebration of his homeland.‘
When Hamish performed The River live in Grantown in summer ’16, Karen Blessington approached him enthusiastically after the show, inviting him to compose a soundtrack to her exciting new venture,
the Grantown East: Highland Heritage & Cultural Centre.
And the rest, as they say, is history. During the making of this album, Hamish talked a lot with former railwaymen Jimmy Gray (then 93), Jacky Hay (then 94), and James Telfer (then 94). The Railway is as much their story as it is Hamish’s.
The record kicks off with The Speyside Line. As on the whole record, Hamish combines his love for piano and whistles with his talent to compose really catchy instrumental Celtic folk songs that are rich in tradition but with a modern, slightly jazzy sound. Those jazzy laid back drums and double bass lines are what make his folk music so accessible. The song is about the Spey line itself, its route never far from the river, sometimes almost hanging over it, and – listening to the music – traveling it must have been beautiful. Hamish – the composer – has this special ability to take a picture in notes, to create a drawing in his melody lines, and on The Speyside Line he makes us re-live every bend of this historic line.
‘A pair of tunes for a pair of steam locomotives’ That’s how Hamish introduces Double Header, the second song on The Railway. And yes Hamish did indeed write a song to immortalize two famous old steam locomotives. Even more actually. For the steam geeks here is the rest of Hamish’s introduction:
–‘The first tune is for
of the Highland Railway, the popular ‘Black 5’ (LMS Class 5) which driver Jocky Hay praised as a “damn good engine!” The second is for
the Gordon Highlander, the Speyside Line’s most beloved LNER D40. The Strathspey Railway’s beautifully restored
Ivatt Class 2 locomotive
also gets a wee mention, its
British Rail train number ‘46512’
is also the chord sequence in the bridge between the two tunes!’
I love reading those introductions. It really brings the music and story together in a funny and witty way. The song itself starts with some lovely upbeat variations on flute and violin representing ‘the Hikers’ of the Highland railway before the highland pipes slowly ‘merge’ in to represent ‘the Sojer’ of the Speyside line.
Next up is Jocky the Mole and it brings back the glory days of Back of the Moon, with the brothers Napier joining forces one more time. Findlay takes the vocals twice on The Railway: in this song, and in The World Came In By Rail. Both are, as we Dutch say, pearls of Celtic singer-songwriter folk music that would not have sounded out of place on that classic album Luminosity. My first highlight of the CD.
It is followed straight by my second highlight: The Firebox. Don’t ask me HOW Hamish did it, but I can just see the flames licking through the coals as the fire is lit in the firebox. You can feel the engine heating up, you can feel the immense power, that was able to pull all those carriages up the Hills awakening. The steal muscles of the mighty machine gearing up for action. The deep double bass rhythm in the song represents that mighty power, the flute and fiddle variations represent the fire jumping and licking over the coals as the fireman shoved shovel after shovel of fuel into the firebox.
The Old Ways is:
[quote] ‘a slow 6/8 march written in honour of the traditional skills, trades, and ways of life lovingly preserved by historians and enthousiasts[…][..]celebrating what is unique and special about our culture.’Up The Hill starts as a lovely song with a mesmerizing flute solo that gently eases your mind into a state of calm. If you would tell me that it is about hanging in a grass field with a strand of grass in my mouth, chilling while I am looking at the clouds passing by overhead I would have believed you. But… …the second part of the song O’er Drumochter would not fit at all, so it can’t be. And indeed it isn’t. It is about the climb to Drumochter summit, the highest part of the Scottish railway, and the struggle the old steam engines had getting up there. The story is captured wonderfully in the booklet, told by the old railwayman Jimmy Gray. As I said, this is as much the old railwaymen’s story as anything else. And Hamish is a master in capturing that.
This is proven best in Helen’s Song. A heartfelt ballad that Hamish composed in memory of Jimmy Gray’s wife Helen, who was with him for 63 years. Starting as a beautiful piano piece, it is Patsy Reid and her string skills that make Helen’s Song an exquisite homage to a lifetime of love.
But this album is not only the story of the railwaymen, in Dr. McGugan’s and Cheery Groove the story gets a true personal touch. The first song is an air written as a gift to a close friend, the second song a slip jig composed for his parents, in memory of all the great house ceilidhs -social gatherings- with friends and family over the years. In an interview, Hamish said that he finds it extremely important not to separate the ‘folk’ from the music and that is the power of this beautiful CD. The magic of it lies in the combination of music and the story told in the booklet, which was sometimes witty as the old railwaymen told their anecdotes, sometimes interesting as Hamish went into the history of the line itself, sometimes touching and beautiful as proven in Helen’s Song. I loved reading it.
This is one of those albums that got me writing as soon as I heard the first notes. Not to outdo The River,which I love, and The Woods, also a strong and unique Celtic folk album, I arguably consider The Railway to be Hamish’s best record yet. (This is a purely personal opinion though, so feel free to disagree.) Gems like Diesel, Jocky The Mole, and Helen’s Song have helped this album find its way into my CD player time and time again.
Together the trilogy of The River, The Railway, and The Woods is a true homage to the Cairngorms, the place where Hamish Napier grew up, the place he now calls home again. On the postcard that goes with the CDs it says:’ Hamish Napier; Scottish Highlander – Folk Musician – Composer – Tutor. To put it in THAT order is a clear statement! Through ALL of Hamish’s his solo work you can hear the love and pride he has for his home country, for the people that live in it, for the history of the land, for his beloved Highlands! And the best thing about it? He is not done yet! The fourth album is already on its way. I can’t wait to hear it!
-editor: Iris de Wolf
-pictures: Hamish Napier
If you would like to support Hamish Napier you can find him on:
– Facebook or
Hamish Napier – The River (2016) / The Woods (2020) Review
The Cairngorms, a rugged mountain range in the Eastern Highlands of Scotland, nicely nestled in between the cities Inverness, Aberdeen, and Dundee. For me, it is one of my bucket list places to go. Ever since I was a kid the Highlands have had a magical attraction on me. Don’t ask me why a young Dutch kid would dream of hiking in the Scottish mountains, but I did. And that longing for anything Scottish never stopped, hence my utter joy when the last few episodes of
Autumnwatch, and Winterwatch were all recorded within the boundaries of the
Cairngorm national park.
The Cairngorms, not only are they one of my favourite spots in the world; not only are they the stage for one of the best real-life nature programmes ever made; but they are also the home of former
Back of the Moon
And just like the BBC Springwatch team sparked my love for the region even more with their wonderful camera work, Hamish managed to do exactly the same with his music. The River (2016), The Railway (2018) – an album I will introduce in a separate review- and The Woods (2020). are dedicated to this wonderful bit of the Scottish countryside.
As this review will be about two records and I have a limited amount of space available to do so, I’ll leave introducing Hamish Napier for now and go straight into the music itself. If you want to know more about this talented Scottish folk composer and multi-instrumentalist, just follow this
link to the review of The Railway,
where I do have the space to introduce him properly.
In 2016 The River, an instrumental concept folk CD celebrating the river Spey, was released. Hamish’s explains
: -“The river brings to the surface vivid images of occurrences, past and present, along the mile-long stretch of the Spey that flows past my childhood home. One of my brothers fished it, the other canoed it, my uncle Sam photographed it, my friends and I swam in it, my mother paints it and there’s my father’s daily fascination with its erratically changing water level. It will always symbolize home and a strong connection to nature.”
That connection to nature is clear from the very first song on this album, called Mayfly. Mayflies are aquatic insects closely related to dragonflies and damselflies. For the best part of the year, they live a secret life as nymphs underwater, but for a few warm days in the late spring, they hatch in their millions. Only living for a couple of hours – days at best – the whole purpose of the adult mayfly is to mate. The males will ‘dance’, flying up and down above the water to attract a female. Having so many insects do that at one time is a magical sight and Hamish Napier managed to capture that beautifully. The sound of the keyboard and flutes weave and wave through the song, just as the mayfly would do above the water. Listening to the music, you can really see the spectacle before your very eyes. A moment of calm in the music may represent a salmon rising up or a gust of wind pushing the mayfly down, and then a final tin whistle solo pushes the song to a powerful climax. This Proves that Hamish is not only a talented soloist, but also a skilled composer.
This is a skill he proves again with the second song on this album, the title track The River. The music is so well-composed that you only have to close your eyes and you will see the water. You will feel the water pass, you will see the sparks of light blinding your eyes as the ripples of water reflect the sun. You will sense the birds nesting in the reed along the banks of this beautiful river.
That magic is retained in The Whirlpool. Once again a lovely flute melody takes you by the hand and leads you deep into Hamish’s youth. Come to think of it, THAT is exactly how this album sounds: like childhood memories put to music. In every note, Hamish manages to capture the beauty of the Spey, the nature around it, and the people living around this Scottish river. The result is magical. The music just sparkles from beginning to end. A CD that will appeal to the fans of pagan folk and Celtic folk alike.
It is not all jolly times and happiness though. Like almost everything in nature, a river not only gives but sometimes also takes, and the river Spey is no exception. Drowning of the Silver Brothers is a poignant tribute to the dangers that lie hidden in the depths of the river. It is a beautiful duet between flute and piano, and one of the highlights on this album.
Musically, The River is a cool mix between traditional folk solos (mainly on the flutes), a touch of chamber music piano, and a modern easy listening bass/drums rhythm section. The jazziest of them all are the songs Floating and Huy Huy!. Two lovely Celtic flute themes put over a Shakatak kind of jazz guitar/bass/piano groove, one theme sliding effortlessly into the other.
Iasgairean Nan Neamhnaid (The Pearlfishers) is the last song on The River that I want to mention myself. A strong musical statement against the destruction of nature. The last word on The River I give to Hamish Napier, in a musical way. Here he is performing the last track of the CD: Spey Cast part 2, The Raft Race.
HAMISH NAPIER – THE WOODS (2020)
While The River is overflowing with powerful musical memories, The Woods is different, mainly because of the main theme Hamish choose for it. Instead of going for the ‘obvious’ main subjects (the majestic green skyline, the morning choir of songbirds; or the rut of the red deer), Hamish went for a different approach. Whereas he used to view “the woods” as a single, impressive entity as a child, he now sees all the different ‘actors’ that make up the woods; the mighty oak, the pioneering birch, but also the smaller bushes, the all-important insects, even the humble mycorrhizal fungi have found a place in Hamish’s songs.
The Gaelic alphabet was traditionally taught to children through the old names of the native trees, and this is the theme Hamish picked up again for his musical interpretation of the Woods, making the CD sound a wee bit less impressive from what I had assumed beforehand, but this concept definitely brings out the best in Hamish as a contemporary folk composer.
Again Hamish manages to captivate you from the very first notes of his CD. Again that ‘sparkling’ positive feel is in his playing. The Pioneer is not only a song about the first letter of the early medieval alphabet: the B, but also about one of the first trees to spread across the post ice age landscape, one of the first trees to open their leaves in spring, the Birch. It also sounds like the start of spring, the start of early morning, so it is in many ways the perfect start to The Woods.
I love the second song. It’s not about a tree and also not a letter of the Gaelic alphabet, but about one of the many creatures living in the Scottish Highlands, the
Capercaillie. Hamish says the following about it: “The Capercaillie is an otherworldly creature. The male birds are as giant as they are cantankerous and famed for their clicks, pops, and flutter jumps at the ‘lek’ during mating season. With Egyptian eyeliner, a Japanese fantail, velvet green neck plumage, and a fierce hooked beak, the giant grouse fly through the Scots pinewood canopy with all the grace of a cannonball. Capercaillies have been known to take on foes several times their own size, including stationary Land Rovers.”
This quote is taken from the extensive booklet going with The Woods, a booklet filled with information about the featured trees, mixed with some local stories, a bit of Gaelic folklore, and of course Hamish his own personal memories, all brought together through the stunning pen drawings by
The song The Capercaillie Rant / An Taghan, itself is a cheerful Celtic tin whistle/Highland pipe melody in a lovely contemporary pop jacket. Think of the style of the German band
Cara on their Horizon album
or of course Hamish’s old band Back Of The Moon.
The Tree Of Blessings is a lovely short piano piece dedicated to the juniper bush, and is a strong, rather pop-like song. The same goes for The Tree of Luck, (pop meets Celtic folk ballad). Just as The River, The Woods is an instrumental folk CD. But despite it being 66 minutes long divided over 21 tracks it has enough variation to keep you fascinated till the very last note.
Describing al 21 tracks would be rather pointless, so I’m just going to pick out some personal highlights. The first of them the jazzy folk ballad Mycorrhiza/The Tree Of Life. A lovely composition.
Another one comes immediately after that: track 6, called The Tree of Life / The Three of Lightning. It’s about the mighty Oak tree and its smaller neighbour, the holly. In folklore, the Holly King and the Oak King used to overpower one another at the solstices, with the Oak King dominating the summer and the Holly King the winter. Starting small, this song quickly evolves into an instrumental power ballad, clearly inspired by this age-old battle of the seasons. This is a relatively short, powerful song that will be loved by people who are into Celtic folk and pagan folk alike.
The Tree of Knowledge is a lovely, tender piano ballad, inspired both by the hazel, a tree that according to the Celts represented wisdom and poetic inspiration. It was also composed in honour of Rosie Fisher, a family friend of the Napiers who made two wood sculptures, one depicting Pan, and the other depicting the American naturalist, writer, and philosopher Thoreau. These inspirations, rather than the obvious ones, are what make The Woods such an interesting CD. You clearly hear the poet, the philosopher, the sculptor in this song. As a folk ballad, The Tree of Knowledge is already lovely, together with the story in the booklet it becomes magic.
Forest Folk is another one of those songs with a twist. Listening to it, it is a lovely cheerful tune, an instant earworm actually. Hamish explains this track is about all the small flowers, shrubs, mosses, and lichen you find in the woods. It is also dedicated to all those who wander in the woods, looking at all the wonders of the forests, those who take the time to find beauty in the small things in life.
You will probably realize by now that this album is actually a musical adventure. Just like the forest at first glance, appears to be a sea of green, this album at first glance seems to be ‘just’ an instrumental pop/folk album. But don’t be fooled. Take your time with and this record will ever so slowly reveal its inner beauty, bit by bit. Just as the forest will reveal ITS magic to all of us who dare to wander deep into its dark, green, but oh so majestic heart.
If you love Celtic music; focussed on flute and piano; with delicate splashes of pipes and guitar; firmly connected in tradition but with a modern sound; and if you happen to love nature as well, then The River and The Woods are an enrichment of your music collection. No doubt about that!
– editor: Iris de Wolf
-Picture: Hamish Napier
If you would like to support Hamish Napier you can find him on:
– Facebook or