MOVING HEARTS

Composed of only 3 multi part tracks, "The Storm" is basically a long medley of jigs and reels that start off like cookie cutter performances before subtle and less subtle rhythms and shifts of pace are interjected. The key lead instruments are Davy Spillane and Declan Masterson's uillean pipes and Keith Donald's saxes, but the drums, bodhran and bass and the manner in which they deftly interpose jazzy accents are also critical. Master instrumentalist Donal Lunny craftily integrates synthesizers that augment this freshness without descending into a 1980s keyboard morass.

My personal favourite here is "The Titanic", particularly the second segment, "A Breton in Paris", with an accelerating urgency that culminates in a manic dance of sax dragging keyboards into the drink by their high heels. Brilliant, and sadly not imitated enough. Additionally, "Tribute To Peadar O'Donnell" is the piping hot summit.

While I do enjoy "The Storm", I ultimately fall more on the side of the first incarnations of this band, which were albeit less progressive but compensated with their hard rock take on the genre and their political acumen. "The Storm" is dressed up well for a nightclub, but underneath remains those very jigs and reels that are repeated several times too often for those who could do without them entirely. 3.5 stars rounded down because I'm not sure the average prog fan would consider this a perfect storm.

The performance of the new songs seems somewhat lackluster, as if Hanly was still finding himself within the band, and the synthesizers appearing on "Dark End" are all the more pronounced here. But, since renditions of "Let Somebody Know" and "What will you do about me" are both excellent, I wonder whether it is simply the newer songs like "1-2 Freddy" and "Open Those Gates" that aren't worthy of the group's repertoire. In contrast, "Strain of the Dance" is superb, sounding surprisingly akin to what Christy Moore was to do on his own a bit later, like "Biko Drum". Here Hanly seems much more confident, perhaps because he is working with a much more powerful piece to begin with. The album closer is a fine version of the instrumental "Lake of Shadows"

Hence we have a mixed bag of live performances that are valuable if only because they remain the only available concert recording of the period, but also reflect a band that rose to the level of its material. With two out of the three newer songs being inferior, perhaps the saga was indeed spent in two short years, and least for Moving Hearts as a vocal oriented Celtic rock band. 2.5 stars rounded up for historical significance.

The album opens with perhaps its weakest track, "Remember the Brave Ones", penned by Christy Moore's brother Barry, soon to be known as LUKA BLOOM. It's not bad but a bit overwrought and marred by period synthesizers. Still, "All I Remember", while easily the poppiest song ever released by the group, manages to buck the signature sound more convincingly, like an affectionate cross between BRUCE SPRINGSTEEN and RUNRIG. The title track is a convincing interpretation of a classic folk song with lyrics that can be applied to one's own unique circumstances. "Allende" and "Let Somebody Know" are both warm ballads, while "Half Moon" is a languid and lovely instrumental with bass, sax and piano blending sultrily.

"What will you do about me" is probably the most transcendent piece here, sung from the point of view of an aging peacenik environmentalist who refuses to give up the ghost much to the chagrin of the authorities. The chorus makes one and one's hairs stand equally at attention and the sax, pipes, lead guitars and synths round out this roughly woven and moody number.

Highly recommended even if somewhat dated, "Dark End of the Street" shines at the 4.5 star level even today.

The album is slightly weakened by one song in particular that does not mesh well even within that admittedly broad lexicon. That song is Barry Moore's "Remember the Brave Ones". Barry was to re-brand himself as LUKA BLOOM and meet with moderate success in America, as a way of thrusting out from under his brother Christy's dominance in the nest. This track doesn't even sound like Luka, and, while thematically in step with the political struggles concept, is musically a bit more 80s sounding, with synthesizers played by Donal Lunny. Still, it does have that indelible spirit, and sounds better now than I remember it in the day. The compilers also chose to include two rather rote pipe led instrumentals, where one would have easily been sufficient.

For the rest, apart from superb "Hiroshima Nagasaki Russian Roulette" and "No Time for Love" originally on the self titled album, we are treated to several winners culled from the second release, the urgent "What Will You Do About Me" being the best of these. It flawlessly channels the peace movement of the 1960s but from the perspective of one old enough who have been there in the first place, telling us that he didn't abandon those values for the comforts of the bourgeois lifestyle. He's sticking around for the long haul, and what shall we do about him? "Let Somebody Know" is a gentle feeling ballad, and "Dark End of the Street" shows they could tackle full-on soul numbers and transform them into subversive Irish folk. "Half Moon" is a lovely bass-led instrumental, with timely piano rolls, on par with "Lake of Shadows" off the debut, omitted here.

If you are a vinyl collector in America, you might find one of these around, and it would be worth the search. Since only 2 tracks from the second album are missing here (both good ones of course), you might be fine with just the debut and this compilation. But, if a true collector, seek out the two original albums in all their glory. This street is well worth travelling whether in darkness or in light.

The first side starts with one 13 minute piece, The Lark, which is in several parts, all of which are based on traditional tunes and adapted by the band. The pieces flow beautifully, the musicianship is stellar, especially Eoghan O'Neill's astonishing bass playing and the twin piping of Spillane and Declan Masterson. The pace and intensity ebbs and flows, gradually building towards a powerful climax. The second track, the Titanic, is a couple of band-composed tunes in traditional vein. Strangely, I find The Lark so emotionally draining that I usually take a break after it before resuming listening to the rest!

The second side follows in similar vein to The Titanic, being mostly band composed; the highlight being the astonishingly beautiful and poignant tribute to Irish nationalist writer Peardar O'Donnell.

The music is incredibly complex, with fabulous rhythmical changes, pounding bodhrans and thundering bass over which the melody instruments weave complex, beautiful tunes. Some of the wild sax playing towards the end of The Lark is reminiscent of Van Der Graaf Generator but much better. The recording quality is also truly wonderful, allowing the instruments to be clearly distinguished and yet delivered with astonishing power.

Some will argue that this is really Irish folk, not prog, but the complexity and variety stands it well apart from more traditional (though excellent) Irish folk bands like Boys Of the Lough, Planxty and the Bothy Band. It's an astonishing album, well worth the full 5 stars. A genuine masterpiece which no lover of good music should be without.

On so many levels, this is a classic:

the choice of material. These performers could have written their own, but their selections demonstrate a sensitivity to the breadth of protest music, and also helped to popularize artists toiling in relative obscurity. Even more impressively, the material wells from the heart of Ireland regardless of its origins, and at the same time could apply to anywhere where political and social upheaval still rages.

the live energy imparted in the studio recording. I am not sure if this was recorded live in the studio but it sounds as if in front of an audience, but with all the studio technology that could be mustered. A rare achievement indeed.

the professionalism of the musicians

the virtuosity of the musicians

the integration of sax with more traditional folk instrumentation like pipes, and the integration of traditional instruments with searing electric guitar

The inimitable voice of Christy Moore who had released possibly two dozen solo albums in a similar if more subdued spirit.

From the deft opening picking of Jim Page's "Hiroshima Nagasaki Russian Roulette" through to the fade out of Jack Warshaw's "No Time For Love", MOVING HEARTS wrings it all out unfailingly. The interaction of pipes, lead guitars and sax in "Hiroshima..", and the jaw dropping sudden ending, help to establish the standard which is rarely let down. "Irish Ways and Irish Laws" is almost creepy in its depiction of what once was in Ireland before invasion upon invasion changed its course. "Landlord", with his "mortgage on my body, and deed to my soul", demonstrates that not every significant issue is played out at a national level. "Faithful Departed" is thoroughly engaging and builds to a glorious crescendo in the chorus and instrumental ending. "Lake of Shadows" is a shimmering instrumental that hints at the coming direction for the group after its initial boom and bust, a languid affair coaxing extraordinary pathos from sax and bass, further encouraged by a sweet melody. And "No Time for Love" has been reincarnated many times but, if you have heard this version, you will always want to punctuate the others with the guitar and sax fills that give this one so much more impact. The plight of political prisoners everywhere that is described therein remains more relevant than ever.

If you are approaching this band from a prog only perspective, then start with the all instrumental "The Storm". However, if you want their definitive statement, this masterpiece will move even the heaviest of hearts.