Album Notes

CAPTIVATING MUSIC FROM THE APPALACHIAN MOUNTAINS

They came across the ocean from the British Isles.
They sang the songs of their homeland in a new country.
They lived, loved, and died here.
This is the music of the ForeignLander.

Lydia McCauley documented folk music at the prestigious Appalachian Music Archive in Berea, Kentucky in the early 1980's and studied with some of the best folk musicians in the Appalachian region. Known today as a songwriter, McCauley returns to her roots in her fifth album, ForeignLander; a collection of innovatively arranged pieces from 17-20th Century Appalachia, beautifully performed by McCauley and her touring Ensemble, along with special guests. While careful to preserve Appalachian traditions in this album, Lydia creates a fresh and contemporary sound that pleases both traditional and progressive music audiences. Selections include: One Morning in May, Pretty Saro, The River Trilogy (arranged by producer Kurt Scherer), Barbara Allan and Stella (two favorite live performance pieces), a haunting version of Lover's Lament, and Swallow's Return, a joyful instrumental composed by L. McCauley.

REVIEW QUOTES

"Lyrical magic that will uplift the spirits...exceptional instrumental tracks that will haunt your mind and transport you back in time..."
-Nicky Rossiter, South East Radio, Ireland


" A well known artist in the Celtic and New Age worlds, this album takes a slight detour as Lydia McCauley takes traditional Appalachian melodies and works her magic on them. The simplicity of the songs makes them a perfect fit for Lydia's style. Adding classical, jazz, Celtic and world music elements to these tracks gives them new life and new passion, which Lydia hopes will help them travel a little further and be passed down once again.
-Goldenrod Music

"Music for independent minds that are looking for something refreshingly different. Lydia McCauley's albums are terrific!"
-Chuck Robinson, Past President, American Bookseller's Association

"Laced with medieval, Celtic, and Appalachian tones, her songs are best described as intoxicating, making a lissome journey through the past via the textured sounds of the ensemble's recorders, flutes, viola, pennywhistle, and mandolin. Beyond musical technique, McCauley's lyrics betray a poet's sensibility, good enough to earn Madeleine L'Engle's glowing praise: "I wouldn't have missed this for anything. The words were just as good as the music."
-Luci Shaw, Image Journal