(Traditional, Mediæval, Celtic, Ethereal, Ethnic Fusion, World Fusion) Mediæval Bæbes (Mediaeval Baebes) - Illumination - 2009, FLAC (tracks+.cue) lossless

Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 24. July 2011, 17:32
Mediæval Bæbes / Illumination
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Gap handling : Appended to previous track
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TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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1 | 0:00.00 | 3:48.07 | 0 | 17106
2 | 3:48.07 | 3:39.12 | 17107 | 33543
3 | 7:27.19 | 3:24.50 | 33544 | 48893
4 | 10:51.69 | 3:08.44 | 48894 | 63037
5 | 14:00.38 | 4:20.13 | 63038 | 82550
6 | 18:20.51 | 2:34.51 | 82551 | 94151
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8 | 23:29.35 | 3:00.20 | 105710 | 119229
9 | 26:29.55 | 4:09.03 | 119230 | 137907
10 | 30:38.58 | 2:59.30 | 137908 | 151362
11 | 33:38.13 | 3:07.14 | 151363 | 165401
12 | 36:45.27 | 3:51.70 | 165402 | 182796
13 | 40:37.22 | 3:23.02 | 182797 | 198023
14 | 44:00.24 | 3:50.65 | 198024 | 215338
Track 1
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Track 3
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Track 7
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Track 8
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Track 9
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Track 11
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Track 14
Filename M:\Music\rips\Mediæval Bæbes - 2008 - Illumination [FLAC]\14 - La Belle Dame Sans Merci.wav
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REM ACCURATERIPID 0018a4d3-0105540c-9a0b370e
REM COMMENT "CUETools generated dummy CUE sheet"
PERFORMER "Mediæval Bæbes"
TITLE "Illumination"
REM DATE 2009
REM DISCNUMBER 6
REM TOTALDISCS 6
REM GENRE "Traditional, A Cappella, Mediæval, Folk, Ethereal, Ethnic Fusion, World Music, World Fusion, Female Vocalists"
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TRACK 01 AUDIO
PERFORMER "Mediæval Bæbes"
TITLE "Desert Rose"
INDEX 01 00:00:00
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PERFORMER "Mediæval Bæbes"
TITLE "Suscipe Flos Florem"
INDEX 01 00:00:00
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PERFORMER "Mediæval Bæbes"
TITLE "The Blacksmiths"
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PERFORMER "Mediæval Bæbes"
TITLE "To The One"
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01."Back in June, I saw on the Mediaeval Baebes website that they had a new album coming out in October. I know it was announced back in March, but they don’t have a RSS feed on their site, so I only check for updates when I remember. The first 1000 pre-ordered copies of the album would get a numbered limited edition with two bonus tracks. Knowing that I would buy it anyway, I placed my order, not expecting to be in time for the limited edition. When I got confirmation of my order, there was no indication that it was the limited edition, so I resigned myself to the fact that I was too late and cursing their lack of RSS feed yet again.
At the beginning of September there was an official announcement that the release date had been pushed back to Spring 2009, but those who had pre-ordered would receive theirs ahead of official release, hopefully mid to late October.
Wind forward a few weeks to last Tuesday. I got home from work to find a packet for me. I had bought a few things recently on Ebay, but wasn’t outstanding anything. The only thing I could think of ordering recently was an aikido book from Aikido Journal, but it wasn’t big enough for that. It was a pleasant surprise to open it and realise what had arrived. Not only that, but it was the limited edition with bonus tracks.
I listened to the first couple of tracks that evening, but didn’t have the opportunity to hear all of the album. On Wednesday, it was our children’s Harvest Festival at the school and I had the morning off as holiday so that I could go. Once Jo and the kids had gone out, I put the album on and got to really appreciate it.
Although it is distinctively Mediaeval Baebes, it also has a different sound from any of their previous albums. That said, each of their albums has a different feel, so that in itself isn’t new.
The lyrics are from a variety of sources, from mediaeval manuscripts to William Blake and Robert Burns. Each of the baebes sings lead on at least one of the tracks, so this allows them to make a song their own.
The album opens with Desert Rose, which has a middle-eastern feel about it and is sung by Emily Ovenden.
The next track, Suscipe Flos Florem, is a more usual slow tune with harmonised vocals, with Katharine Blake leading the vocals.
The third track, The Blacksmiths, stopped me in my tracks. It was so unlike anything I had heard them do before. That said it was quirky and had me smiling from the off. It was almost a pop track in its production, but with the backing acoustic guitars and clapping and then violin. This was lead by Bev Lee Harling.
The next track, To the One, lead by Katharine Blake again, is another change of pace. This is a much more peaceful song with harps and voices.
Miracle starts slows and then builds to a full chorus of all the baebes supporting Melpomeni Kermanidou’s lead vocals.
I Sing of a Maiden, what can I say. It has a mediaeval feel throughout. You can’t help tapping along to the beat, even if you don’t know what the words are. Beautifully sung by Claire Rabbitt.
The next track, The Undivided, lead by Bev Lee Harling, has to be one of my favourites. It has minimal accompaniment. It is one of those songs that you listen to half knowing the words even though you’ve never heard it before.
Katharine returns to the lead with Ecce Chorus Virginum. This is sung in Latin, with a bright lively chorus.
Esther Dee is the lead vocal on Mad Song. This has a eastern feel with clear lightly accompanied vocals.
Recorders introduce and accompany My Lady Sleeps. This is a group song and is most similar to previous songs of theirs.
Yonder Lee is a lively song with Claire Rabbitt leading. I can imagine this one going down a treat live. You find yourself tapping and joining in quite quickly.
Till A’ The Seas Gang Dry is the second using Robert Burns’ words (Yonder Lee was was the other). It is a slow song with Katharine singing the verses and the others joining in on the chorus.
Sunrise is another upbeat tune by Emily Ovenden.
Esther sings La Belle Dame Sans Merci which slows the pace down again with a much more restrained guitar accompanyment and harmonised vocals.
The first bonus track is Swete Jhesu, King of Blisse. This is classic baebes with unaccompanied vocals that build and build through the track.
The final track is Myrie Songen. This has the recorders and hurdy gurdy sound that gives the mediaeval feel.
I have lost track of the number of times that I have listened to this album over the last few days. It has definitely become a favourite.
I think at the moment my 3 favourite tracks are The Undivided, Yonder Lee and I Sing of a Maiden. This is bound to change as The Blacksmiths is great, as is Mad Song.
By the way, the Harvest Festival went really well. My daughter was the Little Red Hen in her class production. She had been practicing her lines all week and got them right without any problems." by Ian
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02. "The Mediaeval Baebes have done some stunning albums, so this new one has a lot to live up to. Sadly, I don't think it reaches the melodic heights of Mirabilis or the vocal prowess of The Rose, and the studio version of Miracle is disappointing after hearing the remix, even if it is more authentic. I got the feeling I'd heard much of this before and that perhaps the well must be running a bit dry. There is a studio version there of previously available live track My Lady Sleeps that adds nothing to what you get in the excellent live version. Other tracks similarly seem to add nothing more for those who have their other albums, but there are two tracks that do redeem the album slightly - Ecce Chorus Virginum and Mad Song.
Anyone buying a Mediaeval Baebes album for the first time should start with Mirabilis." from Amazon.com by user Andromeda Descendent [other customer reviews]

01. "Once upon a time, not so long ago, a group of girls - friends and acquaintances - bound by a common taste for drinking and pleasure-seeking, decided to focus their fun by gathering regularly to sing songs from a time long gone. They playfully called themselves the MEDIAEVAL BAEBES.
The Mediaeval era is particularly fascinating because the poverty of the times produced an ironically rich and vibrant age with a wealth of imagery we still draw upon. In the middle ages there was an attempt to transcend one's bleak existence not only through the idealism of courtly love and the noble traditions of the knight but also through the practice of ritual and religious devotion. Mediaeval man was intrinsically linked to nature - a person's fortunes would fluctuate with the seasons - a harmonious coexistence had developed, with respect for the Earth as the consequence. The appreciation of nature was reminiscent of earlier Pagan mysticism but by the Middle Ages Paganism had been superceded by Christianity.
Dedication to Christian principles brought about the belief in Heaven and Hell which swathed Mediaeval life in self-sacrifice and a hitherto unseen religious fervour. The brutality of life in the Middle ages gave mankind an impending sense of mortality. It is the imminent presence of death, however, that created a need for spiritual fulfilment that, in turn, gave people a reason to live. In comparison, ours is a comfortable, almost somnolent existence. We live in a supposed age of enlightenment where the supremacy of science and technology go unquestioned. The deference to scientific advancement has created a blind conceit that man can conquer all. Subsequently, we live in a godless world with a palpable spiritual deficiency.
Is it any wonder that so many of us are looking to the past for inspiration and a new direction? The MEDIAEVAL BAEBES, far from being a group of women who sing songs that are no longer relevant, are actually distinctly contemporary because they are reviving music that unconsciously captures the retrograde mood of our times. The Baebes take a pilgrimage to another world - they have embarked upon a quest to reclaim the spiritual ecstasy, the romance and the magic of the past. Their music invites you to join them.
The rediscovery of Mediaeval music is not unique to the Baebes but their attitude towards it perhaps is. Nine beautiful women with a provocative sense of humour and a pronounced sense of fun are not going to come quietly. The Baebes are not bound by an obsession with authenticity and historical accuracy - theirs is a more spirited response. Although the Baebes do sing traditional Mediaeval material the majority of their songs, to their credit, are original compositions - Mediaeval poems set to music in their own inimitable Mediaeval style. The MEDIAEVAL BAEBES have a deep respect for the music that they sing but their style is one of flagrant indulgence in the imagination. And if there is any truth in the accusations of witchcraft, that the Baebes are sometimes slow to deny, it is that the Baebes have an ability to turn fantasy into reality: they will take a piece of Mediaeval text and, undaunted by the fact that there are no musical notations to accompany the text, allow it to suggest a mood, a story, a sentiment - this is then translated into song. These evocative interpretations may not be authentic in the traditional sense but they accurately encapsulate the passion and pageantry of the Mediaeval age and somehow seem to unlock unconscious memories in us all, of a world where we once lived.
Fortunately, the Baebes have managed to turn their fantasy into a commercial reality as well as a creative one. Their first album Salva Nos was the fastest selling debut album on Virgin's classical label, Venture; it was a silver album within weeks of its release. Their second album Worldes Blysse went straight to the top of the British classical charts. Their third album Undrentide drew in the ambitious designs of The Velvet Underground's John Cale as producer. The album featured DELERIUM’s “Aria”, with vocals by the Baebes, also found on DELERIUM’s album “Poem”.
Their latest album The Rose is honestly more incredible than all three. The MEDIAEVAL BAEBES sing in several different languages including Latin, Middle English, Mediaeval French, German and Italian, with their new work they introduce Mediaeval Welsh and even Russian to their repertoire. The singers boast eight different nationalities between them - this is particularly useful for the Baebes have successfully toured in Britain, Europe, Canada and the States with at least one member being able to speak fluently in almost every country they have been to. Their music continues to enchant and overwhelm atheists and active believers alike; their voices have illuminated churches and Cathedrals worldwide; and they have performed in prestigious places like the Royal Albert Hall and Louis XIVth's chapel at Fontainebleau as well as more unsavoury and unlikely venues - old prisons, asylums and crumbling rock clubs. Their work has crossed over to the Main stage at Glastonbury and a Baebes track was recently sampled by the highly acclaimed dance act DELERIUM. The MEDIAEVAL BAEBES have composed music for film, notably "American Psycho" and Ken Russell's "The Fall of the Louse of Usher".
All nine MEDIAEVAL BAEBES, as opposed to the original twelve, have become more focused and stronger than ever. Katharine Blake, founder of the Baebes and musical director, is still the principal composer. Dorothy Carter, instrumentalist, and Ruth Galloway, another founding member, act as the chief adaptors of traditional Mediaeval music. But the rest of the Baebes are currently adding to the diversity of the sound by continuing to create, or creating for the first time, their own material. The more compact version of the MEDIAEVAL BAEBES has allowed each singer to explore their own identity within the composite whole and you can actually hear the confidence in the ability of the individual. Despite their accomplishments, the girls are amazingly humble. Perhaps their songs that warn against vanity and taking pride in one's achievements - for they are useless in the grave - have some pertinent meaning for them." from Source: Nettwerk America, 2002
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02. "London, England (1996 - present)
The Mediæval Bæbes are an English ensemble of female musicians founded by Miranda Sex Garden (MSG) member Katharine Blake in the 1990s, featuring some of her MSG colleagues as well as other friends who share her love of medieval music. The lineup often rotates from album to album, and ranges from 6 to 12 members.
The Bæbes's first album, Salva Nos (1997), shot straight to #2 in the classical charts, a silver disc. Subsequent albums include Worldes Blysse (which went straight to #1), Undrentide, (co-produced by John Cale), The Rose, and the Christmas-themed album Mistletoe & Wine.
Mirabilis (2005), was launched at a concert and party in London, August 2005. A self-titled DVD was released in July 2006. The first 300 preorders were autographed by the band and received a special mention in the DVD credits.
A live album was released on November 25, 2006 and features two new studio tracks.
Each album features traditional medieval songs and poetry set to music, mostly arranged by Blake specifically for the ensemble, alongside varying numbers of original compositions. They sing in a variety of languages, including Latin, Mediæval English, Middle English, French, Italian, Russian, Swedish, Cadenet, Scottish English, German, Manx Gaelic, Spanish, Welsh, Bavarian, Provençal, Irish Gaelic, modern English and Cornish. Their vocals are backed by medieval instruments, including the recorder and cittern, played by the singers or fellow musicians.
The Bæbes' musical pieces run the gamut from extremely traditional, such as their version of The Coventry Carol on Salva Nos, to songs that feel traditional but are much more modern, such as their rendition of Summerisle, a song written for Robin Hardy's 1973 cult film, The Wicker Man. John Cale added non-medieval instruments, including saxophone and electric guitar, to some of the arrangements on Undrentide, although with subsequent albums the band returned to more traditional instruments. Even with these instruments, however, the band's current style is quite different from medieval authentic performance groups, as it displays significant modern influence, this juxtaposition most notably apparent in the Bæbes's latest album Illumination (2009) produced by KK (Kevin Kerrigan).
The Bæbes provided the vocal track for and starred in the video of the Delerium track Aria; the vocals are an adapted version of the vocals from All Turns To Yesterday from Worldes Blysse. They are also featured on two tracks from Delerium's 2006 album, Nuages du Monde: Extollere and Sister Sojourn Ghost.
In 2005, the Bæbes contributed some music to the soundtrack of the BBC period drama The Virgin Queen, which portrays the life of Elizabeth I, including the title music, which is a poem written by Elizabeth set to music by Blake.
One of the group's founding musicians, Dorothy Carter, died of a stroke in 2003 at the age of 68. In addition to playing autoharp, hurdy gurdy, and dulcimer with the group, she performed the lead vocals on So Spricht Das Leben (Worldes Blysse) and L'Amour de Moi (The Rose).
Emily Ovenden is the daughter of artist Graham Ovenden.
Marie Findley is also a film reviewer and television script writer for programmes such as Smack the Pony and Ant & Dec. She was the lead (using the name Tulip Junkie) in the Ken Russell film The Fall of the Louse of Usher. Marie left the group in March 2007.
Former member Maple Bee (a.k.a Melanie Garside) is the singer in electronic duo Huski and the younger sister of Katie Jane Garside, singer of London-based rock band Queenadreena.
16 May 2007 - Audrey Evans and Maple Bee resigned due to family and professional commitments and Cylindra Sapphire resigned in order to follow a different musical path.
22 July 2009 - Claire Rabbitt left the Bæbes. Sarah Kayte Foster came on to replace her.
More:
The Mediæval Bæbes were founded in 1996, when the band gathered a group of female friends together to enjoy some musical Mayday frolics on Hampstead Heath. They broke into a cordoned area - which they subsequently discovered was a witches’ circle - and then sang, danced and drank until a thunderstorm drenched them.
But they realized they were onto something. Blake quickly arranged a more formal gig in the leafy and atmospheric setting of Abney Park Cemetary in London, complete with white robes, ivy crowns and candles. They mainly sang arrangements of mediæval motets - and The Mediæval Bæbes were born.
Within a few months they were signed to Virgin Records, and their first album Salva Nos went to #2 on the classical charts. A succession of UK, North American and European tours followed, as well as more albums including Worldes Blysse, Undrentide and The Rose on Nettwerk Records.
Being a Mediæval Bæbe is the main focus for all eight members, but they also lead remarkably varied lives outside the group too. Marie Findley, for example, is a model and comedy writer whose sketch "The Singing Match" for "Smack The Pony" came high in Channel 4 survey of the Fifty Greatest Comedy Sketches. Emily Ovenden has written a novel called "The Ice Room" and is the manager of Abney Public Hall in North London. Katharine Blake promotes a performance-art club called "Slappers", Rachel Van Asch runs her own successful fashion label "Van Asch" and Audrey Evans is a qualified child psychologist. Maple Bee has a career as a solo artist and is studying psychology, while Cylindra Sapphire is a qualified physical therapist, and Teresa Casella is an avid follower of fashion and talented stylist.
But the one thing they all share is what Blake calls "Bæbe Attitude". It's a mixture of hopeless romanticism, an earthy sense of fun and a gift for hard partying. "Our tour bus is like a hen night on wheels", cackles Blake. "Our old manager said the Bæbes were like a New York girls' street gang."" from What.cd, found & set by myself

Основные:
01. Официальный сайт группы
02. Страничка Mediaeval Baebes в Википедии (интересна информацией об участниках группы, которую я больше нигде не находила)
Дополнительные:
01. Информация о группе и ее альбомах
02. Еще немного информации о группе, а также отзыв об одном из их концертов
03. Фото Mediaeval Baebes [в основном концертные]
04. Страничка Mediaeval Baebes на Фейсбуке (интересна подборкой концертных фото группы и наличием некоторой полезной информации об их альбомах)
05. Несколько рецензий на альбомы Mediaeval Baebes, а также ссылки на другую информацию о группе