Only $15.00! Can be obtained from us by contacting the band, or from CD BABY. Fourteen tracks of Burlap Lute, with additional help from Alfred Goodrich on cello and didgeridoo. Track list is below. For lyrics to the vocal pieces, click on the track title!

1. Cantiga Set [Cantigas de Santa Maria #353 (Quen a omagen da Virgin) and #166 (Como poden per sas culpas)]. Alfonso el Sabio. Two pieces from a 13th-century collection of more than 400 devotional songs in honor of the Virgin Mary. Commissioned and contributed to by King Alfonso X ("el Sabio") of Spain, the Cantigas contain numerous adapted secular, folk and troubadour tunes in addition to original melodies. Upbeat, with neat funky rhythm in the second half. Paul: violin, percussion; Wendy: flute; Jenny: alto & sopranino recorders; Chris: guitar; Alfred: didgeridoo.
2. The Crafty Maid's Policy/ Crafty Maid's Jig. Eng. trad./ P. Butler. Officially documented to a London broadside of 1860, this song is believed to have much older roots. The song is followed by Paul’s mad notion of an "Irish" jig. Moral of the story: Beware of helpless-looking maidens! Paul: vocal, violin, percussion; Wendy: flute; Jenny: soprano recorder; Chris: Guitar; Alfred: cello.
3. Brocelandia. Breton trad. A tune from Brittany, which we learned from a recording by Brenga Astur, a band from Spanish Asturia (the "Celtic" part of Spain). Paul: violin; Wendy: flute; Jenny: soprano recorder; Chris: guitar.
   
4. Sir Eglamore / The Bride's Favorite. Eng. trad. / Irish trad. Based on Child ballad #18, this parody of the medieval adventures of Sir Eglamour of Artois is unusual in that it's one of the few English Renaissance-era songs to mention a dragon (most knights actually just fought other knights). Similar lyrics are first recorded in Rowland's The Melancholie Knight, printed in 1615; we've made use of a more modern version of the melody, along with a variant of an Irish traditional tune (sometimes known as "Tansey's Fancy") as a bridge. Let's hear it for fusion (or at least randomly cobbling together)! Paul: vocal, mandolin; Wendy: flute; Jenny: soprano recorder; Chris: guitar.
5. Douce Dame Jolie. Guillaume de Machaut. A popular 14th-century virelai, here in a decidedly non-14th-century arrangement. We blame Chris. Paul: violin, mandolin, percussion, alto & tenor cornamusen; Wendy: flute, soprano cornamuse; Jenny: alto recorder; Chris: guitar.
6. Dans An Dro Set. Breton trad. Three anonymous "an dros" (Breton dances). It's probably just as well that we don't know their names, as we wouldn't be able to pronounce them anyway! The first derived from a recording by Lothlorien, an Australian folk band. The other two came from the web somewhere lost in the mists of time. Paul: violin; Wendy: flute; Jenny: soprano recorder; Chris: guitar.
   
7. Agincourt Carol. Eng. trad. A 15th-century song commemorating the Battle of Agincourt in 1415, in which the English (led by Henry V) triumphed over the French. The text comes from the Trinity Roll, with the music based on the adaptation of Venables/Roper of the Poxy Boggards. Paul: vocal, violin, percussion; Wendy: flute; Jenny: vocal, soprano recorder; Chris: vocal, guitar; Alfred: cello.
8. Jouyssance Vous Donneray/ Tourdion. Thoinot Arbeau. Two dance tunes from Arbeau's Orchesographie, published in 1589. A rather medieval sounding arrangement. Paul: violin, mandolin, percussion; Wendy: flute; Jenny: soprano recorder; Chris: mandolin, octave mandolin.
9. Lauro. Lorenzo de'Medici. A 15th-century bassa danza attributed to Lorenzo il Magnifico, although all that can be stated with certainty is that he wrote the dance steps. Very sweet and pretty. Paul: tenor & bass recorders; Wendy: one-keyed flute; Jenny: soprano recorder; Chris: guitar.
10. The Elven Harper. Lyrics: Mercedes Lackey; melody: Kathy Mar. Paul modified the original lyrics and melody of this piece, a long-time favorite of audiences in the Society for Creative Anachronism, even when the performance includes neither elves nor harps (though this one does at least include the harp). A nice, if somewhat puzzling, faerie tale, where everybody actually gets to sing! Paul: vocal, viola, harp, soprano/alto/tenor recorders; Wendy: flute, vocal; Jenny: soprano recorder, vocal; Chris: guitar, vocal.
11. Hag Be Gone Set (Old Hag in the Kiln, Banish Misfortune, Jump at the Sun). Irish trad./ John Kirkpatrick. Two Irish tunes (the first piece is also known as "Dinny Delaney's Slide") and one English, with an introduction created by Chris. We blame Chris for all of our Irish music. Paul: violin; Wendy: flute; Jenny: pennywhistle, soprano recorder; Chris: guitar.
12. On We Go. Nancy McCallion. A marriage that goes from bad to worse, in a song Paul first heard performed by Celtic Soul (a celtic rock band from Florida). Every time we play this piece in public, we warn the audience not to try reenacting the climactic moment at home. Paul: vocal; Wendy: flute; Jenny: soprano recorder; Chris: guitar.
13. Harper's Air (Air to D'Amberville). P. Butler. Composed in honor of a much-beloved friend and fellow musician Donald Snow (aka Gaston D'Amberville) who passed away several years ago, and who was responsible for originally getting us together. Paul: harp; Wendy: flute; Jenny: tenor recorder; Chris: mandolin.
14. Twa Corbies. Scots trad. The final doom-and-gloom song on this album (Paul is accused often of morbid tastes)! Written in lowland Scots dialect, this is a cynical variant of “The Three Ravens" (Child ballad #26). The 17th-century lyrics have been slightly tweaked for the benefit of modern English speakers. Interesting "pun" in the title - "twa" in Scot's dialect is actually "two," but recalls the three of the English version in the French "trois" (pronounced roughly twa). There were a number of alliances of the Scottish and French against the English. Paul: vocal, violin, tenor recorder; Wendy: flute, vocal; Jenny: soprano recorder, vocal; Chris: guitar; Alfred: cello.

All tracks recorded, mixed and mastered by Alfred Goodrich at Silvertone Studios in Ardmore, PA (610)649-8808. Conversion, conversation, abuse!