Dave
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Post by Dave on Mar 15, 2007 15:53:44 GMT
Yes indeed, thank you Joe! Richard, trust me to notice another mistake  the recording studios said to be Shrine are in fact Shine Studios  which are I think run by Nick Patrick, Hayley's main producer for Treasure. Steve, from bits and pieces of information I've heard and seen, I think many (but not all) of the vocals were recorded at Shine Studios which are widely quoted to be "in England". I do have an idea where in England they are located but as I haven't ever seen the exact location mentioned in print, and they are not listed in the trade music directories, I assume that Nick Patrick does not want this to be widely known so we should respect this and all I will say is  Eden Studios are also mentioned and they are in Chiswick, London. Cheers, Dave |
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Post by Oksana on Mar 15, 2007 16:42:11 GMT
One of the reasons that I prefer Treasure over Pure and Odyssey is because of the amazing orchestration on it. The Irish Film Orchestra did an excellent job, and I hope Hayley will continue to record with them in the future!  |
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Post by Stephany on Mar 15, 2007 19:18:46 GMT
I agree with you Oksana. The Irish Film Orchestra did a fantastic job. I enjoy listening to "Treasure" every day a little more. How is that even possible?  At first, I thought "Summer Fly" was a bit unusual but now, I'm totally IN LOVE with this song. I can't help jumping in everywhere in my room when it's on. |
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Post by meagan on Mar 16, 2007 14:15:11 GMT
At first, I thought "Summer Fly" was a bit unusual but now, I'm totally IN LOVE with this song. I can't help jumping in everywhere in my room when it's on. Stephany, I thought exactly the same thing when I first heard it! Now it is one of my favorite three songs! i.postimg.cc/9fYxy370/smilie-big-grin.gif |
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Post by Stephany on Mar 16, 2007 17:33:25 GMT
I seriously hope she'll do some more in her upcoming album. Summer Fly is also in my top 3, along with One Fine Day and Sonny.
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Post by postscript on Apr 4, 2007 8:59:44 GMT
Hi All.
Back for a quick look in. I have held back posting because until last night I have not had the chance to hear 'Treasure' (at least not the way I wish to be introduced to 'Treasure'), although the CD has been by me since it arrived on release Monday.
Several things to say but I must ensure I keep my threads separate. I also had to have played 'Treasure' before hopefully I, with a few other lucky ones to gain BBC Wales’ tickets this Saturday, see Hayley to ask her to sign it—as also 'Celtic Treasure', if it arrives in time. For more on that see the 'Celtic Treasure' thread.
So, my initial reaction. This is what I wrote as I latched on to it last night.
Treasure.
The CD has been there awhile. I wanted the right moment to open it and treat it like a concert, to sit back and just be with her.
The opening picture is already familiar, her face staring out at me through a heavyweight quality case of substance. She has been enticing me to open the case from the moment it arrived in the first week to help her go straight to number one. That lovely full face leaning against the wall, in what kind of mood? Tantalising? Wistful? Like still waters, beautiful, tranquil but deep with meaning. A beautiful, intelligent young woman able to be very open while remaining intensely private. Then one lifts the CD from the inside and discovers a lovely picture of her in a magnificent Japanese patterned maroon dress.
Let Me Lie is her. It is great to read her lyrics (regrettably NOT in the case for which I support other cries of dismay and thank those who ensured they were easily available on this web) and to learn more of what makes her tick, her sense of creativity, rather than interpretation of other’s original work.
It is a gentle lead-in, indicative of a quiet contemplative CD. I was right to wait to let it envelop me and be at one with her mood.
Le Notte Del Silienzio. A gentle follow-on in the mood of ‘Let Me Lie’ but then suddenly quickening, becoming almost racy by contrast and that of course is the skill of the juxtaposition, similarity with difference, changing the mood within the song. The accompaniment in the chorus emphasises the contrast within the arrangement adding further interest to the song and lending it greater substance.
Santa Lucia. Do we not all know it? Yet she adds her own view and makes it fresh and new. Perhaps the fastest I have ever heard it but not too fast. That quickness of step helps add the lightness already given to it by the soaring lyricism of her voice.
Shenandoah. This is one of the songs I have wanted to hear her sing, telling her so in one of my early encounters with her. It has been a favourite of mine since I was around seven. Interestingly she pronounces it ‘Shanningdoah’. I wonder what research influenced her to render that pronunciation.
What more can I say but that in adding her voice to perhaps my favourite song she has rendered a new experience, melding time for me with new insights. The end drumming adds an extraordinary piquancy, for it reminds one of the song’s background and related human stories and tragedies. This is a constrained interpretation dwelling on the subtleties within rather than the strident endorsement of what is in fact a strong motif. She simply ‘lets it be’.
Whispering Hope. Oh Hayley. It is a lovely lilting tune. The arrangement is superb. The whole is gentle, almost childlike, like one of the better Disney family films. It brings to my mind ‘Little Women’ and ‘The Little House on the Prairie’. It speaks of strength of character in adversity overlaid with spiritual love
Summer Rain. Here the mood heats up somewhat, at least the backing does but her voice remains at the slower pace over it, in keeping with the mood so far, then speeding up a little with the backing towards the end.
Danny Boy. Another well known song. Very difficult to add your own interpretation to something so well known but she does and it fits superbly well. Her voice is well suited to a slow pace. One can dwell on the ever-developing richness within her golden tones. One hears a song one loves with a new freshness and a staying power of voice with which one has been in love since the day one first heard her.
One Fine Day. Perhaps this is the slowest I have heard this. The immediate impression is that this is an interpretation of the words with intensity of meaning rather than concentrating on the intensity of the tune, which seems secondary to the singer’s acting and the story line. As she has said, lyrics and meaning are important to her. This perhaps is the key to the whole of this CD. It is a CD of thoughtfulness, depth of meaning and great subtlety. It is a CD that grabs at the heartstrings with both emotions of love—earthly human and spiritual—and richness of thought. Interpretations that are undoubtedly her own, with what ever support she has had being to endorse or provide technicality to her artistic intentions. The extraordinary climax in this rendition that is in fact an anti-climax by going sotto voce is undoubtedly courageous. What a contrast to what one is accustomed to expecting
The Heart Worships. One feels the choice here is for the words. For her they have intense meaning, capturing an understanding with which she feels a great affinity. Again, the tune’s role is to carry the words. The words deliver a sensitivity with which she is in deep harmony.
E Pari Ra. Simplicity that says everything there is to say succinctly yet most beguilingly.
Sonny. What can I say but that I can imagine her at the piano. That is how I look forward to seeing her one day. The problem, however, is that to be effective she would need the microphone in front of her on top of the piano, her singing into it, rather than looking sideways to the audience. In a song like this, the audience needs to see her face and she needs to feel she is looking directly at her audience to convey the emotion in the song. As a stage presentation, I think this song needs a separate pianist with her perhaps singing to the pianist and audience, standing in that curve of the grand, perhaps holding the microphone, or resting her hand lightly upon the piano.
Summer Fly. On first listening I think this is a good place in the CD to make so great a contrast in tempo and mood. It is a song with which I am completely unfamiliar. Looking at the lyrics I have to say the pace and style of tune seem to contradict the lyrics. I perhaps need to hear this more to better appreciate this. I won’t yet call it the ‘Wuthering Heights’ of Treasure, but from Hayley’s point of view it gives her the opportunity to show her extensive range and that is key. We don’t just want people to be happy with this CD but to want to buy her next and for those coming new to Hayley, buy her back numbers too.
Melancholy Interlude. Interesting. There is no doubt that her singing matches Dowland’s tune superbly well. Recalling my own Shakespearian Open Air Theatre days and recent visit to Gawsworth Hall, this is redolent of Shakespeare’s time and might well be a music interlude from a strolling minstrel in one of his plays. A recapture of what she did for 'The Merchant' sound track. I wonder if there is a cross-fertilisation of ideas here.
Bist Du Bei Mir. Unfamiliar to me but in keeping with the balance of the whole.
Abide With Me. Can one ever beat Hayley singing a cappella? I wondered at the beginning if this is too slow, delectable though it is to hang upon her every breath. Then the accompaniment, in varying arrangements of depth and prominence leads in to an almost closing crescendo, proving the pace is right. In leaving the last notes to the solo voice I felt I had taken a journey through life.
At the beginning, the solo voice represents the vulnerable child. The building accompaniment represents our life of interactions with more and more people, first the gentleness of family and friends and then the larger, louder world. Then at the end, as we must all be, however well surrounded by those we love, if we are fortunate, we must make our exit as we made our entrance, entirely alone but for our God.
What’s my overall opinion? As yet, it is too early to say. This is a CD that needs playing again and again to fully absorb its range and the depth of emotion contained with in. For now, it is an extremely well balanced selection in the right sequence. It will be interesting to hear the Celtic version sequence—more on that elsewhere.
My favourite track? Difficult. I suspect my favourite track will not only vary over time but will depend upon my mood for this is a CD ‘for all seasons’. For now, I am continually replaying ‘Le Notte Del Silienzio’. Why? The development of the arrangement, the orchestral gathering of momentum but also the range of her voice which is mainly pitched where her voice gains depth, which means, as I think someone has noted elsewhere, a deeper sound than we are used to. Could her voice mature into Mezzo-Soprano? But now, as I write, it is playing and her voice has just soared into the upper registers. Let’s just say, she’s Hayley. What more does one want? This is a CD that will grow and grow upon listening, of which one will never tire. It is indeed a golden Treasure.
Peter S.
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Post by Ross on Apr 4, 2007 9:10:39 GMT
An excellent review and one agree with. I have been playing this album for a while now and I still can't get enough of it. My favourite song is still Let me Lie followed closely by Sonny and Summer Fly.
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Post by grant on Apr 4, 2007 12:45:35 GMT
Oh Peter!!
You've done it again - I was almost in tears before I got to the review of the first track. Only you could make opening a CD sound like the most romantic moment on earth. Of course, I agree with every word!
Seriously though, a great review and it looks like Hayley's going to have a lot of CD's to sign on Saturday!
Best wishes
Grant
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Post by Richard on Apr 4, 2007 14:08:20 GMT
Hello Peter! Many thanks for your wonderful review of 'Treasure'. There is actually a separate thread specifically for reviews, but rather than move it, I'll post a direct link to your review on that thread.  Best Wishes, Richard |
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Post by Stephany on Apr 4, 2007 14:15:14 GMT
Thank you Peter for this fabulous review. It is very personal and yet, I agree with most of it. Many thanks for sharing! Take care, Stephany |
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Post by postscript on Apr 4, 2007 14:19:51 GMT
Hello Peter! Many thanks for your wonderful review of 'Treasure'. There is actually a separate thread specifically for reviews, but rather than move it, I'll post a direct link to your review on that thread. Best Wishes, Richard Isn't that marvelous! The one time I am pedantic about separating threads (between 'Treasure' and 'Celtic Treasure') we have a combined thread for both subjects! Sorry. I've obviously been away too long! Peter S. |
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Post by postscript on Apr 4, 2007 14:33:02 GMT
Oh Peter!! You've done it again - I was almost in tears before I got to the review of the first track. Only you could make opening a CD sound like the most romantic moment on earth. Of course, I agree with every word! Seriously though, a great review and it looks like Hayley's going to have a lot of CD's to sign on Saturday! Best wishes Grant Thank you Grant. That's very kind of you. You cannot imagine the self-torture I endured at my own persistence in not listening to 'Treasure' until the moment was right. When I did, I was glad that I heard the CD in that way, treating it like a concert, just sitting there, hearing it through. As I started, I realised I wanted to capture my response, as I felt I had a different input to offer. So I started again after the third track and set down my thoughts and responses to what I think is undoubtedly her best CD yet.. When Roger first posted his response I posted at the time that I did not expect anyone else to follow, other than to repeat in a different format what he had covered so superbly well. I certainly included me in that, as I thought he had addressed the whole so well and there was nothing left to say. See you soon... VERY soon.. and of course, the lady herself, hopefully, Bless you Hayley and while I think of it, Happy Birthday Girl. I have a Kiwi card for a Kiwi girl. Love Peter S. PS: [What, but a Post Script would you expect from postscript?] I cannot possibly ask her to sign across her face, so the only space seems to be the window area. Hopefully, she'll have a black fine felt tip available--cue Management! We too need to be ready to save her time. Pre-opened, pre-folded back, CD case underneath for writing support! |
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Post by BenCMitchell on Jul 12, 2009 16:06:48 GMT
Hi to those reading
Wow - this is the first post on this board for over 2 years! - I wonder if anyone will reply...
I love this album, along with all the others (obviously!). What I really love about her is that she gets the inspiration for her songs from the most unlikeliest of places - Melancholy Interlude for example - not many singers would draw inspiration from a Renaissance Lute Piece in F minor!
This has also opened up a new variety of pieces for me to learn on the classical guitar - I am half way through learning Melancholy 'Galliard' (as it was originally called) and love playing along to her singing it!
Cheers all!
Ben
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Post by greatdane on Jul 12, 2009 21:47:05 GMT
Hi to those reading Wow - this is the first post on this board for over 2 years! - I wonder if anyone will reply... //I am half way through learning Melancholy 'Galliard' (as it was originally called) and love playing along to her singing it! Cheers all! Ben Hi Ben, Great CD(of course) i.postimg.cc/9fYxy370/smilie-big-grin.gif ...so do you have a any video of you playing along to Hayley singing?? --that would be very cool to watch. -Dane |
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Post by BenCMitchell on Jul 13, 2009 9:02:51 GMT
Hi Dane
We have revitalised this thread after 2 years!
Work on this piece is still in progress, but the original piece on Lute is about 3 times as long as the version that Hayley sings - I will have to rearrange it.
I am thinking about doing a few recordings of my pieces that I love and posting them on Youtube.
I also love playing along to Summer Fly on this album as well - anyone who can play guitar can strum along to this song - chords are G minor, C minor and D7 - capo at 3rd fret (for anyone who is interested!)
Thanks for the interest again Dane!
Cheers
Ben
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