Various artists: "Now And In Time To Be: A Musical Celebration Of The Works Of WB Yeats" Grapevine Gracd 219 Dial-a-track code: 1201
Let's give credit where credit is long overdue. When it comes to contemporary pop stars interpreting the poetry of William Butler Yeats, the first probably was Leonard Cohen who kicked off his 1972 Dublin gig by reading Under Ben Bulben. In the years that followed, the work of Ireland's greatest poet was also publicly performed by Kris Kristofferson and set to music by Joni Mitchell, neither of whom, sadly, appears on this album. Nor do Bono or the Hothouse Flowers who participated in the Abbey's Celebration Of Yeats in the early 1990s.
So, what have we got? A mix of previously-released material and new recordings, including the opening take on Under Ben Bulben which, apparently, was read by Richard Harris still in his pyjamas in his suite in the Savoy Hotel in London. Kind of adds a layer of irony to Yeats's line, "sing of peasantry", doesn't it? And if Harris himself doesn't epitomise the "indomitable lrishry" then who does? Wonderful stuff.
Indeed - although though this may seem like blasphemy - Harris's voice has the kind of gravitas lacking in the voice of the poet himself, who also is featured on this album, beading The Lake Isle Of Innisfree.
Christy Moore also aches his way through The Song of the Wandering Aengus. However, when Kurt Wallinger tries to sink into the sense of seasoned sexual longing at the centre of Politics, he fails because he adopts a kind of Beatles-esque vocal refrain on "ooo that girl".
Sinead Lohan fares much better on a deliciously under-stated reading of The Fish.
Though it could be argued that as, the music of Yeats is already built into each meticulously chosen syllable, The addition of a vocal or instrumental lines sometimes leads to rupture rather than rapture - as in Shane Mc Gowan thundering through An Irish Airman Foresees His Death. Nevertheless, overall the album is a treat for those of us who adore Yeats. But what next? A reversal of this concept? Seamus Heaney recites U2? Brendan Kennelly covers the Pogues? Paul Durcan reads Van Morrison? Why not?
Various artists: "The Number One Motown Album" Polygram TV 530764, two CDs Dial-a-track code 1311
Songpoetry of a different kind. Indeed, when asked to name his favourite poet Bob Dylan once cited Smokey Robinson. Listening to the purity of line in Robinson's Tears Of A Clown one can't help but agree with Dylan's assessment of the man. And it's not just the crystalline lyrics set to almost immaculate melodies, it's the poetry of longing in Smokey's voice, the echoes of his people. This same sense burns through Marvin Gaye's I Heard It Through The Grapevine, which has been described by rock critic David Marsh as the greatest single of all time. Decide for yourself.
There certainly are other contenders for that title in this collection, including Dancing In The Streets, My Guy, War, Reflections and What Becomes Of The Brokenhearted.
Curtis Mayfield: "New World Order" Warner Brothers 9362 46348. Dial-at-track code: 1421
Of course, apart from vague anti-Vietnam songs such as War and dubious anti-drug songs such as Cloud Nine, the Tamla Motown record label rarely confronted black politics head-on. That's still the case, with bands like Boyz II Men hardly highlighting the hell some young blacks have to travel through to reach maturity. Curtis Mayfield, on the other hand, way back in 1965, was recording tellingly titled songs such as Mighty, Mighty, Spade And Whitey. Plus glorious gospel songs such as People Get Ready, which crossed all cultural divides.
Thirty years later, he's still delivering the goods despite the fact that he was paralysed from the neck down in 1990, when a lighting rig fell on him during an outdoor concert, and told he might never sing again. I hate using, the word again, but "indomitable' does spring to mind. Particularly in the title track which is defined by the same sense of optimism that roars through most of Mayfield's work. Likewise, the song Back To Living Again has a title that is self-explanatory. A great album from a too often-neglected titan of pop.
