The Tannahill Weavers

The Tannahill Weavers: The Mermaid's Song


  • The Mermaid's Song
    • 1992 - Green Linnet GLCD 1121 CD
  • Track List:
    1. Greenwood Side/The Highland Laddie/Pattie
    2. Logie o' Buchan
    3. Elspeth Campbell/Kenny Gilles of Portnalong, Skye/Malcolm Johnstone/Thornton Jig
    4. The Cuillins of Rhum
    5. The Mermaid's Song/The Herra Boys/Captain Horn/The Fourth Floor
    6. Are Ye Sleeping Maggie/The Noose and the Ghillie
    7. A Bruxa/Las Mañeras Grandes
    8. Come Under My Plaidie
    9. Welcome Royal Cherlie/Campbell's Farewell to Redcastle
    10. Flashmarket Close/MacArthur/Colonel Fraser/The Swallow's Tale
    11. The Ass in the Graveyard

  • The Tannahill Weavers
    • Roy Gullane: Guitar, vocals
    • Phil Smillie: flute, whistles, bodhrán, vocals
    • Les Wilson: bouzouki, keyboards, vocals
    • John Martin: fiddle, viola, vocals
    • Kenny Forsyth: highland bagpipes, Scottish small pipes, whistles
  • Credits
    • Produced by the Tannahill Weavers.
    • Recorded at Pier House Studios, Edinburgh, Scotland, in 1992
    • Engineered by Peter Haigh
    • Mixed by Peter Haigh and Phil Smillie

Sleeve Notes

ORAN NA MAIGHDINN - MHARA, The Mermaid's Song, is a melancholy Gaelic song of lost love between a mermaid and a mortal youth. The mermaid laments, "It was with falsehood you beguiled me; sleep is restless when the sea is troublesome. Last night I was in Corrievrackan, tomorrow I'll be in Iona. Look out on the bottom of the ocean; a shimmering that no eye can see in the court of the king's castle."

Tales of mermaids, and of love between mermaid and mortal are common in the Scottish folklore tradition, though not all so tragic as that of the mermaid who fell in love with a young shepherd on an island off the west coast of Scotland. After a time the youth tired of his sea-maiden, and came no more to the rocky shore where they had so often met. Day after day, the mermaid waited for her faithless lover in vain. Eventually, her heart broken, she dashed herself to pieces against the entrance arch of a cave which she had loved to haunt in the days of her happiness. The arch, it is said, bears grim witness to the tragedy - the clear impression, in dull red, of the mermaid's form.

Special thanks go to : Jim Sutherland for the use of keyboards; Dave Gromley for the bodhráns; Herschel and Sarah Freeman; Ben David and wee Molly; Peter for his invaluable patience in the studio; Rosie Martin for her relaxed way, which is a tonic for us all; Maggie for all her sterling work on and off the road; Detlef and Florian at Bremer Konzertbüro.