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A new name in the Canadian Celtic scene rises above the horizon with Collette Cheverie’s new album Hours Before Dawn.
Colette , a native of Prince Edward Island, has been performing heavily with other Celtic music talents in that area for
several years. Hours Before Dawn showcases the slower ballads and the sweet, clear vocals associated with that style.
Her vocals are as smooth as Celtic Woman, and the simple arrangements allow the tone of Colette’s lone voice to really
shine through.
The songs rotate through many styles. She features darker tunes like “Edward of Morton,” a classic example of the suicidal
songs that crop up regularly in this genre. On the upbeat side there are songs like “Eppie Morrie,” which has an evocative rhythm
that mimics the pounding of captors escaping with their kidnapped girl. Anyone else notice the bleakness of a lot of Celtic ballads? On
the brighter side “Follow the Heron” and “Tiny Fish For Japan” have a delightful sweetness to the lyrics, vocals and instruments
– and shows off Colette’s upper range. The “Lone Shanakyle” is an acapella piece that really features her unusual vocal
embellishments that mimic s the turns common on whistle and bagpipes.
Most of the songs are covers of other popular songs that have appeared in the Celtic discography. She does have several
traditional songs on the album, ‘Sweet William’s Ghost,” “For Ireland I’d Not Tell Her Name” and “Eppie Morrie.”
The instrumental accompaniment is just as clear as the vocals. The arrangements tailor the instruments into a subtle support
of the vocals, occasionally showcased in breaks between the verses. The piano adds almost an unearthly tone to the traditional
“Kilkelly” that fits with the sorrowful lyrics, a series of letters from Ireland to an emigrant in America. The low whistle and
uilleann pipes appear on a number of tracks. Strings are not ignored, with violin, cello and upright bass winding under a number
of songs.
There isn’t much to detract from this album. The vocals, while beautiful, do get a little monotonous after listening to the
album a dozen times in a row, but certainly blend beautifully in rotation with other Celtic songs. She could stand to expand the
instrumental breaks or even put an instrumental song on her next album. It would be interesting to see what she could do if she
started a full-fledged band, rather than focusing on just her vocals. It could add richness to her recordings and career.
Enough speculation. The truth of the matter is that the last track on the album, “Farewell, Farewell,” is false advertising –
this album is not a farewell from Colette but likely the first in a long career from this young, skilled Canadian vocalist.
She’s good now, and probably will get better with time. This album would be quite at home in any ballad lover’s collection.
And Christmas is right around the corner, isn’t it?
Rating system:
 | Don’t waste your money on this. |
| Has some cool elements, not my cup of tea. |
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| Good middle of the road, will occasionally appear on my iPod. |
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| Wonderful album with something for almost everybody. |
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| Buy it. Trust us on this one. |
About the Author
Liz Patton is the founder of Celtic Music Nations, an avid Celtic musician and fan. She has played guitar and bass for over a decade, and occasionally dabbles in other
Celtic instruments like mandolin, bodhran, fiddle and tin whistle. She wrote and edited for the University of Texas at Arlington's student paper for two years.
She has an Associate's in Commercial Music from South Plains College, and a Bachelor's of Music from UT Arlington.
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