CD On Christmas Night [Cherish the Ladies] (CD 146761),
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On Christmas Night [Cherish the Ladies]


  • 1. On Christmas Night / Charles O'Conor
    2. Castle of Dromore, The
    3. Henry Roe McDermott / The Holly And The Berry
    4. Hark The Herald Angels Sing / The Traveler / Lilies In The Field / The Blacksmith's Reel
    5. The Distressed Soldier / Angels We Have Heard On High / The Fairy Reel
    6. Little Drummer Boy, The
    7. O Holy Night / Cill Chais
    8. Ding Dong Merrily On High / The Cordial Jig / Old Apples In Winter / Con Cassidy's
    9. Silent Night
    10. Oh Little Town Of Bethlehem / The Ballintore Fancy / The Kerry Reel / Limestone Rock
    Read More...
  • Additional Info
    Manufacturer Part Number (MPN): ROUCD 7061

  • Credits
    ProducerJoanie Madden
    EngineerKeith Chirgwin

    Cherish the Ladies: Donna Long (vocals, fiddle, piano); Joanie Madden (vocals, flute, alto flute, whistle, accordion); Heidi Talbot (vocals, bodhran); Mary Coogan (guitar, banjo, mandolin); Marie Reilly (fiddle, viola, concertina).
    Christmas music lends itself so well to Celtic instrumentation that it's virtually impossible not to get caught up in the spirit of the season. The Irish-American quintet Cherish the Ladies, originally conceived for a concert series by Mick Maloney for the Ethnic Folk Arts Center and the National Endowment for the Arts, tackles the crowded yuletide release onslaught with a warmth and elegance that should find the delightful On Christmas Night a popular holiday favorite for years to come. Standards like "Silent Night," "Little Drummer Boy," and "Oh Little Town of Bethlehem" are reverent and unpretentious, allowing lead singer Heidi Talbot's fluid tenor to soar, while regional classics like "Henry Roe McDermott/The Holly and the Berry" and "Ding Dong Merrily on High/The Cordal Jig/Old Apples in Winter/Con Cassi" showcase the group's exquisite musicianship. Holiday records, especially of the Celtic variety, have become a dime a dozen, but Cherish the Ladies, with their quiet passion for the material and refusal to paint the ten tracks with thick gobs of keyboard and studio trickery, have made an intoxicating jug of punch that merits repeated visits. ~ James Christopher Monger

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