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A’ ​​CHAILLEACH [n. fem. /É™ xaLʲəx/]

a wild woman archetype. A divine, wise, old crone known as the queen of the cold, the winter and the darkness; controlling the length and harshness of the seasons and storms. A complex female energy neither all-good nor all-bad, but portrayed as ugly and angry, and often taught to be feared. 


A’ Chailleach celebrates the poetry of the female bards. Women were too often exiled, buried face down or deemed witches for writing. This collection strays from the often told story of adoration, longing or grieving for a male figure; but instead celebrates the strength, desires, humour and intelligence of women, as well as their loving, nurturing and motherly traits. Drawn to some of the darker and more whimsical pieces, from personifying death to casting love charms, it seemed only right to add some magic throughout too. I welcome you to make yourselves at home in my witchy world.

I. ULC A DHÈAN MO LOCHD 
THE WICKED WHO WOULD HARM ME 

This incantation was collected from Isabella Chisholm, a traveller, who spoke Gaelic, English and the travellers’ language, the Cant. She was a woman rich in language, spells and runes.

​

Ulc a dhèan mo lochd 

Gun gabh e ’n galar gluc gloc,

Guirneanach, gioirneanach, guairneach,

Gaornanach, garnanach, gruam.

 

Gum bu chruaidhe e na chlach, 

Gum bu duibhe e na ’n gual, 

Gum bu luaithe e na ’n lach, 

Gum bu truime e na ’n luaidh.

 

Gum bu gointe, gointe, gèire, gairbhe, guiniche e

The wicked who would do me harm

May he take the throat disease,

Globularly, spirally, circularly,

Fluxy, pellety, horny-grim.

 

Be it harder than the stone, 

Be it blacker than the coal, 

Be it swifter than the duck, 

Be it heavier than the lead.

 

Be it fiercer, fiercer, sharper, harsher, more malignant

II. ÒRAN NA BÈISTE MAOILE  
THE SELKIE

These words are from ‘Òrain Luaidh Màiri nighean Alasdair’ (K. C. Craig 1949), a book of waulking songs collected from Màiri nighean Alasdair ’ac Dhòmhnaill ’ic Iain, of Snaoiseabhal, South Uist. Selkies or seal people are prominent in Scottish folklore, transforming from seal to human form by shedding their skin on land.

Tha an latha an-diugh gu fliuch fuaraidh. 

Tha sneachd le gaoith a tuath ann. 

 

Hill o ro ho hu o 

Hill o ro ho hu o 

 

Tha mo chasan a’ gabhail fuachd 

Chan urrainn mi dhan bhail’ uarach

Gu taigh mòr Nìll ’ac Ruairidh 

Taigh farsaing ’s ùrlar sguabte

Teine mòr air bheagan luathadh

’S mise chunnaic an-diugh an t-iongnadh

Air nighean donn a’ chuailein chraobhaich 

Chaidh i ’n tràigh a bhuain a’ mhaoraich

Shuidh i air clach ’s rinn i sraonadh

Thug i sùil air gach taobh dhith      

Chaidh i an riochd na bèiste maoile 

Sgoltadh nan tonn air gach taobh dhith. 

Cha chreid iad mi ’s mi nam aonar 

Nach robh agam tuilleadh dhaoine, 

Sgioba bàta, ràmh is taoman.

The day is chilly and wet.

There is snow with a northerly wind.

 

Hill o ro ho hu o 

Hill o ro ho hu o 

 

My feet are getting cold 

I can’t go to the upper village

To the big house of Neil son of Ruairidh 

A wide house with a swept floor 

A big fire with little ash. 

I saw a wonder today 

The girl with the flowing brown curls.

She went to the beach to harvest the shellfish 

She sat on a stone and slipped

She looked around her

She took the form of the hornless beast,

Splitting the waves on either side of her,

They won't believe me as I was alone 

If only I had more people, 

A boat crew, oars and a bailing dish.

III. EÒLAS GRÀDHAICH
LOVE CHARM

This is one of many love charms. I’ve added a proverb on love as a chorus. The bones to be exhumed are the ‘lucky bones’, all found in the feet.

Chan eòlas gràdhaich dhut 
Uisge thraghadh tro shop 
Ach gràdh na tè a thig riut
Le a blàths a tharsainn ort

​

’S ionann an galar gaoil

agus an galar cuthaich

 

Èirich moch Didòmhnaich

Gu leac chòmhnard chladaich 
Bheir leat currac sagairt, 
Agus pùball-beannach

 

Tog siud air do ghualainn 
Ann an sluasaid mhaide, o ho 
Faigh naoi gasa’ rainich
Air an gearradh le tuaigh.

 

Trì cnàmhan seann-duine, 
Air an tarraing à uaigh, 
Loisg iad air teine crìonaich, 
Is dèan gu lèir iad nan luath.

 

Crath am broilleach do leannain,
An aghaidh gath gaoth tuath,
’S thèid mis’ an rath, ’s am baran dhut, 
Nach falbh an tè sin uat

 

It is not love knowledge to thee 

To draw water through a reed,

But the love of her thou choosest, 

With her warmth to draw to thee.

 

Alike the complaint of love

and the complaint of madness

 

Rise early Sunday 

To the flat rock of the shore

Take with thee the priest’s cap (foxglove) 

And the pinnacled canopy (butterbur)

 

Lift them on thy shoulder

In a wooden shovel,

Get thee nine stems of ferns

Cut with an axe.

 

The three bones of an old man, 

That have been drawn from the grave, 

Burn them on a fire of sticks 

And make them all into ashes.

 

Shake it in the breast of thy lover, 

Against the sting of the north wind, 

And I will pledge, and warrant thee, 

That that woman will never leave thee.

IV. CRÒNAN
CROON

Màiri nighean Alasdair Ruaidh was forbidden to compose outside or in. She was often heard singing this croon on the threshold. A true icon in the Gaelic literary world. I heard these words from a recording of the renowned tradition-bearer, Marion Campbell of South Uist, mother of Kate MacDonald and grandmother of Rona Lightfoot

Hill iu o, hill iu o, hill iu o 

Bha uair a ghabhainn òran

Hill iu o, hill iu o, hill iu o 

Cha mhiosa ghabhainn crònan 

Hill iu o, hill iu o, hill iu o 

Bha uair a ghabhainn òran

Hill iu o, hill iu o, hill iu o 

Cha ghabh mi nist ach gnòdhan

 

An t-aran tur cha tugainn dhut

Hì mo lur, Fionnghala 

An t-aran tur cha tugainn dhut, hì horò

 

Hè mo lur, Fionnghala

Hì mo lur, ò mo lur 

Hè mo lur, Fionnghala

Hì horò

Hill iu o, hill iu o, hill iu o 

There was a time when I could sing a song

Hill iu o, hill iu o, hill iu o 

I could sing a croon just as well 

Hill iu o, hill iu o, hill iu o 

There was a time when I could sing a song

Hill iu o, hill iu o, hill iu o 

All I can do now is croak 

 

I would not give you dry bread

Hì my darling, Fionnghala

I would not give you dry bread, hì horò

 

Hè my darling, Fionnghala

Hì my darling, ò my darling 

Hè my darling, Fionnghala

Hì horò

V. LUCHD NA BEURLA
THE ENGLISH SPEAKERS

This was the first piece of poetry written by the great Màiri Mhòr nan Òran of the Isle of Skye. One of the most prolific land and language activists of the nineteenth century. She wrote this while serving time in prison for a crime she swore she did not commit. In another of her songs, Eilean a’ Cheò, she tells us that it was the anger and shame she felt for this injustice that brought her poetry to life. 

Tha mi sgìth de luchd na Beurla,

Tha mi sgìth dhiubh cheart da-rìribh;

’S ann leam fhèin gur fhada ’n cèilidh; 

Tha mi sgìth de luchd na Beurla

 

Chunnaic mise ann am bruadar, 

Saighdearan a’ tighinn mun cuairt domh, 

Caiptean Turner ’s dà mhnaoi-uasail, 

’S ghabh mi uabhas ’s rinn mi èirigh. 

 

Chuir iad mi air leacan fuara,

’S chuir iad bòrd fom cheann mar chluasaig, 

’S b’ fheumail cogais shaor dhomh ’n uair sin – 

Chùm i suas mi ’s rinn i m’ èideadh

 

Bu mhath dhòmhsa mar a thachair, 

Nach robh chogais ga mo thachdadh, 

Siud an nì a chùm an taic rium, 

Nuair a thachair dhomh bhith m’ èiginn

 

Tha ar dùthaich air a truailleadh,

Leis a’ ghràisg tha tighinn mu thuath oirnn;

Chan eil creutair bochd a ghluaiseas,

Nach tèid a chuaradh ’s a reubadh

 

Cha b’ e siud a bha mi faicinn,

Aig na daoine còir’ a chleachd mi, 

Ach bhith blàth ann an caidreamh,

’S a bhith cumail taic ri chèile

 

Tha iad a-nis air am fuadach,

Aig an nàimhdean thar nan cuantan, 

Chan eil geum aig mart air buaile, 

’S chan eil buachaille nan dèidh ann

 

Gum b’ iad siud na daoine còire,

’S ann nam measg a gheibht’ a’ chòisir, 

Far am b’ àbhaist daibh bhith còmhnaidh, 

’S ann tha ròidean aig na fèidh ann

 

Far an robh mòran dhaoine,

’S ann a tha e ’n-diugh fo chaoraich, 

Cìobair am mullach gach maoile,

Coin san aonach ’s iad ag èigheach

I am tired of the English speakers,

I truly am tired of them;

On my own the time is long; 

I am tired of the English speakers

 

I saw in a dream,

Soldiers closing in around me,

Captain Turner and two noblewomen,

I got a fright and I rose

 

They set me on cold slabs,

And they put a board under my head as a pillow,

A free conscience was useful to me then – 

She held me up and she clothed me

 

It was as well for me with what happened,

That my conscience wasn't choking me,

That was what kept me going

when I was in need

 

Our country is polluted,

With the rabble that is coming north upon us;

There is not a poor creature that moves,

That will not be tormented and torn

 

That was not what I saw,

In the good people I have known,

But to be warm in embrace

And to support one another

 

They have now been exiled

By their enemies across the seas, 

There is no bellow from a cow in the fold,

And there is no herdsman after them

 

They were the kindest of people,

The best company was found amongst them,

Where they used to reside,

The deer now have paths

 

Where there were many people,

Today is full of sheep, 

A shepherd on the top of every hill,

Dogs on the moor, barking

VI. CLÒ NAN GILLEAN
THE LADS' TWEED

These words too are from ‘Òrain Luaidh Màiri nighean Alasdair’. It is believed that the cloth is a euphemism.

Clò nan gillean, 

Iomair e hò

Clò nan gillean, 

Iomair chuimir i iomair e hò 

 

Cha chualas riamh ceòl bu bhinne:

Bualadh ràmh, iorram ghillean

Bùirean nan tarbh air taobh glinne 

Bha an tarbh mòr ann ’s an tarbh druimfhionn 

Bha tarbh MhicLeòid ann, tarbh MhicShimidh

Chuir MacDhòmhnaill coin gan sireadh 

Bha an tarbh mòr ann, ’s tarbh MhicShimidh

Cha chualas riamh ceòl bu bhinne:

Bualadh ràmh, iorram ghillean.

The lads’ tweed

Row, e hò 

The lads’ tweed

Row, keep her steady, row, e hò

 

Never was sweeter music heard 

As the striking of oars, a young men’s rowing song

The roar of the bulls on the slopes of a glen

The big bull was there and the white-backed bull 

MacLeod’s bull was there and Jamieson’s bull

MacDonald sent dogs to search for them 

The big bull was there and Jamieson’s bull

Never was sweeter music heard 

As the striking of oars, a young men’s rowing song.

VII. HÒRO BHODACHAIN
HORO, WEE OLD MAN

Mo thaing do Christine Primrose airson an òrain seo.

Nuair a thig mo bhodach-sa dhachaigh,

Hòro, bhodachain, hòrò.

Their e, “Gu dè tha thu farraid?”

Ò a-bhò a-bhò, a bhòbhan, hù bhi  

Hòro, bhodachain, hòrò

 

“Thoir a-nall an cuman brochain”

“’S am bonnach mòr san robh am peice” 

“Cà bheil ugh na circe mìne?”

“’S trì uighean na circe maoile?”

 

(Fhreagair i)

 

“Chan eil ’ad ann, dh’ith mi fhìn ’ad”

B’ fheàrr leam gun robh bodaich an domhain    

Air an tràigh ’s an làn gan togail   

’S truagh nach robh bodaich an t-saoghail

’N taobh a-muigh de Shruth na Maoile 

gun eathar, gun ràmh, gun taoman

’S mo bhodach-sa bhith na aonar

’S mi gun dannsadh anns a’ mhadainn

Dhannsainn, dh’èighinn, leumainn, shadainn

When my old man comes home,

Horo, wee old man, horo.

He will say, “What are you asking about?”

O a-bhò a-bhò, a bhòbhan, hù bhi  

Hòro, wee old man, hòrò

 

“Give me over that dish of porridge”

“And the big bannock with a peck of meal”

“Where’s the egg of the smooth hen?”

“And the three eggs of the combless hen?”

 

(She replies)

 

“They’ve gone, I ate them myself”

I wish all the men in the universe

Were on the shore being lifted by the tide

I wish all the men in the world

Were on the far side of the Straits of Moyle

With no boat, oar, or bailing dish

And my old man all alone

How I’d dance in the morning

I’d dance, shout, jump and throw

VIII. CEUS-CHRANN NAM BUADH
PASSION FLOWER OF VIRTUES

Plants were commonly used for both curses and cures in the occult science of the Gaels. Here, the prized plant is believed to hold strong protection powers.

Nì bheil tùr, ò ho ro ho rò 

Nì bheil tìr, ò ho ro ho rò 

Tùr no tìr, ò ho ro ho rò 

A Cheus-chrann nam Buadh, ò ho ro ho rò 

 

Nì bheil cith, no cuan 

​

Nì bheil lod no lì 

 

Nì bheil frìth no fruan 

 

Nì bheil speur, no bruadar 

 

Nach eil dhòmhsa rèidh

Le còmhnadh ceus nam buadh

 

Gur leam an ciall, ’s an còdhail

There is no earth, oh ho ro ho ro 

There is no land, oh ho ro ho ro 

No earth, no land, oh ho ro ho ro 

Oh, Passion flower of Virtues, oh ho ro ho ro 

 

There is no lake, no ocean 

​

There is no pool, no water 

 

There is no deer forest, no steep hill 

 

There is no sky, no dream 

 

That is not to me full safe

By the protection of the flower of virtues 

 

That mine be their wisdom and their counsel

IX. CÒMHRADH RIS A' BHÀS
CONVERSATION WITH DEATH

This is a fragment of the poem written by Sìleas na Ceapaich (circa 1660-1729), where Sìleas pleads with death not to take her during a long-term illness she suffered.

Ochòin, a-nochd mar a thà,
’S am Bàs air teachd orm gun fhios;
Labhair e gu calma cruaidh:
’S èiginn uair a dhèanamh ris.

 

Fhreagair mise gu bochd truagh:

“Gu dè ghruaim a chuir mi ort, 

Nuair thàinig thu cho coimheach garg,

’S nach do ghormaich snàithn’ dhe m’ fhalt?”

 

Hì hoireann ò, ho rò, an t-eagal 

Hì hoireann ò, ho rò, an t-eagal 

 

“Cha b’ e sin a b’ fhasan domh fhèin, 

Feitheamh ris gach tè bhith liath;

Gabhaidh mi an sean ’s an t-òg —

’S math mo chòir air luchd nan srian.”

 

“Chan eil mo chuideachd ach maoth;

’S còir bhith coibhneil ris a’ chloinn

Gus an àraichear an t-òg,

’S a’ chuid as mò dhiubh chur an grèim.”

 

Bhuail e buille mhòr sa’ taobh orm;

Cha d’ fhoghain a h-aon no dhà leis, 

Gus an tug e orm bhith glaodhaich,

’S bu bheart fhaoin domh buntainn dha

 

“Cha toir Mise tuilleadh pèine

Don chreutair bhochd mhì-thaingeil, 

Feuch an tig i orm nas ùmhlaidh’,

’S an cuir i cùl ris an àrdan.”

Alas, the state of things tonight, 

Death having come upon me unawares; 

strong and harsh he spoke:

an appointment must be made with him.

 

I answered weakly and piteously:

“What sorrow have I caused you, 

that you have come here so fierce and cruel, 

though not a hair of my head has turned grey?”

 

Hì hoireann ò, ho rò, the fear

Hì hoireann ò, ho rò, the fear

 

“That has not been my own custom, 

To wait for everyone to go grey;

I take young and old, 

I have a good claim on those streaked with grey.”

 

“My family are still young; 

The children ought to be treated kindly 

until the young ones are reared 

and most of them have been put in charge of affairs.”

 

He gave me a heavy blow in the side, 

and one or two were not enough for him, 

till finally he made me scream, 

and it was a vain task for me to strike him.

 

“I will give no more pain 

to this poor ungrateful creature, 

to see if she becomes more humble for me, 

and if she turns away from pride.”

Written by Kim Carnie and Innes White

Produced by Innes White 

 

Kim Carnie - vocals

Innes White - guitars (tracks 2-8), synths (track 1) vocals (tracks 2, 3, 5-8) 

Megan Henderson - fiddle (tracks 3-8), vocals (tracks 2, 3, 5-8) 

John Lowrie - piano and keys (tracks 2-8), vocals (track 2) 

James Lindsay - double bass (tracks 2-8), vocals (track 2) 

Mark Scobbie - percussion (tracks 2-8)

Ailis Sutherland - vocals (tracks 3, 7)

 

Seckou Keita - kora & vocals (track 2)  
Julie Fowlis - vocals (track 4) 

Jerry Douglas - dobro (track 6)

Donald Shaw - piano (track 9)

 

Engineered and mixed by Iain Hutchison at GloWorm Recording 

Mastered by Peter Beckmann at TechnologyWorks Mastering 

 

Song melodies by Kim Carnie (tracks 1-4, 6, 8, 9 )
Additional lyrics by Kim Carnie (tracks 2, 3, 8, 9) 

Additional writing by Seckou Keita (track 2)

Piano arrangement by Donald Shaw (track 9)

​

Photography and design by Elly Lucas 

Makeup and hair by Kate Elliot-Muir 

 

Additional recording -

Julie Fowlis and Jerry Douglas recorded at their homes. 

Seckou Keita recorded at Goumel Studio Ziguinchor, Sénégal by Moussa Ngom

© Kim Carnie 2025

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