
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
