The first time I listened to Kate Rusby's album Hourglass, it took a while before I started paying attention to the words. Her voice is so startling in its gentleness and crystal-clear purity that it didn't seem to matter what she was singing.

Sometimes I prefer voices with a little edge to them, a touch of harshness which speaks of too many nights spent singing loudly for pints in a crowded, smoke-filled pub. But Rusby has none of that; she sings sweetly, softly and gorgeously, as if nothing but honey and cream ever roughened her throat. When I first put Hourglass in my stereo, it sounded like she was here in the room with me, singing only for me.

I like that.

It helps, too, that the tunes stand up to closer inspection. Listen hard to the words and execution, and you'll quickly realize that Rusby has more than a good voice going for her.

The album begins with an English ballad of dragons and knights, "Sir Eglamore," set to original Rusby music. The tune is light and airy and sets a good pace for the music to follow. The traditional "As I Roved Out" is an Irish song about sundered lovers, and it slows things down a bit. Another beautifully sung tale of star-crossed love is "Drowned Lovers," which (as you can surmise from the title) has an unhappy conclusion.

The album ends with the sea shanty "Bold Riley," a lovely song of parting which benefits from harmony vocals in the chorus by Battlefield Band singer Davy Steele. Alan Reid, also from the Battlefield Band, adds harmony vocals to another melancholy song about lovers parted, "Annan Waters."

"I am Stretched on Your Grave," an ancient Irish poem, has received excellent treatments from Sinead O'Connor and Dead Can Dance. Now Rusby's version, initially sung a cappella except for Donald Hay's stark percussion, has supplanted all others in my mind.

Rusby has surrounded herself with a fine bunch of guest musicians, many of whom are well-known performers in their own right. Besides Steele, Reid and Hay, musicians appearing on Hourglass are Ian Carr on guitar, Andy Cutting on diatronic accordion, Conrad Ivitsky on double bass, Alison Kinnaird on cello, John McCusker (who also produced the album) on fiddles, Michael McGoldrick on flute and whistles, Tony McManus on guitar and Eric Rigler on uillean pipes. Rusby also plays guitar and piano on some tracks.

Additional tracks, all of which match the high standards set by Rusby elsewhere on the album, include "Jolly Ploughboys," "Stananivy/Jack & Jill" (combining traditional elements with original melodies by Rusby and McCusker, and lyrics by Rusby), and the sway-inducing McCusker/John Miller song, "Radio Sweethearts."

Although most of the tunes on Hourglass are traditionals drawn from the rich musical history of the British Isles, Rusby has added her own touches as well. Besides her own musical compositions for "Sir Eglamore" and "I am Stretched on Your Grave," she has contributed two originals, "A Rose in April" (a sad, sweet song on the theme, again, of parted lovers) and "Old Man Time" (an introspective song about the time which seems to slip away more swiftly as Rusby's music career demands more of her attention), and has collaborated on a few others.

Appropriately, none of the other musucians exceeds their boundaries, keeping the accompaniment in the background and letting Rusby shine in the fore. And shine she does -- Hourglass should inspire listeners to seek out other albums featuring this very excellent singer.

[ by Tom Knapp ]

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