Loreena McKennitt – The Mask And Mirror (1994)

FrontCover1The Mask and Mirror is an album by Loreena McKennitt. Released in 1994, the album has been certified Gold in the United States.


Like most of Loreena McKennitt’s albums, The Mask and Mirror is heavily influenced by her travels. Her experiences in Spain and Morocco, specifically, serve as the inspiration for this album.

As her introduction to the album, McKennitt wrote:

I looked back and forth through the window of 15th century Spain, through the hues of Judaism, Islam, and Christianity, and was drawn into a fascinating world: history, religion, cross-cultural fertilization….For some medieval minds the mirror was the door through which the soul frees itself by passing…. for others the pursuit of personal refinement was likened to polishing the mirror of the soul. From the more familiar turf of the west coast of Ireland, through the troubadours of France, crossing over the Pyrenees, and then to the west through Galicia, down through Andalusia and past Gibraltar to Morocco….the Crusades, the pilgrimage to Santiago, Cathars, the Knights Templar, the Sufis from Egypt, One Thousand and One Nights in Arabia, the Celtic imagery of trees, the Gnostic Gospels…who was God? and what is religion, what spirituality? What was revealed and what was concealed…and what was the mask and what the mirror?

Accompanying all the selections, as the liner remarks, are some of the entries in a traveler’s log that McKennitt kept all throughout her journey.

The album’s cover uses a collage made from the medieval The Hunt of the Unicorn tapestries.

Loreena McKennitt
Photo by Donna Griffith

Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt’s composing and songwriting abilities lacking of any luster (as they most certainly are not), her voice would still possess the strength to hold her fifth album, The Mask and Mirror, up on its own. But the combination of this talented woman’s vocal prowess and songwriting ability makes her all the more similar to her work — ethereal and almost unbelievable in its level of quality. A mythical menagerie, The Mask and Mirror contains songs that lift the veil to reveal the soul of McKennitt’s work in eight dreamlike, Celtic-inspired tracks.

The opening track, “The Mystic’s Dream” (featured on the TNT movie The Mists of Avalon, based on the novel by Marion Zimmer Bradley), is a haunting tune that features McKennitt at her most heavenly peak as a vocalist, evoking the spirits of the instruments and Gregorian chant-like background vocals that accompany her on the track. The album excels at conjuring up mythical visions in the listener’s imagination, as with the gypsy-like tune “Marrakesh Night Market,” which echos of the picturesque scene the title invokes. The soul-searching “Full Circle” best exhibits McKennitt’s ability to transpose the true meaning of the lyrics into her songs.


Even after the song ends, the somber mood lingers softly in the air. The balalaika (a three-stringed triangular-shaped instrument), the bouzouki (an eight-stringed instrument), and the hurdy-gurdy (a stringed instrument that also has keyboard and percussion parts) are among the rare, strange instruments introduced on many of the songs, including the lighthearted, uplifting “Ce He Mise Le Ulaingt? (The Two Trees),” on which these instruments demonstrate their incredible quality and prowess. The lyrics of this track are none other than the words of the poem of the same name by William Butler Yeats. McKennitt’s unique use of the lyrical words of William Shakespeare, combined with her skillful adaptation of the words to the heavenly, undulating music, make the final track, “Prospero’s Speech,” an inspiration in itself. (by Kerry L. Smith


Anne Bourne (cello, background vocals)
Al Cross (drums)
Nigel Eaton (hurdy gurdy)
Ofra Harnoy (cello)
Brian Hughes (guitar, oud, balalaika, sitar)
Patrick Hutchinson (Bagpipes, pipe)
George Koller (bass, tambura, cello, esraj, tambura)
Rick Lazar (drums, percussion, udu)
Donal Lunny  (bouzouki, bodhrán)
Hugh Marsh (fiddle)
Loreena McKennitt (vocals, keyboards, goblet drums, accordion, piano,pipe)
Ravi Naimpally (tabla)
Abraham Tawfik (oud)
background vocals:
Victoria Scholars Choir conducted by Jerzy Cichocki
strings (on 07.2.)
Adele Armin – Andy Benac – David Hetherington – David Miller –  Douglas Perry –  Fujico Imajishi – Heinz Boshart – Kent Teeple – Mark Sabat – Marie Berard – Morry Kernerman – Sharon Prater – Susan Lipchak – Sylvia Lange


01. The Mystic’s Dream (McKennitt) 7.43
02. The Bonny Swans (Traditional) 7.21
03. The Dark Night Of The Soul (Traditional/St. John Of The Cross) 6.44
04. Marrakesh Night Market (McKennitt) 5.30
05. Full Circle (McKennitt) 5.57
06. Santiago (Traditional) 5.59
07. 1. Cé Hé Mise Le Ulaingt? (“Who Am I To Bear It”) (Hutchinson) 1.31
07.2. The Two Trees (Traditional/Yeats) 7.35
08. Prospero’s Speech (Traditional/Shakespeare) 3.23


Inlet02ACommunication … before we had the internet


Vangelis – El Greco (A Tribute To El Greco) (1995 – 1998)

frontcover1El Greco is a 1998 classical album by Greek electronic composer and artist Vangelis (born March 29, 1943). The title is a reference to the man who inspired the composition, Dominikos Theotokópoulos (known as El Greco, “The Greek”; 1541–1614), the painter and sculptor of the Spanish Renaissance. It consists of ten long movements performed on electronic instruments.

This album is an expansion of an earlier album by Vangelis, Foros Timis Ston Greco. That album had been released in 1995, in a limited edition. For this general release, the track order was rearranged, three new tracks were added, and the album title was changed.

Vangelis composed and arranged the album, and performed all the instruments, accompanied by a choir conducted by Ivan Cassar. The music is in a Byzantine style yet sounding contemporary due to his use of synthesizers. Soprano Montserrat Caballé and tenor Konstantinos Paliatsaras make guest appearances on one movement each.

The album reached #66 in France and #74 in Germany. At the Billboard New Age Albums chart peaked at #9 position.

The image on the album is “The Knight with His Hand on His Breast” by El Greco.

(Not to be confused with El Greco Original Motion Picture Soundtrack, a 2007 album also by Vangelis)

This 1998 album expands the original ‘Tribute To El Greco’ (released semi-privately in Athens in 1995) to a full-length CD by adding three tracks (Movements III, V and VII) to the original ones, which have not been tampered with for this international release, only reordered slightly. The lavishly packaged 1995 release was limited to 3000 signed copies and officially obtainable only through the National Gallery museum in Athens which used the money thus generated to help acquire an El Greco painting (called ‘Saint Peter’) for its collection, although various copies have been bought by determined fans through different channels. I’ve always found the reasoning behind this restricted release a bit suspect – if you really want to generate a sizeable sum of money then why not create a great album and make it an international (or certainly internationally obtainable) release, perhaps upping the price a bit to account for its charity purpose. Anyway, a great album it was so this re-release has been much welcomed by fans unable to get hold of the original. The project shows Vangelis at his most inspired by the almost exclusively religious paintings from Domenikos Theotokopoulos (to give El Greco his full name) and his general artistic outlook. This becomes apparent from a rare personal note by Vangelis in the booklet, which is basically the mystic statement that, in order to be a truly creative artist, one must be true to one’s own nature and thus to Cosmic nature in general, as they are identical. The music’s flavour is very Byzantine, using Greek orthodox harmonies, church-bells, choir-sounds and more. It’s got a faint religious touch and is both austere and rich at the same time – austere because of the generally sparse orchestration, rich because of its deeply felt emotions. One of Vangelis’ main musical strengths, which is the use of rubato (the slight quickening up or slowing down of the tempo of the music to create those subtle effects), is very much in evidence throughout. Two singers from the classical world also make a contribution – a great aria by Spanish soprano Montserrat Caballe accompanied on piano and on another track tenor Konstantinos Paliatsaras. The album’s promotion (what little there has been) occurred mainly through classical channels and although it’s hard to think of a classical composer creating music equivalent in nature to ‘El Greco’ still anyone who likes classical music (for instance Wagner – similar use of rubato, or perhaps Eastern European religious music) will in all probability like this music as well. (by .vangelismovements.com)


Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; 1541 – 7 April 1614), most widely known as El Greco (pronounced: [el ˈgɾeko]; Spanish for “The Greek”), was a painter, sculptor and architect of the Spanish Renaissance. The nickname “El Greco” refers both to his Greek origin and Spanish citizenship. The artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, “Cretan”).

view-of-toledoView of Toledo (c. 1596–1600, oil on canvas, 47.75 × 42.75 cm, Metropolitan Museum of Art, New York) is one of the two surviving landscapes of Toledo painted by El Greco.

El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.

El Greco’s dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting (by wikipedia)


Vangelis (synthesizer)
Montserrat Caballé (soprano)
Konstantinos Paliatsaras (tenor)
Choir conducted by Ivan Cassar


01. Movement I (Movement I) 10.04
02. Movement II (Movement II) 5.18
03. Movement III (new) 6.48
04. Movement IV (Movement III) 6.21
05. Movement V (new) 4.30
06. Movement VI (Movement V) 7. 52
07. Movement VII (new) – 3:18
08. Movement VIII (Movement IV) 9.43
09. Movement IX (Movement VI) 12.00
10. Movement X (Epilogue) (Movement VII) 6.21

In parenthesis, correspondence to the track listing of Foros Timis Ston Greco.




The Vision of Saint John
(El Greco (Domenikos Theotokopoulos) (1541–1614)

Stephen Edmundson – Silver Apples Of The Moon (1992)

FrontCover1Stephen Edmundson is an US new age musician and this is his debut album … Recorded at the Bear Creek Recording Studio, Los Gato, California in 1989.

Stephen Edmundson plays the Hammered Dulcimer, a rare instrument, that has been experiencing a revival lately, especially in Celtic music. His main focus is the music of Ireland, Scotland, England, Wales and Brittany.
Filling out the repertoire are select pieces from the Renaissance and Classical periods. The brilliant, ringing tone of the Hammered Dulcimer is completed by the soft and relaxing sounds of the whistle and flute.

Two kind of harp are used on this recording: one is the wire-strung harp, the other is the more common nylon-strung harp.
The hammered dulcimer is a many-stringed, trapezoidal shaped
instrument, played with small wooden mallets.

Are real fine new age album, very gentle and soft … and you´ll hear tradtionals from all over the world …

Stephen Edmundson lives today in Göttingen (Germany) and is still active with guitar player Tomasz Gaworek.


Hannah Beckham (violoncello)
Stephen Edmundson (harp, dulcimer, flute, voice, whistle)
Todd Hicks (guitar)
Jeb Hogan (guitar)


01. Fanny Poer 3.21
02. Winter Has Come 2.30
03. Jenny Plucked The Pear 1.17
04.An Hani a Garan 2.13
05. Molly MacAlpin 4.05
06. Lark on the Strand 1.40
07. The Kid On The Mountain 1.59
08. Gaelic Waltz 3.14
09. White Hart 1.41
10. Greensleeves 1.19
11. La Guabina 2.12
12. Voices Of The Rain Forest 3.31
13. Bird Of Paradise 0.54
14. Bailecito 2.32
15. Enchanted Valley 4.16
16. Lyenda 4.07
17. Charm Danse 3.30
18. Yedid Nefesh 3.56

All songs are Traditionals





Hevia – Tierra De Nade – No Man´s Land (1999)

FrontCover1.jpgJosé Ángel Hevia Velasco, known professionally as Hevia (born October 11, 1967 in Villaviciosa, Asturias), is a Spaniard bagpiper – specifically, an Asturian gaita player. He commonly performs with his sister, Maria José, on drums. In 1992 he was awarded first prize for solo bagpipes at the Festival Interceltique de Lorient, Brittany.

Possibly his most recognisable composition is the 1998 piece Busindre Reel, from his first album Tierra de Nadie. Hevia is known for helping invent a special brand of MIDI electronic bagpipes, which he is often seen playing live. The instrument was developed with Alberto Arias (pupil and computer programmer) and the electronic technician Miguel Dopico.

Two of Hevia’s tracks, La Línea Trazada and El Garrotin (single release), appeared on the cross-platform video game Vigilante 8: 2nd Offense. His music also features in Walt Disney World at Epcot, just before the nightly IllumiNations: Reflections of Earth fireworks show.

Hevia first came into contact with the bagpipes when he was four years old during a procession in Amandi when he was with his grandfather. It was there that the image of a man and his bagpipes had an impact on the very young Jose Angel. The unity between the pipe player, his music and the instrument seemed magical to him.

Booklet04AHevia then began bagpipe classes. Three times a week, after school, he took the bus to Gijon. Armando Fernández taught him in the traditional style and then accompanied him back to the bus. He arrived home at 12 o’clock at night and the following day practiced what he had learned in class so he hardly had time for other leisure activities. (by wikipedia)

And this is his debut album from 1999:

Though the cornerstone of Uilleann piping may be found in the British Isles’ colorful Celtic culture, the commonly termed bagpipes have ventured far and wide, making themselves quite comfortable not only in traditional and contemporized Celtic musics, Scottish weddings, and wakes, but in indie-rock, inspirational, world, and New Age styles. An example of the latter is that of José Angel Hevia Velasco and his release Tierra de Nadie. As a young boy coming of age in Spain, Hevia forsook competitive cycling for piping, studying the Asturian bagpipe with a master. Having played often and well since his boyhood studies, Hevia here takes up the electronic bagpipes as well as the low whistle, forging a highly polished and reflective blend with his band, which includes bouzouki, bodhran, violin, electric guitar, and electronic programming. Not for purists, Hevia’s beat-driven concoction will prove tasty to adventurous dance, New Age, and international music enthusiasts. (Paige La Grone)


Mari Luz Cristobal Caunedo (vocals)
Cristian Constantini (drums)
Tao Gutierrez (didgeridoo, percussion)
Jose Angel Hevia (bagpipes, tin whistle, tambourine)
Juan Carlos Mendoza (bass)
Javier Monforte (guitar)
Marco Rasa (keyboards)
Villaviciosa Pipe Band (bagpipes, percussion)


01. Busindre Reel (Hevia) 4.37
02. Naves (Traditional) 4.38
03. Si La Nieve (Traditional) 5.00
04. Gaviotes (Hevia) 3.41
05. El Garrotin (Traditional) 4.36
06. El Ramu (Traditional) 3.01
07. La Linea Trazada (Traditional) 3.30
08. Llaciana (Traditional) 3.26
09. Sobrepena (Prada) 4.23
10. Barganaz (Traditional) 3.32
11. Añada/Corri Corri (Traditional) 9.05




Hevia today … 2015



Eddie Hardin – Survival (1988)

FrontCover1Eddie Hardin (19 February 1949 – 22 July 2015) was not only the keyboard player for The Spencer Davis Group and Hardin & York, but he was a musician, who recorded many (more or less unsuccessful( solo albums.

This is one of his finest solo albums he ever recorded.

This album was a part of the “Landscape Series”, the “new age” label from  Coda Records:

The Coda record label was a subsidiary of the successful English independent record label Beggars Banquet from 1986 to 1992. Nick Austin, one of the company’s directors until 1992, suggested the idea after returning from America and being excited by an emerging new music genre called “New Age”. Coda served as an early UK outlet for the New Age genre.(by http://www.discogs.com)

Call this music new age or call it good music … These Eddie Hardin melodies are so peaceful, calm and quiet …

Most of the tracks (but not all !) were played by Eddie Hardin on the piano …

“We have become survivors in a world that´s sometimes lost its charms and I feel the titel “Survivors” apt for us all” (Eddie Hardin)


Eddie Hardin (keyboards)


01. Innocent Victims 3.59
02. Lost Chilhood 4.57
03. Seeds Of Suspicion 3.54
04. Schools Of Thought 4.19
05. Perfect Survivor 4.45
06. Lessons To Learn 4.00
07. Where Do We Go From Here 4.20
08. A Slice Of Paradise 3.39
09. Never Again 3.53
10. Rules We Can’t Ignore 4.26

Music composed by Eddie Hardin







Ron Clearfield – Dream Manifestation (1998)

FrontCover1Classically trained cellist Ron Clearfield has branched into a diverse range of musical styles. In addition to working with such classical music icons as Leonard Bernstein, Aaron Copeland, and Seiji Ozawa, Clearfield has accompanied such pop artists as George Benson, Linda Ronstadt, and Dionne Warwick. He was a featured solo cellist on Judy Collins’ Christmas Special for the A&E network. On his own recordings, Dream Manifestation and Time on Earth, Clearfield skillfully blends the classical tradition with world music and jazz influences to create a highly atmospheric sound. The grandson of a pianist and teacher, who emigrated to the United States from Russia, and the son of a clarinet player, Clearfield studied violin from the age of ten. He switched to cello shortly afterwards. Receiving a Masters degree in cello performance from the New England Conservatory of Music, he made his professional debut with the Indianapolis Symphony, the same group that his father had launched his career with more than two decades before. Clearfield remained with the Indianapolis Symphony only briefly before he left to seek work as a freelance cellist in Philadelphia, Houston, New York, and Miami. Building a studio in his home, he recorded three self-produced albums before signing with the EverSound label in 1998. His debut album, Dream Manifestation, was released a few months later. For the past three decades, Clearfield has meditated regularly, using techniques that he learned from Guru Maharaji. He currently serves as associate principal cellist of the Asheville Symphony in Asheville, North Carolina and conducts the Asheville City/Buncombe County Schools Orchestra.(by Craig Harris)

RonClearfield01This accomplished cellist plays with The Florida Symphony Orchestra, and on this second effort, combines his sterling classical background with beautiful keyboard arrangements. The mixture of strings, pianos and light electronic orchestration will make for perfect in-store listening. The second album by this symphony cellist from Florida is a celebration of the beauty of the planet and of humanity’s aspirations for peace and harmony. Playing piano and synthesizers as well as cello, Ron Clearfield is joined by other musicians on reeds, flute, harp and percussion to create gentle and uplifting melodies that combine the elegance of classical music with the warmth and expansiveness of New Age. The crown jewel of the album is the nine-minute “Listen…the Earth is Weeping,” where a section of Indian flavored cello, tabla and tamboura is seamlessly inserted into the symphonic structure of the piece. Dream Manifestation is an engaging work of tenderness and beauty that both relaxes and inspires the listener.(allmusic)

From the cover photo of Ron Clearfield playing his cello against a painted backdrop of mountains, clouds, and floating red leaves, I expected Dream Manifestation to be a cello album. It is instead a powerful ensemble work. Clearfield plays piano and keyboards as well as cello, tamboura, and percussion, and is joined by other musicians on oboe, English and French horns, flutes, zither, strings, harp, and guitar.
With a theme of unity, peace, and the healing of Earth and its inhabitants, the music is very emotional and dramatic. I am especially impressed with “Listen… The Earth Is Weeping” – a tour de force with orchestration, keyboards, and percussion. Strong Eastern RonClearfield02influences are heard, but there is a very universal quality that is so fitting and appropriate to the theme. At 9 1/2 minutes, this piece is fully realized and is mesmerizing from start to finish – I can’t get enough of “Listen…”, and would recommend the CD based on that track even if the rest of the CD wasn’t fascinating. But it is! It opens with “Home”, a study in peaceful tranquility with flute, cello, and harp. “Soliloquy” is a lovely, serene “duet” with cello and synth. “Farewell”, composed in honor of Clearfield’s father, is haunting – simple, direct, and from the heart. “The Return and Dance of Gaia” is much more upbeat and rhythmic. There are Eastern influences in this piece, too, giving it a very warm and exotic feel. “Dream Manifestation” is cinematic in its sweep and grandeur. A bittersweet, questioning mood on piano builds to a dramatic climax and becomes delicate and gentle as the cello assumes the lead. “The Marriage of Heaven and Earth” is almost anthemic with several movements, and gives the closing a very peaceful message of peace and optimism. This is a very moving and powerful work, and I highly recommend it. (by Kathy Parsons)

In other words: One o the finest new age recordings I´ve ever heard !


Tim Adams (percussion)
Ron Clearfield  (cello, keyboards, percussion, tamboura)
Mary Byrd Daniels (violin)
John Dee (english horn, oboe)
Danny Ellis (keyboards)
Jomo Faulks (percussion)
Jeff Johnson (guitar)
Jennifer Hart Merrell (french horn)
Tim Richards  (tabla)
Jeanne Tarrant (flute)
George Tortorelli (bamboo flute, zither)


01. Home 5.55
02. Soliloquy 3.44
03. Farewell 5.33
04. The Return And Dance Of Gaia 5.38
05. Dream Manifestation 6.41
06. Listen…the Earth Is Weeping 9.27
07. The Marriage Of Heaven And Earth 7.08

Music composed by Ron Clearfield



Andreas Vollenweider – Behind the Gardens-Behind the Wall-Under the Tree (1982)

FrontCover1Behind the Gardens is a studio album by New Age artist Andreas Vollenweider, released in 1981. It is almost entirely instrumental, and centers on Vollenweider on harp.

While not literally Vollenweider’s first album, Behind the Gardens is widely regarded as such because it was his breakthrough album, gaining him wide recognition. The earlier and more obscure Eine Art Suite in XIII Teilen (A sort of Suite in 13 Parts), 1979, remains available chiefly online, while Behind the Gardens can still be readily found in music stores worldwide.

The contemplative and moving second track, “Pyramid,” is a favorite of fans and has become a concert staple, always garnering applause when the first harp notes are played.

Vollenweider01While the album originally stood on its own, in 1990 it and the two following albums (Caverna Magica and White Winds) were re-released as a two-CD set entitled “Trilogy,” suggesting they collectively constituted a single musical entity.

The full titles of the first two albums lend credence to the suggestion that the three albums are thematically connected. The full title of the first album is “Behind the Gardens-Behind the Wall-Under the Tree…” The ellipsis at the end suggests a continuation. The full title of the next album is “Caverna Magica (…Under the Tree – In the Cave…)” The first ellipsis, followed by the repetition of “Under the Tree” from the first album title, clearly indicates a continuation. The second ellipsis suggests another continuation, which would turn out to be “White Winds (Seeker’s Journey).” The last track on the White Winds album is entitled “Trilogy (At The White Magic Gardens) & The White Winds”.

The title of the first album “is like giving someone directions: “You will find us behind The Garden, behind The Wall, under The Tree…”, Vollenweider is quoted as saying on his official web site.

The title of the second album apparently indicates a continuation of those directions: Under the tree you’ll find a magic cavern. This magic cavern could be a metaphor for the recording site. This is borne out by the rest of the Vollenweider quote: “Recording this album we worked completely cut off from the world, in the cellars of the Sinus Studios in Bern (capital of Vollenweider’s native Switzerland), which are more than 300 years old. In the shelter of this creative “womb”, it was easy to lose track of time and space.” (by wikipedia)

Vollenweider02His instrument enables him to counteract the meditative properties of the harp with a strong rhythmic pulse. The results are very low-frequency bass tones in the harp, coupled with an almost orchestral sense of harmony. This very popular album is upbeat, centering and a real delight.(allmusic)

AlternateFrontCoverAlternate promo frontcover

Pedro Haldemann (percussion)
Walter Keiser (drums)
Jon Otis (percussion)
Andreas Vollenweider (harp, guitar, saxophone, synthesizer, accordion, vocals)
01. Behind The Gardens-Behind The Wall-Under The Tree 7.19
02. Pyramid-In The Wood-In The Bright Light 7.52
03. Micro-Macro 2.48
04. Skin And Skin 3.22
05. Moonlight, Wrapped Around Us 1.05
06. Lion And Sheep 2.55
07. Sunday 1.58
08. Afternoon 0.47
09. Hands And Clouds 2.24

Music composed by Andreas Vollenweider