1. CHORÍN EL LLAGARERU
Dancia Pelegrina/Pasucáis de la Sacristana/Marcha Nupcial de Chorín el Llagareru
2. CHALANERU
El Chalaneru/Saltón de Llavandera
3. ALBORAES
Saltón/Alborada Asturiana/Alborá de los Potes
4. TIERRA
Dancia de San Pedru de Cuideiru/Cantar/Xirandiya/Entemediu de Chema Castañón
5. IBIAS
Muiñeira de Bartolo
6. XIRINGÜELOS
Ximielgueru de Gelín el Gaiteru/El Candanín
7. BARGAZ/SALÍI MOCES A BAILLAR
Muñeira de Bargaz/Salíi Moces a Baillar
8. XIRANDIYES
El Chao/Saltón de Xove/Xirandiyes
9. EL BESU
10. VERIÑA
Muliñeira de Santalla d'Ozcos/Muñera de Veriña
11. LES LLÁGRIMES DE LES COSES
Nel Campu Ñacen Flores/Xuan de Mieres
12. BAXABEN CUATRO AYERANOS


FELPEYU

XUAN NEL EXPOSITO Box Accordion, Asturian Bagpipes
RUMA BARBERO Percussion
TOÑO GÓMEZ Fiddle
ELÍAS GARCÍA Fiddle, Bouzouki, Vocals
ÍGOR MEDIO Bouzouki, Guitar, Bass Pedals, Vocals
CARLOS REDONDO Electric Bass, Guitar, Vocals

GUEST MUSICIANS:
CÁSTOR CASTRO Flute ('Xiringüelos', 'Veriña')
SALVADOR LÓPEZ Hammond Organ ('El Besu', 'Ibias')
MANOLÍN DURÁN Asturian Drum ('Xiringüelos', 'Alboráes')
PETER ÍLEON Asturian Panderu and Cajón Flamenco ('Veriña'); backing vocals ('Salíi Moces')
FERNANDO ÁLVAREZ-BALBUENA words ('Tierra')
BONI PÉREZ words ('El Besu')

Produced by FELPEYU

Recorded & Mixed ESTUDIOS EOLO, March/April 1997
Sound Engineer PEDRO BASTARRICA
Photographs JAVI RODRÍGUEZ, LUISA COLADO, XURDE CHACHERO
Artwork ASGAYA C.B.
English Translation LOI BARBÓN

All tracks are traditional from Asturies and were arranged by FELPEYU except 'Saltón de Xove' (Ígor Medio), 'Pasucáis de la Sacristana' (Elías García) and 'Chorín el Llagareru' (Xuan Nel Expósito). 'Alborá de los Potes' and 'Ximielgueru de Gelín el Gaiteru' are composed by FELPEYU over traditional melodies.

Asturian Bagpipes in Bb Fernando Mori, Accordions Castagnari (Modelos ALAIN 12 y BENNY), Guitars Trameleuc, Bouzoukis Stefan Sobell, Bodhráns David Gormlie y Víctor M. Barral, Flutes S.C. Hamilton

1.CHORÍN THE CIDER-MAKER
Pilgrim Dance /The Lady Sacristan's Pasucáis /Wedding March for Chorín the Cider Maker)
This medley comprises of three pieces: the first, The Pilgrim Dance, is performed in Llanes on the 15th of August for the festivity of Saint Roque; we learnt it from the Xaranzana Pipe Band, from Uvieo. Then comes a pasucáis which we composed for the fiddle and is dedicated to our friend Salva's grandmother who was the accordion player of the little village of Llimanes. The last of the three pieces is a wedding march for the same Salva "Chorín", the cider maker from Meres (Siero) who pours the good cider into our concerts.


2.BARGEE
The Bargee /Saltón from Llavandera
Here we adapt the most famous festive song from La Pola Llaviana, which is hardly ever missed out in the pubs of the country. We added a stanza popularized by the famous group Nuberu to the two everyone is familiar with and another one found in choir versions shown to us by the singer Marta Arbas.

Bargee

Bargee, bargee,
What does your barge carry?
I've got roses and carnations
And the heart of a xana*

If you go to the bridge
Don't fall into the water,
For my love
Is in La Chalana.

They are from La Chalana, they are,
They're from the village of the barges,
And if La Chalana were to die
So would the whole little place.

If you go to the bridge
Don't fall into the water,
For my love
Is in La Chalana.

By the fountain of La Nalona
There's a xana weeping
Because she says they won't love her,
The boys from Entrialgo.

If you go to the bridge
Don't fall into the water,
For my love
Is in La Chalana.

The heart of a xana,
Is like a stem of thorns.
Take care of it, bargee,
Don't let it sink along the way.

For the bridge you're crossing
Is of a treacherous kind.
Take care, bargee,
Of my love.


3.ALBORAES
Saltón /Asturian Alborada /Alborá of the "Potes"
The first of the three melodies is a saltón we came up with in the Torner Song Book (nº 335 and 336) and found quite interesting due to the variety of modulations; after this we have a version of the Asturian Alborada, also known as "The Paxarín" (little bird), for fiddle and accordion; to finish with, another alborada (this one, a creation of our own after a xirandiya we found in the Torner Songbook with nº 345); we decided to title it with the name by which Xuan's family is known back in the village of Villamiana (in Llimanes, Uvieo), that is, "los Potes"


4. LAND
Dancia de San Pedru de Cuideiru /Cantar /Xirandiya/ Entemediu de Chema Castañón
We used the first two melodies, both found in the Torner Song Book (nº 348 and 349), to put music to a poem written by our friend Fernando Álvarez-Balbuena about the attachment he feels towards the little things in this land of ours; things we feel greatly identified with. To end with, an entemediu made popular by the pipe player Chema Castañón.

Land

In the flower of the cherry tree
that sparks the springtime off.
In the song of the oak trees
and in the wind that carries it off.

In the lake of your eyes
where time forms a whirlpool.
In the pegollos* that hold up
harvests of love and will.

In them I place my heart,
in them I put my hope,
the blue seeds of the future
and the flower of memory.

In the water of the streams,
of the mist and of the drizzle.
In the essence of the alicorniu**.
In the waxing of the moon.

In the fields of rye. In the hedges
of thrushes and robins.
In the dark voice of the woods.
In the ancient voice of the blood.

In them I place my heart,
in them I put my hope,
the blue seeds of the future
and the flower of memory.

In the high peaks flown
by the strong winds and the eagles.
In the secret the sea keeps
in seabeds of rock and sand.

In the innermost core of memory.
In the worn off tools.
In the words that were born
by the fire of old hearths.

In them I place my heart,
in them I put my hope,
the blue seeds of the future
and the flower of memory.

Fernando Álvarez-Balbuena - words

* pillars made of stone or wood holding up"horros" or "paneres", traditional Asturian buildings to store crops.
** a piece of horn used for giving water properties against enchantments


5.IBIAS
Muiñeira de Bartolo
Our arrangement for this popular muñera is an attempt to play it in a new way as it is based on the string section of the band. It was popularized by the pipe player Clemente from Valdeferreiros (in Ibias)


6.XIRINGÜELOS
Ximielgueru de Gelín el Gaiteru /El Candanín
This is one of the oldest songs we've been performing: a ximielgueru we made resembling several mudances of well known xiringüelos. We dedicate it to the piper of Villamiana "Gelín", as an homage to all the unknown folk musicians that made it possible for the rich musical heritage of our country to be passed on down to our days. To end with, we added El Candanín, a song we learned from Cifuentes y Cordero.


7.BARGAZ/COME OUT GIRLS AND DANCE
Muñeira of Bargaz /Salíi Moces a Baillar
Here we start with a muñera by one of the best ever accordion players in Asturies, now already passed away: Cazoto, from the village of Bargaz (El Franco). We came up with this piece in the archives of Andecha Folclor d'Uvieo. Then comes one of the tavern songs of our country which we owe to maestro Torner: Salíi Moces a Baillar.

Come Out Girls and Dance

Come out girls and dance,
for the tambourine is already resounding,
(bis)
Let it not be said there's no salt
in the girls of this village.
(bis)
Come out girls and dance,
for the tambourine is already resounding.

Once you said yes,
another time you said no.
The devil understand you,
for I cannot.
One time it's yes,
he next it's no,
that's how you women are,
you just don't make sense, no.

Come out girls and dance,
I say to the girls from my town,
(bis)
For the ones that aren't from here
act too arrogantly.
(bis)
Come out girls and dance,
I say to the girls from my town.

Once you said yes,
another time you said no.
The devil understand you
for I cannot.
One time it's yes,
the next it's no,
that's how you women are,
you just don't make sense, no.


8.XIRANDIYES
El Chao /Saltón de Xove /Xirandiyes
These pieces put together here begin with one from Ibias, El Chao, which we learned from the piper of Buso. It's followed by a saltón we composed in a typically central Asturian style, and to end with, a few xirandiyes we found in the Torner Song Book numbered 43 and 56.


9. THE KISS
This is an arrangement we made for this song that was popularized by the pipe and bandurria player Xuacu Amieva. Our friend Boni Pérez wrote some lyrics for the song, dealing with one of young people's main concerns nowadays: consciencious objection.

The Kiss

Give me a kiss, dear brunette,
but show it how to fly,
how to get through the railings
and to lie down by my side.

When I was over there,
always by your side,
I didn't give it any thought.
Locked up in here,
you are all I think about,
I'm longing for it ever more.

Give me a kiss, dear brunette,
don't make me wait,
but send it to this cell,
don't send it to El Ferral*.

As I tasted it
already some time,
I'm longing for the kiss,
the one you're already keeping,
the one you'll be giving me
as soon as I get out of jail.

Give me a kiss, dear brunette,
give it to me spicy,
like the ones I used to like
right upon the seashore.

When I was over there,
always by your side,
I didn't give it any thought.
Locked up in here,
you are all I think about,
I'm longing for it ever more.

I'm not into marching in step,
give me something so I can hold on;
the bars will just melt down
when you come and fetch me.

As I tasted it
already some time,
I'm longing for the kiss,
the one you're already keeping,
the one you'll be giving me
as soon as I get out of jail.

Words: Boni Pérez

* military headquarters in the neighbouring province of Llión


10. VERIÑA
Muliñeira d Santalla d¹Ozcos /Muñera de Veriña
To begin with, a muñera given to us by Ferdi "Lluarca", a piece he picked up in Santalla d¹Ozcos while he was still in the group from Valdés ³Xurgar nas Costumes². The song also includes three mudances of one of the most beautiful muñeres played in Asturies: the one by José Antonio García, ³The piper of Veriña²; to finish off with, we added a slight variation in the end.


11.THE TEARS OF THINGS
Nel Campu Ñacen Flores/Xuan from Mieres
Fernán-Coronas, Galo Fernández's pseudonym (1884-1939), is one of the forgotten poets of this century. In the subject matter he dealt with we find many aspects which still remain unsolved (Asturian language, transculturization of Asturies, ...). We have put together two of his poems on these aspects: "Dende la Mesma Ventana" (From the Same Window) and "Sunt Lacrimae Rerum" (The Tears of Things). We have used these poems as the lyrics for the song Nel Campu Ñacen Flores. To finish the song off, we added a march that was made popular by the piper of Mieres Xuanín la Villa.

The Tears of Things

Here I am now, arms folded, (bis)
By the backbone
Of a window I looked through (bis)
A thousand times as a child.

What I used to see as clear (bis)
Today I look upon as dark,
Either due to things changing (bis)
Or to my eyes seeing wrongly.

The road is led by ghosts (bis)
That just see remembrance,
And the way gets slippery, slippery,(bis)
As it cries like a stream.

Country house of Villamouros,
Noble old country house,
House of my grandparents,
Once the pride of Valdés;
How poor you look, how haggard,
How sad and done for.

I care little for the years
Neither for the great poorness,
But I feel sad, bitter
To the bottom of my soul
From hearing unfamiliar languages,
From seeing myself in strangers' hands.

Words: Fernán Coronas


12. FOUR FROM AYER WERE COMING DOWN
Here we made an arrangement for the curdión de formes (box accordion) of the popular song Baxaben Cuatro Ayeranos (Four From Ayer Were Coming Down).