Áine Minogue's latest album ~ Eve ~

Áine Minogue's latest album ~ Eve ~

CREDITS for "Eve" ~ Áine Minogue's latest album ~

Album Cover Art: Robert Hakalski

Videos: Jamie Joroff 

Photos of Áine Minogue: Joe Navas Photos 

Produced by Jon Evans & Áine Minogue

Recorded by Jon Evans at Brick Hill Studios, Orleans, Massachusetts, USA


Seamus Egan: Irish whistles

Jon Evans: bass (electric & acoustic, keyboards, banjo, drums, percussion, mandolin, soundscapes

Eugene Friesen: Cellos

Alasdair Halliday: Harmony Vocals

Áine Minogue: Irish harp, Vocals, keyboards percussion

Billy Novick: Clarinet

All songs by Áine Minogue (BMI, AWAL/Kobalt)  


Dear Listener

This cycle of songs is all about Eve... They speak for themselves. I've included some poetry here also as well some videos by the wonderful Jaimee Joroff. 




Áine Minogue

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In a stirring departure from her past recordings, acclaimed Celtic harpist, vocalist, composer and arranger Áine Minogue will surprise – and soothe – listeners across the world with her new album entitled “Eve.”

Featuring a signature “fragile, lilting voice” throughout, Minogue’s fifteenth solo album contains 12 tracks that highlight her mesmerizing vocals, elegantly accompanied by her graceful play of the harp and skillful talents of renowned musicians Eugene Friesen on cello and strings; Jon Evans on bass, keyboards, percussion, guitar and mandolin; Seamus Egan on Irish whistles; Billy Novick on clarinet; and Alistair Halliday on harmony vocals.

A first for Minogue, the album is a compelling compilation of all original music written and composed by the award-winning singer and songwriter. It offers a captivating collection of emotive and expressive songs including “Love’s Sweet Refrain,” “Warrior or Healer,” “Song of the Lark,” “Before the World Was Made” and “The Garden.”

According to Minogue, inspiration for her new album, with its striking vocal, rather than instrumental, prominence, has its origins in what she describes as the “many definitions and varied manifestations of Eve” ranging from an “archetypical version as the mother of humanity or ‘Biblical Eve,’” as Minogue notes, to “a theatrical ‘Hollywood Eve’ version as portrayed by the collage of feminine images in the 1950 Academy Award-winning movie ‘All About Eve.’”

Minogue says that the album’s opening track, which shares the same title as the movie, was written during a viewing of the “exceptional and influential” film and that its lyrics, like those of the other 11 songs, “convey my own experience or relationship with Eve; who she is or what she is, who she may be or what she may be.”

She adds, however, that “the lyrics also enable or encourage, or perhaps empower, listeners, both women and men, to think about or appreciate their own views or beliefs about Eve, as well; who she was or what she was, who she can be or what she can be.”

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The Perfect Eve 

Áine Minogue (BMI)

I saw shadows darken my hall 

as the lovers danced on the beautiful white wall 

For hours I stared from across a room 

Until the darkness fell on the honeymoon 


So, you want me to eat your pain 

A perfect mirror for the shame 

A perfect Eve to your Adam 

A perfect key to lock your shadow 

Yes, you would have me eat your pain/shame… 


Yes, You would have me eat your pain 

shattered shards in the mirror of that shame 

The perfect Eve to your Adam 

The perfect woman to fill that chasm 

Yes, you would have me eat your pain


Seamús Egan: Irish whistle 

Áine Minogue: vocals, keyboards



Bad Pennies 

Aine Minogue 

All the bad pennies, heads up, tails you loose 

Turning upside down spinning away the blues 

Your sisters would like to visit you 

But you're busy with your bad penny blues 

All the bad pennies circling and fall 

And your eyes glaze over 

A tear from one eye falls 

One cheek is blue, the other is white 

And the ghosts of your past carefully hidden from sight 

All the bad pennies (are) rolling to rest 

And the echo is eerily blessed 

Your father's gone, your mother long passed 

And we'll sing you a psalm 

requiem for, a hidden past 

Hmm, ah, hmm, ah 


Jon Evans: Bass, pedal Steel, percussion (shaker, triangle), banjo 

Eugene Friesen: Cello, cello effects 

Aine Minogue: Irish harp, vocals 

Billy Novick: Clarinet

BURNT NORTON ~ No. 1 of 'Four Quartets'  T S Eliot

Go, said the bird, for the leaves were full of children, 

Hidden excitedly, containing laughter. 

Go, go, go, said the bird: human kind 

Cannot bear very much reality. 

Time past and time future 

What might have been and what has been 

Point to one end, which is always present.

Song of the Lark

Áine Minogue (BMI)

The sea cliff married the lark 

And we waited

For the song that sings the bird

in the echo of love