song called wandering

Ballad of America

Wanderin’: About the Song

Historical background.

It is estimated that in the last decade of the 19th century approximately 60,000 hoboes, tramps, and bums stole rides around the country on railroad cars without paying the fare. Their ranks steadily increased, peaking during the Depression in the twentieth century when they numbered approximately one million. The fortunate ones traveled in empty boxcars, but often hoboes could be found on the catwalk on top of a freight car or on the narrow steel ledge between cars. Sometimes they even hung precariously below the cars, only inches above the track.

Many people hopped trains because they could not find a job, were broke, and wanted to start anew in another location. For some, however, riding the rails became a way of life.

Song History

"Wanderin'" grew out of an Irish melody and the experiences of these wayfaring Americans at the turn of the 20th century.

I've been wanderin' early and late From New York City to the Golden Gate And it looks like I'm never gonna cease my wanderin'

My daddy is an engineer, my brother drives a hack My sister takes in washing and the baby balls the jack And it looks like I'm never gonna cease my wanderin'

Been a-workin' in the city, been a-workin' on the farm And all I've got to show for it is the muscle in my arm And it looks like I'm never gonna cease my wanderin'

Snakes in the ocean, eels in the sea A redheaded woman made a fool out of me And it looks like I'm never gonna cease my wanderin'

I've been wanderin' far and wide I come with the wind, and I drift with the tide And it looks like I'm never gonna cease my wanderin'

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The Song of Wandering Aengus Summary & Analysis by William Butler Yeats

• Line-by-Line Explanation & Analysis
• Poetic Devices
• Vocabulary & References
• Form, Meter, & Rhyme Scheme
• Line-by-Line Explanations

First printed in 1897 and collected in The Wind Among the Reeds (1899), W. B. Yeats's "The Song of Wandering Aengus" is a dramatic monologue about burning and thwarted passion. Written in the voice of Aengus (a god of love and youth in Irish mythology), it tells the tale of a magical fish that turns into a beautiful girl and runs away. The infatuated Aengus wanders the earth in pursuit of this girl, growing old but never giving up his search. As a kind of miniature fable, the poem suggests how unrequited love—or any other unattainable dream—can both exhaust a person's energies and nourish a person's imagination.

• Read the full text of “The Song of Wandering Aengus”

The Full Text of “The Song of Wandering Aengus”

1 I went out to the hazel wood,

2 Because a fire was in my head,

3 And cut and peeled a hazel wand,

4 And hooked a berry to a thread;

5 And when white moths were on the wing,

6 And moth-like stars were flickering out,

7 I dropped the berry in a stream

8 And caught a little silver trout.

9 When I had laid it on the floor

10 I went to blow the fire a-flame,

11 But something rustled on the floor,

12 And someone called me by my name:

13 It had become a glimmering girl

14 With apple blossom in her hair

15 Who called me by my name and ran

16 And faded through the brightening air.

17 Though I am old with wandering

18 Through hollow lands and hilly lands,

19 I will find out where she has gone,

20 And kiss her lips and take her hands;

21 And walk among long dappled grass,

22 And pluck till time and times are done,

23 The silver apples of the moon,

24 The golden apples of the sun.

“The Song of Wandering Aengus” Summary

“the song of wandering aengus” themes.

Infatuation, Beauty, and Obsession

• See where this theme is active in the poem.

Line-by-Line Explanation & Analysis of “The Song of Wandering Aengus”

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread;

And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout.

When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name:

Lines 13-16

It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air.

Lines 17-20

Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands;

Lines 21-24

And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

“The Song of Wandering Aengus” Symbols

• See where this symbol appears in the poem.

Silver Trout

“The Song of Wandering Aengus” Poetic Devices & Figurative Language

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Parallelism

Alliteration, juxtaposition, “the song of wandering aengus” vocabulary.

Select any word below to get its definition in the context of the poem. The words are listed in the order in which they appear in the poem.

• On the wing
• Apple blossom
• See where this vocabulary word appears in the poem.

Form, Meter, & Rhyme Scheme of “The Song of Wandering Aengus”

Rhyme scheme, “the song of wandering aengus” speaker, “the song of wandering aengus” setting, literary and historical context of “the song of wandering aengus”, more “the song of wandering aengus” resources, external resources.

The Poet's Life and Work — Read a short bio of Yeats, along with other Yeats poems, at Poets.org.

The Poem Read Aloud — Hear a reading of the poem by actor Michael Gambon.

"Aengus" in Song — Listen to a 1971 adaptation of the poem by folk singer Donovan.

Yeats, Nobel Laureate — Browse an exhibit on Yeats, winner of the 1923 Nobel Prize in Literature, at Nobel.org.

The Many Sides of Yeats — Read the Poetry Foundation's introduction to the various phases of Yeats's career.

Yeats Reads His Work — Listen to a rare recording of W. B. Yeats reading his poetry aloud.

LitCharts on Other Poems by William Butler Yeats

Adam's Curse

Among School Children

An Irish Airman Foresees his Death

A Prayer for my Daughter

Easter, 1916

In Memory of Eva Gore-Booth and Con Markievicz

Lapis Lazuli

Leda and the Swan

Sailing to Byzantium

September 1913

The Lake Isle of Innisfree

The Second Coming

The Wild Swans at Coole

When You Are Old

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Olivia Rodrigo (born February 2003) is an American actress. She is known for her roles as Paige Olvera on the Disney Channel series Bizaardvark and Nini Salazar-Roberts on the Disney+ series High School Musical: The Musical: The Series. She wrote two songs for the Disney+ series (High School Musical: The Musical: The Series) one with her co-star Joshua Basett called “Just for a moment” and the other one is called ( The Rose song). more »

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“The Song of Wandering Aengus” by W. B. Yeats

Loch Gill seen from nature trail running through Hazelwood Country Park, on the outskirts of Sligo, Ireland, and immortalized by W. B. Yeats in “The Song of Wandering Aengus.”

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"I think a kind of half ballad, half lyric ... is the kind of poem I like best myself—a ballad that gradually lifts ... from circumstantial to purely lyrical writing. ... I only learnt that slowly and used to be content to tell stories . ... One must always have lyric emotion or some revelation of beauty…" —Letter from W.B. Yeats to Dora Sigerson (1899)

Teacher guide “The Song of Wandering Aengus” by W. B. Yeats includes information about the poem and discussion questions. Supplementary documents provide contextual background on Irish traditional sources including Celtic mythology and Irish aisling poetry.

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About the Poem

Questions for discussion, questions for further discussion.

“The Song of Wandering Aengus”

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout.

When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air.

Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

The Wind Among the Reeds, 1899. 4th ed. (London, 1903), 15–16. Available at Project Gutenberg .

An online version of the poem is also available on EDSITEment-reviewed Academy of American Poets.

William Butler Yeats wrote “The Song of Wandering Aengus” on January 31 sometime in the late 1890s. It was first printed in 1897 under the title "A Mad Song." The current title "The Song of Wandering Aengus" was applied when it was finally published in The Wind Among the Reeds (1899). These early collected poems displayed Yeats's mastery of the lyric form as well as his passion for Celtic mythology and Irish folklore, which were to fuel his poetic genius throughout his career.

“The Song of Wandering Aengus” is deceptively simple, yet it paints a haunting story containing many mythological allusions and nuanced levels of meaning. The speaker is an old man reminiscing about an event long ago when he was compelled to go out to cut a branch for fishing. With it, he caught a magical silver trout, which was then transformed into a vision of a “glimmering” maiden. The life-quest he set himself was to find this girl who called his name before she vanished.

In the poem, Yeats contrasts two realities: the earthly realm of ordinary life and the mystical otherworld of dreams. He wrestles with conflicting desires—the ongoing need to handle the practical things of life and the strong compulsion to follow one’s dreams. To express this conflict, Yeats employs a break in the middle of each stanza signaled by a semicolon or colon. This shift underlines the gap between the earthly, physical world and the mysterious, magical otherworld. It moves the reader from the concrete world of the particular to the abstract world of the universal.

For background on the life and work of the poet, see the EDSITEment-reviewed Poetry Foundation entry on “ W. B. Yeats ” and Stephen Watt's, “The Voice of Nationalism: One Hundred Years of Irish Theatre,” Humanities 20, no.1 (1999).

The seven questions in this worksheet can be adapted for use in a classroom discussion or literature circle and are aligned with Common Core literacy standards for grade 8. In whatever venue, make sure that students provide evidence from the poem in their answers. (See also the teacher version with suggested answers. )

• Question 5 discusses the terms below and their meanings from the EDSITEment literary glossary: assonance ; repetition ; alliteration ; consonance ; and meter .
• Question 7 references another poem about dreams also published in The Wind Among the Reeds , “ Aedh Wishes for the Cloths of Heaven .”

Five questions for further discussion are found in the accompanying worksheet . However, before delving deeper into the poem, you will need to read and discuss the information included in Traditional Irish Sources for “The Song of Wandering Aengus” with students. After reading this contextual background, the questions can be raised for discussion and/or used as a basis for writing activities. (See the teacher version with suggested answers ).

Note: Question 5 references the late 20th-century aisling by Seamus Heaney, " A Hazel Stick for Catherine Ann ,” in Opened Ground: Selected Poems, 1966–1996 (New York: Farrar, Straus and Giroux, 1998), 214.

Materials & Media

Wandering aengus: worksheet 1. questions for discussion, wandering aengus: worksheet 2. questions for further discussion, wandering aengus: traditional irish sources for “the song of wandering aengus”, wandering aengus: questions for discussion (teacher version), wandering aengus: questions for further discussion (teacher version), related on edsitement, twenty-one poems for ap literature and composition, twenty-one more poems for ap english, charles baudelaire: poète maudit (the cursed poet), chinua achebe’s things fall apart.

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The Song of Wandering Aengus

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I went out to the hazel wood,   Because a fire was in my head,   And cut and peeled a hazel wand,   And hooked a berry to a thread;   And when white moths were on the wing, And moth-like stars were flickering out,   I dropped the berry in a stream   And caught a little silver trout.  

When I had laid it on the floor   I went to blow the fire a-flame, But something rustled on the floor,   And someone called me by my name:   It had become a glimmering girl   With apple blossom in her hair   Who called me by my name and ran And faded through the brightening air.  

Though I am old with wandering   Through hollow lands and hilly lands,   I will find out where she has gone,   And kiss her lips and take her hands; And walk among long dappled grass,   And pluck till time and times are done,   The silver apples of the moon,   The golden apples of the sun.

This poem is in the public domain.

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The Song of Wandering Aengus

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout.

When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air.

Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

This work is in the public domain in the United States because it was published before January 1, 1929.

The longest-living author of this work died in 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 years or less . This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works .

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"The Song of Wandering Aengus" by W.B. Yeats: An Analysis

“The Song of Wandering Aengus”, from W.B. Yeats 1899 collection, The Wind Among the Reeds , is one of the best known of the Nobel prize-winning poet’s early works. Like much of Yeats’s work from this time, it draws heavily on Irish mythology, inextricably mixed with more personal themes from the poet’s life.

The deeply symbolic nature of Yeats’s poetry was influenced by three sources: Irish mythology, classical Greek mythology, and the occult symbolism he was exposed to when he joined the magical order known as The Golden Dawn in 1890. In Yeats’s early career, he was heavily involved in collecting Irish folklore, and this informs his poetry of the 1890s.

The Aengus of the title was a god of Irish mythology, one who stayed forever young and lived in a most marvelous palace where no one ever died, and where food and drink was always plentiful. This palace was called Brug na Boinne, and was situated on the banks of the River Boyne. He was also known as Aengus Og (“Aengus the Young”), among several variants.

One of the most famous tales about Aengus, and one that is partly reproduced by Yeats in the poem, involves his love for a young girl called Caer. He became sick with love for her having only seen her in a dream, and after years of searching, finally found her. Caer spent each year alternately as a swan or as a human girl. When Aengus found her, she was a swan, and he plunged into the water beside her and he too turned into a swan. Together they sang the most beautiful songs that put all who heard to sleep. After a year, Caer and Aonghus turned from swans back to their original form.

The obsessive love (“a fire was in my head”), the wandering in search of the briefly-glimpsed maiden, and the animal metamorphosis are common to the poem and the myth. However, in Yeat’s poem the metamorphosis involves a trout, not a swan – though both are related by the association with water. The trout-girl recalls the Irish myth of the maighdean mhara (“maidens of the sea”), who often bewitched men to fall in love with them.

But unlike the Aengus of legend, Yeat’s protagonist is, at the poem’s end, not united with his beloved. Also unlike Aengus, he has grown old. Therefore his expressions of optimism in the final verse ("I will find out where she has gone, and kiss her lips and take her hands") may allude to the afterlife, as in this life he has grown old with fruitless searching. Unlike the eternally young Aengus, Yeats's protagonist is affected by the passing of time. The bittersweet ending implies that he now awaits death, but trusts that in the afterlife he will find the love he has only glimpsed briefly. In death he will be forever young like Aengus.

William B. Yeats

The reference in the final lines to “silver apples of the moon” and “golden apples of the sun” has provoked many interpretations. One source may be the legend that in Aengus’s palace there were, as well as an un-emptying vessel of the best drink and a pig nicely roasted and always available to eat, three trees that always bore fruit. Yeats’s protagonist is again imagining himself in the palace of Aengus, immortal and beloved.

The sun and moon symbolism are important in occult circles. Yeats himself wrote about the lunar influence being the source of all thoughts that are of the community, of instinct and primal coconscious; and the solar influence being responsible for individual thoughts, and rationality.

This indicates that the final end of Aengus’s quest and wandering is the eating of both types of apple, meaning the perfect harmony of the two aspects of his being: his lunar self, which is more instinctual, of the earth and belonging to the collective unconscious, and his solar self, rational, intellectual, and disciplined. In this reading, the "glimmering girl" is not an individual at all, but an aspect of Yeats' psyche, the primitive, carefree aspect, which he is not yet able to access fully, being too "disciplined", too "intellectual".

Of course, the apple, recalling Book of Genesis, is often associated with the sensual, and plucking apples may be equated to enjoying the sensual aspects of life. Ultimately, all of these clues provide several ways of reading “The Song of Wandering Aengus”, and no one interpretation can be advanced as superior to the exclusion of others. Fundamentally, this poem is about the hero's quest that is a motif in so much mythology and literature. What the hero seeks is elusive and there is no logical reason to believe he will find it, but he continues to have faith, and this faith gives his life meaning.

The popularity of this poem is attested to by the number of times it has been set to music, by artists such as Judy Collins, Richie Havens, Donovan and Christy Moore.

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The Song of Wandering Aengus

By W. B. Yeats

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

The Song of Wandering Aengus

by William Butler Yeats

I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass , And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun.

Summary of The Song of Wandering Aengus

• Popularity of “The Song of Wandering Aengus”: William Butler Yeats, a great romantic poet, wrote ‘The Song of Wandering Aengus’. It is a narrative poem about unrequited love. It was first published in 1899 in Yeats’ collection of poems, The Wind Among the Reeds . It speaks about a man who goes out in search of peace. It also reflects his quest to find a girl he once encountered in his youth. The poet continues to talk about love and beauty .
• “The Song of Wandering Aengus”, As a Representative of Wonder: The poem speaks about the speaker ’s quest to find a beautiful girl he saw in the woods. The poem begins when the speaker goes to the Hazel Woods to find some peace as he is disturbed. While wandering in the woods, he decides to go fishing and peels a thin piece of hazel from a tree to make a wand. The soothing and enchanting nature around gives him a strange feeling and makes him perceive more than his imagination. Absorbed in the serenity of the soothing environment, he cuts the sting and throws into the water and hooks a fish. To his surprise, before he prepares his food, someone calls him by his name. The silver trout caught by the speaker turns into a glimmering girl. He is amazed by her physical appearance and tries to catch her, but she disappears in the air. The memory of that pretty girl leaves a permanent mark on his imagination. He tries to trace her everywhere, but all efforts go in vain. As he grows older, his search continues. He wishes to see her and spend the precious years of his life with her.
• Major Themes in “The Song of Wandering Aengus”: Nature, love, and wonder are the major themes of this poem. Nature plays a central role in this poem. When the speaker is disturbed from the materialistic world, he turns toward nature to find peace. Nature offers him its wonders but also provides him with a chance to get a glimpse of a beautiful woman who magically appears. She never gets close to him, yet he feels a strong sense of belonging with that strange beauty. She also magically disappears, leaving a lasting impression on his life. At an old age, the speaker finds his unrequited and idealized love. He speaks about the nature of romantic love marked with the dimensions of private privacy.

Analysis of Literary Devices in “The Song of Wandering Aengus”

literary devices are essential elements of a literary text. They bring richness to the text and also help the readers understand hidden meanings. William Butler Yeats has also made this poem superb by using figurative language . Here is the analysis of some literary devices used in this poem.

• Assonance : Assonance is the repetition of vowel sounds in the same line. For example, the sound of /ai/ in “And pluck till time and times are done”.
• Alliteration : Alliteration is the repetition of consonant sounds in the same line in quick succession. For example, the sound of /w/ in “And when white moths were on the wing”.
• Consonance : Consonance is the repetition of consonant sounds in the same line. For example, the sound of /ng/ in “And walk among long dappled grass”.
• Enjambment : It is defined as a thought in verse that does not come to an end at a line break . Instead, the verse continues in the next line. For example;

“It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air.”

• Imagery : Imagery is used to make readers perceive things involving their five senses. For example, “I went out to the hazel wood”, “And walk among long dappled grass” and “And kiss her lips and take her hands.”
• Symbolism : Symbolism is a use of symbols to signify ideas and qualities by giving them symbolic meanings different from their literal meanings. Here, “glimmering girl” is the symbol of love and beauty.

Analysis of Poetic Devices in “The Song of Wandering Aengus”

Poetic and literary devices are the same, but a few are used only in poetry. Here is the analysis of some of the poetic devices used in this poem.

• End Rhyme : End rhyme is used to make the stanza melodious. For example, “hair/air”, “lands/hands” and “head/thread.”
• Iambic Tetrameter: It is a type of meter having four iambs per line. The poem follows iambic tetrameter. For example, “ When  I had  laid   it  on  the  ”
• Rhyme Scheme : The poem follows the ABABCDCD rhyme scheme , and this pattern continues until the end.
• Stanza : A stanza is a poetic form of some lines. There are three stanzas in this poem, with each comprising an equal number of verses.

Quotes to be Used

The lines stated below can be used by a lover to describe his infinite love for his beloved .

“ Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done.”

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• Acquainted with the Night
• My Papa’s Waltz
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• A Noiseless Patient Spider
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• La Belle Dame sans Merci: A Ballad
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• Verses upon the Burning of Our House
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• A Supermarket in California
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Flatland Cavalry Partners with Interscope, Readies New Album

Trigger News Ashley Monroe , Cleto Cordero , Dwight A. Baker , Flatland Cavalry , Kaitlin Butts , Nick Walsh --> 12 Comments

Flatland Cavalry is the latest independent country band from Texas to partner with a major label, and is readying the release of their new album called Wandering Star out October 27th. On top of this, they’ve just released a new song called “Mornings With You” featuring front man Cleton Coredro’s wife and fellow performer Katilin Butts. The deal with Interscope is similar to the ones we’ve seen with RCA and Tyler Childers, RCA and Colter Wall, as well as Zach Bryan and Warner. Though Flatland Cavalry will have the muscle of a major label behind them, they also still own their copyrights and have autonomous creative freedom. The success these independent artists continue to find allows them to sign these deals on their terms. Meanwhile, it’s the music itself that most fans are excited about. Wandering Star includes 13 tracks, and along with Cleto Cordero, features the current lineup of Flatland Cavalry that includes Jonathan Saenz on bass and background vocals, Reid Dillon on electric guitar, Wesley Hall on fiddle, Jason Albers on drums, and Adam Gallegos who plays piano, organ, keys, mandolin, banjo, acoustic guitar, Wurlitzer, and Mellotron on the album. “Historically, all our albums have been named after a lyric that seems to most encapsulate the spirit and ethos of the project,” says Cleto Cordero.  “Late one evening from my office in Nashville came the inspiration to name this record. My wife, who is from Oklahoma, acquired a piece of embroidered folk art which hangs on the wall of my office of a native man posed with Eagle wings. The art piece is untitled, but I imagined the subject being named ‘Dancing Eagle.’ Then I imagined ‘what would be my name if it were given to me in the same spirit?’… and the two words ‘Wandering Star’ floated to the surface.”

“Wandering star” also happens to be a lyric from one of the new songs called “Spinnin’.” Though originally from West Texas, Cordero has been living in Nashville lately in between the band’s regular tours, including opening for Luke Combs. “[It] felt right as we have been wandering around all of creation the last ten years, truth-seeking and dream-chasing; aiming for the moon and at last it seems we’ve found ourselves finally floating amongst the stars.”  Though they’re now signed to a big label and finding big opportunities, don’t expect a different Flatland Cavalry. The album was produced by Dwight A. Baker, known for working with other Texas music folks like the Josh Abbott Band. Previously the have released two songs from the album, “Last American Summer” and “Oughta See You (The Way I Do),” and release the song/video “Mornings With You” to coincide with the album announcement. “Last June, I got to write with a couple great songwriters in town, Ashley Monroe and Nick Walsh,” says Cordero. “The three of us got along effortlessly—I think our collective experiences with the strenuous journey that is dream-chasing and being highwaymen (and women) lent towards us writing a song that is the antithesis of the hustle and bustle of living the Night Life; a song about the beauty of cherishing the start of a new day, basking in the peace and stillness, with the one you love most.” Wandering Star is now available for pre-order/pre-save . TRACK LIST: 1. The Provider 2. The Best Days 3. Only Thing At All 4. Last American Summer 5. Mornings With You (feat. Kaitlin Butts) 6. Let It Roll 7. Spinnin’ 8. Don’t Have To Do This Like That 9. New American Dream 10. Oughta See You (The Way I Do) 11. A Thousand Miles An Hour 12. Burned Out Flame 13. Forgotten

Ashley Monroe , Cleto Cordero , Dwight A. Baker , Flatland Cavalry , Kaitlin Butts , Nick Walsh

12 Comments

New Zach Bryan EP out October 27th, nice!

The best news this week! The Cavalry is at the top of my favorite band list, along with The Moonpies. I already love the songs I’ve heard. Cool album cover and story. I’ve got a feeling this is going to be huge, and take em to the next level where they belong. I can’t wait to hear it. I know they played Red Rocks a few days ago with Lainey & Jake Worthington. A show like that would be a dream come true for me. I’m not sure what else is coming out that day, but it won’t be more important than this record.

Genuinely excited for them. I’ve followed them a long time.

Isn’t Interscope a hip-hop label? When did they set up a country division? Are they in Nashvlle now?

Nah, it’s a mix, though one of their early ventures was acquiring Death Row Records. Dr. Dre, Snoop, etc.

love these guys. I’d put the first four tracks of “Welcome to Countryland” up against any opening four songs from any other country album of the past several years. It’s like a baseball lineup: one gets you on base, the next three drive him home.

Sounds great, love these guys, keep doing what you are doing. Good to hear you are keeping control of your music, being from West Texas, Ya’ll learned well fro Ole Waylon! Wreck’em!

This is genuinely exciting. Flatland Calvary is a band that us fans have been quietly leading our friends and family to for years, just waiting for the big break to occur. Cleverly written, often autobiographical songs, wonderful live shows, more ear worms than you can shake a stick at and just plain decent humans makes Flatland one of the best out there.

Good for them! I saw them years ago (2017ish) in early December and half the band wasn’t there because they had exams.

LOL ….. gotta have something to fall back on just in case this doesn’t work out. Of course, we all know it already has and they will be able to tour these amazing songs for the rest of their lives. But hey, Cleto’s a CPA has a BBA from TTU, so it’ll come in handy as he’ll be crunching those numbers on the way to financial security for the band as well as Kaitlin and Hank.

I know the whole “sad boy/girl” with an acoustic guitar standing in the woods is all the rage right now but I’m all about the full band sound. I really love me some Flatland, Turnpike, Mike and the Moon Pies, Red Clay Strays etc. Especially at a live show where the band is tight and every member gets to shine.

Looking forward to this album.

“Mornings With You” Such a beautiful song

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Poppy’s song and its connection to Tolkien canon explained

Poppy’s song in episode 5 of The Rings of Power, during the Harfoots’ migratory walk along the fantastical landscapes, harkens back to some good old Tolkien wisdom. Here are all the connections it bears with the previous LOTR works.

The live-action adaptations of the vast and abundant works of J.R.R. Tolkien have all succeeded in one undisputed territory so far — world-building.

Be it Peter Jackson’s LOTR and The Hobbit trilogies or the ongoing Prime Video’s The Rings of Power, the imaginatively opulent world of fantasy that Tolkien created, has been portrayed with excellent dexterity every time.

Aided by huge budgets each time, the films and shows adapting Tolkien’s works have done a great job bringing the fantasy to life, with all the grandeur and magic within it.

However, instilling the movie magic to convey actual magic and mystique involves a great number of filmmaking elements. One of these elements, used with a higher degree of success in LOTR, The Hobbit, and now Rings of Power, is music.

Bear McCreary has been on a roll with The Rings of Power’s themes so far. The latest piece of music comes in a form of a song called “This Wandering Day”.

Poppy Proudfellow’s “Mom’s Walking Song”

During the great migration that the Harfoots have embarked on, Poppy Proudfellow, a close friend of Nori and her family, belts out a song befitting of all that transpires in the scene.

It’s the song that her mom used to sing, and now Poppy keeps the tradition alive by singing it herself. Truly Tolkien-like, Poppy’s song is a reminder of the nomadic nature of the Harfoot way of life.

It’s also a reminder of how despite their nomadic nature, they’re not wandering souls that are lost. No, they’re wandering spirits with their paths set to the next patch of land they’ll call their abode, albeit for a transient period.

A song for all stories

Poppy’s song befits not only the Harfoots and their way of life but also almost all the other storylines going on right now in The Rings of Power.

Númenoreans have sailed off to the Southlands with Galadriel. The enemy, purpose, and the truth of the lands they have sailed off for are shrouded in ambiguity and likely peril.

While the Númenoreans heading out to a place where peril exists may think they’re lost, the song is a reassurance that wondering and wandering while on a journey for good never constitutes being lost.

Similarly, the song also applies to the aimless and doubtful Halbrand, who has finally decided and taken off on a journey to a destination he knows little of.

An ode to Tolkien

Poppy’s song also carries within it, a crucial and immediate reference to Tolkien’s works. The last lines of the song are an inspiration from LOTR.

In The Lord of the Rings: The Fellowship of the King, Gandalf writes a letter to Frodo, and in it, is a poem containing two lines, one of which goes “Not all those who wander are lost”.

Poppy’s song’s “That not all who wonder or wander are lost” line is an evident homage to the poem in LOTR, also opening up doors for interpretation regarding Gandalf’s letter.

One can surmise that Gandalf knew of the line from thousands of years ago when he heard it from the Harfoots — the ancestors of hobbits. This speculation finds firmer footing when one considers the Stranger in The Rings of Power to be the Maiar wizard.

Anyway, the reference does impart some form of continuity and it’s always great to see some callbacks to the other Tolkien works.

Also Read: Mithril’s questionable origins in The Rings of Power explained

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