Space Heroes and Other Fools

Aislinn the Bard

About The Songs

The original album contained songs by Anne Prather, Julia Ecklar, Cindy McQuillin, Jordin Kare, and Leslie Fish. I am presenting only The Prather songs here, not because I don't like the other songs, but because I don't have a license to put them up here. As soon as that little formality is met, I'll post the rest of the songs here as well.

  1. Helva's Song

    When I wrote this song I was still recovering from the death of my grandmother, to whom I was very close. In addition, I was just learning to write songs–so this song has a rather awkwardly ose characteristic.

  2. Dorsai Lullaby

    If you were someone who had grown up in a mercenary culture, you'd probably be more sanguine about your husband's, father's, brother's and son's profession than the narrator of this song appears to be. On the other hand, the Dorsai were Celts (theoretically) and we all know how bright and happy much of Celtic music is!

  3. Sibyl's Song

    The Science Fiction genre is rich with retelling of fairy tales. Sometimes these ret el lings are deliberate, sometimes they seem to be almost accidental, and sometimes they are inspired by the fairy tale but do not stay strictly within its structure. The Snow Queen by Joan D. Vinge is an example of the third type, in which the Anderson fairy tale provides that backbone for a much larger story. This tale, which won a Hugo award, is one of the best clone stories ever written. But it's much more–a tale of cultural upheaval, a confrontation between good and evil, and a deeply moving love story. In the song, Moon Dawntreader Summer is telling about her duty as a sibyl and her need to go home and rescue her people.

  4. Crystal Singer

    Having been trained in a music conservatory, Anne McCaffrey has no doubt seen the student who tries but fails to make it. When the student is imperious and brash, the comedown can be very lonely–as the book clearly portrays. The character and brashness of this song come straight out of my own version of that experience. The middle section, with its reflective conversation with the mountain, represents the beginning of Killashandra's resolution to her conflict.