Let’s give a warm welcome to Angela Korra’ti ^_^! If you like what you see, please check out her blog (which is hosting my post, as well). You can find a link at drolleriepress.com. Without further ado:

I’m doing double duty on the Drollerie Blog Tour this month, due to a mixup in who all was scheduled! I’ll be posting over at Heather Ingemar’s place about music in general and how it’s influenced my writing, but here? I’m going to bring y’all my proposed iPod/iPhone playlist for Faerie Blood!

  • “Whirl-Y-Reel 2” by Afro Celt Sound System
  • “As I Roved Out” by the Fables
  • “Contrari Dance” by Heather Alexander
  • “Hound Dog” by Elvis Presley
  • “Love Me Tender” by Elvis Presley
  • “Don’t” by Elvis Presley
  • “Can’t Help Falling in Love” by Elvis Presley
  • “It’s Now or Never” by Elvis Presley
  • “Wild in the Country” by Elvis Presley
  • “No. 6 The Coombe” by the Chieftains
  • “The Samurai Set” by Gaelic Storm
  • “Trouble” by Elvis Presley
  • “Walk on the Moon” by Great Big Sea
  • “Only the Music” by Heather Alexander
  • “Sonata for Violin and Piano” by Irene Britton Smith
  • “The Storm” by Gaelic Storm
  • “John Barbour” by Great Big Sea
  • “Tam Lin”, by Tricky Pixie
  • “Symphony No. 40 in G Minor, KV 550: I. Molto Allegro” by Mozart
  • “Swallow’s Tail Jig/Cabin Ceilidh/Swallow’s Tail Reel” by the Paperboys
  • “Life Less Ordinary” by Carbon Leaf

Most if not all of these selections, of course, will make better sense if you’ve actually read the book. But for those of you who haven’t, here’s a brief rundown on why I chose these various pieces.

“Whirl-Y-Reel 2” is because my heroine Kendis is an Afro Celt Sound System fan. This particular piece of theirs is off their first album, Volume 1 Sound Magic, and has a nice tension to it that felt appropriate for the opening of the book.

“As I Roved Out” is the Fables’ take on a good trad ditty and is pretty much required for any portion of a story which involves roving.

Heather Alexander’s “Contrari Dance” is an instrumental. The idea of this song is supposed to be that the good faeries get into a dance-off with bad ones, but the longer it goes, the closer the two sides get to one another in what they’re doing, until it becomes one great big wild faerie romp. It’s played very jauntily but with a touch of mischief, and seems like the right music for when Kendis gets waylaid by Seattle faeries.

Most of the Elvis songs are on this list because of being mentioned by name or by description in chapters Five and Six. Also because, well, Elessir.

“No. 6 The Coombe” is here because you don’t get much more trad than the grandfathers of modern Celtic music, the Chieftains. This ditty in particular has a long whistle solo at the beginning and then kicks up at the end with some other instruments coming in, and basically seems an excellent theme for Millicent.

Gaelic Storm’s The Samurai Set is my current pick for the background music for Kendis’ dream sequence in Chapter Ten.

The last Elvis song on this list, “Trouble”, is hands down my favorite from the movie King Creole. It is arguably Elessir’s theme song.

“Walk On The Moon” by Great Big Sea is here for Christopher, and in particular, what he does in Chapters 16 and 17.

Another Heather Alexander ditty, “Only the Music”, seems appropriate for when Kendis and Christopher take time out to jam together.

Irene Britton Smith’s “Sonata for Violin and Piano” is a song I don’t actually own yet but which I need to acquire. There’s one CD out there that has a recording of it, a compilation of music by African-American women composers. Kendis owns the sheet music to this song.

Back to Gaelic Storm again with the simply titled “The Storm”, off their very first album. It’s good background music for the big confrontation that stretches across Chapters 18, 19, and 20.

“John Barbour” and “Tam Lin” are both here because of being trad ditties Christopher sings. The specific versions that would be on the hypothetical Faerie Blood soundtrack would be by Great Big Sea and Tricky Pixie, respectively.

The first movement of Mozart’s “Symphony No. 40” is here because I played a dumbed-down version of it when I was in middle school, and it is therefore probably one of the first pieces Kendis learned how to play when she was in orchestra in school. It’s comfort music for her.

“Swallow’s Tail Jig/Cabin Ceilidh/Swallow’s Tail Reel” is a big lo’ instrumental by the Paperboys, and it’s here because of the music Kendis and Christopher are playing in the very last chapter.

And last but not least, “Life Less Ordinary” by Carbon Leaf is, in my brain, sung by Christopher to Kendis. Especially the opening bit of the first verse: “Live a life less ordinary / Live a life extraordinary with me”. Very fine song all around.

Hope y’all have enjoyed this musical interlude, and I hope it’ll encourage you to check out one or more of these songs via the music provider of your choice–not to mention my book! Thanks to Elisa for having me, and to her readers for taking a listen.