Under The Rose
The Albion Band
Spindrift Records (Making Waves) SPIN 110 (LP, UK, 1984)
Recorded and mixed at Millstream Studios, Cheltenham, 1984
Engineered by Mick Dolan
Produced by The Albion Band
and Mick Dolan
Illustrated by D & L Potter
Album cover by Phil Smee at Waldo's Design
An Albino Project
Cathy Lesurf - vocals
Phil Beer - vocals, acoustic guitar, electric guitar, fiddle, mandolin
Trevor Foster - drums
Ashley Hutchings - vocals, bass guitar
Doug Morter - electric guitar
With special guest
- synthesisers, alto saxophone
The allusion to under the rose goes back to classical times. The
Romans adopted the Egyptian sun-god Horus as part of a cult of Isis and Serapis that reached them through Greece. The Greeks
had taken him over as Horus the child (whose name in Egyptian was her-pa-khrad), Greeking his name to Harpocrates.
The Egyptian hieroglyph for a child was a seated boy sucking his finger; the Greeks thought this showed him with his finger
to his lips and so made him the god of silence and secrecy.
He became popular among Romans once the cult had been officially sanctioned
during the reign of Caligula in the first century AD. There's a famous story from those times in which Cupid - the Roman god
of love - was said to have given a rose to Harpocrates as a little thank-you bribe for not letting on what his mother Venus,
the goddess of sensual love, was up to (very filial, that).
So the rose became the symbol of confidentiality in the classical Roman
world. The ceilings of Roman dining rooms were decorated with roses to remind guests that what was said there under the influence
of wine (sub vino) was also sub rosa, under the rose, privileged and not to be made public.
The symbol of the rose was well-known throughout the post-classical period
and is recorded in particular in old German writings, which is how it may have got into English. The first use of the English
translation of the phrase occurs in the State Papers of Henry VIII in 1546 (though the writer had to explain what it meant).
The rose was used in medieval times and later much as the Romans did, and at one time appeared as a symbol in the confessional.
The tag in Latin or English is still to be heard, especially among people who prize confidentiality.
the sleeve notes
There are a number of ghosts who inhabit the songs on this album. In no particular order of appearance the include: John
Donne (Heart), William Shakespeare (Tomorrow, Dancing under the Rose, and more), Eugene O'Neill
(Tomorrow), Jackson Browne and George Eliot (Words), and Dave Whetstone (everything).
1. Tomorrow And Tomorrow And Tomorrow
4. Woodlands Of England
6. Dancing Under The Road
8. Sailors Rest Hornpipe / The Shipwreck
Tracks 1-2, 4-5, 8b Ashley Hutchings, Dave Whetstone (Albino Music)
Tracks 3, 7 Cathy Lesurf (Pukka Music)
6 Ashley Hutchings (Albino Music)
Track 8a Phil Beer (Rola Music)