This, of course, was “Orinoco Flow”, the breakout track from Enya’s second album, Watermark, which, along with countless other people, was the song that truly drew me to her side. In those days long before the now ubiquitous on-demand music services, let alone before one could search the internet for the name and composer of any earworm both heard yet not heard on radio, I clearly recall having been mesmerized by an stirring chorus and resounding tempo of SAIL AWAY, SAIL AWAY, SAIL AWAY.įor years afterward I searched in vain for the source of this seemingly divine imperative. I was a fan even earlier than that, though. Her third album, Shepherd Moons was the first CD I ever owned back in 1993 or so, followed by her fourth release, The Memory of Trees, a short time later. I’ve loved Enya’s music for more than half of my life – longer than any other artist I enjoy today. I’ve always been drawn to, for lack of a better term, the darker side of Enya.įor almost 20 years, the Irish, New Age singer has enchanted the world with her lush, solo melodies – songs that celebrate the wonders of the natural and celestial worlds the siren call of adventure the strength of the human spirit in withstanding adversity the thrumming heart of love in its myriad forms and the wonder and mystery of God.Įvery song she creates is like a sculpture of glass – a graceful yet solid construction of layered otherworldly vocals, soaring instrumentation, chief among which is the piano, and dreamy lyrics sung in one of at least four different languages.
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