Salem

Line	From	To
-*	0:00:00	0:00:00
-It's been 40 years -since I recorded this album.	0:00:00	0:00:05
-Salem was released in 1974.	0:00:05	0:00:07
-It was a miserable decade.	0:00:07	0:00:09
-The hopes we had in the 1960s -had been dashed.	0:00:10	0:00:14
-Musically, punk hadn't yet happened.	0:00:14	0:00:17
-No-one knew what was to come.	0:00:17	0:00:19
-Why did I seek inspiration -from a Merionethshire chapel?	0:00:19	0:00:23
-That's a question I ask myself.	0:00:23	0:00:25
-# I return to the painting	0:00:30	0:00:34
-# That echoes ancient prayers	0:00:34	0:00:39
-# From the beginning of the century	0:00:39	0:00:43
-# Salem #	0:00:43	0:00:47
-Endaf came to us and said...	0:00:47	0:00:50
-.."I've recorded this."	0:00:51	0:00:53
-That, in itself, was revolutionary.	0:00:53	0:00:56
-He had recorded his own album...	0:00:56	0:00:59
-..without any financial backing -or studio time.	0:00:59	0:01:03
-It was plain to see, of course, -that this album was formidable.	0:01:03	0:01:09
-# The flies rise like smoke	0:01:10	0:01:11
-# Through the branches -of the hawthorn	0:01:14	0:01:17
-# At the end of the day, -they are no more	0:01:17	0:01:20
-# So short is their life #	0:01:20	0:01:22
-Everybody thought -this stuff was great.	0:01:22	0:01:26
-Nobody had heard -a Welsh album like it.	0:01:26	0:01:28
-It took my breath away.	0:01:29	0:01:31
-# Sian Ty'n y Fawnog	0:01:31	0:01:34
-# Wearing her shawl	0:01:35	0:01:39
-# And there's Evan Lloyd #	0:01:39	0:01:44
-Releasing a Welsh-language -concept album was unique.	0:01:44	0:01:48
-It was intrinsically Welsh.	0:01:48	0:01:50
-# The man from Cae'r Meddyg	0:01:51	0:01:55
-# Follows the grain	0:01:55	0:01:59
-# The wood -from the banks of the Artro	0:01:59	0:02:03
-# Is smooth beneath his plane #	0:02:03	0:02:06
-Sometimes, when you listen -to old albums in Welsh...	0:02:06	0:02:10
-..the standard of recording...	0:02:10	0:02:12
-..isn't as good -as English-language recordings.	0:02:12	0:02:16
-But when I listen to Endaf's stuff, -the production is on a par.	0:02:16	0:02:22
-# Oh, Laura	0:02:24	0:02:26
-# Laura	0:02:29	0:02:30
-# Farewell #	0:02:32	0:02:34
-Salem certainly stands apart -from the rest. It's timeless.	0:02:35	0:02:38
-The way the layers of music -are placed on top of each other...	0:02:39	0:02:43
-..is still inspiring today.	0:02:43	0:02:45
-No-one to this day -has the same degree of creativity...	0:02:46	0:02:50
-..in terms of chords and the way -the melodies bind complex chords.	0:02:50	0:02:56
-The Welsh music scene -is full of people...	0:02:56	0:02:59
-..who emulate -the way Endaf worked years ago.	0:02:59	0:03:02
-# Oh, it's sunny	0:03:08	0:03:11
-# Sunny in summer	0:03:11	0:03:15
-# Over in Meirion	0:03:15	0:03:17
-# And the silly seagulls -on the glistening banks	0:03:18	0:03:21
-# A butterfly	0:03:24	0:03:26
-# Dances in the heat	0:03:26	0:03:29
-# Golden cornfields	0:03:30	0:03:32
-# The world goes to the fair	0:03:33	0:03:35
-# In summer #	0:03:36	0:03:40
-I've kept a heap of memorabilia -over the years.	0:03:43	0:03:46
-Goodbye Cherry Lill.	0:03:46	0:03:48
-# Goodbye, Cherry Lill #	0:03:49	0:03:51
-I had a recording contract -with Parlophone.	0:03:52	0:03:54
-I recorded four singles -at Abbey Road.	0:03:55	0:04:00
-# Goodbye, Cherry Lill	0:04:00	0:04:04
-# Goodbye, Cherry Lill #	0:04:04	0:04:07
-# Paper chains, they break away	0:04:07	0:04:10
-# They won't hold you long	0:04:10	0:04:14
-# And paper birds -sing only in paper songs #	0:04:14	0:04:19
-I was permitted to record -a Welsh-language song on the B side.	0:04:19	0:04:24
-I wrote Madryn.	0:04:25	0:04:26
-# Children on Garn Fadryn's slopes	0:04:27	0:04:30
-# Are busy picking bilberries	0:04:30	0:04:33
-# The drone of the bees... #	0:04:34	0:04:36
-That experience -was a turning point for me.	0:04:36	0:04:39
-It was a personal song -rather than a song for others.	0:04:40	0:04:44
-It was a song by me about something -that was important to me.	0:04:44	0:04:48
-# And the sun's warmth	0:04:49	0:04:52
-# On Garn Fadryn	0:04:52	0:04:55
-# Calling for... #	0:04:57	0:04:59
-From that moment on, -I took great delight...	0:04:59	0:05:03
-..in writing in my native language -about my Welsh upbringing.	0:05:03	0:05:08
-# I suddenly felt a great longing #	0:05:08	0:05:11
-Hiraeth was my first album -and my first time on the cover.	0:05:11	0:05:17
-I regretted it afterwards, -but I can't do anything about it.	0:05:17	0:05:22
-Bizarrely, -these are going for 600 online.	0:05:22	0:05:25
-Japanese people are buying them -because they're rare copies.	0:05:25	0:05:30
-# There's Evan	0:05:30	0:05:32
-# Rushing from the service	0:05:32	0:05:35
-# Over to Cae Pella'	0:05:36	0:05:37
-# As fast as he can	0:05:38	0:05:40
-# On old Abel	0:05:40	0:05:42
-# Abel the donkey #	0:05:44	0:05:46
-Salem Cefncymerau -in Ardudwy, Meirionnydd.	0:05:46	0:05:50
-In one sense, this is different -from every other chapel...	0:05:50	0:05:54
-..because this is the chapel...	0:05:54	0:05:56
-..depicted -in Curnow Vosper's famous painting.	0:05:57	0:06:00
-I remember reading -T Rowland Hughes' sonnet...	0:06:06	0:06:10
-..and rediscovering the painting.	0:06:10	0:06:12
-I found myself in the library...	0:06:12	0:06:15
-..reading up -on the people in the painting.	0:06:15	0:06:18
-I feel as if we've lost our way -since the beginning of the century.	0:06:18	0:06:22
-It inspired a concept album...	0:06:22	0:06:25
-..an anthology of songs -centred around chapel life...	0:06:25	0:06:29
-..congregations -and society in general.	0:06:30	0:06:33
-# Abel	0:06:33	0:06:35
-# Abel	0:06:38	0:06:40
-# He is the best	0:06:43	0:06:45
-# In Cefncymerau, yes indeed	0:06:45	0:06:50
-# Ah, ah	0:06:51	0:06:52
-# Abel #	0:06:53	0:06:56
-Port Sunlight is a wonderful town.	0:06:56	0:07:00
-It was built by William Hesketh -for his workers...	0:07:00	0:07:03
-..so that they had adequate housing.	0:07:04	0:07:06
-He must have been very wealthy -to have built this...	0:07:06	0:07:10
-..from the sale of soap.	0:07:10	0:07:13
-As well as ensuring that the workers -had decent housing...	0:07:20	0:07:24
-..he wanted them -to embrace the arts.	0:07:24	0:07:28
-That's why the gallery -is situated here.	0:07:28	0:07:31
-Sian Owen is inside.	0:07:31	0:07:33
-# Abel	0:07:33	0:07:35
-# Abel	0:07:37	0:07:41
-# Goodness me, lads	0:07:44	0:07:45
-# You never saw such a thing #	0:07:46	0:07:49
-The painting is concealed -behind these curtains.	0:07:49	0:07:53
-And here it is.	0:07:54	0:07:56
-It's here because Lord Lever -bought the painting.	0:07:56	0:08:00
-He used it to sell his soap.	0:08:00	0:08:02
-If you bought ten pounds of soap -and sent away the packets...	0:08:02	0:08:07
-..you received a print.	0:08:07	0:08:09
-That's the reason it can be found -in so many homes in Wales.	0:08:10	0:08:15
-I have to say, -it's worth coming here to see it.	0:08:15	0:08:19
-For one thing, -it's bigger than we expect it be.	0:08:20	0:08:24
-We're used to seeing prints of it.	0:08:24	0:08:28
-It's also a better work of art -than I remember.	0:08:29	0:08:32
-It's very elaborate.	0:08:32	0:08:34
-Some of the stories -that have circulated...	0:08:35	0:08:38
-..are based on the print -rather than the original painting.	0:08:38	0:08:42
-She's making her way to her seat.	0:08:43	0:08:45
-The door is slightly ajar here.	0:08:45	0:08:49
-She's about to take her seat.	0:08:49	0:08:52
-She's not being banished from -the chapel or anything like that.	0:08:52	0:08:56
-Some people -have different interpretations.	0:08:56	0:09:00
-Some claim to see the devil...	0:09:00	0:09:02
-..but when you study the original...	0:09:03	0:09:06
-..the shadows and the outline -aren't as strong.	0:09:06	0:09:09
-There's nothing sinister...	0:09:10	0:09:12
-..in the way -the shawl has been painted.	0:09:13	0:09:16
-It's not a sentimental picture -of a small rural chapel.	0:09:18	0:09:23
-It's a picture -of the people in the chapel...	0:09:24	0:09:27
-..which is very rare, of course.	0:09:27	0:09:30
-He's written the songs about the -characters and used his imagination.	0:09:30	0:09:35
-I had to invent characters -that weren't in the painting...	0:09:35	0:09:40
-..and to flesh out the characters -that did appear in it.	0:09:40	0:09:45
-I used my imagination for that.	0:09:45	0:09:47
-I've always lived -in an imaginary world.	0:09:47	0:09:50
-# And Owen Sion	0:09:51	0:09:54
-# From Carleg Goch	0:09:54	0:09:58
-# And his brother, William Sion	0:09:59	0:10:04
-# Sian Ty'n y Fawnog	0:10:07	0:10:09
-# Wearing her shawl	0:10:09	0:10:12
-# There's Evan Lloyd #	0:10:13	0:10:18
-The other aspect, of course...	0:10:19	0:10:21
-..is the simplicity -of the recording.	0:10:22	0:10:25
-At home with a four-track.	0:10:26	0:10:28
-It's remarkable that he achieved -such a great sound...	0:10:28	0:10:32
-..from my guitar!	0:10:33	0:10:34
-It's back in my arms once again. -Here it is.	0:10:34	0:10:39
-It's big, isn't it?	0:10:39	0:10:41
-It's bigger -than the guitar I have at home.	0:10:41	0:10:45
-It remembers you.	0:10:45	0:10:47
-Let's try and play something -from Salem.	0:10:47	0:10:51
-# The man from Cae'r Meddyg	0:10:52	0:10:55
-# Follows the grain	0:10:56	0:10:58
-# And the wood -from the banks of the Artro	0:11:00	0:11:03
-# Is smooth beneath his plane	0:11:03	0:11:07
-# His two hands steer	0:11:10	0:11:13
-# The chisel over the branch	0:11:14	0:11:16
-# The man from Cae'r Meddyg	0:11:18	0:11:20
-# Is moving to France! #	0:11:22	0:11:24
-.	0:11:26	0:11:27
-Subtitles	0:11:30	0:11:30
-Subtitles - -Subtitles	0:11:30	0:11:32
-# Sweet Laura	0:11:33	0:11:35
-# The ships are in the bay	0:11:35	0:11:40
-# Tugging on the chain	0:11:41	0:11:46
-# As the tide drags its heels	0:11:46	0:11:51
-# Down on the quay	0:11:51	0:11:54
-# Ooh, sweet Laura	0:11:57	0:12:02
-# The wind fills the sails	0:12:02	0:12:06
-# And I set sail	0:12:07	0:12:11
-# I'll disappear over the horizon	0:12:11	0:12:16
-# With this	0:12:16	0:12:18
-# Laura	0:12:22	0:12:23
-# Whoa-oh-oh Laura	0:12:25	0:12:27
-# Laura	0:12:30	0:12:31
-# Farewell	0:12:33	0:12:35
-# Ooh, sweet Laura	0:12:38	0:12:43
-# I'll return -from the other side of the world	0:12:43	0:12:48
-# I'll drop anchor	0:12:48	0:12:53
-# When the barley field turns yellow	0:12:53	0:12:58
-# At the end of summer #	0:12:58	0:13:00
-Harlech Castle. -We're caught in the rain.	0:13:00	0:13:05
-We're on our way to Cwm Nantcol.	0:13:05	0:13:08
-I've never been there.	0:13:08	0:13:10
-But I went there -on an imaginary journey...	0:13:11	0:13:14
-..when I decided -to record this album.	0:13:14	0:13:17
-I didn't come this way -in my imagination.	0:13:17	0:13:20
-I came via Drws Ardudwy, -which sounds more romantic.	0:13:20	0:13:24
-Over the Rhinog, -past Maes-y-garnedd.	0:13:25	0:13:28
-You have to imagine this, as I did.	0:13:28	0:13:32
-You eventually reach Cwm Nantcol...	0:13:32	0:13:35
-..which sounds -like a romantic hideaway.	0:13:36	0:13:38
-I had the cheek to write -about a place I'd never visited.	0:13:39	0:13:42
-I apologize!	0:13:42	0:13:44
-As you head through the trees, -the chapel comes into view.	0:14:02	0:14:06
-It looks grey and wet.	0:14:06	0:14:10
-There's a light on -in the chapel house next door.	0:14:10	0:14:13
-Salem.	0:14:15	0:14:17
-Here we are.	0:14:33	0:14:35
-It's very odd -being here for the first time.	0:14:38	0:14:42
-It feels very familiar, of course...	0:14:42	0:14:45
-..because of the painting -and the pictures we've seen.	0:14:46	0:14:50
-For me, as a Methodist brought up -in Penmount chapel, Pwllheli...	0:14:50	0:14:56
-..which is enormous...	0:14:56	0:14:58
-..this is a very small -and simple chapel.	0:14:59	0:15:01
-It's very nice, to be honest.	0:15:02	0:15:04
-There's a theory -that suggests Sian Owen...	0:15:04	0:15:07
-..was standing here, -on her way out...	0:15:08	0:15:10
-..for those who knew -that the door was over there.	0:15:10	0:15:14
-I believe she was standing here...	0:15:14	0:15:17
-..because the light -was coming from the door.	0:15:17	0:15:20
-That's why Vosper stood here -with his easel and she stood there.	0:15:21	0:15:25
-The man bowing his head in prayer -was called Robat Williams...	0:15:28	0:15:33
-..the man from Cae'r Meddyg.	0:15:33	0:15:35
-I like Robat Williams.	0:15:35	0:15:38
-He was a craftsman, unlike myself, -who has two left hands.	0:15:38	0:15:42
-All the males in my family -have been carpenters.	0:15:43	0:15:46
-I have a lot of respect -for craftsmen.	0:15:47	0:15:50
-Creating this chapel -has been a labour of love.	0:15:50	0:15:54
-It's peaceful in here.	0:15:54	0:15:56
-All you can hear is the stream -and the ticking of the clock.	0:15:56	0:16:01
-It's a wonderful place to meditate.	0:16:01	0:16:03
-The Welsh pop scene...	0:16:05	0:16:07
-..before 1974 was quite...	0:16:08	0:16:10
-I don't want to say simple...	0:16:12	0:16:14
-..but nothing very adventurous -was happening.	0:16:14	0:16:18
-The Welsh pop scene was very slow.	0:16:18	0:16:23
-In that early period, -you had Aled A Reg...	0:16:23	0:16:26
-..Hogia Llandegai and so on.	0:16:26	0:16:29
-The songs were translations.	0:16:30	0:16:32
-Dafydd himself -translated songs back then.	0:16:32	0:16:35
-In the wake of Salem's release...	0:16:35	0:16:38
-..but perhaps not immediately...	0:16:39	0:16:41
-..people like Geraint Jarman -began recording concept albums too.	0:16:41	0:16:46
-Gobaith Mawr Y Ganrif, -Gwesty Cymru and Hen Wlad Fy Nhadau.	0:16:47	0:16:52
-For many people in Wales...	0:16:52	0:16:55
-..Endaf had opened the door -to the imagination with Salem.	0:16:55	0:17:01
-He was saying, "It's possible.	0:17:01	0:17:03
-"If you have the talent, -if you have the vision...	0:17:04	0:17:07
-"..if you have the ambition, -you can do this."	0:17:07	0:17:12
-# Sian Owen Ty'n y Fawnog	0:17:18	0:17:21
-# Asked to borrow a shawl	0:17:22	0:17:25
-# Her own fragile shawl -had seen too many Sundays	0:17:25	0:17:30
-# I heard a rumour	0:17:32	0:17:35
-# That the devil was in the shawl	0:17:35	0:17:38
-# The ones who acknowledge him -are everywhere #	0:17:39	0:17:42
-Salem was the first concept album -in the Welsh language.	0:17:44	0:17:48
-It's inspiring in the way -that Endaf has been able...	0:17:48	0:17:52
-..to breathe life -into the painting's characters.	0:17:52	0:17:55
-While we were -working out this song...	0:17:56	0:17:58
-..we noticed his complicated chords, -chords you don't normally hear.	0:17:59	0:18:04
-To some extent...	0:18:04	0:18:06
-..it's a contemporary response -to the old hymn tradition.	0:18:06	0:18:11
-It sounded ahead of its time -when it was recorded.	0:18:12	0:18:14
-# While searching for his face	0:18:15	0:18:19
-# They ignored them	0:18:19	0:18:21
-# The history in Salem's walls	0:18:21	0:18:25
-# And the peaceful power -of the faith	0:18:26	0:18:28
-# Flourished in Meirionnydd	0:18:28	0:18:31
-# Like heather -covers the mountain's rocks	0:18:32	0:18:36
-# The belief in a peace -the world has never seen	0:18:36	0:18:40
-# From the fragility of mankind	0:18:52	0:18:56
-# Heaven's providence is strange	0:18:56	0:18:59
-# It gives men strength -to suffer the world's ills	0:18:59	0:19:04
-# When Judgement Day comes	0:19:07	0:19:09
-# Each one will take a stand	0:19:10	0:19:12
-# There's room -for Sian Owen in his house	0:19:13	0:19:17
-# Sian Owen, Ty'n y Fawnog	0:19:23	0:19:26
-# She was carved from the rock	0:19:26	0:19:30
-# She was poor and ragged	0:19:30	0:19:33
-# A mere penny for her work #	0:19:33	0:19:37
-The album starts like this.	0:19:37	0:19:39
-PIANO MUSIC	0:19:40	0:19:42
-Compare the Old Hundredth -hymn tune, for example.	0:19:43	0:19:46
-By juxtaposing -the beginning of Salem...	0:19:57	0:20:00
-..and the Old Hundredth, -they somehow mirror each other.	0:20:01	0:20:05
-Is it successful plagiarism...	0:20:06	0:20:08
-..or is it simply -in my subconscious?	0:20:08	0:20:12
-I think it's in your subconscious.	0:20:12	0:20:15
-Take Caersalem for instance.	0:20:15	0:20:17
-Caersalem and then...	0:20:20	0:20:22
-It'd help if I hit the right notes!	0:20:28	0:20:30
-So there are hymns and folk songs.	0:20:30	0:20:34
-The impression I get -from listening to the album...	0:20:35	0:20:38
-..and folk arrangements -is that they're an opportunity...	0:20:38	0:20:43
-..to stretch out a little -in terms of...	0:20:44	0:20:47
-I couldn't just leave them -as they were.	0:20:47	0:20:50
-I wanted to do something with them -that was different.	0:20:51	0:20:55
-It wasn't going to be -a polished folk music performance...	0:20:55	0:21:00
-..because I'm not a folk singer.	0:21:00	0:21:02
-I was determined -to do something different with them.	0:21:03	0:21:06
-Aderyn Du goes its own way.	0:21:07	0:21:13
-Ar Lan Y Mor goes in all directions.	0:21:13	0:21:17
-# Beside the sea	0:21:17	0:21:22
-# Blue pebbles lying	0:21:22	0:21:26
-# Beside the sea	0:21:26	0:21:30
-# Gold flowers glowing	0:21:30	0:21:35
-# Beside the sea	0:21:35	0:21:39
-# Are all things fairest #	0:21:39	0:21:43
-You believe that these folk songs -do somehow fit in.	0:21:43	0:21:47
-There's a link there somewhere, -even if it's in your subconscious.	0:21:47	0:21:53
-From the painting, I imagine -it's ten o'clock in the morning...	0:21:53	0:21:57
-..on a spring day, -but I might be wrong.	0:21:57	0:22:00
-You can hear that small rural church -in Dyffryn Ardudwy...	0:22:00	0:22:05
-..and the birds singing -in the trees outside.	0:22:05	0:22:09
-There are lots of things like that.	0:22:09	0:22:12
-# Blackbird	0:22:14	0:22:16
-# On a silken wing	0:22:17	0:22:20
-# Golden beak	0:22:22	0:22:25
-# Silvered tongue #	0:22:26	0:22:28
-And then you have -the more rock-inspired songs.	0:22:29	0:22:34
-Evan Edward Lloyd.	0:22:34	0:22:36
-There's a song on Steely Dan's -first album which goes like this.	0:22:43	0:22:48
-It uses similar chords.	0:22:55	0:22:57
-No-one else was using that chord -in Wales back in 1974.	0:23:03	0:23:07
-# Blackbird... #	0:23:08	0:23:11
-.	0:23:36	0:23:37
-Subtitles	0:23:40	0:23:40
-Subtitles - -Subtitles	0:23:40	0:23:42
-# There's a deep river of fog	0:23:57	0:24:00
-# Cleansing the trees' bark	0:24:00	0:24:03
-# And Evan Edward Lloyd	0:24:03	0:24:06
-# Is twelve years old	0:24:07	0:24:09
-# The world goes on around him	0:24:10	0:24:13
-# And despite the long hot summer	0:24:13	0:24:16
-# Today	0:24:16	0:24:18
-# Is lost forever	0:24:19	0:24:22
-# Wild waves in the grass	0:24:32	0:24:35
-# Breaking over the meadow	0:24:35	0:24:38
-# And the wind weaves pathways	0:24:38	0:24:41
-# The foolish shepherd	0:24:42	0:24:44
-# And despite the fog that descends	0:24:45	0:24:48
-# Despite the shackles of the thorns	0:24:48	0:24:50
-# Today	0:24:51	0:24:54
-# Is lost forever	0:24:54	0:24:56
-# No, no-no, no, no-no	0:24:58	0:25:01
-# No	0:25:01	0:25:04
-# Evan Edward Lloyd	0:25:04	0:25:07
-# Ah, ah, ah, ah, ah-ah-ah #	0:25:07	0:25:12
-I love the lyrics -to Evan Edward Lloyd, the young boy.	0:25:12	0:25:16
-"Wild waves in the grass -Breaking over the meadow	0:25:17	0:25:20
-"The wind weaves pathways, -The foolish shepherd."	0:25:20	0:25:24
-It's wonderful.	0:25:24	0:25:25
-Poorer work has won Crowns.	0:25:25	0:25:27
-Though Endaf -doesn't regard himself as a poet...	0:25:28	0:25:31
-..he's certainly a lyricist.	0:25:31	0:25:33
-I'm a little shy -about the lyrics to Salem...	0:25:34	0:25:38
-..because I'm not a poet.	0:25:38	0:25:40
-I had a responsibility -to write decent lyrics.	0:25:40	0:25:43
-I did the best I could at the time.	0:25:44	0:25:46
-But I feel inadequate in that field, -to tell you the truth.	0:25:46	0:25:51
-It'll be nice to meet a real poet.	0:25:52	0:25:54
-Take a right turn.	0:26:01	0:26:03
-We're heading to where -Ty'n y Fawnog once stood...	0:26:04	0:26:08
-..along the back road from Llanfair.	0:26:08	0:26:11
-Unfortunately, -the house is no longer there.	0:26:12	0:26:15
-What's left is not even a ruin.	0:26:15	0:26:19
-She came to Ty'n y Fawnog -as a housekeeper.	0:26:19	0:26:23
-Sian Owen was born -in Maes-y-garnedd in Cwm Nantcol.	0:26:24	0:26:27
-Her face in the painting -is misleading.	0:26:29	0:26:33
-According to local lore, -she was amiable and mild-mannered.	0:26:34	0:26:37
-She was a cheerful character.	0:26:38	0:26:40
-I think Ty'n y Fawnog...	0:26:40	0:26:43
-..was somewhere around here -on the left.	0:26:44	0:26:46
-There's nothing left of it now -apart from thorns and brambles.	0:26:47	0:26:51
-Ty'n y Fawnog is no more.	0:26:51	0:26:53
-Ty'n y Fawnog is no more. - -It has vanished into the peat bog.	0:26:53	0:26:56
-At best, I'm sure -it was a very damp place to live.	0:26:56	0:27:00
-It probably wouldn't have been -a very cosy cottage.	0:27:00	0:27:05
-In a moment -we'll be passing Ty'n y Buarth...	0:27:06	0:27:09
-..where sweet Laura used to live.	0:27:10	0:27:13
-Ty'n y Buarth -is just here on the right.	0:27:13	0:27:18
-On the right. There it is.	0:27:18	0:27:22
-Her husband was a cobbler. -They kept a shop here.	0:27:23	0:27:27
-They had a little oven where people -would come and bake bread.	0:27:27	0:27:32
-My imagination ran away with me -in Laura's case.	0:27:32	0:27:35
-The Laura in the song, -or rather, my perception of Laura...	0:27:35	0:27:39
-..is nothing like -the real Laura Williams.	0:27:40	0:27:44
-I must apologize!	0:27:45	0:27:47
-# Laura	0:27:47	0:27:48
-# Whoa, Laura #	0:27:50	0:27:52
-I hide behind the songs.	0:27:55	0:27:57
-I'm not saying, "This is me."	0:27:57	0:27:59
-I'm lurking in the background.	0:27:59	0:28:02
-But many songs -evoke a sense of longing...	0:28:02	0:28:05
-..because, to all intents -and purposes, I'd been exiled.	0:28:05	0:28:10
-We had to leave Pwllheli...	0:28:14	0:28:18
-..when I didn't really -want to leave.	0:28:18	0:28:21
-I've always felt a great longing -for that area, the people...	0:28:21	0:28:25
-..and that way of life.	0:28:25	0:28:27
-We're heading towards -Ffordd Garleg Goch to the left.	0:28:32	0:28:37
-This is Ffordd Garleg Goch.	0:28:37	0:28:39
-They used the word "carleg" -to describe a very rocky area.	0:28:39	0:28:44
-The first thing I did...	0:28:44	0:28:46
-..was head to the library -to do some research.	0:28:46	0:28:50
-I took the name from there.	0:28:51	0:28:53
-It wasn't until many years later...	0:28:54	0:28:56
-..that I considered -it might have been a misprint.	0:28:56	0:28:59
-I thought -it might have been carreg...	0:29:00	0:29:02
-..instead of carleg.	0:29:03	0:29:05
-This is Carleg Goch's -grazing meadow.	0:29:06	0:29:08
-Yes, this was Ffridd Garleg Goch, -and further up the hill...	0:29:09	0:29:13
-..would have been -William and Owen's smallholding.	0:29:14	0:29:18
-Their sister kept house -for the two brothers.	0:29:19	0:29:21
-One was a widower, -the other a bachelor.	0:29:21	0:29:24
-I wrote Yn Yr Haf, -a song about summer.	0:29:24	0:29:29
-I imagined -the two brothers farming.	0:29:29	0:29:33
-In reality, -they did a little bit of everything.	0:29:33	0:29:37
-They had a quarry -and they had a boat.	0:29:37	0:29:40
-Yes, it was either a boat or a ship.	0:29:40	0:29:43
-It's so different -from what I'd imagined.	0:29:43	0:29:46
-# It's sunny in summer	0:29:46	0:29:48
-# Summer is pleasant	0:29:49	0:29:51
-# Down in Dyffryn Ardudwy	0:29:52	0:29:56
-# It's oh, so pleasant #	0:29:57	0:29:59
-We'll have a cuppa now.	0:30:01	0:30:03
-..as if we had -just come back from chapel.	0:30:04	0:30:07
-How long would it take -to walk to chapel from here?	0:30:07	0:30:10
-It would take around 20 minutes -to half an hour on foot.	0:30:11	0:30:15
-Do you take sugar?	0:30:15	0:30:16
-Do you take sugar? - -No, thanks.	0:30:16	0:30:18
-Over in the grazing meadow...	0:30:18	0:30:21
-Behind us...	0:30:22	0:30:24
-..is Cae'r Meddyg, -where Robat Williams lived.	0:30:24	0:30:28
-He would have walked -through the woods to reach Salem.	0:30:29	0:30:33
-There's a network -of small footpaths around here.	0:30:33	0:30:38
-When you see the stile...	0:30:38	0:30:41
-..it's easy to imagine him -walking to chapel...	0:30:42	0:30:45
-..in his Sunday best...	0:30:45	0:30:47
-..to Salem Cefncymerau...	0:30:48	0:30:50
-..with his hymn book under his arm.	0:30:51	0:30:54
-Sundays were peaceful days.	0:30:54	0:30:57
-They were busy people.	0:30:58	0:31:00
-Sunday was a tranquil time -to bow his head in prayer...	0:31:00	0:31:04
-..and let things pass him by.	0:31:04	0:31:07
-The painting -encapsulates a peaceful era.	0:31:07	0:31:13
-# I return to the painting	0:31:17	0:31:21
-# That echoes old prayers	0:31:21	0:31:25
-# In the early days of the century	0:31:25	0:31:29
-# Salem #	0:31:29	0:31:34
-I'm a native of Lleyn myself.	0:31:34	0:31:36
-Endaf's music and his career...	0:31:36	0:31:39
-..from the time he left Lleyn -to work in Abbey Road inspired me.	0:31:39	0:31:45
-He's a hero of mine.	0:31:45	0:31:47
-He made me realize -that it is possible...	0:31:47	0:31:50
-..for someone from Wales -to succeed in the big city.	0:31:50	0:31:54
-The choice of instruments...	0:31:55	0:31:57
-..and the standard of his playing -is exceptional.	0:31:57	0:32:00
-He has inspired -countless Welsh musicians...	0:32:01	0:32:06
-..over the past 40 years.	0:32:06	0:32:08
-# The river is our life	0:32:08	0:32:12
-# The mill turns sometimes	0:32:12	0:32:16
-# Large rocks come to demolish us	0:32:17	0:32:20
-# Salem	0:32:20	0:32:23
-# On the flat plains	0:32:24	0:32:27
-# The flow of water slows	0:32:28	0:32:31
-# And we'll hear the waves break	0:32:31	0:32:35
-# On the beaches	0:32:36	0:32:40
-# The course of every river ends	0:32:41	0:32:43
-# But the water flows into the sea	0:32:43	0:32:47
-# So too will our souls	0:32:48	0:32:51
-# To Jerusalem	0:32:52	0:32:56
-# We'll go to Salem	0:32:57	0:32:59
-# Salem in the country	0:32:59	0:33:03
-# We'll sing the old hymns	0:33:03	0:33:07
-# We'll return to my father's home	0:33:07	0:33:11
-# We'll go to Salem in the country	0:33:12	0:33:17
-# We'll go to Salem #	0:33:20	0:33:22
-.	0:33:22	0:33:22
-Subtitles	0:33:24	0:33:24
-Subtitles - -Subtitles	0:33:24	0:33:26
-Good afternoon.	0:33:29	0:33:31
-How are you? Nice to meet you.	0:33:31	0:33:33
-Hello, Catherine, how are you?	0:33:34	0:33:34
-Hello, Catherine, how are you? - -Come in.	0:33:34	0:33:36
-Thank you for the welcome.	0:33:36	0:33:38
-Welcome to Cartref.	0:33:38	0:33:41
-This is Sian Owen's original shawl.	0:33:41	0:33:44
-Not the one in the painting.	0:33:44	0:33:46
-I don't know -why Vosper wanted the other one.	0:33:47	0:33:50
-Perhaps it was too delicate...	0:33:50	0:33:53
-..or too elaborate to paint.	0:33:53	0:33:55
-Maybe this one -wasn't colourful enough.	0:33:56	0:33:59
-People have criticized the attire...	0:33:59	0:34:02
-..saying that the clothes -weren't in keeping with the period.	0:34:02	0:34:06
-What do you think they'd have worn -on a Sunday during that time?	0:34:07	0:34:12
-Would they have worn hats?	0:34:12	0:34:14
-Would they have worn hats? - -No.	0:34:14	0:34:15
-They didn't dress like that in 1908, -early in the last century.	0:34:15	0:34:21
-But that's how Sydney Curnow Vosper -wanted them to dress...	0:34:21	0:34:25
-..to portray a traditional Sunday.	0:34:26	0:34:28
-He paid the subjects in the painting -sixpence an hour.	0:34:28	0:34:34
-The hat belonged to the old lady -who lived in the chapel house.	0:34:34	0:34:38
-Her name was Elin Edwards. -They each wore the hat in turn.	0:34:39	0:34:43
-I see.	0:34:43	0:34:45
-It was her hat...	0:34:46	0:34:47
-..that was used in the picture.	0:34:48	0:34:50
-A traditional Welsh hat.	0:34:50	0:34:52
-What's Llanbedr like nowadays?	0:34:52	0:34:56
-You must have seen -a lot of change over the years.	0:34:56	0:35:00
-Yes, we have.	0:35:00	0:35:02
-Lots of English people -have moved in.	0:35:02	0:35:05
-The chapel -only has five members now, Endaf.	0:35:05	0:35:08
-It's heart-breaking.	0:35:09	0:35:11
-The sad thing is, after our days, -there's no-one to take over...	0:35:11	0:35:16
-..and keep the place going.	0:35:16	0:35:18
-It's not the painting we worship.	0:35:19	0:35:23
-We go there to worship God.	0:35:24	0:35:26
-And to keep the door open.	0:35:27	0:35:29
-"When children of affliction -are seen in a different light."	0:35:30	0:35:34
-Hymn number 253.	0:35:34	0:35:36
-It's fitting -that the Salem painting...	0:36:11	0:36:15
-..is our focus this afternoon...	0:36:15	0:36:18
-..and the history -behind the picture.	0:36:18	0:36:21
-For me personally, -that record by Endaf Emlyn...	0:36:22	0:36:26
-..brought the Salem painting to life -for the first time.	0:36:26	0:36:32
-Before that, the painting -didn't mean that much to me.	0:36:32	0:36:38
-I obviously knew about it.	0:36:38	0:36:40
-I was familiar with it...	0:36:41	0:36:44
-..but I didn't think of it -at the time as iconic.	0:36:44	0:36:48
-It didn't have -any deep significance.	0:36:48	0:36:51
-# Owen Sion came from Carleg Goch	0:36:52	0:36:58
-# With his brother, William Sion #	0:37:01	0:37:06
-One of the things Endaf Emlyn did...	0:37:06	0:37:10
-..with the Salem anthology...	0:37:10	0:37:13
-..was bring the painting -and the tradition to life.	0:37:13	0:37:19
-As a result...	0:37:19	0:37:21
-..it spurred me -to rediscover the picture...	0:37:21	0:37:26
-..and for the first time...	0:37:26	0:37:29
-..I could relate to it.	0:37:29	0:37:31
-I think I was looking back...	0:37:42	0:37:45
-..and acknowledging -that we were moving on...	0:37:45	0:37:48
-..and leaving -that way of life behind.	0:37:49	0:37:51
-There's a sense of longing -in the album...	0:37:52	0:37:55
-..for that wonderful -chapel upbringing I received...	0:37:55	0:37:59
-..and its subsequent decline.	0:37:59	0:38:01
-It made me wonder -what would replace it.	0:38:01	0:38:04
-# In the picture	0:38:04	0:38:08
-# Are two hands praying	0:38:08	0:38:11
-# At my bedside	0:38:11	0:38:16
-# Every morning and night	0:38:16	0:38:20
-# Their prayer is beautiful	0:38:20	0:38:23
-# Though I cannot hear it #	0:38:23	0:38:28
-You've awoken the children's -imagination with a picture...	0:38:28	0:38:33
-..that is more relevant to them -than anyone else...	0:38:34	0:38:37
-..since they're from the area.	0:38:37	0:38:40
-Has it been fun?	0:38:40	0:38:42
-I've enjoyed seeing them develop -the images that are so iconic.	0:38:42	0:38:47
-Because I'm here -to lead the project...	0:38:47	0:38:51
-..they've visited the chapel.	0:38:52	0:38:54
-Many of them hadn't been there, -though they had family ties.	0:38:54	0:38:59
-Does the fact that the painting -was painted in their locality...	0:38:59	0:39:04
-..provide more inspiration?	0:39:04	0:39:06
-The chapel itself is inspiring.	0:39:06	0:39:09
-It's in such a picturesque setting.	0:39:09	0:39:12
-The children are very sweet.	0:39:13	0:39:16
-Their surroundings -influence their behaviour.	0:39:16	0:39:20
-There are his eyes, -and then his nose and mouth.	0:39:20	0:39:24
-And someone's there too.	0:39:26	0:39:29
-Where?	0:39:29	0:39:30
-Where? - -In the shawl.	0:39:30	0:39:31
-Those are the eyes there. See?	0:39:32	0:39:34
-Then there's the nose and the mouth.	0:39:34	0:39:38
-# Oh, it's sunny	0:39:51	0:39:54
-# Sunny in summer	0:39:55	0:39:58
-# Over in Meirion	0:39:58	0:40:00
-# And the silly seagulls -are on the glistening shores	0:40:00	0:40:05
-# A butterfly	0:40:06	0:40:09
-# Dances in the heat	0:40:09	0:40:12
-# Golden cornfields	0:40:12	0:40:15
-# The world -goes to the fair in summer #	0:40:15	0:40:20
-It's been a really good experience -singing the song...	0:40:23	0:40:27
-..because Endaf Emlyn is from -the area, so it's been great.	0:40:27	0:40:31
-It was also a great opportunity -to meet Endaf Emlyn personally.	0:40:32	0:40:37
-It was a great experience.	0:40:37	0:40:39
-# Owen Sion steaming	0:40:39	0:40:41
-# And William his brother	0:40:42	0:40:44
-# The sun attracts the flies	0:40:44	0:40:47
-# But farm work -is hard in the summer	0:40:47	0:40:50
-# In the summer	0:40:50	0:40:52
-# Oh, it's sunny in summer	0:40:57	0:41:01
-# The summer is pleasant	0:41:01	0:41:03
-# Down in Dyffryn Ardudwy	0:41:03	0:41:07
-# It's oh, so pleasant #	0:41:07	0:41:11
-HE PLAYS THE ORGAN	0:41:11	0:41:13
-The painting was made famous -by promoting the sale of soap.	0:41:25	0:41:30
-There was nothing remarkable -about that.	0:41:30	0:41:33
-Perhaps the album -and T Rowland Hughes' poem...	0:41:34	0:41:39
-..which came before the record...	0:41:39	0:41:42
-..enabled us to claim the painting -for ourselves...	0:41:42	0:41:46
-..and attach -our own significance to it.	0:41:46	0:41:50
-It's not about selling soap -or cleanliness next to godliness.	0:41:50	0:41:54
-It's a reflection -of the hardships in life...	0:41:55	0:41:59
-..where faith was a comfort...	0:41:59	0:42:01
-..and where worship brought people -together to help each other...	0:42:02	0:42:07
-..at a time when life was hard.	0:42:07	0:42:09
-We've successfully -adopted the painting as our own.	0:42:09	0:42:15
-I remember the picture -as a young boy.	0:42:17	0:42:20
-There was that mystery -of the devil's face in the shawl.	0:42:20	0:42:24
-But it wasn't important to me.	0:42:24	0:42:26
-I didn't dream about it at night -or derive any delight from it.	0:42:26	0:42:30
-On reflection, it was convenient -on a practical level.	0:42:31	0:42:35
-It framed the work.	0:42:35	0:42:37
-# The man from Cae'r Meddyg	0:43:09	0:43:13
-# Follows the grain #	0:43:13	0:43:17
-The Salem album -has followed me around...	0:43:17	0:43:20
-..in ways I never expected.	0:43:20	0:43:22
-I couldn't have predicted...	0:43:23	0:43:25
-..that I'd be discussing -the album today.	0:43:25	0:43:29
-I'm quite proud of that, -to be honest.	0:43:32	0:43:35
-In this digital age, -where everything is in a file...	0:43:35	0:43:39
-..or on a hard drive somewhere...	0:43:39	0:43:41
-..it's nice to grab hold -of something tangible...	0:43:41	0:43:45
-..and say, "I did this."	0:43:45	0:43:47
-# And so he farmed	0:43:49	0:43:52
-# Close to the soil	0:43:52	0:43:56
-# Depending on the seasons	0:43:57	0:44:01
-# And when day turned to night #	0:44:01	0:44:04
-We're celebrating -the painting's birthday...	0:44:04	0:44:08
-..and I'm also -celebrating a birthday.	0:44:08	0:44:11
-I'm 70 this year, which is -both remarkable and unexpected.	0:44:11	0:44:18
-# The man from Cae'r Meddyg	0:44:18	0:44:21
-# Follows the grain #	0:44:21	0:44:25
-It makes me think -about my own mortality and so on.	0:44:25	0:44:31
-Strangely enough, -the song Evan Edward Lloyd...	0:44:31	0:44:34
-..is about a twelve-year-old boy...	0:44:34	0:44:37
-..although he's six -in the actual painting.	0:44:38	0:44:42
-He's twelve in the song...	0:44:42	0:44:44
-..because I needed -an extra syllable in Welsh!	0:44:44	0:44:47
-It took me back to Pwllheli -when I was twelve years old...	0:44:47	0:44:52
-..when the days and the summers -were never-ending...	0:44:52	0:44:57
-..and time was immaterial.	0:44:58	0:45:00
-But, of course, -the clock is ticking...	0:45:00	0:45:04
-..like mayflies in spring...	0:45:04	0:45:07
-..which live for one day only -and then die.	0:45:07	0:45:11
-The characters in the painting -have all died...	0:45:11	0:45:15
-..and so will we in time.	0:45:15	0:45:17
-I sound like a preacher!	0:45:17	0:45:19
-Why not? I'm in a chapel, after all.	0:45:19	0:45:21
-# Amen #	0:45:22	0:45:28
-# The night will come	0:45:33	0:45:38
-# And the day fades away	0:45:40	0:45:45
-# A full moon	0:45:48	0:45:51
-# Watches over the world...	0:45:51	0:45:54
-What's the date today?	0:45:54	0:45:57
-# Goodnight, Sian	0:46:02	0:46:06
-# And the amiable company -in the country	0:46:06	0:46:12
-# Goodnight	0:46:14	0:46:17
-# Goodnight	0:46:17	0:46:20
-# We have to go #	0:46:20	0:46:24
-It was a milestone -in the history of Welsh pop music.	0:46:29	0:46:34
-No doubt about that.	0:46:34	0:46:36
-All the songs...	0:46:38	0:46:40
-..when you look at the painting -and listen to the music...	0:46:40	0:46:44
-..gel together.	0:46:45	0:46:47
-They're relevant to each other...	0:46:47	0:46:49
-..and relevant -to our history as Welsh people...	0:46:49	0:46:54
-..during that special era.	0:46:54	0:46:56
-I think that Endaf...	0:46:58	0:47:01
-..is certainly -one of those people...	0:47:02	0:47:05
-..who has given -Welsh contemporary music a status.	0:47:06	0:47:09
-He has set a standard -that's much higher than the norm.	0:47:09	0:47:14
-# Sweet Laura	0:47:17	0:47:20
-# The ships are in the bay	0:47:20	0:47:25
-# Tugging on the chain	0:47:26	0:47:30
-# And the tide's dragging its heels	0:47:30	0:47:34
-# Down on the quay	0:47:34	0:47:37
-# Ooh, sweet Laura	0:47:40	0:47:44
-# The wind is filling their sails	0:47:44	0:47:48
-# I'm setting sail	0:47:49	0:47:53
-# I'll disappear over the horizon #	0:47:53	0:47:57
-S4C Subtitles by Adnod Cyf.	0:47:58	0:48:00
-.	0:48:00	0:48:00

Salem

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