I've always adored this poem, as my grandfather used to recite it in a great rolling Charlton Heston-like voice at family gatherings. I was very favorably impressed with Loreena McKennitt's setting of it--even though I'm a fan, I had my doubts (thought she was a bit soft-spoken for this sort of material) but I love the dark flavor of her version. I even named my little guitar (an all-mahogany Baby Taylor) "Bess the Landlord's Daughter" because I thought she had a sweet dark sound.

I also liked Andy Irvine's cover a lot, but both his and Phil Ochs' versions have instrumentals that feel sort of cluttered to me--I like the languid, almost creepy quality of McKennitt's original arrangement. (Oh my God, I just realized that album has been out for nine YEARS. Good God, I was in college when it came out!)   I especially like the use of the bodhran to subtly suggest the hoofbeats of the horse--hey, it's not subtle, but I like it anyway. *grin*

Of course, I had to sing it at a family reunion. Now every single freakin' wedding, reunion, birthday, or (unfortunately) funeral, after a pint or two, it's "All right, Molly, it's time for the Highwayman!" Oh, okay, twist my arm. ;)

Cheers,

Molly