这张《songbook1》发行于2006年,曲目大多数是凯尔特传统民谣。
经过Cécile Corbel的重新演绎和个性诠释,少了一份传统凯尔特女声特有的忧伤和野性,被欧洲评论界称之为世界顶尖凯尔特新生Cécile Corbel的歌声,不是摇曳于凯尔特山谷的无名野花,更象是一丛丛精致而古雅的花束,娆妖妩媚地绽放在法国巴黎恬静的公园、悠闲的街角,在悠远凄婉动人的凯尔特韵味中秉袭了一份法式的优雅浪漫和温暖诗意,使身处扰攘红尘奔波的你我不期然地投射出对异域风情的遥思和弛想!
Celtic or Celtoid? That's the question you end up asking when you listen to Corbel's new album. She certainly has a strong Breton pedigree as both a singer and harpist, well grounded in the tradition. But as the disc progresses, whether this newer, more mainstream direction is apt becomes a very moot point. No one would dispute the quality of her vocals or playing; it's more in the choice of material and, more specifically, the arrangements. Does funk work well with Breton on "Stor Mo Chroi" and a couple of other pieces? The answer really has to be no -- they make fairly uncomfortable bedfellows, while the strings that clutter "The Blackbird" simply hide her instrumental light under a bushel, and her version of "My Love Is Like a Red Rose Rose" should have been jettisoned in the demo stage. For all that, though, it's not a bad album, merely a misguided one. Corbel is too good to ever produce something appalling. Indeed, a few tracks, like "Bemnoz" actually work quite well. But as a viable way forward, Songbook 1 isn't the answer.