SPARKS MIGHT FLY was the first song that really won me over. With a lovely, gentle piano playing in the background, her voice really rings out strong and expressive. You can feel every word she belts out so that individual lines really get to you. Lines that don't sound so powerful on paper like, "I see my brother's face grow dark with care," then "Don't call him a misfit!" just hit you in the gut and resonate.

She really is just so expressive throughout this album. There's a subtle power to it that makes her voice more interesting than it would otherwise be. And it makes some of the songs which might not be so spectacular on their own really reach your heart. Like DON'T EXPLAIN is a song I normally wouldn't like because the singer is forgiving a man who cheats ... which is something that goes against my personal beliefs. But ... the way she sings it is so expressive and raw that I'm "with her" and on her side for the duration of the song. Now, that's talent when you can make someone who disagrees with you empathize as you sing.

I recommend BY THE TIME IT GETS DARK for anyone curious about why Mary Black is a favorite of so many music conniseurs. Listen to it several times. It won't be long before it starts to get to you.

the best of mary
Having bought all of Mary Black's records and having seen her live countless times, I think it is this album that most truly reflects what is special about her-even the cover is evocative! She has said elsewhere that with this record she and Declan Sinnott felt they were near to achieving the sound and direction they wanted.
Perhaps they feel that they really found it on the next album 'No Frontiers'-a fine record. But it is this record that I constantly go back to, where the arrangements are perfect; Pat Crowley's piano is terrific. The choice of material reflects a kind of sadness, which is beautifully evoked by the purest of voices. I don't think her wonderful voice sounds better than this on any other recording. It's a great balance of folky tunes such as 'Leaboys Lassie' and 'Schooldays Over' to the complex Noel Brazil song (what a loss was his recent death) 'Sparks Might Fly'. In essence this record, first issued in 1987, is the start of Mary Black's classic period upto 'Babes in the Wood' and captured on the great compilation 'The Collection'. A wonderful time it was to see her in concert-although she is still great live. One of the best records of its kind ,'By the Time it Gets Dark' will never date and Mary Black will forever stay young. Beautiful.

Believe...
Believe the others. This is truly the most fully realized collection of some of the best songs, arrangements and volcals of any of her collections. Her singling is always bordering on perfection, but often her purest subtleties become clouded in overproduction. Not Here!

Listen with care to three of the best things she's ever done.

"Once in a Very Blue Moon" presents us with a borderless pop gem. Not Irish, Not American, simply universal pop. "Farewell, Farewell" is perhaps the prettiest "Celtic" inflected song she's ever blessed with her voice. "Katie", upon first listen, sounds like a good old fashioned pop ditty, that on closer inspection demonstrates just what can happen with a perfect hybrid of Celtic/American Folk/Pop.

These are only three, but all teh songs will be welcome in your ears many times over.

If you are unfamiliar with the seemingly limitless talent of Mary Black, this is a great disk to begin what will surely be a lifelong appreciation of this highly under-purchased artist.

Warning: Much of her later music, with the possible exception of her last "Speaking with the Angels", is mostly overproduced pop. There's nothing here to muck up the beautiful mix. Buy it, if only for the lovliest version of "Moon River" you'll ever hear.

One of Mary Black's Best
This is one of my favorite CDs. Tinged with sadness, this CD is about people in transition, from travellers (Farewell, Farewell), to young men going to work at the mines (Schoolday's Over). Listen to this when you are in a contemplative mood, trying to figure out what to do next.

A heartbreakingly beautiful CD
For those who will allow themselves to be vulnerable, this is an incredibly heartfelt recording. Richard Thompson's "Farewell, Farewell" alone is worth three times the price. Mary makes you feel every meaning. Declan Sinnott's guitar playing is an absolute joy, and the guitar sounds are delicious. This is one of those CDs that you want to listen to alone.
While other of her albums spanning the mid '80s to the middle of the following decade are marred by cheesy or tinny-sounding overproduction and a breakaway from the acoustic-based accompaniment that suits her most truthfully, By the Time It Gets Dark presents Mary Black, folk vocal stylist, at her best. Less dark than Sandy Denny, less twee than Nanci Griffith, yet coming from a similar tradition and approach, Black's vocals are warm, earthy, and expressive. Her live version of "Moon River" is sweet, pure, and sublimely lovely. And she's near about perfect on such well-chosen gems as Richard Thompson's "Farewell, Farewell" or (more popularly rendered by Griffith) "Once in a Very Blue Moon." By the Time It Gets Dark is thereby the most logical and pleasant step toward Black's more recent work of the new millennium. --Paige La Grone