Brian Boru Ceili Band – Ceilidh Time In Ireland (1969)

FrontCover1And here´s another album with tradtional folk music, this time from Ireland:

This is the first record by The Brian Boru Ceili Band, formed especially for recording by Emerald Records and it´s members include the finest “ceili” musicians who play in Ireland to-day.

There were all hand picked and a lot of thought and rehearsel has gone into the produced of this first class LP.

Throughout Ireland over the last two or three years there has been a great revival of Irish Dance Music and we are sure that this LP will be welcomed by all true Irishmen everywhere.

All the musicians are, in our opinion, the “Kings” of ceili music, we thought a very apt name for the band should be the Brian Boru Ceili Band, named after the most famous of all Irish King.

We hope that you enjoy this LP, as much as we have enjoyed producing it. (taken from the original linernotes)

US Labels:

So … listen to this very speical Irish Dance Music … enjoy  the sound and dance all night long.


Brian Boru Ceili Band


01. Jigs 3.12
01.1. Shandon Bells
01.2. Irish Waterwoman
01.3. Blackthorn Stick 2.22
02. Pride Of Erin
02.1. Eileen O’Grady
02.2.Six Miles Song
03. Irish Marches 3.20
03.1. Kelly The Boy
03.2.Moon Behind The Hill
03.3.Roddy McCorley
04. Irish Waltz: Lonely Woods Of Upton 2.00
05. Hornpipe: Boys Of Blue Hill 2.28
06. Reel 3.18
06.1.Bonnie Kate
06.2.Sally Gardens
06.3.Soldiers Of Joy
07. Jigs 3.17
07.1. Tobins Favourite
07.2. Humours Of Ballycastle
07.3. I Will If I Can
08. Set Dance: Madame Bonaparte 2.21
09. Slip Jig: Drops Of Brandy 1.18
10. Jigs 3.15
10.1. Fisherman’s Widow
10.2. Sea Around Us
11. Irish Barn Dance 2.13
11.1.50 Years Ago
11.2. Goodbye Mrs Durkin
12. Irish Marches 2.17
12.1. Wearin’ Of The Green
12.2. Three Flowers



Ceili dances, or true ceili dances (fíor céili) are a popular form of folk dancing in Ireland. Ceili dances are based on heys (“hedges”, pairs of lines facing), round dances, long dances, and quadrilles, generally revived during the Gaelic revival in the first quarter of the twentieth century  and codified by the Irish Dancing Commission.[3] These thirty dances form the basis for examination of Ceili dance teachers. Irish ceili is a participatory social event attended by both men and women and accompanied by live Irish traditional music.

The dance emerged within cultural nationalist consciousness as during the 19th and early 20th century, traditions promoting nationalist agendas were promoted and national identities were regarded as culturally unified.

Ceili Dance

Irish ceili regained its popularity in the 19th century, when Ireland took effort to regain its cultural and political autonomy after being colonized for 800 years. The goal of the Gaelic League established in 1893 was to promote Irish cultural independence and de-anglicisation, which involved the popularization of Irish language, literature, and vernacular traditions, such as Irish singing and dancing. Plentiful branches of the Gaelic League giving dance, singing, music, and literature classes were established across Ireland. (wikipedia)

The Chieftains – The Celtic Harp – A Tribute To Edward Hunting (1993)

FrontCover1Produced by head Chieftain Paddy Maloney, The Celtic Harp is essentially a showcase for the very talented harpist Derek Bell. Bell handled all of the arrangements, as well as contributed harpsichord and tiompan to the proceedings. Fine solos from flute god Matt Malloy (“Parting of Friends/Kerry Fling”), vocalist Kevin Conneff (“Green Fields of America”), and pipe player Maloney (“T’Aimse ‘Im Chodladh”) give the album a definite Chieftain feel, but The Celtic Harp belongs to Bell, who infuses each note with the subtlety and grace of a true master. (by James Christopher Monger)

Like so many Americans I can trace some of my lineage to Ireland. Perhaps that’s why the Chieftains’ music resonates with me. I first heard of them in the late 1950’s when I became aware of American folk music and it’s strong Scots-Irish heritage. Today I’m a fan of many so-called American Roots acts / bands who are more than little influenced by Celtic music. The Chieftains are a way to understand the basis of much American music, great exponents of traditional Celtic music, and just plain fun to listen to. This album is almost entirely instrumental with one song that is as compact a lesson in Irish-American history as I’ve ever heard. I also strongly recommend the Chieftains 50th Anniversary album. (Stephen Rustad)


And here some informations about Edward Bunting:

Edward Bunting (1773–1843) was an Irish musician and folk music collector.

Bunting was born in County Armagh, Ireland. At the age of seven he was sent to study music at Drogheda and at eleven he was apprenticed to William Ware, organist at St. Anne’s church in Belfast and lived with the family of Henry Joy McCracken. At nineteen he was engaged to transcribe music from oral-tradition harpists at the Belfast Harp Festival in 1792. As Bunting was a classically trained musician, he did not understand the unique characteristics of Irish music, such as modes, and when transcribing tunes he ‘corrected’ them according to Classical music rules.


One proof of this is that some tunes published by him were in keys that could not have been played by the harpists. His notes on the harpists, how they played and the terminology they used is however invaluable, and also many tunes would have been lost if he had not collected them.

Bunting organised a second festival in 1813 and wrote to the Belfast Charitable Society, based at Clifton House, for support. This was granted and the proceeds of the festival AncientIrishMusicwere donated to the Charitable Society to help the poor of Belfast.

Bunting went on a number of collecting tours between 1792 and 1807, and was the first to transcribe music ‘in the field’ as played by the musicians. He realised the importance of the Irish words to the songs and Patrick Lynch was employed to collect these. Bunting, who lived in Belfast with the McCrackens until his marriage in 1819, moved to Dublin where he held the post of organist at St. George’s Church. He died in Dublin on 21 December 1843 and is buried at the Cemetery of Mount Jerome, Dublin.

Bunting’s papers were lost for many years, but were rediscovered in 1907 and currently reside in the Special Collections department of Queen’s University of Belfast. Donal O’Sullivan has restored the original words to the airs that Bunting published without the words. The Chieftains’ 1993 album “The Celtic Harp” is a tribute to Edward Bunting.

The first commercial recording of Bunting’s collection was Edward Bunting’s The Ancient Music of Ireland — the 1840 Edition (2010, 8-CD set, Trigon, 151 tracks) (by wikipedia)

So let´s celebrate the great Edward Bunting and o course this wonderful group from Ireland … The Chieftains !


Derek Bell (harp, dulcimer,harpsichord)
Kevin Conneff (bodhrán, vocals)
Martin Fay (fiddle)
Seán Keane (fiddle)
Matt Molloy (flute)
Paddy Moloney (uilleann bagpipes, tin whistle)
The Belfast Harp Orchestra condcucted by Janet Harbison (on 01., 04., 08. + 11.(tracks: 1, 4, 8, 11)


01. MacAllistrum’s March – Máirseail Alasdroim (Traditional) 3.02
02. Tribute To Bunting (Traditional) 8.01
03. The Parting Of Friends / Kerry Fling (Traditional) 4.42
04. Planxty Bunting (Moloney) 4.47
05. Madame Cole (Carolan/Traditional) 2.45
06. The Blackbird (Traditional) 4.27
07. Táimse ‘im Chodladh (Traditional) 3.46
08. Sonny Brogan’s Mazurkas (Traditional) 2.55
09. The Wild Geese (Traditional) 6.32
10. The Green Fields Of America (Traditional) 5.40
11. Carolan’s Concerto (Traditional) 3.05
12. The Lament For Limerick (Traditional) 5.02



More from The Chieftains:


Kíla – Alive Beo (2016)

FrontCover1Kíla are an Irish folk music/world music group, originally formed in 1987 in the Irish language secondary school Coláiste Eoin in County Dublin.

The band’s first performance was upstairs in the Baggott Inn, Dublin, and was attended by three people. The original lineup for the band was Eoin Dillon (uilleann pipes), Colm Mac Con Iomaire (fiddle), Rossa Ó Snodaigh (whistle, bones), Rónán Ó Snodaigh (bodhrán), Karl Odlum (bass), and David Odlum (guitar). Colm Ó Snodaigh, the brother of Rónán and Rossa, joined the band before the first recordings were made. Rónán, Rossa, and Colm Ó Snodaigh are sons of publisher Pádraig Ó Snodaigh and artist Cliodna Cussen and are brothers of Irish TD, Aengus Ó Snodaigh. (by wikpedia)

You´ll find informations here.

And hee´s their live-album from 2016:

Recorded at different locations around the world, Irish folk band Kíla brings its exciting, raw and emotionally charged music to disc with this live album. From the explosive driving beats of the concert favourite ‘An Tiománaí’ to the tender love song ‘Babymouse’, this album captures Kíla at its majestic best. (


…The group brings an open mind to entirely their own mix of folk, world music, traditional and classic rock. Their instrumentation with pipes, flutes, bodhrán, djembé and conga’s in addition to the more regular instruments provide a special sound. And of course, also, their own, lyric texts. The eight-legged company, previously loaded with The Frames, currently consists of Rossa, Rónán & Colm Ó Snodaigh, James Mahon, Dee Armstrong, Brian Hogan, Dave Hingerty & Seanán Brennan. Some of them have also played with Dead Can Dance.


In addition to their regular work, they also release soundtracks and live albums. As the title of the new album Alive-Beo suggests, it belongs to the last category. The music is recorded in different locations. Perhaps the music is known, the energy they instantly enter, makes it different. Under the headphones, it’s sometimes rushing out as if you’re there. The songs they bring are a beautiful cross section from their discography. Also beautiful is the guest performance of the Polish singer Kayah, who is heard in an old classic of their’s, Seo Mo Leaba, Kíla knows deeply on and off the stage how to make a good impression … (

In other words: Kila is one of Ireland’s finest, innovative, energetic and creative bands abd here´s another fantastic album.


Dee Armstrong (fiddle, vocals, dulcimer , banjo)
Seanan Brennan (guitar, mandola, banjo)
David Hingerty (drums)
Brian Hogan (bass, lap steel-guitar, guitar, percussion, background vocals)
James Mahon (uilleann pipes, flute, whistle)
Colm O’Snodaigh (flute, percussion, whistle, clarinet, saxophones, vocals)
Ronan O’Snodaigh (bodhran, vocals, glockenspiel, percussion)
Rossa Ó Snodaigh (mandolin, percussion)
Kayah (vocals on 06.)


01. Mutatu (Mahon) 4.42
02. Pota Óir (Traditional) 5.38
03. Electric Landlady (Armstrong) 4.46
04. Babymouse (Armstrong/C.Ó Snodaigh) 4.02
05. Ór Agus Airgead (Traditional) 5.20
06. Seo Mo Leaba / Am Reel (Tradtional) 10.41
07. Skinheads (Rossa Ó Snodaigh/C.Ó Snodaigh/Dillon) 6.54
08. Raise The Road (Rónán Ó Snodaigh) 3.26
09. An Tiománaí (Traditional) 4.53





Kila – Gamblers Ballet (2007)

FrontCover1Kíla are an Irish folk music/world music group, originally formed in 1987 in the Irish language secondary school Coláiste Eoin in County Dublin.

The band’s first performance was upstairs in the Baggott Inn, Dublin, and was attended by three people. The original lineup for the band was Eoin Dillon (uilleann pipes), Colm Mac Con Iomaire (fiddle), Rossa Ó Snodaigh (whistle, bones), Rónán Ó Snodaigh (bodhrán), Karl Odlum (bass), and David Odlum (guitar). Colm Ó Snodaigh, the brother of Rónán and Rossa, joined the band before the first recordings were made. Rónán, Rossa, and Colm Ó Snodaigh are sons of publisher Pádraig Ó Snodaigh and artist Cliodna Cussen and are brothers of Irish TD, Aengus Ó Snodaigh.

In 1991, Colm Mac Con Iomaire and Dave Odlum left Kíla to join The Frames, an Irish rock band. In the same year, Dee Armstrong and Eoin O’Brien joined the band as replacements. Dave Reidy also joined as a lead guitarist, though he emigrated to San Francisco a year later. Karl was then replaced by Ed Kelly on bass who emigrated to Scotland a little over a year after the recording Mind the Gap in 1994. Eoin O’Brien was replaced by Lance Hogan. Laurence O Keefe filled in temporarily on bass until Brian Hogan assumed that position prior to recording Tóg É Go Bog É.

In 2003, in a review of their album Luna Park, Kíla’s blend of Irish traditional music and world music with a modern rock sensibility was credited with breathing new life into contemporary Irish folk music.


In 2009, Donegal guitarist Seanan Brennan joined the band to replace Lance who was on a sabbatical. He has remained with the band since then bringing an electric guitar to the line up for the first time since Eoin O’Brien was a member. He made his first appearance with Kíla in early January of that year on a televised version of Leath ina Dhiaidh a hOcht.

In 2008 Kíla recorded “The Ballad of Ronnie Drew” with U2, Shane MacGowan, Glen Hansard, Damien Dempsey, The Dubliners and a host of other artists. With proceeds going to The Irish Cancer Society. The song was later included on a album of collaborations that U2 recorded with other artists – Duals (2012).

Kíla have played at many festivals around the world, including Dún Laoghaire Festival of World Cultures, Electric Picnic, Womadelaide, Glastonbury, Féile an Dóilín, St. Chartier, Reading and Cambridge Folk Festival, Montreaux Jazz Festival and the Stockholm Water Festival. All members of the group participate in composing and arranging Kíla’s songs. they have also performed at student events such as the NUIG Arts Ball in 2010, the biggest event of its kind in Ireland.


The band collaborated with French composer Bruno Coulais on the soundtrack of The Secret of Kells, an animated film by the Irish studio Cartoon Saloon. The film was nominated for best animated film at the 82nd Academy Awards in 2010. That same year their music was heavily featured in two other feature films – Maeve Murphy’s controversial Beyond the Fire and Ciarán O’Connor’s Trafficked. Kíla’s music also features in the award-winning documentary film Fight or Flight.

In late 2011, Kíla published their long-awaited Book of Tunes. Comprising over 100 of their compositions and lavishly decorated with photos, poems & prose, the book was a huge success, being described as ‘a masterpiece’ by Seán Laffey from Irish Music Magazine. The publication of the book ended a fine year for Kíla in style. Through this year they played three sell-out shows in Harare, Zimbabwe at the HIAFA festival, played at the Possibilities conference that welcomed the Dalai Lama to Ireland and played the inaugural concert in Temple Bar Meeting House Square, under the elegant retractable canopies, two days before Christmas.


2015 could be termed the ‘year of the awards and nominations’ for Kíla. They collaborated on the music for the Oscar nominated animated feature, Song of the Sea with Bruno Coulais. They received an Annie Awards nomination for ‘Outstanding Achievement in Music in an Animated Feature Production’. They also received an Emmy nomination for their work on a Crossing The Line production called The Secret Life of the Shannon. In June Eoin Dillon left and James Mahon from Shankill took his place.

Gamblers’ Ballet is a 2007 album by the Irish folk band Kíla. It was nominated for the Choice Music Prize for Irish Album of the Year 2007. The opening track “Leath Ina Dhiaidh A hOcht”/”Half Eight” was the first single taken from the album. “Cardinal Knowledge” was used as the outro music for the Cartoon Saloon, Oscar nominated animation The Secret of Kells, and “Dúisigí” and “Cabhraigí Léi” were used in the Japanese film Kadokawa, which was directed by Ryuichi Hiroki. (by wikipedia)


They are back again. Better and bigger than ever. Irish band Kíla is about … ag scagadh soiscéal – spreading good vibes. Five instrumental dance tunes have been written and recorded by the band, ambient music on traditional Irish grounds (the first track features “Pachebel’s Canon” written in 1680 as a piece of chamber music for three violins and basso continuo) with bits of jazz, Balkan and Spain here and there. More precisely, it is almost exclusively reels and slow airs (though very varied), but Kíla exactly know how to please their audience. Four songs are executed by singer Rónán O’Snodaigh  in his own unimitable style, Irish language chant over African grooves. It is 21th century poetry about luaithreadán lán, gloiní ó aréir agus boladh biotáile, feadóga, fags, eochar an carr – a full ashtray, last night’s glasses and the smell of whiskey whistles, fags, the keys of the car. With their “Gambler’s Ballet”, Kíla set a new standard in roots music – for themselves, Ireland and the Celtic countries, entire Europe and the rest of the world. (

Another collection of fast and lively songs and tunes in Kíla’s gloriously eclectic style. World, Irish and Street music collide in a fusion of fun and full-on energy.


Irish band Kila have been perfecting their musical skills for over twenty years. They formed in Colaiste Eoin school in Dublin, back in 1987. Since then they have travelled and toured extensively across the globe, enriching their musical skills and rich vocabulary of sounds.

Bubbling over with new ideas, but still full of the energetic tunes and percussive Gaelic vocals that are Kila’s trademark. (

“A record where you feel you’re getting your musical passport stamped in a different location on every song, it finds the septet losing nothing as they bring the energy and freewheeling quality of their live shows to the studio – and sounding like someone just remembered to hit record during one hell of a get together.” (RTE)


“Kíla bring their particular blend of contemporary, paired with layered arrangements and an undoubted World music sensibility.” (Irish Times)

Another album from the masters of Irish Trad/World/Techno/ Dance/Electronica – the spellbinding Kila.
This certainly requires serious listening but we feel the effort will be worthwhile. Kila don’t do things the easy way, nor in half measures.
This is also a top class production job. Congrats to all! (

In other words: a perfect mix between old and new melodies from good ol´Ireland !


Dee Armstrong (fiddle, vocals, dulcimer , banjo)
Eoin Dillon (uilleann pipes,whistles, background vocals)
Brian Hogan (bass, lap steel-guitar, guitar, percussion, background vocals)
Lance Hogan (guitar, drums, percussion, programming)
Colm O’Snodaigh (flute, percussion, whistle, clarinet, saxophones, vocals)
Ronan O’Snodaigh (bodhran, bocals, glockenspiel, percussion)
Martin Brunsden (saw)
Mark Gavin (bass synthsizer)
Darach Mac Con Iomaire (fiddle)
Karl Odlum (programming, guitar, effects)
Liam O Maonlai (piano, background vocals)
Rossa O’Snodaigh (whistle, mandolin, lute, percussion & Lots of noisy things)
Dan ‘Klezmer’ Page (clarinet)
Hiroshi Yamaguchi (guitar)


01. Leath ina Dhiaidh a hOcht (R.O’Snodaigh/Dillon/Pachelbel) 3.19
02. Electric Landlady (Armstrong) 4.50
03. Cardinal Knowledge (C.O’Snodaigh) 5.09
04. Dúisígí (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/R.O’Snodaigh) 3.40
05. Seo mo Leaba (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/R.O’Snodaigh) 4.11
06. Fir Bolg (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/R.O’Snodaigh) 5.33
07. Boy Racer (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/R.O’Snodaigh) 4.19
08. Her Royal Waggeldy Toes (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/ R.O’Snodaigh) 4.09
09. Cabhraigí Léi (Armstrong/Dillon/B.Hogan/L.Hogan/C.O’Snodaigh/R.O’Snodaigh) 4.51




Various Artists -The Irish Folk Festival – Celtic Roots & Celtic Moods (1996)

FrontCover1.jpgThe Irish Folk Festival (not to be confused with the St. Patrick’s Day Celebration tour organised by Petr Pandula) exists since 1974, and is the oldest of the German Celtic Folk Festival tours. The Festival has yet presented 18 tours (in a couple of years the tour did not take place); since 1988 it has taken place every year again. All in all, 145 different musicians (from Ireland, along with a few from the United States, Scotland, England and Brittany) have participated, and 427 concerts have taken place in 100 different towns. Nearly half a million visitors have come to the tours, mainly in Germany, with sometimes extensions to Switzerland, Austria or Denmark. Over the 25 years, the size of the festival tour has stayed always quite at the same level: Mostly ca. three weeks long, with between 13 and 17 musicians, and concerts with an average 1.000 head audience. These 1.000 visitors per evening were needed as soon as – after a few wild first tours – the festival became more musician-friendly, with a chartered tour bus with driver and accommodation in single rooms in hotels. Both organisers, Carsten Linde and Axel Schuldes, have a permanent job since a long time, and do the festival tour parallely more as a hobby.


Tour Poster 1974

The whole story started in the early 70s when Carsten Linde discovered the Furey brothers, after having been an important person in the German folk scene already in the 60s promoting American folk music. He was impressed by them, and thought that this kind of music should be brought to a bigger audience than just the back rooms of pubs. These thoughts resulted in the first Irish Folk Festival Tour in May 1974, which was quite a Furey invasion, with Eddie, Finbar, George Paul and father Ted, joined by Davey Arthur and Bobby Clancy representing the emigrated Irish. The second festival presented again several Fureys, but also Clannad and Micho Russell. “The idea of combining a festival and a tour was new, and that has been and is still one of the reasons of the success of the IFF.”

Today, the Irish Folk Festival has the reputation as one of Europe’s most important tours for Irish Folk music. What rank does it have today for Irish Music? Thinks Axel, “I hope quite the same as it had right from the start, which is defined by the intention of the festival. The Irish Folk Festival has never wanted to be a trend setter; it never wanted to define what is important in the Irish Folk Scene. It always tried to be a reflection, a micro cosmos of what is happening in the Celtic scene in Ireland.” Still, the organisers were often very much in time with the Irish scene; a good example being that Clannad played as a brand new band on the second Irish Folk Festival in 1975.


Seamus Creagh with Aidan Colley; photo by Sean Laffey The importance of the maxim to reflect the current scene in Ireland is also represented in the break of the IFF between 1982 and 1987. “The scene not only in Germany was at a low point – mainly because of ‚overfeeding’ with too much poor quality music from Ireland -, simultaneously in Ireland there did not happen very much. So we were consistent and stopped the tour for some years. Until in the mid-eighties, with Moving Hearts, new life was breathed into the scene. The scene simply had to regenerate a bit after the huge boom in the 70s. When the Irish tree was in full bloom once again in the end of the 80s, the Irish Folk Festival tour came back in 1988.” (


And here is a sampler (all songs were recorded in the studio) to promote the Irish Folk Festival in 1996 … all tunes are beautiful … and if you love and like this very unique Irish Folk (like me), than you have to listen !



Reel Time:
Eilis Egan (accordion)
Mairin Fahy (fiddle, vocals, tin whistle)
Yvonne Fahy (percussion)
Benny Heyes (keyboards)
Chris Kelly (guitar)

Maire Breatnach Band:
Maire Breatnach (fiddle, viola, keyboards)
Conor Byrne (flute, tin whistle)
Alan Connaughton (guitar)
Steve Dunford (bodhran)

Conor Keane & Kevin Griffin:
Kevin Griffin (banjo)
Conor Keane (accordion)

Sean Tyrrell:
Sean Tyrrell (vocals, mandola, mandolin, guitar, bass)


01. Reeltime: The Bridge Across The Atlantic (Traditional) 3.38
02. Reeltime: Buachaill On Eírne (Traditional) 4.28
03. Maire Breatnach Band: The Monaghan Twig / Jenny’s Chickens (Traditional) 2.18
04. Conor Keane & Kevin Griffin: Cooley’s Hornpipe / The Fairy Queen (O’Brien/ Traditional) 4.38
05. Maire Breatnach Band: Taimse Im Chodladh (Traditional) 4.24
06. Sean Tyrrell: The Moon Behind The Hill (Traditional) 4.00
07. Conor Keane & Kevin Griffin: The New Mown Meadow / The Dublin Reel / The Steampacket (Traditional) 4.12
08. Maire Breatnach Band: Nead Ná Lachan / Mall Rua (Traditional) 2.57
09. Sean Tyrrell: Lady My Love (Traditional) 3.21
10. Kevin Griffin: Two Barndances (Traditional) 4.44
11. Reeltime: The Trip To Germany (Traditional) 3.03
12. Conor Keane: The Jig Of Slurrs / Páidín O’Raifeartaigh (Traditional) 4.17
13. Sean Tyrrell: I Am A Rover (Traditional) 7.30




Still alive and well:


Christy Moore – Prosperous (1972)

FrontCover1.jpgChristy, a native of Co. Kildare, started in the music business in the mid-sixties, when his life as a bank clerk was interrupted by a bank strike, and he moved to England. There he became involved in the folk music scene at the time, and spent a few years playing pubs and clubs around the country.

His return to Ireland was marked by the album Prosperous, which proved to be a milestone in the rapprochement of Irish music to the popular mainstream. This album benefited from a collaboration of the leading talents of contemporary folk music, musicians such as Andy Irvine, Donal Lunny and Liam O’Flynn, and this one-off was to lead to the formation of Planxty, a band who were at the leading edge of the revival of Irish traditional music.

Over the following years the musical status of Planxty became legendary both in Ireland, Britain and throughout Europe. However in 1974 the band split up to pursue solo projects. It was during this period that Christy continued to explore new ground as a solo artist recording a number of solo albums including ‘The Iron Behind the Velvet’  which featured Andy Irvine and ‘Live in Dublin’ with Donal Lunny.


PlanxtyThe original Planxty lineup of Christy, Andy, Liam and Donal then reformed in 1979. They recorded two further albums with Tara Records ‘After the Break’ (TARACD3001) and ‘The Woman I Loved So Well’ (TARACD3005). There were several additions and changes to their lineup most notably the addition of Matt Molloy, flautist from the Bothy Band, who later joined The Chieftains and Bill Whelan. In 1981 Planxty performed a Bill Whelan arrangement called ‘Timedance’ as the intermission piece for the Eurovision song contest, held that year in Ireland. Later it was released as a single and is now included on Bill’s CD of ‘The Seville Suite’ released by Tara in 1992.

In the eighties Christy again teamed up with Donal Lunny to form Moving Hearts, another ambitious and innovative Irish band which sought to mix jazz into the folk-rock fusion. Ever the wanderer, Christy was soon breaking out on his own again, and it was in the eighties that he began to establish himself as one of Ireland’s leading solo artists with a string of acclaimed albums and high profile tours. In the mid-ninties Christy decided to take a break from the music for a few years. In the year 2000 Christy return to live performances with a series of Dublin concerts. Over the last few years he has released a number of solo projects including a television series, a live album and a 6 CD boxset.


In 2004 Christy once again teamed up with Planxty for a series of Irish concerts and a new live CD and DVD, while at the same time performing regularly in his own right with in Ireland and the UK, with Declan Sinnott. (

As I got over the excitement of having made an album I began to hear what it was that had been recorded. I realised how important it was to work with musicians who could hear the work and empathise with the singer. All these songs have an atmosphere and a definite vibe of their own and that must be respected.†

When Bill Leader agreed to record my work for his Trailer label. I made contact with Donal Lunny, Andy Irvine, Liam O’Flynn and asked them to play on my second album. I’d known Donal since school and followed his music right from the start. He taught me how to play guitar and bowrawn and has always been the most sensitive collaborator and friend.

He also has a great understanding of the other instruments their capabilities and limitations and can write riffs and fills for all occasions. Liam O’Flynn is the first piper I encountered and forty years on is still my favourite. I’d known Andy from his work with Sweeny’s Men and occasional meetings along the trail.

This was a wonderful session of recordings. It was a time of great music and fun. Bill Leader was the most innovative of engineers and got on with his task of getting it down. Considering he was working with a Revox Reel to Reel and two mikes the sounds he recorded are ageing well.

I’ve talked about this album in many interviews. It has been viewed in lots of ways and taken apart, dissected and given all sorts weighty significance these past 30 years. It is flattering and titillating to hear of it’s debate but the truth is it was made primarily for the sheer joy of making music. We did it because we loved to do it. We had a ball and all we sought to do was to record the sounds that we liked. All that followed has been an unexpected and most welcome bonus. (Christy Moore)


The album that started it all, the revival of traditional Irish music (which assumes, of course, that it needed reviving) and most importantly, led to the formation of the great Irish traditional band, Planxty.

A bunch of mates collect in a hotel, how Irish, and record, crudely, a belter of an album. Truly a great album. (


Dave Bland (concertina)
Clive Collins (fiddle, banjo)
Kevin Coneff (bodhrán)
Liam Og O’Flynn (uilleann Pipes, tin whistle)
Andy Irvine (mandolin)
Donal Lunny (bouzouki, guitar)
Christy Moore (vocals, guitar)

01. Raggle Taggle Gypies : Tabhair Dom Do Lamh (Traditional) 4.23
02. The Dark Eyed Sailor (Trad.itional) 3.58
03. I Wish I Was In England (Moore) 2.04
04. Lock Hospital (Traditional) 4.13
05. James Connolly (Traditional) 3.03
06. The Hackler From Grouse Wall (Traditional) 2.28
07. Tribute To Woody (Dylan) 2.15
08. The Ludlow Massacre (Guthrie) 4.13
09. A Letter To Syracuse (Cartwright/Caddick) 2.54
10, Spancil Hill (Traditional) 5.52
11. The Cliffs Of Doneen (Traditional) 3.04
12. Rambling Robin (Traditional) 2.19




Wild Geese – Flight 2 (1979)

FrontCover1.JPGUnfortunately I found no informations about the hisory of the Irish Folk group; maybe they lived in Germany, becaus all their albums were recorded in Germany.

But I found the liner notes from their first album, written by Finbar Furey:

The past twenty years or so have seen a great re-birth and development in the popularity and techniques of traditional Irish music. Many individuals and groups have concentrated on particular aspects of the music.

If one word were applied to WILD GEESE it must surely be “variety”. The 4 musicians — Peadar, Norman and Tony from Ireland, Steve from England — play the whole spectrum of traditional music — from unaccompanied slow-airs and street-ballads to intricate arrangements of dance music and traditional songs. This scope and versatility is well represented on this, their first record together. Finbar Furey, an old friend of the WILD GEESE, wrote to us the following about the musicians: “Sligo is a great County for music. Some of the finest musicians have emerged from here. Peadar is a grand flute player who plays in his native Sligo style, which yet has to be equalled. He’s a very modest man with a smile for the ladies and a great respect for fellow musicians; as Norman would say, ‘a mighty man’. Every group has to have one — what I mean is a Norman. What’s known as a man with a gifted tongue and a shake for the Bodhrán. He also plays guitar and has one of the best voices for singing Dublin street ballads and rowdy pub songs. His Dublin inheritance gives him one of the greatest humours on or off stage. A gentleman and a scholar.


Tony has a beautiful voice and when he sings, not only does he sing the song but tells the story and lives every moment of it. Very few people have this gift, or if you like, this combination. Tony seems to thrive on it. In other words, he doesn’t force it. His accompaniment on guitar with the Irish Reels and slow Jigs is very tasty indeed. He’s the peace-maker in the group, a very necessary man.

Steve is the fiddle player, mandolin, guitar, five-string banjo and even knocks an odd tune out of the tin-whistle. What’s known as an all-rounder. Steve you might say, is the odd man out. You have to look twice to see if he’s there. He’s so quiet sometimes and shy, you’d be afraid to bring him into Madame Tussaud’s Waxworks, in case they might be stock-taking. A very important man.


This is the combination of the WILD GEESE and when they play together they love every minute of it, and that’s the way a group should be. They’ve done many nice things in the arrangements of their material. This group have really sat down and put their heads together and the result is this fine LP.

So if you want some furious advice, get a glass of beer, or a glass of whatever you fancy, put the record player on, sit down and relax and listen to the sporting songs, the love songs, pub songs and music of the WILD GEESE!”

And here´s their second album … and if you like this wonderful Irish traidional tunes, then is this rre album  a must !

Enjoy the music of Wild Geese (and listen to the end of “The Foggy Dew” … what a great rhythm power !)


Eoin O Duigneain (bagpipes, tin whistle)
Norman King (bodhrán, vocals)
Mike Ryan (fiddle, mandolin)
Tony Small (guitar, vocals)
Peadar Óh Uallaigh (flute, tin whistle, concertina, vocals)


01. The First Of May (Traditional) 5.19
02. Galway Bay (Fahy) 5.46
03. Kerry Slide And Sligo Polka (Traditional) 2.28
04. Marrowbones (Traditional) 3.42
05. The Galway Rebel Boys (O Báiread) 4.09
06. The Hills Of Connemara (McCarthy) 3.05
07. Jimmy Clay (Sky/Small) 4.35
08. The Foggy Dew (Traditional) 5.26



Taken from the sleeve notes:

THE FIRST OF MAY — The first of May: We learned this hornpipe from an old recording made in the 1920’s. The tune is used as the melody of a popular song called “The Skillet Pot”. A version of this hornpipe and also of the two following tunes is to be found in “O’Neills -The Dance Music of Ireland” edited at the beginning of the century by Francis O’Neill and now widely available. It appears as number 899 of this collection.

Trip it Up Stairs: The rhythm changes to the triple time of a single jig (O’Neills No. 372).

Another Jig Will Do: Again a change of rhythm. This time a slip-jig, an unusual dance in 9/8 time. (O’Neills No. 437).

The Humours of Whiskey: We recently learned this slipjig from the fiddle playing of Charlie and Paddy O’Neill – father and son who live in Moy, Co Tyrone.

GALWAY BAY — The text is by Francis A. Fahy and the melody is one of Tony’s compromises.

KERRY SLIDE & SLIGO POLKA — Co. Kerry in South West Ireland has its own stock of music played mostly for dancing. The Slide is a popular dance, a type of jig, found in “sets” where a group of dancers, often eight, dance through a series of set patterns.

Peadar’s family come from the village of Curry in Co. Sligo and it was here that he learnt this Polka from the playing of the local musicians.

MARROWBONES — This piece begins with a jig which we learned from Steve Power who spent three enjoyable years with The ‘Wild Geese’.

There are several Irish songs on the theme of Marrowbones with varying melodies but only minor variations of the story line, for example, “The Old Woman of Wexford” and “Tipping it up to Nancy” and many other variants in the English song tradition. The wife in every case wants to rid herself of her old husband, beginning by finding a “medicine” to blind him — “Marrowbones”. The husband pretends to lose his sight and foils the wife’s attempt to drown him. Peadar came across this version in a valuable periodical called ‘Ceol’. The transcription was from a singer called Paul Ryan of Co. Wicklow.

THE GALWAY REBEL BOYS — In 1916 the revolutionary forces in Ireland took advantage of the British Armies’ involvement in the “Great War” and made yet another attempt to end British domination in Ireland. At Easter they took control of Dublin and some rural areas. The great majority of the insurgents were members of the Irish Volunteers, later known as the Irish Republican Army — The I.R.A.

Liam Mellows was an organiser of the Irish Volunteers in the West of Ireland and during Easter week he raised over 1000 men in County Galway, capturing the Police Barracks in Oranmore and holding the town of Athenry. Due to lack of communication with the Provisional Government in Dublin and being seriously short of arms the Galway rebels were forced to disperse. Mellows disguised himself as a priest and escaped to Dublin and later to the U.S.A.

Some years later Mellows was a leader of the Anti-Partition forces during the Irish Civil War and was captured and executed in Dublin in November 1922. While imprisoned in Mountjoy Jail he often played his favourite music on the fiddle – the old Irish airs.

The only son is of great importance in rural Ireland, becoming the farmer and maintaining the family as his father ages. In this song the father, although he supports the stand of Mellows and the Volunteers in their fight for Irish Freedom, nevertheless, asks his son to remain on the farm to meet the family needs. Tony learnt this song from his father John Small and the text is by Tomas Bairead.


THE HILLS OF CONNEMARA — Poitín is the name for homemade spirits – illicit alcohol. The cost of fighting the Napoleanic War led the British Exchequer to raise the duty on Whiskey and other legal spirits by over 500% which caused a massive growth in illegal distilling among the poverty-stricken peasants in Ireland. Cheated of a great income in taxation, the British set up a special force of revenue police in the 1830’s with the sole task of wiping out illegal stills. In 2 years alone they siezed 16,000 stills but neither they nor subsequent police forces succeeded in putting an end to the making of Poitin.

The best alcohol was made from malt and barley but this was too much trouble for many ‘moonshiners’, so potatoes and even blackberries were used. Up to the introduction of bottled gas, turf was used to fuse the stills and although it gave a pleasant taste to the Poitin, the column of turf-fire often betrayed the location to the ‘Excise Men’.

The song was written by Sean McCarthy, the prolific song writer from Co. Kerry.

The Britches Full of Stiches: This is a popular Polka from South Western Ireland. A verse is sometimes sung to the first part of the tune.

JIMMY CLAY — This song was composed by Patrick Sky, the American singer, song writer and piper. It is a bitter comment on the degradation of the individual in capitalistic warfare. He is in total contrast to the individual in the Galway Rebel Boys who is a Freedom Fighter. Jimmy Clay is merely a disposable piece of machinery.

Tony would like to thank Norman King, Smokey and Gerry Carthy for kindly lending him guitars for this album

THE FOGGY DEW — This piece comprises five tunes. The Foggy Dew is an old march followed here by a jig called Jimmy O ‘Brien ‘s jig or Cossey’s jig. The pipes then play a reel which is in fact the same basic melody as the jig. The reel is called ‘The Green Fields of America’ and , a setting can be found in “Ceol Rince Na hEireann” by Breandan Breathnach Number 79. The fiddle and flute play a second reel which is heard in County Sligo and is called Anderson’s No. 1.

The final reel is a rousing farewell from the group until we meet you all again.

The Chieftains – 2 (1969)

FrontCover1.jpgChieftains 2 is the second album released by the Irish musical group The Chieftains in 1969. It was Peadar Mercier’s album debut on bodhran.

When Seán Ó Riada disbanded Ceoltoiri Chualann in 1969, several of the players wanted to continue the sound they had pioneered. The result was the reformation of The Chieftains. “The Foxhunt” had previously been known as a piper’s tune, but here it was given a full band treatment, and was widely played, as a direct result of this recording. (by wikipedia)

This is the real stuff, the very best of the group’s early albums and the best representation of the Chieftains’ original sound. If anything, the group is more confident the second time out, and the material, consisting of traditional airs, jigs, and polkas, is stronger than on the first album. Opening with the gorgeous double jig “Banish Misfortune, Gillan’s Apples,” which goes back to the time of the 16th century fiddler Raftery of Connacht, the record simply gets better all the way through. Though more familiar as a harp piece, “Planxty George Brabazon” (written by the harper-composer Turlough O’Carolan) comes off stunningly here played on pipes, flutes, etc., without a plucked instrument in sight; “The Foxhunt” is a great showcase for Martin Fay and Seán Keane’s fiddle skills; the mournful, somber, but beautiful “Am Mhaighdean Mhara” was the tune that Stanley Kubrick absorbed into his movie Barry Lyndon, and tells a magical story of torment and lost love. Production on the album is first-rate and, in particular, makes excellent use of stereo separation. (by Bruce Eder)


Martin Fay (fiddle)
Seán Keane (fiddle)
Peadar Mercier (bodhrán)
Paddy Moloney (uillean pipes, tin whistle)
Seán Potts (tin whistle)
Michael Tubridy (flute, concertina, tin whistle)

01. Banish Misfortune / Gillian’s Apples 3.34
02. Seóirse Brabston (Planxty George Brabazon) 3.29
03. Bean an Fhir Rua (The Red-Haied Man’s Wife) 2.49
04. Pis Fhliuch (The Wet Quirn) (O’ Farrells Welcome to Limerick) 3.33
05. An Páistín Fionn (The Fair-Haired Child)/ Mrs. Crotty’s Reel / The Mountain Top 4.12
06. The Foxhunt 5.13
07. An Mhaighdean Mhara (The Sea Maiden) / Tie the Bonnet / O’ Rourke’s Reel 4.13
08. Callaghan’s Hornpipe / Byrne’s Hornpipe 3.13
09. Pigtown / Tie the Ribbons / The Bag of Potatoes 2.34
10. The Humours of Whiskey / Hardiman the Fiddler 2.54
11. Dónall Óg 3.54
12. Brian Boru’s March 3.12
13. Sweeney’s / Denis Murphy’s / The Scartaglen Polka 3.30

All songs are Traditionals




The Dubliners – Live (1974)

FrontCover1.jpgThe Dubliners were an Irish folk band founded in Dublin in 1962 as The Ronnie Drew Ballad Group after its founding member; they subsequently renamed themselves The Dubliners. The line-up saw many changes over their fifty-year career, but the group’s success was centred on lead singers Luke Kelly and Ronnie Drew. The band garnered international success with their lively Irish folk songs, traditional street ballads and instrumentals. The band were regulars on the folk scenes in both Dublin and London in the early 1960s, and were signed to the Major Minor label in 1965 after backing from Dominic Behan. They went on to receive extensive airplay on Radio Caroline, and eventually appeared on Top of the Pops in 1967 with hits “Seven Drunken Nights” (which sold over 250,000 copies in the UK)[2] and “The Black Velvet Band”. Often performing political songs considered controversial at the time, they drew criticism from some folk purists and Ireland’s national broadcaster RTÉ had placed an unofficial ban on their music from 1967 to 1971. During this time the band’s popularity began to spread across mainland Europe and they appeared on The Ed Sullivan Show in the United States. The group’s success remained steady right through the 1970s and a number of collaborations with The Pogues in 1987 saw them enter the UK Singles Chart on another two occasions.


The Dubliners were instrumental in popularising Irish folk music in Europe, though they did not quite attain the popularity of The Clancy Brothers and Tommy Makem in the United States. They influenced many generations of Irish bands, and their legacy can to this day be heard in the music of artists such as The Pogues, Dropkick Murphys and Flogging Molly. Much adored in their native country, covers of Irish ballads by Ronnie Drew and Luke Kelly tend to be regarded as definitive versions. One of the most influential Irish acts of the 20th century, they celebrated 50 years together in 2012, making them Ireland’s longest surviving musical act. Also in 2012, the BBC Radio 2 Folk Awards bestowed them with a Lifetime Achievement Award. The Dubliners announced their retirement in the autumn of 2012, after 50 years of playing, following the death of the last of the founding members, Barney McKenna. However, the surviving members of the group, with the exception of John Sheahan, continued touring under the name of “The Dublin Legends”. As of 2019, Seán Cannon is the only former member still in this group, following Eamonn Campbell’s death in October 2017.


And “Live” is a live album by The Dubliners recorded live at the Fiesta Club, Sheffield and released on the Polydor label in 1974. This was to be Ronnie Drew’s last recording with The Dubliners for five years as he left to pursue a solo career. Also following this album, Ciarán Bourke ceased to be a full-time member of the group when he suffered a brain haemorrhage. He sings “All for Me Grog” here. The reels that open this album (and which first were released on the group’s 1967 studio album A Drop of the Hard Stuff) have become the opening instrumental medley at most of their concerts since. (by wikipedia)


To say that the Dubliners are Entertainers is to state the obvious. I can think of no better way of underlining this simple truth than in a live album.

‘The Dubliners Live” is a fairly typical Dubliners programme performed in front of an enthusiastic and appreciative audience in one of the Yorkshire Clubs These clubs have a well-earned reputation for expecting and getting the best in the entertainment field. This show is no exception It scores in other ways too Here is a completely new recording of a number of well loved Dubliners classics, alongside updated versions of numbers guaranteed to raise the roof. Then there are the first ever Dubliners recordings of “The Four Poster Bed” (a traditional Shetland wedding tune) and “The Belfast Hornpipe/Tim Maloney” medley played on tin whistle. John Sheahan then takes up his fiddle again for the “Blue Mountain Rag”.


Add to this the between number talk and humour which is so much part of the Dubliners, and the atoum which has been long and eagerly awaited, is complete.

It is something of a minor miracle that five such diverse characters have remained together as a group for more than eleven years now. Maybe it is their very differences which provide the strong bond between them – that and the fact that they have never seen the need to use the slick trappings of showbusiness. To say that they have succeeded on a world stage is perhaps an over-simplification. However, it remains an irrefutable truth that by remaining themselves they have brought something very special to people the world over. Wherever they appear they engender warmth, affection, laughter and perhaps even an occasional tear.


Their unique brand of magic has assured them of a niche in the annals of popular music. Even more important perhaps is their impact on people Barney McKenna once remarked that the Dubliners were made by their audiences No matter how talented they were individually or collectively, if people lost the will to listen to them then they would be finished This precept has undoubtedly played its part in their lives but as a member of innumerable audiences over the years one can say that without the Dubliners many lives would be the poorer. (by Mary Hardy, taken from he original linernotes)


Alternate frontcover

Ciarán Bourke (tin whistle, harmonica, guitar, vocals)
Ronnie Drew (vocals, guitar)
Luke Kelly (vocals, banjo)
Barney McKenna (banjo, mandolin)
John Sheahan (fiddle, tin whistle, mandolin)


01. Fairmoyle Lasses And Sporting Paddy 1.52
02. Black Velvet Band 3.34
03. Whiskey In The Jar 2.31
04. All For The Grog 2.38
05. The Belfast Hornpipe/Tim Maloney 3.23
06. The Four Poster Bed/Colonel Rodney 2.26
07. Finnegan’s Wake 2.51
08. McAlpine’s Fusiliers 3.44
09. Seven Drunken Nights 3.44
10. Reels – Scholar/Teetotaller/The High Reel 4.12
11. Home Boys Home 3.20
12. Dirty Old Town 3.08
13. Blue Mountain Rag 2.31
14. The Wild Rover 3.04
15. Weile Waile 2.27
16. The Holy Ground 2.30


** (coming soon)

One of my favorite tunes:

I met my love,
By the gas works wall.
Dreamed a dream,
By the old canal.
I kissed my girl,
By the factory wall.

Dirty old town,
Dirty old town.

Clouds are drifting,
Across the moon.
Cats are prowling,
on their beat.
Spring-s-a girl,
From the streets at night.

Dirty old town,
Dirty old town.

I heard a siren,
From the docks.
Saw a train,
Set the night on fire.
Smelled the spring,
On the smoky wind.

Dirty old town,
Dirty old town.

I’m going to make,
Me a good sharp axe;
Shining steel,
Tempered in,
the Fire.
I’ll chop you down,
Like an old dead tree.

Dirty old town,
Dirty old town.

I met my love,
By the gas works wall.
Dreamed a dream,
By the old canal.
I kissed my girl,
by the factory wall.

Dirty old town,
Dirty old town.

The Chieftains – Same (1) (1964)

OriginalLPFC1The Chieftains is the first album released by the Irish musical group The Chieftains in 1964. The album is now sometimes referred to as The Chieftains 1 due to the numbering system of their later albums. It was one of the first folk albums to be recorded in stereo. (by wikipedia)

Paddy always had a vision from the mid 1950’s. A sound he wanted to create, a sound that had never been heard before. He knew it would take much experimentation with different combinations of instruments and so he formed several groups with other musicians in duets and trios. In particular he played with Seán Potts, Michael Tubridy, Matt Molloy and Seán Keane in various combinations who would all later become Chieftains. But it was not until he had formed the original line up for The Chieftains in 1962 that he finally achieved the sound that had eluded him, a sound created by Paddy’s inspired choice of instruments, styles and players. It was only at this point did Paddy feel ready to give his group the title The Chieftains (a name which was inspired by the Irish poet John Montague) and confident enough to take his band into studio to record the very first of many, award winning albums. This recording came about at the invitation of his good friend, the Hon. Garech a Brún for his record label Claddagh Records. (offical press release)


The debut album by the Chieftains, recorded when they were still a semi-professional outfit, is more restrained than their subsequent efforts. The opening number introduces each of the bandmembers, Paddy Moloney and Sean Potts on pipes, followed by Michael Tubridy on flute and David Fallon on bodhran, Martin Fay on the fiddle, and then Tubridy on the concertina. The group would later acquire what can only be called a more soulful approach, but the playing here was a revelation at the time, if only for its stripped-down authenticity. The music — mostly airs, reels, and jigs — and performances lack the otherworldly quality that characterized the Chieftains’ 1970s albums, but the melodies are still extremely pretty, and make up in immediacy and high spirits what they lack in mystique and mysticism. Martin Fay’s fiddle is more prominent here than on subsequent records, where Moloney’s pipes became the major voice within the group. Highlights include “Comb Your Hair and Curl It/The Boys of Ballisodare,” “The Musical Priest/The Queen of May,” “The Walls of Liscarroll,” and “The Connemara Stocking.” (by Bruce Eder)


David Fallon (bodhrán)
Martin Fay (fiddle)
Paddy Moloney (uilleann pipes, tin whistle)
Seán Potts (tin whistle)
Michael Tubridy (flute, concertina, tin whistle)

01. Sé Fáth mo Bhuartha / The Lark On The Strand / An Fhallaingín Mhuimhneach / Trim the Velvet 8.07
02. An Comhra Donn / Murphy’s Hornpipe 4.21
03. Cailín na Gruaige Doinne (The Brown-Haired Girl) 2.51
04. Comb Your Hair And Curl It / The Boys of Ballisodare 3.15
05. The Musical Priest / The Queen Of May 3.38
06. The Walls Of Liscarroll Jig 2.44
07. An Dhruimfhionn Donn Dílis 3.03
08. The Connemara Stocking / The Limestone Rock / Dan Breen’s 2.53
09. Casadh an tSúgan 3.47
10. The Boy In The Gap 1.22
11. Saint Mary’s, Church Street / Garret Barry, The Battering Ram / Kitty goes a-Milking, Rakish Paddy 6.54

All songs: Traditionals