Matching Ties – No. 1 (1994)

Since 1986 musicians from USA, UK and Germany play Irish, Scottish & English folk in line-ups from duo to quintet and accompany Irish dancers at their Irish Folk Nights.

Matching Ties are the guys with the matching neck ties, a symbol of the music that unites its musicians of 5 nationalities. Founded in 1986 by singers and multiinstrumentalists American Paul Stowe and Englishman Trevor Morriss, they have since toured Europe and the U.S.A. as a duo or band with an amazing amout of over 3000 concerts. They perform in line-ups from duo to sextet with some of the finest folk musicians based in Germany: Lars Pfeiffer an uilleann pipes, tin and low whistles, Konrad stock from Munich on bodhrán, Scottish Highland pipes and whistles, and 2 fiddlers from Regensburg, Germany Sepp Zauner and Sebastian Dorn, all of them excellent instrumentalists.

Traditional acoustic folk with a modern touch, they play a variety of lively songs, tunes and slow ballads from the Irish, Scottish and English repertoire old and new. From small cultural clubs to halls and festivals they appeal to audiences of all age groups with their musical variety and spontaneous jokes and loose, bordering on black humor. They also accompany young, prize winning Irish dancers in their well loved Irish Folk Nights. (press release)

Here is their debut album from 1994:

An amazing album, as it mixes various styles into the band’s predominantly acoustic folk sound.

It starts with “No Expectations” by the Rolling Stones. This is followed by various traditional songs (“Saint James Infirmary”), but “Marrakesh Express” by Graham Nash and “Me And Julio Down By The Schoolyard” by Paul Simon can also be heard.

Paul Stowe and Trevor Morriss spent years travelling all over Europe as street musicians and you can hear this experience on the album. A confident sound and repeated solo contributions that can only please someone like me.

And with “Match Your Tie” they also have a blues-soaked folk song in their luggage … the only song with a drummer in the studio.

Personnel:
Horacio Cantu (bass)
Trevor Morriss (vocals, mandolin, guitar)
Paul Stowe (vocals, guitar
Uwe Zeeb (banjo, guitar
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Andy List (bass on 13.)
Wil Maring (background vocals bei 02. + 08.)
Tony Ramos (harmonica bei 03.)
Offer Singer (guitar bei 02. + 03.)
Mark Stoffel (fiddle bei 02., 05. + 08.)
Damir Vigato (drums on 13.)

Tracklist:
01. No Expectations (Jagger/Richards) 3.24
02. Miss Molly (Walker) 2.05
03. John Henry (Traditional) 3.07
04. Saint James Infirmary (Primerose) 5.04
05. Beuamont Rag / Lonesome Fiddle Blues (Traditional/Clements) 4.28
06. Rout Of The Blues (Traditional) 2.28
07. She Took Off My Romeos (Fuller) 4.28
08. Feeling Just About Half Alife (Morris) 2.01
09. Fogerty’s Cove / The Bounce (Rogers) 3.20
10. Me And Julio Down By The Schoolyard (Simon) 3.11
11. Ivy County (Zeeb) 4.04
12. Marrakesh Express (Nash) 2.33
13. Match Your Tie (Stowe) 3.43

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Matching Ties, live 2024 (Paul Stowe, Trevor Morriss & Sepp Zauner):

The official website:

The Chieftains – Live From Dublin- A Tribute To Derek Bell (2005)

The Chieftains are a traditional Irish folk band formed in Dublin in 1962, by Paddy Moloney, Seán Potts and Michael Tubridy. Their sound, which is almost entirely instrumental and largely built around uilleann pipes, has become synonymous with traditional Irish music. They are regarded as having helped popularise Irish music around the world. They have won six Grammy Awards during their career and they were given a Lifetime Achievement Award at the 2002 BBC Radio 2 Folk Awards. Some music experts[2] have credited The Chieftains with bringing traditional Irish music to a worldwide audience, so much so that the Irish government awarded them the honorary title of ‘Ireland’s Musical Ambassadors’ in 1989.
The band’s name came from the book Death of a Chieftain by Irish author John Montague. Assisted early on by Garech Browne, they signed with his company Claddagh Records. They needed financial success abroad, and succeeded in this. (wikipedia)

Live From Dublin: A Tribute To Derek Bell is an album by The Chieftains. The album is a live recording of a concert dedicated to Derek Bell, a former member of the band. The band invited on stage friends of Bell, such as Ronnie Drew, Carlos Núñez, Anúna and Jeff White. It was nominated for the Grammy Awards in 2006 as the Best Traditional Folk Album.

The original release of the CD contained SunnComm’s MediaMax content protection system. As the result of a product recall, several class action lawsuits, and intense public criticism of this software, frequently described as malware, Sony BMG has recalled the original release of the CD and customers who purchased the affected discs can receive new, MediaMax-free CDs, information on removing the software from personal computers, and compensation for necessary repairs on affected computers. (wikipedia)

Harp player/multi-instrumentalist Derek Bell, a member of the Chieftains since 1972, was — unlike his co-conspirators — a classically trained musician. His love for the traditional music of Ireland and the world over, as well as his mischievous nature, may have found him bestowing his talents upon an entirely different audience than he originally expected, but as he was fond of saying, “No one ever asked me to join, and no one ever asked me to leave.” Recorded in 2004, Live From Dublin: A Tribute to Derek Bell finds the remaining members, as well as numerous special guests including Allison Moorer and Anuna — the latter do flawless rendition of the tongue-twisting classic “Fionnghuala,” made famous by the Bothy Band — burning through a set of both traditional and contemporary sets that manage to celebrate the group’s lauded past while keeping an eye on their immediate future. The performances are all top-notch and the emotions run high, resulting in a powerful — yet whimsical — celebration of one of Celtic music’s late greats. (by James Christopher Monger)

LIVE FROM DUBLIN is a reverential, yet riotous, memorial to Derek Bell, the Belfast-born multi-instrumentalist. Bell was an invaluable member of the Chieftains, and his sudden passing in 2002 marked the end of an era. The Chieftains’ playing overflows with inspiration on this outing. Bell’s lively piano solos and virtuosic harp accompaniments are sadly missing, but Paddy Moloney and the gang does much to compensate for this. Joined by a diverse group of guest artists, including vocalists, string players, pipers, and former band members, the world’s most celebrated traditional Irish ensemble does an exceptional job of remembering their friend and colleague. Whether it’s the raucous opening medley, the bluegrass-influenced “Down the Old Plank Road,” the reflective medley featuring “Derek’s Tune,” or the rowdy vocal number “I’ll Tell Me Ma,” this album mesmerizes from start to finish. Not only does this concert benefit from fantastic musicianship, its varied repertoire and colorful programming also add to the excitement. This all culminates with the explosive “Finale,” which is a cornucopia of reels, jigs, American country, and gypsy jazz. LIVE FROM DUBLIN is a very touching tribute to one of Ireland’s finest musicians.

LIVE FROM DUBLIN is a reverential, yet riotous, memorial to Derek Bell, the Belfast-born multi-instrumentalist. Bell was an invaluable member of the Chieftains, and his sudden passing in 2002 marked the end of an era. The Chieftains’ playing overflows with inspiration on this outing. Bell’s lively piano solos and virtuosic harp accompaniments are sadly missing, but Paddy Moloney and the gang does much to compensate for this. Joined by a diverse group of guest artists, including vocalists, string players, pipers, and former band members, the world’s most celebrated traditional Irish ensemble does an exceptional job of remembering their friend and colleague. Whether it’s the raucous opening medley, the bluegrass-influenced “Down the Old Plank Road,” the reflective medley featuring “Derek’s Tune,” or the rowdy vocal number “I’ll Tell Me Ma,” this album mesmerizes from start to finish. Not only does this concert benefit from fantastic musicianship, its varied repertoire and colorful programming also add to the excitement. This all culminates with the explosive “Finale,” which is a cornucopia of reels, jigs, American country, and gypsy jazz. LIVE FROM DUBLIN is a very touching tribute to one of Ireland’s finest musicians.

LIVE FROM DUBLIN is a reverential, yet riotous, memorial to Derek Bell, the Belfast-born multi-instrumentalist. Bell was an invaluable member of the Chieftains, and his sudden passing in 2002 marked the end of an era. The Chieftains’ playing overflows with inspiration on this outing. Bell’s lively piano solos and virtuosic harp accompaniments are sadly missing, but Paddy Moloney and the gang does much to compensate for this. Joined by a diverse group of guest artists, including vocalists, string players, pipers, and former band members, the world’s most celebrated traditional Irish ensemble does an exceptional job of remembering their friend and colleague. Whether it’s the raucous opening medley, the bluegrass-influenced “Down the Old Plank Road,” the reflective medley featuring “Derek’s Tune,” or the rowdy vocal number “I’ll Tell Me Ma,” this album mesmerizes from start to finish. Not only does this concert benefit from fantastic musicianship, its varied repertoire and colorful programming also add to the excitement. This all culminates with the explosive “Finale,” which is a cornucopia of reels, jigs, American country, and gypsy jazz. LIVE FROM DUBLIN is a very touching tribute to one of Ireland’s finest musicians. (regorecords.com)

Recorded live at the National Concert Hall Theatre, Gaiety/Ireland, 2004

Personnel:
Kevin Conneff (vocals, bodhrán)
Seán Keane (fiddle)
Paddy Moloney (whistle, uilleann pipes, accordion)
Matt Molloy (flute)
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Pancho Alvarez (mandolin, vocals on 05.)
Peter Browne (uilleann pipes on  14.)
Pete Cummins (guitar, vocals on 03.)
Ronnie Drew (vocals, guitar on 11.)
Frankie Lane (dobro, vocals on 03. + 14.)
Caroline Lavelle (cello on 04. + 14.)
Tríona Marshall (harp on 04. + 15.)
Yvonne McMahon (vocals on 05.)
Allison Moorer (vocals on 10. + 14.)
Carlos Núñez (gaita, recorder, whistle on 05., 12. + 14.)
Xurxo Núñez (guitar, percussion on 05.)
Jon Pilatzke (fiddle, dance on 13. + 14.)
Nathan Pilatzke (dance on 13.)
Seán Pott (tin whistle on 07.)
Micháel Ó Suillabháin (piano on 08. + 14.)
Michael Tubridy (flute on 07.)
Allan Tully (bagpipes (on 02.)
Terry Tully (low pipes on 12.)
Jeff White (guitar on 03. + 14.)
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Anúna (featuring Michael & John McGlynn) (on 09.)

Tracklist:
01.Introduction by John Kelly 0.37
02. Opening Medley 5.51
02.1. Brian Boru’s March
02.2. Nine Points Of Roguery (reel)
02.3. The Magpie – Pretty Girls (reel)
03. Down The Old Plank Road 2.19
04. Derek’s Tune: The Geese And Bright Love 3.49
05. Galician Medley 7.58
05.1. Never Trust A Man’s Love
05.2. Mazurka
05.3. Guadalupe
05.4. Múneira de Jios
05.5. Duelling Chanters
06. Ellen Browne 3.02
07. Medley 6.02
07.1. Banish Misfortune
07.2. Morning Dew
07.3. Arkansas Traveller
07.4. Wild Irishman
08. Oiche Nollag (Christmas Eve) 2.51
09. Fionnghuala 1.52
10. Carrickfergus 6.02
11. I’ll Tell Me Ma 2.50
12. Tá an Coileach ag Fógairt an Lae (3 pipes) 2.32
13. Ottawa Valley Dance 1.52
14. Finale 12.53
15. Farewell To Music 3.13

All songs: Traditonal
except 04.: Paddy Moloney/Traditional

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More from The Chieftains in this blog:

The official website:

Dubliners – In Concert (1965 – 2003)

The Dubliners were an Irish folk band founded in Dublin in 1962 as The Ronnie Drew Ballad Group, named after its founding member; they subsequently renamed themselves The Dubliners. The line-up saw many changes in personnel 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 who was paid by Major-Minor to work with the Dubliners and help them to build a better act fit for larger concert hall venues. The Dubliners worked with Behan regularly between 1965 and 1966; Behan wrote numerous songs for this act including the song McAlpine’s Fusiliers created specifically to showcase Ronnie Drew’s gravel voice.

They went on to receive extensive airplay on Radio Caroline which was part-owned by Phil Solomon CEO of Major Minor, 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.[4][5] Also in 2012, the BBC Radio 2 Folk Awards bestowed them with a Lifetime Achievement Award.[6] The Dubliners announced their retirement in the autumn of 2012, after 50 years of performing, following the death of the last living original member Barney McKenna.[7] However, some members of the group continued touring under the name of “The Dublin Legends”, and as of 2021, Sean Cannon is the only remaining member of the Dubliners in that group, following the retirement of Patsy Watchorn in 2014 and the death of Eamonn Campbell in 2017. (wikipedia)

In Concert is a live album by The Dubliners, released in 1965.

By the time The Dubliners had recorded their second album live at the Cecil Sharp House in December 1964, they had become a quintet. Luke Kelly had temporarily left the group and Bobby Lynch and John Sheahan had joined. This was to be Lynch’s only recording with The Dubliners, as he left the group when Kelly returned. Sheahan has been with the group ever since and in latter years has become their manager. (wikipedia)

Again recording live, the Dubliners give the title In Concert to their second album since it represents an appearance in a concert hall, not (as is usual for the group) in a pub. The audience is typically enthusiastic, if less informal, and the players are giving a performance from a stage, not interacting with the crowd quite as much as usual. Nevertheless, this is a characteristic set full of story-songs about love and drink, with some spirited instrumentals (“The Sligo Maid/Colonel Rodney” featuring the fiddle, “Roisin Dubh” and “My Love Is in America” spotlighting the mandolin) and even the occasional political statement (“The Patriot Game,” “The Kerry Recruit”). Even a long way from Dublin, the Dubliners seem to have found plenty of happy listeners content to be Irish, if only for an evening. (by William Ruhlmann)

Personnel:
Ciarán Bourke (tin whistle, guitar, harmonica, vocals)
Ronnie Drew (guitar, vocals)
Bobby Lynch (guitar, vocals)
Barney McKenna (banjo, mandolin, vocals)
John Sheahan (fiddle, mandolin, tin whistle)

Tracklist:
01. Intriduction /Roddy Mac Corley 3.48
02 The Twang Man 2.13
03. Reels, Sligo Maid And Colonel Rodney 2.13
04. The Woman From Wexford 2.43
05. The Patriot Game 4.23
06. Roisin Dubh 4.06
07. Air Fa La La Lo 3.44
08. Peggy Lettermore 1.49
09. Easy And Slow 2.59
10. My Love Is In America 2.07
11. The Kerry Recruit 4.16
12. The Old Orange Fluit 2.59
13. Reels, The Donegal Reel And The Longford Collector 2.10
14. The Leaving Of Liverpool 4.58

Bonus Tracks – The Dubliners Sampler EP:
15. Peggy Lettermore 1.49
16. The Ragman’s Ball 2.10
17. Reels: Sligo Maid & Colonel Rodney 2.13
18. Home Boys Home 3.17

Bonus Tracks – Mainly Barney EP
19. King Of The Fairies 2.14
20. The Mason’s Apron 3.53
21. Kitty Come Down From Limerick 3.00
22. The Cuilin 3.48

Bonus Track – Greenland Whale Fisheries Single
23. Greenland Whale Fisheries 2.54

All songs: Traditionals

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More from The Dubliners in this blog:

A fan website:

Wild Geese – The Quays Of Galway Town (1976)

Unfortunately 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!”

Eoin O Duigneain, still alive and well:

And here it is … the first LP from Wild Geese

And if you want to hear the quintessence of Irish folk, you have to listen to this album.
This natural liveliness of the melodies and the instruments is always a pleasure. And I am always amazed at how many traditionals there are from Ireland, this wonderful “green island”.
This album is a real treasure!

Personnel:
Eoin O Duigneain (bagpipes. tin whistle)
Norman King (bodhrán, vocals)
Peadar Ó Uallaigh (flute, tin whistle, concertina, vocals)
Norman King (vocals, bodhrán, spoons, tambourine)
Tony Small (guitar, vocals)

Tracklist:
01. The Otter’s Lair & The Pinch Of Snuff (Traditional) 2.48
02. Farewell To Nova Scotia (Traditional) 4.42
03. The Monaghan Jig (Traditional) 3.14
04. The Old Turf Fire & The Congress Reel (Patterson) 3.05
05. Roxburgh Castle & Ward’s Brae (Traditional) 2:38
06. The Quays Of Galway Town (Traditional) 5.45
07. The Squire And The Lady / The Shaskeen Reel / The Sack Of Grass / The Girl Who Broke My Heart (Traditional) 4.27
08. Fear & Bean An Tí (Traditional) 3.01
09. I Wish I Was Back In Liverpool (Kelly/Rosselson) 4.44
10. Sliabh Na MBan (Traditional) 2.53
11. The Beggarman (Traditional) 2.11
12. The Cup Of Tea & The Four Hand Reel (Traditional) 2.36
13. The Bush Of Australia (Traditional) 3.17

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More from Wild Geese:

The official website of Eoin O Duigneain:

Bill Whelan – Riverdance (Music From The Show) (1995)

Bill Whelan (born 22 May 1950 in Limerick, Ireland) is an Irish composer and musician. He is best known for composing a piece for the interval of the 1994 Eurovision Song Contest. The result, Riverdance, was a seven-minute display of traditional Irish dancing that became a full-length stage production and spawned a worldwide craze for Irish dancing and Celtic music and also won him a Grammy. “Riverdance” was released as a single in 1994, credited to “Bill Whelan and Anúna featuring the RTÉ Concert Orchestra”. It reached number one in Ireland for 18 weeks and number nine in the UK. The album of the same title reached number 31 in the album charts in 1995.

Bill with his mother and father:

Whelan has also composed a symphonic suite version of Riverdance, with its premiere performed by the Ulster Orchestra on BBC Radio 3 in August 2014.

Whelan is a native of Limerick, and was educated at Crescent College.[3] He gained his Bachelor of Civil Law degree at University College Dublin in 1973 and then went to King’s Inns. In 2011, Whelan was awarded the UCD Foundation Day Medal in recognition of his outstanding achievements and his contribution to Irish music worldwide.

While he is best known for his “Riverdance” composition and the theatrical show of the same name, Whelan has been involved in many ground-breaking projects in Ireland since the 1970s. As a producer he has worked with U2 (on their War album), Van Morrison, Kate Bush, The Dubliners, Planxty, Andy Irvine & Davy Spillane, Patrick Street, Stockton’s Wing and fellow Limerickman Richard Harris.

Riverdance: Music from the Show is an album of the music composed by Bill Whelan for the Riverdance theatrical show, and performed by the show’s own musicians and singers.
Background
The recording was engineered and mixed at Windmill Lane Studios in 1995. In 1997, it won the Grammy Award for Best Musical Show Album for 1996. The album was released five times: in 1995, 1997, 2003, 2005 and 2020, each time with a different cover, sometimes different versions or mixes of the songs, and a slightly different track list. Notably, the “Cloudsong” and “Riverdance” segments are placed under one track going by the name of the latter. (wikipedia)

Even though the visual elements are missing, this soundtrack to Riverdance sounds quite spectacular, making a no-holds-barred attempt to captivate the listener with grandiose variations on Celtic musical forms. Adding to the grandeur and magic of the music are performances by artists such as Davy Spillane, Maire Breatnach, Anúna, Nicola Parov, and others who are forces to reckon with individually. The music transitions between soaring vocal pieces and floor-shaking orchestral numbers that possess astonishing energy. Lead ceilidh dancer Michael Flatley left the production under something of a cloud, turning up later with the derivative and far more mediocre Lord of the Dance. On this recording of Riverdance: Music from the Show, Flatley, female lead Jean Butler, and the other ceilidh dancers can be heard providing taps on three tracks, including the thunderous “The Countess Cathleen/Women of the Sidhe.” (Steven McDonald)

Personnel:
Cormac Breatnach (tin whistle)
Máire Breatnach (fiddle)
Ronan Browne (uilleann pipes)
Robbie Casserly (bass, drums)
Áine Uí Cheallaigh (vocals)
Anthony Drennan (guitar)
Noel Eccles (percussion)
Kenneth Edge (saxophone)
Juan Reina Gonzalez (cantor)
Robbie Harris (bodhrán)
David Hayes (keyboards)
Tom Hayes (bodhrán, spoons)
Eileen Ivers (fiddle)
Declan Masterson (low whistle)
Des Moore (guitar)
Máirtín O’Connor (accordion)
Eoghan O’Neill (bass)
Nikola Parov (gadulka, kaval)
Desi Reynolds (drums)
Rafael Riqueni (guitar)
Davy Spillane (uilleann pipes, tin whistle)

Conducted by Michael McGlynn & Prionsias O’Duinn

Tracklist:
01. Reel Around The Sun 8.42
02. The Heart’s Cry  2.27
03. The Countess Cathleen/Women Of The Sidhe  5.41
04. Caoineadh Cú Chulainn (Lament) 4.11
05. Shivna 3.38
06. Firedance 6.03
07. Slip Into Spring 3.46
08. Riverdance 5.44
09. American Wake (The Nova Scotia Set) 3.08
10. Lift The Wings 4.59
11. Macedonian Morning 2.56
12. Marta’s Dance / The Russian Dervish 6.03
13. Andalucía 4.21
14. Home And The Heartland 3.26
15 The Harvest 3.38
16. Riverdance 3.47

All songs written by Bill Whelan

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Michael Flatley and Jean Butler – Riverdance – opening night The Point Theatre 9/2/1995:

The official Riverdance website:

Planxty – The Woman I Loved So Well (1980)

Planxty were an Irish folk music band formed in January 1972,: 99–100  consisting initially of Christy Moore (vocals, acoustic guitar, bodhrán), Andy Irvine (vocals, mandolin, mandola, bouzouki, hurdy-gurdy, harmonica), Dónal Lunny (bouzouki, guitars, bodhrán, keyboards), and Liam O’Flynn (uilleann pipes, tin whistle). They transformed and popularized Irish folk music, touring and recording to great acclaim.

Subsequently, Johnny Moynihan, Paul Brady, Matt Molloy (flute), Bill Whelan (keyboards), Nollaig Casey (fiddle) and, briefly, Noel Hill (concertina) and Tony Linnane (fiddle) were also temporary members.

Planxty broke up twice, first in December 1975  and again in April 1983.  The original quartet reunited in October 2003  and their final performance was on 31 January 2005. (wikipedia)

Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band’s virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music.

The founding members of Planxty — Christy Moore, Dónal Lunny, Liam O’Flynn, and Andy Irvine — initially came together to provide instrumental accompaniment for Irish singer/songwriter Christy Moore’s 1973 album, Prosperous. The sessions proved so inspiring that the musicians agreed to continue working together. With the release of their debut single, “Cliffs of Dooneen,” the new band attracted international attention. An equally memorable, self-titled album, affectionately known as the “Black Album,” followed shortly afterwards.

Despite its success, Planxty was plagued by a series of personnel changes. Following the release of the band’s second album, The Well Below the Valley, Lunny departed for the Bothy Band and was replaced by Johnny Moynihan, who had previously played with Irvine in Sweeney’s Men. Moore followed after the release of the band’s third album, Cold Blow and the Rainy Night to resume his solo career, and was replaced by singer/songwriter Paul Brady. The loss of Moore and Lunny was devastating and, shortly after releasing their fifth album, The Woman I Loved So Well, Planxty disbanded in 1981.

The seeds for Planxty’s resurrection were planted in late 1983. In addition to the original members, the re-formed group featured ex-Bothy Band and future Chieftains flute player Matt Molloy and keyboardist and future Riverdance producer Bill Whelan. Fiddlers James Kelly and Noelle Casey were added for the first album by the reunited group, Words & Music. The renewed energy petered out quickly. By 1983, Lunny and Moore had gone off to form a more electric trad-rock group, Moving Hearts. (Craig Harris)

“Planxty” was a word used by people who named works by harper Turlough O’Carolan after his death, and is believed to denote a tribute to a particular person: “Planxty Irwin,” for example, would be in honour of Colonel John Irwin of Sligo. “Planxty” is thought to be a corruption of the Irish word and popular toast “sláinte”, meaning “good health.” Another possible explanation is that it is derived from the Latin planctus, a medieval lament composed in honour of a deceased person or a tragic event.

Regardless of its origin, the moniker, which replaced the provisional “CLAD” (Christy – Liam – Andy – Dónal), turned out to be a good fit, as O’Carolan’s music would play an important part in the band’s repertoire.

A formative influence on Planxty, and in particular on Moore, was the singing of Irish Traveller John “Jacko” Reilly who hailed from Boyle, Co. Roscommon. It was from Reilly that Moore learned “Raggle Taggle Gypsy”, which was recorded for the first Planxty album, in addition to “The Well Below the Valley,” which appeared on The Well Below the Valley. Moore later dipped into Reilly’s songbook again for an updated version of the lengthy ballad “Lord Baker,” which was featured on Planxty’s 1983 album Words & Music. (“Baker” appears to be a mondegreen for the “Beichan” of earlier versions.) Reilly died in 1969 at the age of 44, shortly after being found beneath his coats in the top room of his dwelling in Boyle by Tom Munnelly, who had originally collected his songs for archiving.

The music of Turlough O’Carolan appeared on a number of Planxty albums (including the B-side of their very first single), played by O’Flynn on the pipes. Much of this music first came to the attention of the band through the work of seminal Irish composer Seán Ó Riada and his group Ceoltóirí Chualann.

“The Woman I Loved So Well” is the fifth studio album by the Irish folk band, originally released in 1980. The album features eight musicians, more than any other Planxty album. The core line-up of Christy Moore, Donal Lunny, Andy Irvine and Liam O’Flynn are joined again by flautist Matt Molloy, who had left the band shortly after the release of ‘After the Break’ (1979) to join The Chieftains full-time. Newcomer Bill Whelan joined the group in the studio to play keyboards, as did the concertina/fiddle duo of Noel Hill and Tony Linnane, who completed a short tour of Ireland with the group prior to the recording.Fifth studio album by the Irish folk band, originally released in 1980. The album features eight musicians, more than any other Planxty album. The core line-up of Christy Moore, Donal Lunny, Andy Irvine and Liam O’Flynn are joined again by flautist Matt Molloy, who had left the band shortly after the release of ‘After the Break’ (1979) to join The Chieftains full-time. Newcomer Bill Whelan joined the group in the studio to play keyboards, as did the concertina/fiddle duo of Noel Hill and Tony Linnane, who completed a short tour of Ireland with the group prior to the recording. (claddaghrecords.com)

The Woman I Loved so Well , an album I first heard in the 80’s, remains unforgettable for me. Personally, this Planxty album is beautiful and magnificent and when I listen to it again today in 2016 I am happy and amazed to see that Irish music remains a great love for me and one that has never faded. I recommend this album without hesitation to anyone who loves Ireland. (Andrianaan)

Stirring stuff from the masters of Irish folk. A collection of stirring songs and tunes including Kellswater and Johnny of Brady’s Lea. An essential for any enthusiast – this is how it should be done. (H. Lindsay)

Yes !!!

Personnel:
Andy Irvine (bouzouki, mandolin, harmonica, vocals)
Donal Lunny (bouzouki, guitar, synthesiser)
Christy Moore (guitar, bodhran, vocals)
Liam O’Flynn (uilleann pipes, whistle)
+
Noel Hill (concertina)
Tony Linnane (fiddle)
Matt Molloy (flute)
Bill Whelan (keyboards)

Tracklist:
01. True Love Knows No Season (Blake) 5.31
02. Out On The Ocean (Tierney’s) (Irvine/Lunny/Moore/O’Flynn) 3.21
03. Roger O’Hare (Irvine/Lunny/Moore/O’Flynn) 5.34
04. The Tailor’s Twist (Traditional) 3.14
05. Kellswater (Irvine/Lunny/Moore/O’Flynn) 5.00
06. Johnny Of Brady’s Lea (Irvine/Moore/O’Flynn) 6.32
07. The Woman I Never Forgot (Irvine/Lunny/Moore/O’Flynn) 4.21
08. Little Musgrave (Irvine/Lunny/Moore/O’Flynn) 11.30

*
**

A Planxty website by Andy Irvine:

Clannad – Fuaim (1982)

Clannad  is an Irish band formed in 1970 in Gweedore, County Donegal by siblings Ciarán, Pól, and Moya Brennan and their twin uncles Noel and Pádraig Duggan. They have adopted various musical styles throughout their history, including folk, folk rock, traditional Irish, Celtic and new-age music, often incorporating elements of smooth jazz and Gregorian chant.

Initially known as Clann as Dobhar, they shortened their name to Clannad in 1973 after winning the Letterkenny Folk Festival with the song “Liza”. By 1979, they had released three albums and completed a successful US tour. From 1980 to 1982, they operated as a six-piece with their sister/niece Enya Brennan on additional keyboards and vocals, before she left the group to pursue a solo career. Later in 1982, Clannad gained international attention with their single “Theme from Harry’s Game” which became a top-five hit in Ireland and the UK. The song was featured on Magical Ring (1983), which was met with much acclaim.

They experimented with more new-age and pop-influenced sounds in the 1980s and 1990s, as evident on Macalla (1985), and Anam (1990). This transition would ultimately go on to define their sound as almost purely ‘Celtic’, making them innovators of that genre. After Landmarks (1997), the band went on a hiatus in order to pursue solo projects. They regrouped in 2007 as a four piece again, with Moya, Ciarán, Noel, and Pádraig completing a world tour in 2008. In 2013, Pól rejoined and they released Nádúr, their first studio album in fifteen years. Pádraig Duggan died in 2016, leaving the group to embark on their 2020 farewell tour as a quartet.

Clannad have won numerous awards throughout their career, including a Grammy Award, a BAFTA, an Ivor Novello Award, and a Billboard Music Award. They have recorded in six different languages and scored eight UK top 10 albums. They are widely regarded as a band that have brought Irish music and the Irish language to a wider audience, often experiencing more popularity abroad than in their native Ireland.

The current line-up: Ciarán Brennan, Moya Brennan, Noel Duggan, Pól Brennan:

Fuaim (Irish for “sound”) is the sixth album by Irish folk group Clannad. It was released in 1982. It was produced by Nicky Ryan and was the last Clannad album to feature younger sister Eithne Ní Bhraonáin, later known as Enya. It is also the only Clannad album to credit her; while she performed keyboard and backing vocals on the previous album “Crann Úll”, she was not credited for this. She departed, along with Nicky Ryan, shortly thereafter to begin a solo career.

The album was remastered and reissued on 7 August 2020 in both compact disc and vinyl formats. (wikipedia)

A re-issue from 1990:

Combining traditional Irish folk with touches of contemporary pop, Clannad has acquired a small but loyal following with its distinctive music. One thing that makes Fuaim so effective is its use of simplicity. Whether interpreting Irish songs that go back centuries or embracing songs written in recent years, Clannad (whose members sing in both English and Gaelic) is a band that knows how to use subtlety and understatement to great artistic advantage. Fuaim offers a striking blend of acoustic and electric instruments.

Synthesizers and electric guitar successfully interact with the harp, the flute and the mandola on this consistently enriching celebration of Irish culture. (by Alex Henderson)

And … what wonderful saxophone additions (listen to “Ní Lá na Gaoithe Lá na Scoilb?”).!

Personnel:
Eithne Ní Bhraonáin (Enya) (percussion, keyboards, vocals)
Máire Ní Bhraonáin (vocals, harp)
Ciarán Ó Braonáin (bass, guitar, keyboards, vocals)
Pól Ó Braonáin (flute, guitar, percussion, vocals)
Noel Ó Dúgáin (guitar, vocals)
Pádraig Ó Dúgáin (guitar, mandolin, vocals)
+
Noel Bridgeman (percussion)
Neil Buckley (clarinet, saxophone)
Pat O’Farrell (guitar)

Tracklist:
01. Na Buachaillí Álainn (Traditional) 2.59
02. Mheall Sí Lena Glórthaí Mé (Traditional) 4.18
03. Bruach na Carraige Báine (Traditional) 2.37
04. Lá Breá Fán dTuath (C.Braonáin) 0.46
05. An tÚll (Traditional) 3.07
06. Strayed Away (Traditional/Moore) 2.46
07. Ní Lá na Gaoithe Lá na Scoilb? (P.Braonáin) 6.11
08. Lish Young Buy-A-Broom (Traditional) 3.30
09. Mhórag ‘s na Horo Gheallaidh (C.Braonáin/P..Braonáin/Traditional) 1.43
10. The Green Fields of Gaothdobhair (Traditional) 4.08
11. Buaireadh an Phósta (Traditional) 2.56

*
**

CD edition from 1993:

More from Clannad:

The official website:

Various Artists – The Very Best Of Irish Musik And Ballads (1996)

Irish traditional music (also known as Irish trad, Irish folk music, and other variants) is a genre of folk music that developed in Ireland.

In A History of Irish Music (1905), W. H. Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use. These were the cruit (a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn (hornpipes), the cuislenna (bagpipes – see Great Irish warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (bones). There is also evidence of the fiddle being used in the 8th century.

There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin. Important collectors include Colm Ó Lochlainn, George Petrie, Edward Bunting, Francis O’Neill, James Goodman and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists.

Irish traditional music has endured more strongly against the forces of cinema, radio and the mass media than the indigenous folk music of most European countries. From the end of the Second World War until the late fifties folk music was held in low regard. Comhaltas Ceoltóirí Éireann (an Irish traditional music association) and the popularity of the Fleadh Cheoil (music festival) helped lead the revival of the music.

The English Folk music scene also encouraged Irish musicians[citation needed]. Following the success of The Clancy Brothers and Tommy Makem in the US in 1959, Irish folk music became fashionable again. The lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies. The international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand.

Historically much old-time music of the USA grew out of the music of Ireland, England and Scotland, as a result of cultural diffusion. By the 1970s Irish traditional music was again influencing music in the US and further afield in Australia and Europe. It has occasionally been fused with rock and roll, punk rock and other genres. (wikipedia)

And here´s a real fine samlpfer with Irish Music from ARC Records:

ARC Music was a rebranding of Eulenspiegel using the same logo and Labelcode: LC 5111 / LC 05111 (in fact the company LC registration has remained under the Eulenspiegel name at the GVL). ARC Music (Company director/founder: Horst Tubbesing) started in Germany in 1983, then expanded internationally with bases in Germany, UK and USA.

The reason for the name change was twofold, 1. Eulenspiegel was established promoting local acts in the rock, pop and folk fields and also signed some international prog and fusion artists like Tribute and Pierre Moerlen’s Gong, whereas ARC Music specialized in traditional, world and ethnic musics, including new-age and other light instrumental music. 2. ARC Music saw a change of ethic when the owners became Scientologists. The acronym ARC stands for Scientology’s “ARC Triangle”: Affinity, Reality and Communication.

Late 2017 saw the launch of the Bendigedig label, a new and unique cooperation between ARC Music and Theatr Mwldan (Wales) in which the artist really takes the lead. Fully supported by ARC Music and Mwldan, bendigedig artists enjoy the benefits of record label, publishing, management and touring, in an equal partnership, and being key in the decision-making process. (press release)

The official website:

Another chance to discover the wonderful music from this country !

Tracklist:
01. Noel McLoughlin: The Wild Rover (Traditonal) 3.02
02. Kieran Fahy: An Raibh Tu Ar An GCarraig / Denis Ryans (Traditional) 3.41
03. Tara: Kells Waters (Traditional) 3.51
04. Margie Butler: I Will Leave This Country (Traditional) 3.05
05. John Faulkner: Child Owlet (Traditional) 3.32
06. Sean Talamh: Galway Bay (Traditional) 3.51
07. Golden Bough: The Blind Harper Of Lochmaben (Traditional) 4.25
08. Pied Pipers: Molly Brannagan / Jennie’s Chickens / Drowsey Maggy (Traditional) 2.43
09. Noel McLoughlin: Farewell To The Life Of The Rover (Traditional) 3.02
10. Golden Bough: Cathi Milligan’s Fancy (Sørbye) 3.00
11. Margie Butler: Suo Gan (Traditional) 3.32
12. The Duggans: The Jig Of Slurs / Collin’s Jig (Traditional) 3.10
13. Noel McLoughlin: The Beggarman (Traditional) 3.37
14. Florie Brown: Once I Loved (Brown) 2.51
15. Golden Bough: Stand In The Light (Espinoza) 2.34

*
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I’ve been a wild rover for many’s the year
And I’ve spent all me money on whiskey and beer
But now I’m returning with gold in great store
And I never will play the wild rover no more

And it’s no, nay, never
No, nay never no more
Will I play the wild rover
No never no more

I went to an alehouse I used to frequent
I told the landlady my money was spent
I ask her for credit, she answered me nay
Such a custom as yours I can have any day

And it’s no, nay, never
No, nay never no more
Will I play the wild rover
No never no more

I brought from me pocket ten sovereigns bright
And the landlady’s eyes opened wide with delight
She said:’I have whiskeys and wines of the best
And the words that you told me were only in jest’

And it’s no, nay, never
No, nay never no more
Will I play the wild rover
No never no more

I’ll go home to my parents, confess what I’ve done
And I’ll ask them to pardon their prodigal son
And when they’ve caressed me, as oft times before
I never will play the wild rover no more

And next Wednesday I’m going to Dublin for a few days and I’ll definitely visit this record shop there:

Sean Talamh – Traditional Irish Music (2002)

Here´s an album from a short lived Iris Folk group called Sean Talamh:

Sean Talamh means literally “the old ground” or “old sod” and carries a wider meaning of “Home” or “Ireland”.

What more appropriate name for a
group whose members originate from each of the four provinces of Ireland!

Each member of the group (formed in 1992) brings with him years of diverse musical experience, having performed with some of the finest exponents of Irish traditional music.

The group disbanded in 1995.

Here is their first (and I guess) last album:

And we hear not only pretty good Irish folk music but also music from the French musette tradition (“Valse Ronde”) and dance tunes as they are known and popular in Bulgaria and Macedonia.(“Le Loup Des Carpathes”).

Without any doubt … this is real rarity in the history of Irish Folk music … a music that can touch all our hearts.

Personnel:
Kieran Fahy (fiddle, viola)
Noel Harris (guitar, vocals)
Michael Horgan (uilleann pipes, whistle),
Tommy Keenan (C whistle, low whistle)

Tracklist:
01. Scholar (Traditional) / Baldy Man (Fahey) 4.16
02. The Humours Of Flinn (O´Leary) 4.16
03. Belfast Mill (Kahn) 4.53
04. Inisheer -Inis Oirthir (Walsh) 4.48
05. Le Loup Des Carpathes (Landreau) 2.22
06. The Road To Glencar (Traditional) 2.14
07. Valse Ronde (Perroton) 4.25
08. The Rambler From Clare (unknown) 5.04
09. Lament For Eoin Rua (Traditional) 4.30
10. Galway Bay / Belgrave Square (Traditional) 3.52
11. The Three Rascals (Traditionl) 4.45

*
**

I guess I will fly this year to Dublin…and I will go to some record stores … I´m sure I´ll find more beautiful music from Ireland !

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

And 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.

Personnel:
Brian Boru Ceili Band

Tracklist:
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.

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)