The Only Ones – Live At The Electric Ballroom (1980)

OLYMPUS DIGITAL CAMERAIn 1980, the Only Ones were maybe the most stoned junkie bunch of musicians in activity but on stage they were no less than magical. I can’t imagine a more intemporal music than this one. Listen to this version of “The Beast” before deciding what is genius. Catch this incredible document here. PS to iceman. The Paradiso concert was re-up recently (here) and is totally available on M.

Here we find the band 6 months after the Paradiso concert (here) but it’s a rather different band. Tensions are strong between members (some of them want to “place” their songs and begin to be unease with the position of sole composer of Peter Perrett… they were wrong actually, it was a good thing) and desillusion begins to grow (Baby’s Got A Gun album was badly produced by a producer mandatory sent by the label, it sells rather poorly, Ajouter une imageno single succeeded in the charts and drugs were beginning to eat every bit of motivation). The concert is very different from the one played at the Paradiso. Faster (they sometimes seem to call for a quick end), tighter (Peter Perrett plays much better and the band seems to behave as a whole and unique entity), it’s a dynamic set with some ups (the songs from Baby’s Got A Gun, here in their truly Only Ones versions) and some downs (some older songs, sometimes botched or with bad options, for example what the fuck is this half-reggae version of “Miles From Nowhere”?).


This concert was captured on 2 nights at the Electric Ballroom of Camden and released in 1989 on Mau Mau label under the name of Live (I did another cover sleeve cos’ I thought the official album one, a close shot ot Peter Perrett’s face, was rather unappropriate). Note that it was wrongly suggested on the back cover sleeve to be captured at the Speakeasy in 1977. Among my interrogations, is this strange (and scandalous) fade at the end of “Why Don’t You Kill Yourself”. If someone could tell me WTF. To conclude, I would say that this concert, in spite of all its low parts, is for me the symbol of what I would have dreamed to do on stage with a band. Yes, nothing can be more close to this dream than this concert. Therefore, you understand the fixation I do about this band. (by dkandroughmix-forgottensongs.blogspot)

Ineresting to hear Mike Kellie (ex-Spooky Tooth) in this famous punk/new wave band.


Mike Kellie (drums)
Alan Mair (bass)
Peter Perrett (vocals. guitar)
John Perry (guitar)

Only Ones Electric Ballroom Back.jpg

01. Trouble In The World (Perrett) 2.50
02. Programme (Perrett) 2.12
03. The Beast (Perrett) 5.46
04. The Happy Pilgrim (Perrett) 2.39
05. Lovers Of Today (Perrett) 2.56
06. Strange Mouth (Perrett) 2.18
07. Why Don’t You Kill Yourself (Perrett) 2.47
08. No Peace For The Wicked (Perrett) 2.06
09. As My Wife Says (Perrett) 3.10
10. Miles From Nowhere (Perrett) 3.41
11. The Big Sleep (Perrett) 4.36
12. Another Girl Another Planet (Perrett) 2.56
13. City Of Fun (Perrett) 3.08
14. Me And My Shadow (Perrett) 4.51




Mike Kellie passed away on 18th January 2017.

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..


REO Speedwagon – Hi Infidelity (1980)

FrontCover1Hi Infidelity is the ninth studio album by the band REO Speedwagon, it was released on November 21, 1980 (see 1980 in music). The album became a big hit in the United States peaking at number one on the Billboard 200. It went on to become the biggest selling rock albums of 1981, eventually being certified nine times platinum by the Recording Industry Association of America. From the singles released, the band got their first of two number one hits on the Billboard Hot 100, “Keep On Loving You”.Hi Infidelity is the ninth studio album by the band REO Speedwagon, it was released on November 21, 1980 (see 1980 in music). The album became a big hit in the United States peaking at number one on the Billboard 200. It went on to become the biggest selling rock albums of 1981, eventually being certified nine times platinum by the Recording Industry Association of America. From the singles released, the band got their first of two number one hits on the Billboard Hot 100, “Keep On Loving You”.


The album title is a play on the term Hi-Fi (high fidelity), and the album art is an illustration of this pun where an act of sexual infidelity is occurring while the man is putting a record LP to play on the hi-fi stereo.

From the album six songs charted Billboard charts, including “Keep On Loving You” which was the band’s first Number 1 hit, and “Take It on the Run”, which reached No. 5 on the charts. The song “Tough Guys” uses an audio clip from the 1938 Our Gang episode “Hearts Are Thumps”.


“Tough Guys” was one of two songs from the album that charted on the Billboard Mainstream Rock chart despite not being released as singles. Music critic Robert Christgau called “Tough Guys” his favorite song from the album but suggested that the line “They think they’re full of fire/She thinks they’re full of shit” would prevent the song from reaching the pop Top 40.
In October 2004, the band recorded the songs of this album live from beginning to end for an XM Radio “Then Again Live” special. (by wikipedia)


Many albums have scaled to the top of the American charts, many of them not so good, but few have been as widely forgotten and spurned as REO Speedwagon’s Hi Infidelity. In a way, the group deserved this kind of success. They had been slogging it out in the arenas of the U.S., building up a sizeable audience because they could deliver live. And then, in 1980, they delivered a record that not just summarized their strengths, but captured everything that was good about arena rock. This is the sound of the stadiums in that netherworld between giants like Zeppelin and MTV’s slick, video-ready anthems. This is unabashedly mainstream rock, but there’s a real urgency to the songs and the performances that gives it a real emotional core, even if the production keeps it tied to the early, previsual ’80s. And so what if it does, because this is great arena rock, filled with hooks as expansive as Three Rivers Stadium and as catchy as the flu. That, of course, applies to the record’s two biggest hits — the power ballad “Keep on Loving You” and the surging “Take It on the Run” — which define their era, but what gives the album real staying power is that the rest of the record works equally well.


That’s most apparent on the Bo Diddley-inspired opener, “Don’t Let Him Go,” whose insistent beat sent it to the album rock charts, but also such great album tracks as “Follow My Heart,” the sun-kissed ’60s homage “In Your Letter,” and “Tough Guys.” What’s really great about these songs is not just the sheen of professionalism that makes them addictive to listen to, but there’s a real strain of pathos that runs through these songs — the album’s title isn’t just a clever pun, but a description of the tortured romantic relationships that populate this record’s songs. This is really arena rock’s Blood on the Tracks, albeit by a group of guys instead of a singular vision, but that makes it more affecting, as well as a killer slice of ear candy. It’s easy to dismiss REO Speedwagon, since they weren’t hip at the time, and no amount of historical revisionism will make them cool kitsch. And, let’s face it, their records were usually hit-and-miss affairs. But they did get it right on. (by Stephen Thomas Erlewine)


Neal Doughty (keyboards)
Alan Gratzer (drums, percussion, background vocals)
Bruce Hall (bass, background vocals, vocals on 09.)
Kevin Cronin (vocals, guitar, piano)
Gary Richrath (guitar)
Steve Forman (percussion)
background vocals:
He-Man Broken Hearts Club Choir – Tom Kelly – Richard Page – N. Yolletta


01. Don’t Let Him Go (Cronin) 3.46
02. Keep On Loving You (Cronin) 3.23
03. Follow My Heart (Kelly/Richrath) 3.51
04. In Your Letter (Richrath 3.18
05. Take It On The Run (Richrath) 3.01
06. Tough Guys (Cronin) 3.51
07. Out Of Season (Cronin/Kelly) 3:07
08. Shakin’ It Loose (Richrath) 2:27
09. Someone Tonight (Bruce/Hall) 2.41
10. I Wish You Were There (Cronin) 4.27




Gary Dean Richrath (October 18, 1949 – September 13, 2015)

The Tony Rice Unit – Mar West (1980)

FrontCover1Mar West is an album by American guitarist Tony Rice, released in 1980. It is credited to the Tony Rice Unit.
Mar West was reissued in 1987 along with Still Inside as Devlin minus the song “Mar East”.. (by wikipedia)
Mar West is the third recording by the Tony Rice Unit and like their other recordings, it features some of the best acoustic musicians on the scene. Mar West showcases music closely resembling swing jazz, and if it seems less inspired than an earlier effort like Acoustics, it is nonetheless a good instrumental album. Compare it to a lesser effort by Stephane Grapelli and Django Reinhardt: Perhaps the song choice is less than perfect and the musicians less inspired than usual, but who would want to miss it? Sam Bush, Richard Greene, Mike Marshall, and Todd Phillips join Rice for eight instrumentals. The title cut, which opens the album, also reveals its shortcomings. “Mar West” is one of those fast, open-chorded instrumentals that Rice enjoys writing. Rice kicks the piece off with quick-paced flat-picking that is technically perfect, but the solo continues for too long and is lacking in feeling. More successful is the measured “Waltz for Indira” with a nice mandolin part by Bush, and “Neon Tetra” with an inspired violin solo by Greene.
Perhaps the best cut on the album is “Nardis,” written by Miles Davis. “Nardis'” colored textures evoke a romantic mood and challenge the musicians to create distinctive, longing solos. Like the other Tony Rice Unit albums, emphasis remains focused on the skills of the individual musicians involved. Each instrumental provides the violin, guitar, and mandolin room for lengthy solos while Phillips’ bass keeps everyone grounded. Both Rice fans and lovers of good acoustic music will enjoy Mar West. (by Ronnie D. Lankford, Jr.)
Like Paul Brett, Tony Rice is a superb acoustic guitar Player … and it´s such a shame, the musicians like him are more or less unknown.
It´s time to discover the magic of Tony Rice !!!
Sam Bush (mandolin)
Richard Greene (violin)
Mike Marshall (mandolin)
Todd Phillips (bass)
Tony Rice (guitar, vocals)
01. Mar West (Rice) 5.33
02. Nardis (Davis) 3.47
03. Waltz For Indira (Rice) 3.23
04. Neon Tetra (Rice) 4.28
06. Is That So (Rice) 4.29
07. Whoa Baby, Every Day I Wake up With the Blues (Rice) 3.57
08. Mar East (Rice) 4.37
09. Untitled As Of Yet (Rice) 4.23


The Whistlebinkies – The Whistlebinkies 2 (1980)

FrontCover1For more than 45 years the Whistlebinkies have maintained one of the most distinctive sounds in the Scottish folk revival, their essential musical core of “rantin’ pipe and tremblin’ string”, along with clarsach, concertina and side drum winning over audiences throughout Scotland and Europe and as far flung as Memphis and Beijing.

The band pioneered the effective use of revived bellows-blown Lowland pipes, have consistently pursued a democratic group approach to their all-acoustic arrangements and frequently and successfully bridge the divide between Scottish traditional and “art” music, in collaboration with such institutions as the Royal Scottish National Orchestra, the Scottish Chamber Orchestra, Cappella Nova and such revered figures as classical violinist Yehudi Menuhin and avant-garde music luminary John Cage. They were also the first Scottish folk ensemble ever to play in China, in November 1991.
They were the first group to bring the pipes, clarsach and fiddle into regular performance, a combination that seems commonplace now. They continue to use only acoustic traditional instruments and prefer to play in a good natural acoustic without amplification. (by

“Following their highly acclaimed first album, this outing shows a wealth of excellencein the Whistlebinkies approach to the traditional idiom. Combining bothoriginal and traditional material with a skillful approach to arrangement, the whole excercise is a convincing example of what can and should be done in this field.” (by David Etheridge, Melody Maker 18 October 1980)

The album was No 1 in the Melody Maker folk music chart on 18 October 1980 and No 2 on 8 November 1980.


The Whistlebinkies are the Scopttish Version of “The Dubliners” … and one of the finest bands in  Scottish folk Music.


The Whistlebinkies, 1982

Peter Anderson (scottish drums)
Mick Broderick (drums, vocals)
Rhona Mac Kay (harp, vocals)
Eddie McGuire (flute)
Bob Nelson (fiddle)
Rab Wallace (pipe)


01  Waukin’ O’ The Fauld (McGuire) 3.34
02. The Bonnie Moorhen (Traditional) 4.00
03. The Pipe Strathspey And Reel (Traditional)  3:50
04. The Fiddle Strathspey And Reel (Traditional) 2.19
05. Phiuthrag’sa Phiuthar (Sister O Sister) (Traditional) 3.09
06. Broderick’s Bodhran (Wallace) 3.09
07. Great Is The Cause Of My Sorrow (Traditional) 3.53
08. The Pipe March (Traditional) 3.39
09. Gealach Nan Eilean (Island Moon) (Traditional) 2.16
10. The Fossil Grove (Traditional) 3.44
11. Freedom Come All Ye (Henderson) 4.37



The Whistlebinkies today

Albert Mangeldsdorff & Giancarlo Schiaffini – Roma (1980)

frontcover1One of the few shows organized by the Italian RAI in 1980. I had doubts on how to credit this set, from an idea of Pasquale Santoli to unite some famed soloists with RAI Big Band, playing Ellington tunes or tunes dedicated to Ellington composed by the soloists: the Incostant Sol blogspot lists this as “Albert Mangelsdorff Quintet with RAI Big Band”, which could be correct since Mangelsdorff’s name is top of the official bill included here, BUT all spoken intros are by Schiaffini, a couple of his own tunes are played too, and track, Saint James Infirmary, is played by a trio featuring him as the only soloist, so it seems he is the actual leader of the “group”. Quite probably, this was a one-off affair [actually, there was a second date played in Mestre the following day], since Mangelsdorff at the time was mainly playing solo or in duos, and not with a quintet. The show took form in two diferent sets: only the early part of the second set is here (re)broadcast [Incostant Sol has a longer version of this]. This program is introduced by a short speech by Schiaffini (recorded late) remembering the show. (survivor69)

Recorded live at the Teatro dell’Opera di Roma, Roma, Italy; April 21, 1980

Thanks to survivor69 for sharing the show at Dime.


Paolo Damiani (bass)
Billy Higgins (drums)
Albert Mangelsdorff (trombone)
Giancarlo Schiaffini (trombone)
Manfred Schoof (tromba, flugelhorn)
RAI Big Band
Gennaro Baldino (trombone)
Giancarlo Beccattini (trombone)
Doriano Beltrame (trumpet)
Beppe Carrieri (saxophone, flute)
Alberto Corvini (trumpet)Michele Lacerenza (trumpet)
Sal Genovese  (saxophone, flute)
Baldo Maestri (saxophone, flute)
Maurizio Majorana (bass)
Carlo Metallo (saxophone)
Gianni Oddi (saxophone, flute)
Marco Pellacani (trombone)
Dino Piana (trombone)
Roberto Pregadio (piano)
Pino Rucher (guitar)
Cicci Santucci (trumpet)
Roberto Zappulla (drums)

Giancarlo Schiaffini


CD 1:
01. Interview – Schiaffini 2.10
02. Supraconductivity 10:08
03. Spoken Introductions 1:00
04. Introduction / March of The Jazz Aspects 13.42
05. Horizon 15.47

CD 2:
01. Mood Indigo 6.59
02. Saint James Infirmary 10.28
03. Band introductions 1.36
04. Duke of Medley 20.49
05. Radio Outros 0.30
06. Mood Azur 3.42

albert-mangelsdorffAlbert Mangelsdorff


Atomic Rooster – Live At The Marquee 1980 (2002)

Muro do Classic RockLive at the Marquee 1980 is a live album by British rock band Atomic Rooster, recorded at London’s Marquee Club. No known live soundboard recordings exist of the 1980 (Crane/Du Cann/Hammond) lineup of Atomic Rooster and the source cassette tape, belonging to Du Cann, was recorded via a single onstage microphone. (by wikipedia)

These are the last-ever live recordings from the classic Rooster line-up of John Du Cann, Vincent Crane and Paul Hammond, recorded at the Marquee Club in London where they played regularly.

This 1980 gig is drawn from the personal archives of John Du Cann. It marks the return of original drummer Paul Hammond.

John Du Cann has said that the band used up so much energy that immediately on leaving the stage they would feel like collapse, and that the thought of an encore was crippling. (Promotion text)

This rare concert from 1980 features the classic line-up of Vincent Crane on Hammond organ, John Du Cann on guitar and vocals, and Paul Hammond on drums. While the sound quality is average (along the lines of a good bootleg) there is no denying the raw power and energy this band was able to muster on the stage.

Muro do Classic RockMany Atomic Rooster favorites are covered here, including “Death Walks Behind You”, “Tomorrow Night”, “Seven Streets”, and the bands lone hit single “Devil’s Answer.” While earlier live recordings showed the band a bit tighter and Du Cann’s voice in better form, there are still tons of monolithic riffs here, like on “In the Shadows”, and evil Hammond sounds from the master Crane. Some of the more effective tunes in this set happen to be “Gershatzer” and “I Can’t Take No More”, where the band gets to stretch out a bit and jam. Du Cann’s guitar style is like a cross between early Tony Iommi and Jimmy Page, and his bluesy riffs and solos are all over tracks like the raw ‘They Took Control of You” and the tasty instrumental “Watch Out”, where he trades licks with Crane’s funky Hammond lines. Hammond makes his presence felt throughout the set with his maniacal style that for many fans helped ease the loss of Carl Palmer back in the early days of the band.

For Atomic Rooster collectors, this is a must have, but those new to this influential band would be better starting with their first three studio albums first. Despite the average sound quality and cheesy booklet notes, this is a nice package, and a decent live document of an important band in heavy metal and progressive rock history. (Pete Pardo)

Raw and exciting !


JohnDuCann + Vincent Crane, 1980

John Du Cann (guitar, vocals)
Vincent Crane (organ
Paul Hammond (drums)

Muro do Classic Rock

01. They Took Control Of You (J.Du Cann/C. Du Cann) 7.15
02. Death Walks Behind You (Du Cann/Crane) 6.40
03. Watch Out! (Crane) 4.48
04. Tomorrow Night (Crane) 6.29
05. Seven Lonely Streets (Du Cann) 8.37
06. Gershatzer (Crane) 10.04
07. I Can’t Take No More (Du Cann) 8.51
08. In The Shadows (Du Cann) 11.24
09. Devil’s Answer (Du Cann) 5.58
10. Do You Know Who’s Looking For You? (Crane/Du Cann) 4.40
Muro do Classic Rock



Paddy Glackin & Jolyon Jackson – Hidden Ground (1980)

frontcover1This is a masterpiece of Irish Folk !

Paddy Glackin (born 5 August 1954) is an Irish fiddler and founding member of the Bothy Band. He is considered one of Ireland’s leading traditional fiddle players.

Paddy Glackin was born on 5 August 1954 in Clontarf, Dublin. His father Tom Glackin was a Dublin policeman and notable fiddle player who instilled in Paddy a deep interest and love of the music of his native county-Donegal, and taught him and his brothers Kevin and Seamus to play the instrument. As a result of his father’s influence, Paddy was playing fiddle in the Donegal style by the age of six. During his primary school years, he took classical violin lessons in Chatham Row in Dublin, which gave him an important technical grounding in music and helped develop his formidable technique. His playing style, however, was developed more informally at home, where his father organized regular Wednesday afternoon music sessions with many musicians, including Seamus Carroll, Larry Redigan and Frank O’Higgins. Seamus Carroll was particularly encouraging and helpful, teaching Paddy the techniques of Sligo-style fiddling.

While on a trip to Donegal with his father, music collector Breandan Breathnach, and Clare fiddle player John Kelly, Paddy encountered the music of the legendary travelling fiddler John Doherty, who would have a profound influence on the young musician.[2] Glackin frequently cites Doherty as his main influence. Paddy’s musical influences, however, are not limited to Donegal; he also cites fiddlers such as John Kelly, Tommy Potts and Padraig O’Keeffe as important in shaping his overall approach. Through the influence of his father and these talented fiddlers, Paddy began to master a variety of Irish styles and amass a significant repertoire. In 1973, the nineteen-year-old Paddy became fiddle champion at the All-Ireland Fleadh Cheoil.

paddy-glackin01During his college years in Dublin, the city’s vibrant traditional music scene offered Glackin opportunities to meet fellow players his own age and perform a wide variety of venues. He became friends accordionist Tony MacMahon, flautist Matt Molloy, uilleann piper Paddy Keenan, brother and sister Mícheál Ó Domhnaill and Tríona Ní Dhomhnaill, and Dónal Lunny—all of whom would go on to prominent careers in Irish traditional music. Together they formed the group Seachtar, later renamed The Bothy Band, which would become one of the leading traditional bands in Ireland. The Bothy Band played a vital role in energising the Irish traditional music scene in the 1970s. After playing with the Bothy Band for eighteen months, Glackin decided to leave the popular group due to the demands of recording and touring:

“It just wasn’t for me and I certainly never wanted to do the album, tour, album, tour thing. I can see the need for doing it, but I always found it a little false. When I go out to play, it’s on my own terms. I look forward to it and I really enjoy doing it.”

Glackin took a job as an archivist and as Traditional Music Officer for the Irish Arts Council. He later transitioned into the broadcasting business, taking a position with RTÉ radio as a sports producer, presenter, and eventually editor. While maintaining his profession in RTÉ, Paddy continued to perform and record Irish music. In 1977, he recorded the first of several solo albums for the Gael Linn label. Simply titled Glackin, the album features several tracks recorded with his father Tom and his brothers Kevin and Séamus; it is still considered a classic in the genre. His brothers would later release an acclaimed duet recording titled Northern Lights. Glackin has since released numerous recordings, including seminal ones such as Doublin (1978) with the piper Paddy Keenan and In Full Spate (1991) with Dónal Lunny. More recently, Glackin recorded the duet album Seidean Si (1995) with piper Robbie Hannon, and Reprise (2001) with his former Bothy Band colleague, the late Mícheál Ó Domhnaill.


Although Glackin is quite outspoken in his preference for a pure soloist approach to the tradition, he has been involved in a number of experimental recordings, including Roaratorio by the American avant-garde composer John Cage and Hidden Ground, a recording from 1980 made with the late multi-instrumentalist Jolyon Jackson which is notable for its use of synthesizers alongside Glackin’s pure traditional fiddle playing. This recording anticipated the trend for mixing traditional Irish music with synthesizers.

Glackin continues to perform, and he teaches annually at the Willie Clancy Summer School in Clare. (by wikipedia)

Jolyon Jackson (3 September 1948 – 18 December 1985) was an Irish musician and composer.

Jackson was born in Malaya where his father, Patrick Jackson, was Deputy Commissioner of the police and would receive the CBE. His father was from County Limerick, of a Cork family; his mother was the singer Charmian Jenkinson. They lived at Poul-na-murrish, Annamoe, County Wicklow.

jolyon-jackson01He was educated in Salisbury Cathedral School and Bradfield College, Reading. He studied at Trinity College, Dublin in the late 1960s, where he graduated in Arts and Music. He integrated himself into the musical life of Dublin, first with the group ‘Jazz Therapy’, and later with ‘Supply, Demand and Curve.’ He played cello, recorder and keyboards–including organ, piano and synthesizer.

He married Teresa Le Jeune from Delgany, County Wicklow and they had a son, Linus.

Jolyon Jackson died in London of Hodgkin’s disease on 18 December 1985.

The band ‘Supply, Demand & Curve’ was formed in 1970 and initially consisted of Jackson, Brian Masterson—who had played with Jackson in ‘Jazz Therapy’ during 1968-69—and Paddy Finney. They had a weekly gig at the Project Arts Centre and later played mainly in folk clubs in Dublin and beyond.

With a line-up of Jackson, Masterson, Finney and Roger Doyle—who had also been in ‘Jazz Therapy’—they undertook a tour of Canada in 1973. Rosemarie Taylor (keyboards and vocals) and other musicians joined them off and on over the years.

They released their eponymous album in 1976 on the Mulligan label (LUN 009). It contained eleven tracks, ten of which were composed by Jackson. It had taken several years of snatched studio time to complete, and included contributions from some musicians who were no longer in the band by the time the LP was released.

Other recordings on which Jackson featured include Camouflage by Sonny Condell, and Taylormaid by Rosemarie Taylor—both released on Mulligan in 1977. He subsequently appeared as a guest musician on albums by The Chieftains, Midnight Well, Christy Moore, Terry and Gay Woods, and also reunited with Doyle who, by then, had created the music-theatre company Operating Theatre with Irish actress Olwen Fouéré.

Jackson was an early adopter of home-recording, buying an eight-track recorder and setting up a studio at his home in Dún Laoghaire, where he recorded the seminal album Hidden Ground (Tara 1980) with fiddle player Paddy Glackin, on which he arranged the music and also played all the instruments surrounding the fiddle.

Compositions for television include the RTÉ series Hands, Visions of Transport and To the Waters and the Wild.

Jackson also involved himself in music for the theatre, most notably in the music for the W. B. Yeats trilogy based on the Saga of Cú Chulainn, performed in the Noh style and directed by Hideo Kanze at the Abbey Theatre. Later on, he also composed music to accompany the exercises of the Gurdjieff movements. (by wikpedia)


And together they produced this brilliant album: They blended traditional Irish with modern arrangements and instrumentation. Exciting, innovative, radical in its time and still sounding fresh.

The good thing about this album is that although the accompaniment includes evertyhing but the kitchen sink:synthesizers, piano, electric and bass guitars, cello, recorder and something resembling beer bottles being played under water, the tunes are played by Paddy Glackin on fiddle in a purely traditional manner without any jazzing up at all. It sounds weird to begin with but it grows on you with every listening. (by bmilesnagopaleen)


Paddy Glackin (fiddle)
Jolyon Jackson (cello, bouzouki, mandola, mandolin, guitar, bass, harmonica, bodhrán, keyboards, synthesizer, tambourine, whistle, recorder)
Paul McAteer (drums, percussion on 11.)
Fran Breen (drums on 01., bottles on 08.)
Brian Masterson (bass on 01.)


01. The Long Note 3.05
02. The Jug Of Punch / Eddie Kelly’s Reel 3.18
03. Rodney’s Glory / The Bank Of Ireland 4.35
04. The Japanese Hornpipes 3.11
05. Give Me A Drink Of Water / My Mind Would Never Be Easy / The Rakes Of West Meath 3.37
06. The Green Fields Of America 3.06
07. Reevy’s Reels / Dowd’s Favourite 3.30
08. The Drunken Sailor 4.41
09. The Butterfly 3.15
10. Port Na Bpucai 4.12
11. Top It Off / Promenade / The Congress Reel 4.11

All tracks: Traditionals