Bold Thady Quill, Irish Song Lyrics And Chords
Bold Thady Quill, Irish Folk Song Written by Sean Gleeson around 1905 and brought back by The Clancys brothers and Tommy Makem, Mary Mayo. Later recorded by Irish country singer Declan Nerney who went on to record Lovely Derry On The Banks Of The Foyle , and by Annmarie O'Roirdan. The youtube video is by The Clancy Brothers. The ukulele chords are included.The bold Thady Quill tin whistle sheet music notes and mandolin tab NOW ADDED.
[C]Ye maids of Dunhallow who're anxious for courting
A [Am]word of ad[Em]vice I will[Dm] give unto[G7] ye:
Pro[C]ceed to Banteer, to the athletic[Am] sporting
And[F] hand in your[C] name to the[G7] club commit[C]tee.
But do not com[Am]mence any[Dm] sketch of your[C] progress
till a[Am] carriage ye see[Em] comin' [Dm]over the[G7] hill,
AndC] down through the valleys and glens of Kil[Am]corney
With that[F] Muskerry[C] sportsman, theG7] bold Thady[C] Quill
cho:[C] For ramblin', for rovin', for football or courtin'
For[Am] drinkin' strong[Em] liquor as[F] fast as you[G7] fill;
In all your[C] days rovin', you'll find none so[Am] jovial
As the[F] Muskerry]C] sportsman, the[G7] bold Thady[C] Quill.
Thady was famous in many other places;
At the athletic meeting held out in Cloghroe
He won the long jump without throwing off his braces
Goin' fifty=four feet every sweep he woultd throw.
At the pullin' o' the weight there was a Dublin man foremost
But Thady outreached and exceeded him still
And around the whole field rang the wild ringing chorus
"Here's luck to our hero! the bold Thady Quill."
At the great hurlin' match between Cork and Tipperary
'Twas played in the park by the banks of the Lee
Our own darlin' boys were afraid of being baten,
So they send for bold Thady to Ballinagree. '
He hurled the ball left and right in their faces
And show'd those Tipp'rary boys learnin' and skill
If they came in this way, shure he surely would brain' em
And the papers full of the praise for Thade Quill.
In the year ninety-one before Parnell was taken,
Thade was outrageously breaking the peace
He got a light sentence for causin' commotion,
And six months hard labour for batin' police.
But in spite of coercion he's still agitatin'
Ev'ry drop of his life's blood he's willing to spill,
To gain for old Ireland complete liberation,
"Till then there's no rest for me" says bold Thady Quill
At the Cork Exhibition there was a fair lady,
Whose fortune exceeded a million or more;
But a bad constitution had ruined her completely,
And medical treatment had failed o'er and o'er.
"Oh Mama" said she, I know what'll cure me
And all me diseases most certainly kill,
Give over your doctors and medical treatment,
I'd rather one squeeze outa bold Thady Quill.
A [Am]word of ad[Em]vice I will[Dm] give unto[G7] ye:
Pro[C]ceed to Banteer, to the athletic[Am] sporting
And[F] hand in your[C] name to the[G7] club commit[C]tee.
But do not com[Am]mence any[Dm] sketch of your[C] progress
till a[Am] carriage ye see[Em] comin' [Dm]over the[G7] hill,
AndC] down through the valleys and glens of Kil[Am]corney
With that[F] Muskerry[C] sportsman, theG7] bold Thady[C] Quill
cho:[C] For ramblin', for rovin', for football or courtin'
For[Am] drinkin' strong[Em] liquor as[F] fast as you[G7] fill;
In all your[C] days rovin', you'll find none so[Am] jovial
As the[F] Muskerry]C] sportsman, the[G7] bold Thady[C] Quill.
Thady was famous in many other places;
At the athletic meeting held out in Cloghroe
He won the long jump without throwing off his braces
Goin' fifty=four feet every sweep he woultd throw.
At the pullin' o' the weight there was a Dublin man foremost
But Thady outreached and exceeded him still
And around the whole field rang the wild ringing chorus
"Here's luck to our hero! the bold Thady Quill."
At the great hurlin' match between Cork and Tipperary
'Twas played in the park by the banks of the Lee
Our own darlin' boys were afraid of being baten,
So they send for bold Thady to Ballinagree. '
He hurled the ball left and right in their faces
And show'd those Tipp'rary boys learnin' and skill
If they came in this way, shure he surely would brain' em
And the papers full of the praise for Thade Quill.
In the year ninety-one before Parnell was taken,
Thade was outrageously breaking the peace
He got a light sentence for causin' commotion,
And six months hard labour for batin' police.
But in spite of coercion he's still agitatin'
Ev'ry drop of his life's blood he's willing to spill,
To gain for old Ireland complete liberation,
"Till then there's no rest for me" says bold Thady Quill
At the Cork Exhibition there was a fair lady,
Whose fortune exceeded a million or more;
But a bad constitution had ruined her completely,
And medical treatment had failed o'er and o'er.
"Oh Mama" said she, I know what'll cure me
And all me diseases most certainly kill,
Give over your doctors and medical treatment,
I'd rather one squeeze outa bold Thady Quill.
The bold thady quill lyrics
Songs By Mary Mayo
MARY MAYO, one of the finest and most versatile singers of our day, was born in an old Colonial-styled house in Statesville, North Carolina. Both of her parents were musical, her mother having appeared widely in concert as soprano Lois Long, her father enjoying a career as a tenor at the Metropolitan Opera under the name of Frank Riker. Irish songs were a part of the family tradition and Mary remembers Danny Boy as one of the first songs she learned from her parents as a child. In later years, when she had begun her own career, several songs of Irish origin found their way into her wide repertoire. Featured among them were Danny Boy and Molly Malone. A recording made by Mary of Molly Malone became a big hit in the popular field the year of its introduction and Mary has had to perform it wherever she has appeared ever since.
Mary has a voice of remarkable flexibility and a vocal range of four octaves. She is widely-known to be capable of performing any kind of a song, be it an up-to-date rhythm tune, a hit from a Broadway musical, a present-day Hit Parade ballad, an aria from grand opera, or a simple folk song. Added to the effect of her lovely voice is that of her ability as a vocal actress; Mary makes the words of stories- in-song come to vivid life in a way that is rare among singers of our day. Part of this ability is due to her solid background of serious training. She studied voice, piano, and musical theory at New York's Juilliard School, deciding while there to devote herself to popular music rather than to the concert stage.
Her first big break came when Tex Beneke offered her a job singing with his band. She changed her name twice while with the Beneke aggregation, once professionally when she took her middle name, Mayo, for use in her singing career, and again in private life when she became the wife of Al Ham, a talented composer- arranger-musician who is now an executive of one of America's largest record companies. In addition to appearances in theatres and supper clubs, Mary has been guest star on many of the nation's most important television and radic programs. She did the Frank Sinatra TV show for a season, has guested on the Perry Como, Jackie Gleason, and Hit Parade video segments. Recently she was featured for a season on CBS-Radio's "On A Sunday Afternoon." Mean- while, a perfectionist, Mary is constantly studying: dramatics and classes in both ballet and modern dance looming large on her schedule in recent years. However, singing, it goes without saying, still remains her greatest love.
The Irish have always been a singing folk. Even in ancient times, her bards travelled far from her island into dark stretches of a primitive Europe, passing unharmed from land to land by the charm of their voices and the magic of their songs. The Irish have always had a talent where words are concerned, with or without the be- loved harp. Gaelic literature is a rich storehouse of poetic treasures the Irish will one day share with the world at large. And, in English, Irish poets, authors and playwrights have followed the traditions of the great Irish missionary-priests of the Middle Ages in mastering alien tongues and re-shaping them in an Irish fashion. This springs perhaps from the Irish gift for melody.
So deep and natural is the gift that even the words alone of an Irish poem usually seem to sing with a quiet, flowing grace that has a music bound up into it. Within the last few centuries, the lovely green isle of destiny has sent forth her sons and daughters to far corners of the world to help build and enrich other nations. And these solid, song-loving people have carried their songs with them. Many an old Irish favorite has become familiar to the people of America and England and Australia and Canada and even South America (where such figures as General Bernardo O'Higgins loomed large in the liberation of the continent).
We are told of missionaries who have taught converts in India to sing hymn texts in native dialects to the strains of Danny Boy, of a translation into South African Afrikaans dialect of The Garden Where The Praties Grow. Irish emigrants have given their adopted lands their strength and their hearts. But they have also given of their songs.
And the gift is one which can never be repaid!
Ireland is one of the few lands in the world where popular songs-songs written for the use of popular entertainers-still retain the feeling and cadences of the old traditional songs of the country folk. Thus, every few years, new songs come along, become popular and pass into the folk heritage right along with songs sometimes hundreds of years old. This recorded collection of melodies of recent years shows, with the exception of the traditional Danny Boy, some of the great new songs which would seem destined for this sort of immortality. This, in a way, is thus a collection of "new" Irish folk songs, a view of the type of song which is carrying on the great Irish tradition in music. Some of Ireland's finest composers, lyricists and entertainers participated in the creation of these songs, so many well-known personalities, in fact, that it might be interesting to outline the songs as follows:
MY DARK SLENDER BOY
The lyric is formed by a beautiful poem in folk style by Ethna Carberry, one of Ireland's best-known woman poets. The musical setting is by Joseph M. Crofts, one of the most prolific of Irish composers and the former organist of Dublin Cathedral.
THE WAKE IN KILDARE
COME WITH ME OVER THE MOUNTAINS THE CAPTAIN WITH THE WHISKERS
Both the words and music of these three completely delightful songs were penned by Delia Murphy, who is a star in her own right as a performer in Ireland. Miss Murphy specializes in folk songs, a fact which explains the folk quality apparent in the songs recorded here. She has to her credit such other hits as If I Were A Blackbird and Three Lovely Lasses. In private life, she is the wife of Dr. Kiernan, the distinguished Irish diplomat who has been Ambassador to the Vatican and to Australia.
BY THE LIGHT OF THE MOON
This is the work of Leo Maguire, one of the best-known of present-day Irish composers, who is especially well- known here in America for his song The Whistling Gypsy.
BOULD THADDY QUILL
The lyric of this song is based upon an old Irish poem- legend. Joseph M. Crofts, who was mentioned above in connection with My Dark Slender Boy, did the adaptation and musical setting. In passing, it might be mentioned that Mr. Crofts is
THE WIDOW TAKES THE BUN
Cathal McGarvey, the author of the lyric for this song, is almost unknown. The musical setting is signed "Noel Pierce," which is the nom-de-plume of Kitty Calahan, a widely-known writer, arranger and piano-accompanist for Radio Eireann.
HOW DEAR TO ME THE HOUR
The lyric is from a lovely poem by the immortal Thomas Moore. The musical setting is by Joseph M. Crofts.
PADDY KEEP AWAY FROM ME
The music of this song is by Dr. Louis Burrows, a famous physician attached to the Medical Center in Liverpool. The poem is by Moira Cleo O'Sullivan.
BRING ME A SHAWL FROM GALWAY
This is one of the loveliest of the new Irish ballads to have become popular in Ireland during recent years. The words are by Crawford Neil and the musical set- ting once again by Joseph M. Crofts.
GALWAY BAY
Both the words and music of this memorable song were written by Dr. Arthur Colohan, who, until his recent death, was Practising Psychiatrist to the London Police Force. Dr. Colohan wrote Galway Bay while a medical student in Galway in 1927.
DANNY BOY
This traditional folk song, often referred to as the Londonderry Air when divorced from its lyric, is included here partly because it is an especial favorite of singer Mary Mayo, partly to illustrate the continuing tradition of Irish song passing from older songs like this through to the contemporary ones presented else- where in this recording. the brother of Gerald Crofts, the famous singer.
MARY MAYO, one of the finest and most versatile singers of our day, was born in an old Colonial-styled house in Statesville, North Carolina. Both of her parents were musical, her mother having appeared widely in concert as soprano Lois Long, her father enjoying a career as a tenor at the Metropolitan Opera under the name of Frank Riker. Irish songs were a part of the family tradition and Mary remembers Danny Boy as one of the first songs she learned from her parents as a child. In later years, when she had begun her own career, several songs of Irish origin found their way into her wide repertoire. Featured among them were Danny Boy and Molly Malone. A recording made by Mary of Molly Malone became a big hit in the popular field the year of its introduction and Mary has had to perform it wherever she has appeared ever since.
Mary has a voice of remarkable flexibility and a vocal range of four octaves. She is widely-known to be capable of performing any kind of a song, be it an up-to-date rhythm tune, a hit from a Broadway musical, a present-day Hit Parade ballad, an aria from grand opera, or a simple folk song. Added to the effect of her lovely voice is that of her ability as a vocal actress; Mary makes the words of stories- in-song come to vivid life in a way that is rare among singers of our day. Part of this ability is due to her solid background of serious training. She studied voice, piano, and musical theory at New York's Juilliard School, deciding while there to devote herself to popular music rather than to the concert stage.
Her first big break came when Tex Beneke offered her a job singing with his band. She changed her name twice while with the Beneke aggregation, once professionally when she took her middle name, Mayo, for use in her singing career, and again in private life when she became the wife of Al Ham, a talented composer- arranger-musician who is now an executive of one of America's largest record companies. In addition to appearances in theatres and supper clubs, Mary has been guest star on many of the nation's most important television and radic programs. She did the Frank Sinatra TV show for a season, has guested on the Perry Como, Jackie Gleason, and Hit Parade video segments. Recently she was featured for a season on CBS-Radio's "On A Sunday Afternoon." Mean- while, a perfectionist, Mary is constantly studying: dramatics and classes in both ballet and modern dance looming large on her schedule in recent years. However, singing, it goes without saying, still remains her greatest love.
The Irish have always been a singing folk. Even in ancient times, her bards travelled far from her island into dark stretches of a primitive Europe, passing unharmed from land to land by the charm of their voices and the magic of their songs. The Irish have always had a talent where words are concerned, with or without the be- loved harp. Gaelic literature is a rich storehouse of poetic treasures the Irish will one day share with the world at large. And, in English, Irish poets, authors and playwrights have followed the traditions of the great Irish missionary-priests of the Middle Ages in mastering alien tongues and re-shaping them in an Irish fashion. This springs perhaps from the Irish gift for melody.
So deep and natural is the gift that even the words alone of an Irish poem usually seem to sing with a quiet, flowing grace that has a music bound up into it. Within the last few centuries, the lovely green isle of destiny has sent forth her sons and daughters to far corners of the world to help build and enrich other nations. And these solid, song-loving people have carried their songs with them. Many an old Irish favorite has become familiar to the people of America and England and Australia and Canada and even South America (where such figures as General Bernardo O'Higgins loomed large in the liberation of the continent).
We are told of missionaries who have taught converts in India to sing hymn texts in native dialects to the strains of Danny Boy, of a translation into South African Afrikaans dialect of The Garden Where The Praties Grow. Irish emigrants have given their adopted lands their strength and their hearts. But they have also given of their songs.
And the gift is one which can never be repaid!
Ireland is one of the few lands in the world where popular songs-songs written for the use of popular entertainers-still retain the feeling and cadences of the old traditional songs of the country folk. Thus, every few years, new songs come along, become popular and pass into the folk heritage right along with songs sometimes hundreds of years old. This recorded collection of melodies of recent years shows, with the exception of the traditional Danny Boy, some of the great new songs which would seem destined for this sort of immortality. This, in a way, is thus a collection of "new" Irish folk songs, a view of the type of song which is carrying on the great Irish tradition in music. Some of Ireland's finest composers, lyricists and entertainers participated in the creation of these songs, so many well-known personalities, in fact, that it might be interesting to outline the songs as follows:
MY DARK SLENDER BOY
The lyric is formed by a beautiful poem in folk style by Ethna Carberry, one of Ireland's best-known woman poets. The musical setting is by Joseph M. Crofts, one of the most prolific of Irish composers and the former organist of Dublin Cathedral.
THE WAKE IN KILDARE
COME WITH ME OVER THE MOUNTAINS THE CAPTAIN WITH THE WHISKERS
Both the words and music of these three completely delightful songs were penned by Delia Murphy, who is a star in her own right as a performer in Ireland. Miss Murphy specializes in folk songs, a fact which explains the folk quality apparent in the songs recorded here. She has to her credit such other hits as If I Were A Blackbird and Three Lovely Lasses. In private life, she is the wife of Dr. Kiernan, the distinguished Irish diplomat who has been Ambassador to the Vatican and to Australia.
BY THE LIGHT OF THE MOON
This is the work of Leo Maguire, one of the best-known of present-day Irish composers, who is especially well- known here in America for his song The Whistling Gypsy.
BOULD THADDY QUILL
The lyric of this song is based upon an old Irish poem- legend. Joseph M. Crofts, who was mentioned above in connection with My Dark Slender Boy, did the adaptation and musical setting. In passing, it might be mentioned that Mr. Crofts is
THE WIDOW TAKES THE BUN
Cathal McGarvey, the author of the lyric for this song, is almost unknown. The musical setting is signed "Noel Pierce," which is the nom-de-plume of Kitty Calahan, a widely-known writer, arranger and piano-accompanist for Radio Eireann.
HOW DEAR TO ME THE HOUR
The lyric is from a lovely poem by the immortal Thomas Moore. The musical setting is by Joseph M. Crofts.
PADDY KEEP AWAY FROM ME
The music of this song is by Dr. Louis Burrows, a famous physician attached to the Medical Center in Liverpool. The poem is by Moira Cleo O'Sullivan.
BRING ME A SHAWL FROM GALWAY
This is one of the loveliest of the new Irish ballads to have become popular in Ireland during recent years. The words are by Crawford Neil and the musical set- ting once again by Joseph M. Crofts.
GALWAY BAY
Both the words and music of this memorable song were written by Dr. Arthur Colohan, who, until his recent death, was Practising Psychiatrist to the London Police Force. Dr. Colohan wrote Galway Bay while a medical student in Galway in 1927.
DANNY BOY
This traditional folk song, often referred to as the Londonderry Air when divorced from its lyric, is included here partly because it is an especial favorite of singer Mary Mayo, partly to illustrate the continuing tradition of Irish song passing from older songs like this through to the contemporary ones presented else- where in this recording. the brother of Gerald Crofts, the famous singer.
