Dublin Town In 1962 Song Lyrics And Guitar Chords
The sheet music notes are included.by Dermot O'Brien, Irish folk. The Metropole was a hotel in O'Connell Street where Eason's book shop is now. There used to be dances in Clery's Shop many years before my time. The Hill Of Howth is an area about 9 miles from the centre of Dublin and was very popular as a day out on a Sunday afternoon before shopping centres came to Ireland. The Pillar is a reference to Nelson's Pillar which was on O'Connell Street before it was blown up in 1966.
There are certain regions of the world that are instantly identifiable from just a few bars of music. The
iy American South is instantly evoked by the shortest scattering of notes from an acoustic guitar-picking
bluesman. The boom of samba drums picks you up and drops you right into the heart of the Rio carnival. And the
swooping strings of a Bollywood soundtrack take you on wings of song straight to the Indian subcontinent.
So it is too for the Celtic world. Find yourself within earshot of a lively fiddle, a sprightly accordion or the
soar of the pipes and you're instantly connected to the land of the Celts. It’s music with its own discernible accent;
a sound that, in its rawest essence, has changed little over the centuries, with just the occasional nip and tuck to
keep things fresh. Not that its popularity has remained unfailingly high and steady, but, while Celtic music has
sometimes gone out of fashion under competition from music from other quarters, it has bravely ridden the roller¬
coaster of time to emerge intact. Handed down from generation to generation, this is music for the people by the
people—informal, fraternal and life-affirming.
What could quite easily be seen as anachronistic in the 21st century is, in fact, a study of resilience and rein¬
venation. As even and constant as the Celtic world's musical traditions might appear, change and evolution have
often been necessary to stop a slide towards becoming a "trapped-in-amber” museum artefact. It might be a cliche,
but Celtic music—like any other—needs to be a living music in order to retain relevance and appeal in changing
times. For instance, although the guitar is now overwhelmingly synonymous with folk music, it only entered the
arsenals of Irish and Scottish traditional musicians with the folk music revival of the 1960s. There it joined the
more recognized tools of the Celtic musician's trade—instruments with strange (and often mispronounced) names
like the bodhran and the uillean pipes, that refuse to become outdated in an age when most instruments need a
power supply.
A sense of adventure and inquisitiveness has always been an important component of Celtic music. What
happened in the past is viewed as no more important than what’s happening now or what will happen in the future.
This is one of its chief virtues—the ability, while faithfully saluting tradition at every appropriate juncture, to also
warmly welcome innovation to its collective bosom. It's an open house, one that simultaneously guards what's gone
before while also keeping an eye (and an ear) on what's yet to come.
There are certain regions of the world that are instantly identifiable from just a few bars of music. The
iy American South is instantly evoked by the shortest scattering of notes from an acoustic guitar-picking
bluesman. The boom of samba drums picks you up and drops you right into the heart of the Rio carnival. And the
swooping strings of a Bollywood soundtrack take you on wings of song straight to the Indian subcontinent.
So it is too for the Celtic world. Find yourself within earshot of a lively fiddle, a sprightly accordion or the
soar of the pipes and you're instantly connected to the land of the Celts. It’s music with its own discernible accent;
a sound that, in its rawest essence, has changed little over the centuries, with just the occasional nip and tuck to
keep things fresh. Not that its popularity has remained unfailingly high and steady, but, while Celtic music has
sometimes gone out of fashion under competition from music from other quarters, it has bravely ridden the roller¬
coaster of time to emerge intact. Handed down from generation to generation, this is music for the people by the
people—informal, fraternal and life-affirming.
What could quite easily be seen as anachronistic in the 21st century is, in fact, a study of resilience and rein¬
venation. As even and constant as the Celtic world's musical traditions might appear, change and evolution have
often been necessary to stop a slide towards becoming a "trapped-in-amber” museum artefact. It might be a cliche,
but Celtic music—like any other—needs to be a living music in order to retain relevance and appeal in changing
times. For instance, although the guitar is now overwhelmingly synonymous with folk music, it only entered the
arsenals of Irish and Scottish traditional musicians with the folk music revival of the 1960s. There it joined the
more recognized tools of the Celtic musician's trade—instruments with strange (and often mispronounced) names
like the bodhran and the uillean pipes, that refuse to become outdated in an age when most instruments need a
power supply.
A sense of adventure and inquisitiveness has always been an important component of Celtic music. What
happened in the past is viewed as no more important than what’s happening now or what will happen in the future.
This is one of its chief virtues—the ability, while faithfully saluting tradition at every appropriate juncture, to also
warmly welcome innovation to its collective bosom. It's an open house, one that simultaneously guards what's gone
before while also keeping an eye (and an ear) on what's yet to come.
The mandolin / tenor banjo tab for Dublin Town In 1962 is in the ebook of mandolin tabs here . The tin whistle notes are in my other ebook here
The youtube video is of Dwain Casey who plays all the music in this video himself.
Well[A] my kids say da just[E] tell us one more[A] time,
[D]About when you were[A] young and in you[E]r prime,
And the way that you met[A] ma,and every[D]thing you [A]saw,
And[E] tell us of the things you used to[A] do.
[2]
So I closed my eyes and rolled the years away,
And everything's as clear as yesterday,
For how could I forget,that summer when we met,
It was Dublin town in 1962,
[Chorus]
All[E] our days were[A] sunny,[D]all our sky's were[A] blue,
In[D] Dublin town in [E]196[A]2.
[3]
We climbed the hill of Howth and down again,
Walked home from the piller in the rain
We courted in the park,while the lights glowed in the dark,
Danced in Cleary's and the Metrapole till two.
[4]
We crossed the Half penny bridge at evening time,
It felt so good to have you by my side,
We watched the Mail boat sail,paper bob's cried Hearld or Mail
It was Dublin town in 1962.
[5]
Like many more we kissed it all good bye,
And sailed away to give our luck a try,
In that land across the sea,that's been good to you and me,
Where our children played as we once used to do
[6]
Well my kids say da that's really quiet a tale
We can see you have the spirit of the gale
And we know you've no regrets,and we're very glad you met,
In Dublin town in 1962.
Back to Irish Lyrics An Chords C-F
[D]About when you were[A] young and in you[E]r prime,
And the way that you met[A] ma,and every[D]thing you [A]saw,
And[E] tell us of the things you used to[A] do.
[2]
So I closed my eyes and rolled the years away,
And everything's as clear as yesterday,
For how could I forget,that summer when we met,
It was Dublin town in 1962,
[Chorus]
All[E] our days were[A] sunny,[D]all our sky's were[A] blue,
In[D] Dublin town in [E]196[A]2.
[3]
We climbed the hill of Howth and down again,
Walked home from the piller in the rain
We courted in the park,while the lights glowed in the dark,
Danced in Cleary's and the Metrapole till two.
[4]
We crossed the Half penny bridge at evening time,
It felt so good to have you by my side,
We watched the Mail boat sail,paper bob's cried Hearld or Mail
It was Dublin town in 1962.
[5]
Like many more we kissed it all good bye,
And sailed away to give our luck a try,
In that land across the sea,that's been good to you and me,
Where our children played as we once used to do
[6]
Well my kids say da that's really quiet a tale
We can see you have the spirit of the gale
And we know you've no regrets,and we're very glad you met,
In Dublin town in 1962.
Back to Irish Lyrics An Chords C-F
Here's the chords for the key of G.
Well[G] my kids say da just[D] tell us one more[G] time, [C]About when you were[G] young and in you[D]r prime, And the way that you met[G] ma,and every[C]thing you [G]saw, And[D] tell us of the things you used to[G] do. All[D] our days were[G] sunny,[C]all our sky's were[G] blue, In[C] Dublin town in [D]196[G]2.
Well[G] my kids say da just[D] tell us one more[G] time, [C]About when you were[G] young and in you[D]r prime, And the way that you met[G] ma,and every[C]thing you [G]saw, And[D] tell us of the things you used to[G] do. All[D] our days were[G] sunny,[C]all our sky's were[G] blue, In[C] Dublin town in [D]196[G]2.
Sheet Music Notes For Dublin Town In 1962
Dublin Town in 1962 lyrics
