Paddy McGinty's Goat Guitar Chords And Lyrics
Val Doonican recorded this song. Words and Music by R. P. Weston, Bert Lee. [1917] R.I.P Val who passed away on the 2nd of July 2015. The sheet music is included. Rafferty's Motorcar Lyrics .
The mandolin / tenor banjo tab for Paddy McGinty's Goat is in the ebook of mandolin tabs here . The tin whistle notes are in my other ebook here
The mandolin / tenor banjo tab for Paddy McGinty's Goat is in the ebook of mandolin tabs here . The tin whistle notes are in my other ebook here
[C]Mr. Patrick McGinty, an Irishman of note,
Came [Dm]into fortune and bought him[G7]self a goat.
Said [C]he "sure o' goat's milk, I mean to have my[A7] fill"
But [Dm]when he got his nanny home, [C]he [G7]found it was a [C]bill.
Now [C]all the ladies that live in Killaloo,
They're [G]all wearin' bustles like their mothers used to do.
They [F]each turned [C]a bolster [D]beneath [G7]their [C]petticoats
And they [Dm]leave the rest to [G7]providence [C]and Paddy [F]McGinty's [C]goat.
Little Laura McHardy, the night was goin' to tie,
She washed out her trousseau and hung it out to dry.
The goat came along and he saw the bits of white.
He chewed up all her falderals & on her weddin' night.
"Oh, turn out the light," she hollered out to Pat,
"Although I'm your bride, I'm not worth lookin' at.
I had two of everything - I told you when I wrote -
Now I've one of nothing all for Paddy McGinty's Goat."
Mickey Reilly to the races t'other day,
He won 20 dollars and shouted, "Hip-hooray."
He held up the note, and said, "Look what I've got,"
The goat came up and grabbed it and swallered all the lot.
"He swallowed up me bank notes," said Mickey with a hump.
They ran for the doctor and he brought his stomach pump.
They pumped and pumped for the 20-dollar note,
But he wound up with no money all for Paddy McGinty's goat.
Mrs. Berg said to her daughter, "Listen, Mary Jane.
Who was the old man you were neckin' in the lane?
He had long wiry whiskers all hangin' from his chin."
"'Twas only Paddy McGinty's goat," she answered with a grin.
Then she went away from the village in disgrace,
Came back with powder and paint on her face,
Rings on 'er fingers and wearin' a sable coat.
You can bet you hat she didn't get that from Paddy McGinty's goat
Came [Dm]into fortune and bought him[G7]self a goat.
Said [C]he "sure o' goat's milk, I mean to have my[A7] fill"
But [Dm]when he got his nanny home, [C]he [G7]found it was a [C]bill.
Now [C]all the ladies that live in Killaloo,
They're [G]all wearin' bustles like their mothers used to do.
They [F]each turned [C]a bolster [D]beneath [G7]their [C]petticoats
And they [Dm]leave the rest to [G7]providence [C]and Paddy [F]McGinty's [C]goat.
Little Laura McHardy, the night was goin' to tie,
She washed out her trousseau and hung it out to dry.
The goat came along and he saw the bits of white.
He chewed up all her falderals & on her weddin' night.
"Oh, turn out the light," she hollered out to Pat,
"Although I'm your bride, I'm not worth lookin' at.
I had two of everything - I told you when I wrote -
Now I've one of nothing all for Paddy McGinty's Goat."
Mickey Reilly to the races t'other day,
He won 20 dollars and shouted, "Hip-hooray."
He held up the note, and said, "Look what I've got,"
The goat came up and grabbed it and swallered all the lot.
"He swallowed up me bank notes," said Mickey with a hump.
They ran for the doctor and he brought his stomach pump.
They pumped and pumped for the 20-dollar note,
But he wound up with no money all for Paddy McGinty's goat.
Mrs. Berg said to her daughter, "Listen, Mary Jane.
Who was the old man you were neckin' in the lane?
He had long wiry whiskers all hangin' from his chin."
"'Twas only Paddy McGinty's goat," she answered with a grin.
Then she went away from the village in disgrace,
Came back with powder and paint on her face,
Rings on 'er fingers and wearin' a sable coat.
You can bet you hat she didn't get that from Paddy McGinty's goat
Val Doonican song Paddy McGinty's Goat
Paddy McGintys Goat sheet music score in C Major
At the risk of sounding Irish, I can honestly say that my unexpected success as a recording artist really found its beginnings on television. To fully explain that, I'll need to take you back a few years, in fact, to the late fifties.
My main claim to fame at that time was a weekly thirty-minute radio show on what was then known as the BBC Light Programme. Each Tuesday morning at ten o'clock, presented my own half hour of music and light-hearted banter. Instead of playing recorded music however, we had a small studio orchestra. I sang folk-songs with my own guitar, songs with the orchestra, read amusing letters from listeners and tried when possible to cater for special requests. It was all great fun and happily, popular enough to run over several years.
The whole process enabled me to build a formidable and varied repertoire and thankfully a sizeable listening audience. As a result I was offered personal appearances as a cabaret guest at various functions, concerts etc... As months went by, people kept asking me, 'Why can't we get any records of you wing these unusual little songs?' With the prospect of a recording deal in mind, I put together some tapes of the radio shows, my only form of audition material, and planned a sales trip around the various record companies, EMI, HMV, Decca and others. Sadly, the exercise was fruitless, they showed no interest whatever.
Soon we were in the sixties. My radio show was gaining in popularity, my personal appearance money had increased, and the one-night stands to a large extent, were replaced by weekly engagements at clubs up and down the country. As a bonus, my radio producer invited me to write some of the orchestral backing to my songs with the studio orchestra, a labour of love which was to bring me some six times the fee I was getting for the show. (For devising, writing and presenting the show, together with about five vocal contributions a week, I was paid eight guineas, that's about eight pounds, eight shillings — Chris Evans, eat your heart out!) As far as I was concerned, I was doing very nicely.
This was after all, back in the early sixties and believe me, that was the sort money paid by The B.B.C.
Then in early 1964 came a sequence of events which prompted my then manager Eve Taylor to sit back in her office chair, shuke her head and say, 'Well if Hollywood was to make a movie of this nobody would believe a word of it. Val Doonican The Paddy McGinty's Goat Singer.
Other songs on the site by Val include Walk Tall And The Special Years
My main claim to fame at that time was a weekly thirty-minute radio show on what was then known as the BBC Light Programme. Each Tuesday morning at ten o'clock, presented my own half hour of music and light-hearted banter. Instead of playing recorded music however, we had a small studio orchestra. I sang folk-songs with my own guitar, songs with the orchestra, read amusing letters from listeners and tried when possible to cater for special requests. It was all great fun and happily, popular enough to run over several years.
The whole process enabled me to build a formidable and varied repertoire and thankfully a sizeable listening audience. As a result I was offered personal appearances as a cabaret guest at various functions, concerts etc... As months went by, people kept asking me, 'Why can't we get any records of you wing these unusual little songs?' With the prospect of a recording deal in mind, I put together some tapes of the radio shows, my only form of audition material, and planned a sales trip around the various record companies, EMI, HMV, Decca and others. Sadly, the exercise was fruitless, they showed no interest whatever.
Soon we were in the sixties. My radio show was gaining in popularity, my personal appearance money had increased, and the one-night stands to a large extent, were replaced by weekly engagements at clubs up and down the country. As a bonus, my radio producer invited me to write some of the orchestral backing to my songs with the studio orchestra, a labour of love which was to bring me some six times the fee I was getting for the show. (For devising, writing and presenting the show, together with about five vocal contributions a week, I was paid eight guineas, that's about eight pounds, eight shillings — Chris Evans, eat your heart out!) As far as I was concerned, I was doing very nicely.
This was after all, back in the early sixties and believe me, that was the sort money paid by The B.B.C.
Then in early 1964 came a sequence of events which prompted my then manager Eve Taylor to sit back in her office chair, shuke her head and say, 'Well if Hollywood was to make a movie of this nobody would believe a word of it. Val Doonican The Paddy McGinty's Goat Singer.
Other songs on the site by Val include Walk Tall And The Special Years
Paddy McGintys Goat Sheet Music Notes In G Major
Below is the ebook list of Irish Folk Songs with guitar chords
in 3 keys. Price €8.90 and I'll email the ebook after purchase .
The chords are suited to ukulele, banjo or mandolin also.
Martin
in 3 keys. Price €8.90 and I'll email the ebook after purchase .
The chords are suited to ukulele, banjo or mandolin also.
Martin
ST PATRICK'S DAY CELEBRATION ALBUM
By Mick Moloney
Irish Americans participate in Saint Patrick's Day celebrations with unbridled enthusiasm. Major parades and parties take place in cities and towns all over America. Irish American popular symbols are everywhere: the harp, the color green, the genial leprechaun and of course the ubiquitous shamrock. Every Irish schoolchild is familiar with the legend of St. Patrick and the shamrock, in which the Saint used the three-leafed plant as an allegorical device to explain the mystery of the Trinity. Thus was the shamrock linked symbolically with St. Patrick and with Ireland itself.
Since the 17th century, St. Patrick's Day has been an occasion for Irish American family celebrations which reaffirm Irish ethnic identity. But the day has long been more than simply an Irish ethnic holiday. St. Patrick's Day has become one of the great American days of celebration, when the country becomes truly "greened." Everyone, after a fashion, can be Irish for a day. Irish music and dance have always been an important part of the Irish cultural expression in America, carrying on a tradition forged over the centuries back in the old country. There were always different kinds of Irish music in America: music and songs that the immigrants brought over with them; songs about arriving in America and adapting to a new home; songs of the music hall, vaudeville and variety theater and then in the early 20th century, songs composed by Tin Pan Alley songwriters with ethnic
themes.
A whole range of Irish musical genres is represented on this highly eclectic celebration of Irishness in song. You can hear the old traditional singing style, developed in rural Ireland throughout the centuries in the homes of the people, in Kevin Cunniffe's subtle understated solo a cappella interpretation of the traditional Irish lyrical love song "When A Man's In Love." You can contrast that with the singing of the trained Irish tenor Brendan O'Dowda performing the whimsical neo-literary Anglo Irish ballads "Tullinahaw" and "Flaherty's Drake" with the highly arranged accompaniment of a studio orchestra.
Pat Harrington's singing style is more vaudevillian than classical and his renditions of the music hall songs "Paddy McGinty's Goat" and "The Irish Jubilee," also with accompaniment from a studio orchestra, are reminiscent of the era when Irish artists ruled the boards in the popular entertainment venues in the big American cities.
It is perhaps something of a surprise to find the popular American singer Kate Smith on an Irish recording. She sings the perennial favorite "Molly Malone" which enjoyed renewed popularity as the official anthem of Ireland's capital city on the occasion of the year long millennium celebrations in 1988. Her rendition of
"Mother Machree" carries on a tradition in American popular entertainment of the commercial nostalgic Irish American songs which Tin Pan Alley songwriters created in profusion in the early years of this century to enormous acclaim from a transplanted population of immigrants and their descendants.
They had in truth little to do with the real Ireland, but the idyllic pastoral images of the homeland created in these songs were to become a feature of a distinctively American form of Irish song popularized in film, radio and television.
Morton Downey's version of Ball and Olcott's" When Irish Eyes are Smiling" is also in this vein. Downey was one of the most popular Irish American entertainers in the United States for over three decades and one of his biggest favorites was Pat White's "It's The Same Old Shillelagh," a great favorite among the St. Patrick's Day Irish everywhere. This belongs in the Stage Irish song tradition where fisticuffs were sure to erupt with regularity in every other verse and heads were sure to be broken before the end.
The Gallowglass Ceili Band is a good example of the kind of hybrid Irish ensemble that developed in the radio and recording era where new instruments such as the piano, accordion and the saxophone were used in a non-traditional style for the playing of Irish traditional jigs and reels with a drum set providing strict tempos suitable for dancing.
Novel approaches to the performing of the folk and traditional music of Ireland can also be heard in the selections by The Chieftains, The Dubliners and The Clancy Brothers with Tommy Makem. All three groups have achieved legendary reputations in their own time and have made extraordinary contributions to the vitality and popularity of the older Irish music and song in the modern world.
The Clancy Brothers with Tommy Makem were four young actors who decided to switch careers and become
professional Irish folk entertainers in the late 1950s when they were living in New York City at the time of the American Folk Revival. They came up with an exciting new way of performing the old Irish traditional songs and ballads they had heard in their youth to make them appealing to a wider audience. They incorporated guitar, five- string banjo and lusty harmony singing in their arrangement of the songs and achieved enormous commercial success on both sides of the Atlantic, starting a whole revival of interest in Irish folk song back in Ireland in the process. On this record they perform a rebel song, "Outlawed Raparee," which shows their lusty approach to group singing in fine style; the largely instrumental "Port Lairge" (Waterford),featuring the penny whistle of Tommy Makem, and Liam Clancy taking the lead on Ewan McColl's "Traveling People," a lament for the passing of the old ways.
The colorful Dubliners, the bearded Bohemians of the Irish folk scene, still per- form widely as do The Clancy Brothers with Tommy Makem (who now pursues a solo career). The Dubliners were a sensation when they first started performing in Dublin in the early 1960s. Luke Kelly brought a powerful golden voice to his interpretations of traditional and contemporary folk songs from Britain and Ireland. His unique personal style is well demonstrated in two of the featured Dubliners' tracks: the emigrant song "Muirsheen Durkin" and the patriotic ballad penned by
P.J. McCall, "Kelly The Boy From Killane." Nobody had ever heard anything quite like the singing style of Ronnie Drew. It was likened by at least one critic to" coke being crushed under a door," but no less compelling for that. Ronnie takes the lead on the rebel song "Croppy Boy."
The Chieftains have done more than any group ever in taking Irish traditional music from the homes of the people and bringing it onto the concert stage without changing its essential features. Since their formation in 1963, they have become Ireland's primary cultural ambassadors to the world. They play all the older instruments in the tradition including the harp, uilleann pipes, fiddle, tin whistle, concert flute, concertina and bodhran. By subtle combinations of instruments and time signatures, The Chieftains create a delightful, compelling, constantly shifting mosaic of textural, harmonic, rhythmic and melodic variation in their arrangements. Innovation and variation has always been the stock in trade of The Chieftains. They are known for exploring the possibilities of traditional tunes in thoroughly unique fashion. This is well illustrated in their captivating arrangement of
the "March From Oscar And Malvina."
Mick Maloney
THE TRACK LIST OF SONGS
Haste To The Wedding Gallowglass Ceili Band
The Irish Washerwoman Gallowglass Ceili Band
Tullinahaw Brendan O'Dowda
Flaherty's Drake Brendan O'Dowda
Paddy McGinty's Goat Pat Harrington
The Irish Jubilee Pat Harrington
The Plough And The Stars Gallowglass Ceili Band
Mrs. Crotty's Reel Gallowglass Ceili Band
Muirsheen Durkin The Dubliners
Kelly The Boy From Killan The Dubliners
Croppy Boy The Dubliners
It's The Same Old Shillelagh Morton Downey
When Irish Eyes Are Smiling Morton Downey
Mother Machree Kate Smith
Molly Malone Kate Smith
The Heather Breeze Gallowglass Ceili Band
St. Anne's Reel Gallowglass Ceili Band
The Peeler's Jacket Gallowglass Ceili Band
Outlawed Raparee The Clancy Bros. w/ Tommy Makem
Port Lairge The Clancy Bros. w/Tommy Makem
I'm A Free Born Man Of The Traveling People The Clancy Bros. w/ Tommy Makes
March From Oscar And Malvina The Chieftains
When A Man's In Love The Chieftains
