Seven Drunken Nights The Dubliners lyrics chords
Seven drunken nights tenor guitar / mandola tab in CGDA now included. A song about getting drunk every night of the week. Including the sheet music notes. The last couple of verses were a bit 'bawdy for the time It was banned by the B.B.C. so The Dubliners [ songs ] could only sing the first five nights, The sheet music notes are included in the key of A Major. Also recorded by Seamus Kennedy Celtic Thunder, The Tossers and by Flogging Molly. Ronnie Drew sings this song in the key of A Major. Irish country singer Mike Denver also recorded the song, but in an upbeat tempo using drums.
As[G] I went home on Monday night as drunk as drunk could be,
I[C] saw a horse outside the door where my old horse should be,
Well I[G] called me wife and said to her,will you[C] kindly tell to me,
Who[G] owns that horse outside the door where[D] my old horse should[G] be,
Ha[G] your drunk,your drunk you silly old fool,still you cannot see,
That's a lovey sow that me[D] mother sent to[G] me,
Well[G] its many a day I travelled,a hundred miles or more,
But a saddle on a sow I[D] never saw before.
[2]
And as I went home on tuesday night as drunk as drunk could be,
I saw a coat behind the door where my old coat should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that coat behind the door where my old coat should be,
'Ha your drunk you silly old fool,and still you cannot see,
Thats the wollen blanket that me mother sent to me,
'Well its many a day I travelled,a hundred miles or more,
But buttons on a blanket sure I never saw before.
[3]
And as I came home on a Wednesday night as drunk as drunk could be,
I saw a pipe upon the chair,where my old pipe should be,
'Well I called me wife and said to her would you kindle tell to me,
Who owns that pipe upon the chair where my old pipe should be,
'Ha your drunk you silly old fool,and still you cannot see,
Thats a lovely tin whistle that me mother sent to me,
'Well its many a day I travelled,a hundred miles or more,
But tobacco in a tin whistle sure I never saw before.
[4]
And as I went home on a Thursday night as drunk as drunk could be,
I saw two boots beneath the bed where my old boots should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns them boots beneath the bed where my old boots should be,
'Ha your drunk you sill old fool still you cannot see,
Thats two lovely geranium pots me mother gave to me,
'Well its many a day I travelled,a hundred miles or more,
But laces on a geranium pot sure I never saw before,
[5]
And as I went home on a Friday night as drunk as drunk could be,
I saw a head upon the bed where my old head should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that head upon the bed where my old head should be,
'Ha your drunk you silly old fool and still you cannot see,
Thats a baby boy that me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But a baby boy with whiskers sure I never saw before.
[6]
As I went home on Saturday night as drunk as drunk could be,
I saw two hands upon her breasts where my old hands should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns them hands upon you breasts where my old hands should be,
Ah your drunk you silly old fool and still you cannot see,
Thats a lovely night gown me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But fingers on a night gownh I never saw before.
[7]
As I went home on a Sunday night as drunk as drunk could be,
I saw a thing in her thing where ny old thing should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that thing in your thing where my old thing should be,
'Ah your drunk you silly old fool and still you cannot see,
Thats a lovely tin whistle me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But hair on a tin whistle sure I never saw before.
I[C] saw a horse outside the door where my old horse should be,
Well I[G] called me wife and said to her,will you[C] kindly tell to me,
Who[G] owns that horse outside the door where[D] my old horse should[G] be,
Ha[G] your drunk,your drunk you silly old fool,still you cannot see,
That's a lovey sow that me[D] mother sent to[G] me,
Well[G] its many a day I travelled,a hundred miles or more,
But a saddle on a sow I[D] never saw before.
[2]
And as I went home on tuesday night as drunk as drunk could be,
I saw a coat behind the door where my old coat should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that coat behind the door where my old coat should be,
'Ha your drunk you silly old fool,and still you cannot see,
Thats the wollen blanket that me mother sent to me,
'Well its many a day I travelled,a hundred miles or more,
But buttons on a blanket sure I never saw before.
[3]
And as I came home on a Wednesday night as drunk as drunk could be,
I saw a pipe upon the chair,where my old pipe should be,
'Well I called me wife and said to her would you kindle tell to me,
Who owns that pipe upon the chair where my old pipe should be,
'Ha your drunk you silly old fool,and still you cannot see,
Thats a lovely tin whistle that me mother sent to me,
'Well its many a day I travelled,a hundred miles or more,
But tobacco in a tin whistle sure I never saw before.
[4]
And as I went home on a Thursday night as drunk as drunk could be,
I saw two boots beneath the bed where my old boots should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns them boots beneath the bed where my old boots should be,
'Ha your drunk you sill old fool still you cannot see,
Thats two lovely geranium pots me mother gave to me,
'Well its many a day I travelled,a hundred miles or more,
But laces on a geranium pot sure I never saw before,
[5]
And as I went home on a Friday night as drunk as drunk could be,
I saw a head upon the bed where my old head should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that head upon the bed where my old head should be,
'Ha your drunk you silly old fool and still you cannot see,
Thats a baby boy that me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But a baby boy with whiskers sure I never saw before.
[6]
As I went home on Saturday night as drunk as drunk could be,
I saw two hands upon her breasts where my old hands should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns them hands upon you breasts where my old hands should be,
Ah your drunk you silly old fool and still you cannot see,
Thats a lovely night gown me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But fingers on a night gownh I never saw before.
[7]
As I went home on a Sunday night as drunk as drunk could be,
I saw a thing in her thing where ny old thing should be,
Well I called me wife and said to her will you kindly tell to me,
Who owns that thing in your thing where my old thing should be,
'Ah your drunk you silly old fool and still you cannot see,
Thats a lovely tin whistle me mother sent to me,
Well its many a day I travelled,a hundred miles or more,
But hair on a tin whistle sure I never saw before.
The guitar tab in pdf has the chords and is in standard tuning
| seven_drunken_nights_guitar_tab_with_chords.pdf |
Seven drunken nights tenor guitar / mandola tab in CGDA
The Dubliners only wanted to get across the fact that Irish music was still alive, that the music had never died. I England and America they had a folk revival but I Ireland it was there all the time and we didn't need to revive the music. There was a certain amount of fanaticism about it and the music was regarded as sacred. That attitude divorced a lot of young people from being interested in the Irish folk music, I think The Dubliners helped to take it out of that. We didn't set out to do that, but the fact that we were enjoying playing it so much transferred itself. We proved you don't have to be an academic to enjoy Irish music. Ronnie Drew -Folk Roots 1993
This is the original version of the song.
By John Reilly From Boyle County
Roscommon.
As I came home on a Monday night as drunk
as drunk could be,
I say a pony in the stall where my oul'
horse should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that pony in the stall where my
oul horse should be.
You're drunk you fool, you sill old fool,
And now you cannot see,
Sure that's the suckin' pig me mother sent
to me,
The miles I have traveled, a hundred
miles or more,
But a saddle on a pig I've never seen
before.
As I came home on a Tuesday night, as
drunk, as drunk could be,
I say a coat behind the door where my oul
coat should be,
Well I called me wife and I said to her,
you're very untrue to me.
Who owns that coat behind the door whee my
oul coat should be,
Ah, your drunk you fool, you silly old
fool,
And now you cannot see,
Sure that's the lovely blanket, me mother
gave to me,
The miles I have traveled, a hundred
miles or more,
But sleeves in a blanket I've never seen
before.
As I came home on a Wednesday night, as
drunk as drunk could be,
I say a stick beside the fire, where my
oul stick should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that stick beside the fire where
my oul stick should be,,
You're drunk you fool you silly old fool,
And now you cannot see,
Sure that's only an oul pot stick me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But a silver mounted pot stick I never
seen before.
As I came home on a Thursday night, as
drunk as drunk could be,
I saw a pipe beside the bed where my oul
pipe should be,
Well I called my wife and I said to her,
you're very untrue to me,
Who owns that pipe beside the bed where my
oul pipe should be,
Ah your drunk you fool, you sill old fool,
And now you cannot see,
Sure that's a small tin whistle that me
mother gave to me.
The miles I have traveled, a hundred
miles or more,
But tobacco in a tin whistle I never seen
before.
As I came home on a Friday night, as drunk
as drunk could be,
I saw two boots beneath the bed where my
oul boots should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns those boots beneath the bed where
my oul boots should be,
Ah your drunk you fool, you silly old
fool,
And now you cannot see,
Sure they're the two geranium pots me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But laces in geranium pots I've never seen
before.
As I came home on a Saturday night as
drunk as drunk could be,
I saw a head upon the bed where my oul
head should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that head upon the bed where my
oul head should be,
Ah you're drunk you fool, you silly old
fool,
And now you cannot see,
Sure that's the baby boy that me mother
gave to me.
The miles I have traveled, a hundred
miles or more,
But a baby boy with his whiskers on I've
never seen before.
As I came home on a Sunday night, as drunk
as drunk could be,
I saw a shirt beside the bed, where my oul
shirt should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that shirt beside the bed where
my old shirt should be,
Ah you're drunk, you fool you silly old
fool,
And now you cannot see,
Sure they're the heavy bloomers that me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But cuff links on a bloomer's I never say
before.
By John Reilly From Boyle County
Roscommon.
As I came home on a Monday night as drunk
as drunk could be,
I say a pony in the stall where my oul'
horse should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that pony in the stall where my
oul horse should be.
You're drunk you fool, you sill old fool,
And now you cannot see,
Sure that's the suckin' pig me mother sent
to me,
The miles I have traveled, a hundred
miles or more,
But a saddle on a pig I've never seen
before.
As I came home on a Tuesday night, as
drunk, as drunk could be,
I say a coat behind the door where my oul
coat should be,
Well I called me wife and I said to her,
you're very untrue to me.
Who owns that coat behind the door whee my
oul coat should be,
Ah, your drunk you fool, you silly old
fool,
And now you cannot see,
Sure that's the lovely blanket, me mother
gave to me,
The miles I have traveled, a hundred
miles or more,
But sleeves in a blanket I've never seen
before.
As I came home on a Wednesday night, as
drunk as drunk could be,
I say a stick beside the fire, where my
oul stick should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that stick beside the fire where
my oul stick should be,,
You're drunk you fool you silly old fool,
And now you cannot see,
Sure that's only an oul pot stick me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But a silver mounted pot stick I never
seen before.
As I came home on a Thursday night, as
drunk as drunk could be,
I saw a pipe beside the bed where my oul
pipe should be,
Well I called my wife and I said to her,
you're very untrue to me,
Who owns that pipe beside the bed where my
oul pipe should be,
Ah your drunk you fool, you sill old fool,
And now you cannot see,
Sure that's a small tin whistle that me
mother gave to me.
The miles I have traveled, a hundred
miles or more,
But tobacco in a tin whistle I never seen
before.
As I came home on a Friday night, as drunk
as drunk could be,
I saw two boots beneath the bed where my
oul boots should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns those boots beneath the bed where
my oul boots should be,
Ah your drunk you fool, you silly old
fool,
And now you cannot see,
Sure they're the two geranium pots me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But laces in geranium pots I've never seen
before.
As I came home on a Saturday night as
drunk as drunk could be,
I saw a head upon the bed where my oul
head should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that head upon the bed where my
oul head should be,
Ah you're drunk you fool, you silly old
fool,
And now you cannot see,
Sure that's the baby boy that me mother
gave to me.
The miles I have traveled, a hundred
miles or more,
But a baby boy with his whiskers on I've
never seen before.
As I came home on a Sunday night, as drunk
as drunk could be,
I saw a shirt beside the bed, where my oul
shirt should be,
Well I called me wife and I said to her,
you're very untrue to me,
Who owns that shirt beside the bed where
my old shirt should be,
Ah you're drunk, you fool you silly old
fool,
And now you cannot see,
Sure they're the heavy bloomers that me
mother gave to me,
The miles I have traveled, a hundred
miles or more,
But cuff links on a bloomer's I never say
before.
Below is the list of sheet music and tin whistle songs that are in my ebooks. This is the largest collection of tin whistle songs ever put together.[over 800 songs ] Including folk, pop and trad tunes plus German And French songs along with Christmas Carols.
All of the sheet music tabs have been made as easy to play as was possible.
The price of the ebooks is €7.50
All of the sheet music tabs have been made as easy to play as was possible.
The price of the ebooks is €7.50
Whiskey In The Jar, An anthology of Irish drinking songs
should never be introduced with a note of caution or with some kind of health warning that would be to rob these songs of their associations with carousing and togetherness. We all know the double-edged sword that lies within the bottle; a gargle that can liberate and enslave. Or, to quote the great philosopher Homer (Simpson), "Ah, alcohol-the cause of, and solution to, life's problems." And in the 21st Century, many a rowdy night has been had with a glass of orange juice in hand, as you try to smile at those who are full of grog.
There is a fine musical arc on this album, stretching from smoky bars of 60s Ireland and The Dubliners, through 40 years of invention and interpretation to the mosh pits of Boston clubland and the Dropkick Murphys. Everyone herein has carried the Celtic spirit of good times a tradition dating back many centuries without spilling a drop.
The ancient kings of Ireland would summon their bards and minstrels to the table in times of crisis or celebration. They would offer comfort and
reassurance through song, and chronicle the characters and events
that shaped the times.
Centuries later, in thousands of humble dwellings, songs were written and sung as part of the rich oral history of a country where pen and paper were a rarity. Lit by the turf fire, faces wore the look of those being transported away from the hard reality of rural life, for the duration of a song.
Even though the subject matter often reflected those
DM
harsh realities, once embedded in a tune, the words became something else. The tradition of Irish balladry transcended class barriers and has been a way for the nation's people to share experiences with each other from the well-appointed drawing rooms of Georgian Dublin, to the mountain shebeens (drinking dens) of Donegal-via songs of politics, myth, heroism and exile. Now, in case you get the impression that listening to this album is the cultural equivalent of 'eating your greens', let me reassure you that here is a playground of wit, insight and energy. And, just occasionally, drunkenness.
This brings us, not unnaturally, to The Dubliners - probably the most influential traditional folk band to emerge from Ireland. They were born out of informal barroom sessions in early 1960s Dublin and combined superb musicianship with the unique nasal vocal styling of Ronnie Drew and the charisma of Luke Kelly. Over four decades of in-fighting, departures and premature death have failed to dent a glorious catalogue of songs that ignite with ragged grandeur on each hearing.
The
Their first big hit, "Seven Drunken Nights," caused considerable outrage amongst right thinking persons and was banned from radio play because of its saucy lyrics. Contrast this with the haunting yet defiant rendition of Brendan Behan's prison lament, "The Auld Triangle" - The Dubliners shared Behan's poetic vision of a grubby, less noble version of Ireland, and some of his appetite for destruction.
There's rarely a dry eye in the house after hearing "A Nation Once Again." These were the words reportedly on a telegram sent by British Prime Minister Winston Churchill to Irish Premier De Valera during WW2. It was an attempt to persuade Ireland to give up neutral status and join the war against Germany in return for a united Ireland (De Valera refused, though thousands of men left Ireland to fight the Nazis). On the romantic side, the classic hymn to beauty, "Black Velvet Band," catches the twinkle in the eye of The Dubliners, and has
accompanied the crushing of many thousands of women's feet by inexpert male dance partners at wedding receptions.
If The Dubliners were street fighting troubadours, The Clancy Brothers and Tommy Makem were the concert hall entertainers, although not straight away. The Clancys were from a musical family in Tipperary and arrived in New York in the mid '50s when they came together with Armagh singer Tommy Makem. They went on to play a major part in the revival of American folk music and were part of the Greenwich Village scene, playing benefit concerts for Woody Guthrie, despite not being as overtly political as some of their counterparts. Bob Dylan recently cited Liam Clancy as a major influence on his development as a performer.
The Clancy Brothers may sound reassuringly traditional from our perspective, but back in the day, they staged their own little cultural revolution. For decades, America had heard sad, slow ballads from Ireland, but viewers of The Ed Sullivan Show in 1961 leapt from their armchairs as they witnessed an Irish group belting out songs as if their lives depended on it. The Clancys applied the close harmonies of pop music, like those of The Everly Brothers, to the Irish/American folk tradition. Then they took it to a party, and put a glass in its hand!
"Mountain Dew" is a tribute to the illegal distiller's art, and had no trouble traveling from the mountains of Kerry to those of Kentucky. One man's poitin is another man's moonshine, after all. "Waltzing Matilda" and "The Leaving Of Liverpool" touch on the emigrant theme and illustrate the sure touch The Clancys employed to draw contrasting emotions from their audience. As a band, their image was indelible: Aran jumpers, black trousers and caps. It was only the guitars that stopped them being mistaken for the crew of a submarine.
There's no mistaking the smooth charms of Frank Patterson, whose vocal style. harks back to the classic era of Irish tenors. If there is a drop of sentiment to be wrung from even the most stone-hearted scoundrel, Patterson is the man for the job.
Part of the joy of this song collection is the eclectic line-up of artists, gathered in the name of good times... the influence of punk rock can be heard in the poetry and chaos of The live shows. The onstage antics led many to ignore the songwriting skill of Shane MacGowan, who combined romantic notions of old Ireland with a modern street-smart sensibility. The vivid imagery of "Sally MacLennane" allows the listener to visualize both the beautiful and the damned patrons of this mythical pub that draws the
singer back, again and again. (Does this sound familiar to you?)
Dropkick Murphys' incendiary live show has earned them a worldwide reputation for helping music lovers avoid that quiet night of gentle guitar strumming. Here they attack "Wild Rover," the classic repentance tale of wild times. The Young Dubliners, who formed in Los Angeles with two Dublin-born members- and regularly tour their mix
of rock and traditional Irish music across the States, are represented with "The Rocky Road To Dublin." Hailing from NYC, Rogue's March have proved to be a magnet for star guests, eager to accompany gravel-voiced singer Joe Hurley and his eclectic band on stage. Hear them here with "Amsterdam Mistress."
Like the best compilation albums, there's plenty to keep you thinking. as well as drinking. The Ireland that produced these songs is a much- changed place. There is no longer such a need for myths and heroes that make the present more bearable and the future less uncertain. Yet much of the work on these two discs is without the dusty creakiness of a museum piece. Many of the songs have an
indestructible integrity that still grabs the listener, drunk or sober. It offers that perfect combination: paying due respect to a rich cultural heritage, while getting stuck into the gargle. Give your ears a large one.
-
Peter Curran, London,
TRACK LIST OF SONGS
WHISKEY IN THE JAR The Dubliners
(Traditional-The Dubliners)
Recorded 1967, England, orig. rel. 1968 Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, barje, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
IRISH ROVER (232)
The Clancy Brothers With Tommy Makem (Traditional Clancy T. Clancy-L.Clancy-1. Makem) Recorded 11/17/61, orig, rel. 1962
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Makem Super Hits: (Columbia Legacy CK 635400
Originally Released 1962 SONY BMG MUSIC ENTERTAINMENT
SOUTH AUSTRALIA
The Clancy Brothers With Tommy Makem (Traditional-Arranged by P. Clancy -T. Clancy L. Clancy T. Make Recorded 4/19/62, New York, orig. rel.1962
Personnel Liam Clancy, Pat Clancy, Tom Clancy, Tommy Makem: vocals
From the album The Boys Won't Leave The Gids Alone (Columbia CS8709
Originally Released 1962 SONY BMG MUSIC ENTERTAINMENT
4.THE GALWAY RACES (3:18)
The Dubliners
(R. Drew L. Kelly B. McKenna C. Bourke-J, Sheahan) Recording date unknown, England, orig. rel. 1967
Producer
Tommy
Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitars; Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic Legacy Ex 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
5.I'M A FREE BORN MAN (3:52)
The Dubliners
(E. MacColl)
Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars: Luke Kelly: vocals, ban
From the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
I'M A ROVER (45
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan)
Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitars: Luke Kelly: vocals, banjo
From the album The Best Of The Dubiners Epic Legacy EK 6021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
DRINK IT UP MEN (2:03)
The Dubliners
(B. Meek-The Dubliners!
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke, vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
From the album The Best Of The Dublines (Epic/Legacy EK B60211 Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
WEILA WAILE (326)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. ret. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar Barney McKenna: vocals, banjo, Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie
Drew: vocals, guitars, Luke Kelly; vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Red 1967 SONY BMG MUSIC ENTERTAINMENT
THE JUG OF PUNCH (19) Live
The Clancy Brothers With Tommy Makem
(F. McPenke-P. Kennedy)
Recorded 3/17/63, Carnegie Hall, New York, orig. rel, 1963
Producer: Bob Morgan
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Makem Super Hits Columbia/Legacy CK 63540)
Originally Release 1963 SONY BMG MUSIC ENTERTAINMENT
10. WHEN IRISH EYES ARE SMILING 2:59 Live
Frank Patterson
(C. Dicott-G. Graft-E. R. Ba
Recording date unknown, ong, rel. 1999
Producer: Eily O'Grady
Personnel: Geraldin O'Grady, Donagh Keogh, Eanan Patterson: The Eily O'Grady Irish Harp Orchestra,
performer, Irish Promenade Orchestra, performer: John Tate, conductor
From the album God Bless America! (RCA Victor 09026-63659-2) 1999 BMG Music
21. DANNY BOY (436) (Live)
Frank Patterson
Traditional-F. L. Weatherly-J. Tate) Recording unknown, origre 1999 Producer: Eily O'Grady
Personnel Frank Patterson: vocal Geraldin O'Grady Donagh Keogh, Eanan Patterson, violins The Eily O'Grady Irish Harp Orchestra: Irish Promenade Orchestra, performer: John Tate, conductor
From the album God Bless America: (RCA Victor 09026-63659-21 19 1900 BMG Music
32. KELLY. THE BOY FROM KILLAN (2:29)
The Dubliners
(Traditional-The Dubiners
Recorded 1967, England, orig rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan vocals, fiddle, tin whist mandolin, guitar tar Barney McKenna: vocals, banjo, mandolin Claren Bourke vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitar Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
13. MOUNTAIN DEW (209)
The Clancy Brothers With Tommy Makem (Traditional Clancy T. Cancy T, Makem
Recorded 1999, unknown, orig. rel. 1999
Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album Artisan Bos-Unised Gems Of The Clancy Brothers With Tommy Makem (ColumbiaLesy C2K 57639 1999 SONY BMC MUSIC ENTERTAINMENT
14. THE PUB WITH NO BEER (2:25)
The Dubliners
(G. Parsons!
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mancin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocal, guitar, tin whistle, harmonica Ronnie vocals, guitar, Luke Kelly: vocals, banjo
Drew:
From the album The Best Of The Dubliners (EpicLegacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
15. THE ROCKY ROAD TO DUBLIN (48) The Young Dubliners
(D. Finch S. Lew-J. Young
Recording date unknown, rel. 1994
Original Producer unknown
Personnel: Keith Roberts: lead vocals, acoustic guitar, Paul O'Toole:
vocals, acoustic
guitar, mandolin, harmonica; Randy Woolford: electric and acoustic guitar, vocals; Jeff Bellisant saxophones flute, vocals: Bren Holmes bass guitar, vocals Lovely Previn: electric and acoustic violin, viola, ca Jen Mattox drums, tambourine, salt shaker, large box, vocals From the album The Young Dubiners-Rocky Road Scott Bros. Records 72392 75420-21℗ 1994 Scott Be Records
16. FIELDS OF ATHENRY 4:25)
Dropkick Murphys
Recording date unknown, rel. 2003
Producer: Ken Casey
Personnel: Al Barr Ken Casey, Ryan Foltz, Matt Kelly,
James Lynch and Marc Orrell, vocals
From the album Blackout 180446-2 Hellcat Records)
2003 Hellcat Recor
27. WILD ROVER 9:25
Dropkick Murphys
(Traditional-arranged by Dropkick Murphys
Recording date unknown, el 2000
Original Producer unknown
Personnel: Al Barr, Ken Casey, Ryan Foltz, Matt Kelly,
James Lynch and Marc Orrell: vocals. Guest vocalist:
Shane MacGowan
From the album Singles Collection Volume 2, 1998-2004 sides, Covers, Comps & Other Cras (80469-2 Hellcat Record
2000 Heat Records
HOLY GROUND 12:09 Live
The Clancy Brothers With Tommy Makem (T. Clancy)
Recorded 11/5/66, New York, rel. 1995
Producer: John Hammond
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album Ain't It Grand Boys-Unissued Gems Of The Clancy Brothers With Tommy Makon (Columbia Legacy C2K 57639) 1995 SONY BMG MUSIC ENTERTAINMENT
MALONEY WANTS A DRINK (2:14) The Dubliners
ID. Behan)
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica: Ronnie Drew: vocals, guitar Luke Kelly: vocals, banjo
From the album The Best Of The Dublines (Epic/Legacy EK 86021) Originally Red 1968 SONY SMG MUSIC ENTERTAINMENT
THE LEAVING OF LIVERPOOL (24) The Clancy Brothers With Tommy Makem (Traditional-P. Clancy-T. Clancy-L. Clancy-1. Makem) Recorded 12/16/63, unknown, orig. rel. 1964 Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Maker Super Hits (Columbia/Legacy CK 535400
Originally Released 1964 SONY BMG MUSIC ENTERTAINMENT
THE RISING OF THE MOON (2:58)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
From the album The Best Of The Dubiners (Epic/Legacy EK 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT FARE THEE WELL ENNISKILLEN (29) The Clancy Brothers With Tommy Makem
(T. Makem)
Recorded 1/21/6/9, unknown, orig. rel. 1969 Producer: John Hammond
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album The Clancy Brothers & Tommy Make Super Hits
Columbia Legacy CK 635400
Originally Released 1969 SONY BMG MUSIC ENTERTAINMENT
MUIRSHEEN DURKIN' (232)
The Dubliners
Traditional-The Dubliners)
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
ALL FOR ME GROG (2:0) The Clancy Brothers
(Arranged & adapted by T. Clancy-L. Clancy-T. Makem Recorded 1/21/69, unknown, orig. rel. 1968
Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy: vocals From the album Irish Drinking Songs (Columbia/Legacy CK 52833) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
JOHNNY, I HARDLY KNEW YE 0:45 The Clancy Brothers With Tommy Makem (Traditional P. Clancy-T. Clancy-L. Clancy. Makem D. Hammond)
Recorded 11/17/61, loc. unknown, orig, rel 1962 Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Maker Super Hits
Columbia/Legacy CK 615400
Originally Released 1962 SONY EMG MUSIC ENTERTAINMENT
A NATION ONCE AGAIN (242) The Dubliners
IT. Davis-D. Behan
Recorded 1967, England, orig, rel. 1968 Producer: Tommy Scott
Personnel: John Sheahan: vocal, fiddle, tin whistle mandolin, guitar; Barney McKenna: vocals, banjo, mandolin, Ciarán Bourke: vocals, guitar, tin whistle, harmonica: Ronnie Drew: vocal Ronnie Drew: guitar; Luke Kelly: vocals, banjo From the album The Best Of The Dubliners (Epio/Legacy EK 86021) Originally Released 198 SONY BMG MUSIC ENTERTAINMENT
THE ROSE OF TRALEE (3:42) (Live) Frank Patterson
Spencer-Glover-T. C. Kelly)
Recording data/loc. unknown, orig. rel.1999
Producer: Eily O'Grady
Personnel: Geraldin O'Grady, Donagh Keogh, Eanan Patterson: violin The Eily O'Grady Irish Harp Orchestra, Irish Promenade Orchestra, John Tate, conductor From the album God Bless America! (RCA Victor 09026-63659-2) 1999 BMG Music
SEVEN DRUNKEN NIGHTS (45) The Dubliners
IR. Drew-L. Kelly-8. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar, Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
BLACK VELVET BAND (4:23)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Shenand Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar; Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica
Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
from the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Released 1967 SONY BMC MUSIC ENTERTAINMENT
AMSTERDAM MISTRESS (29)
Joe Hurley & Rogue's March
W. Hurley-Arranged by Rogue's March)
Recording date unknown, Hoboken, NJ, New York, rel. 1994
Producer: Jimmy Harry
Personnel: Joe Hurley: lead vocals: Gary Johannes:
bouzouki, mandolin, whistle, vocals, Kenny Margolis:
accordion, piano, Jimmy Harry: electric & acoustic guitars, B
Dan Prater: bass guitar, vocals: Bill Gerstel:
drums, percussion
From the album Never Fear (Arban Records JGKBD-1) ℗ 1992 Arban Records
SALLY MACLENNANE (2:500 (Live)
The Poques
(5. MacGowan)
Recording date unknown, Switzerland, orig. rel. unknown
Original Producer unknown
Personnel: Shane MacGowan: vocal; Spider Stacy: tin
whistle: Jem Finer: banjo; guitar, Andrew David Ranken: drums Darryl Hunt: bass Philip Chevron: vocals From the album Streams of Whiskey-Live In Leysin, Switzerland
1991 (Silverlie Records 284559-2)
© 2002 Silverline Records
THE DIRTY GLASS 30
Dropkick Murphys
(Dropkick Murphy)
Recording date unknown, The Outpost, Stoughton, MA
Producer: Ken Casey
Personnel: Dropkick Murphys: Al Barr, Ken Casey,
Ryan Foltz, Matt Kelly, James Lynch and Marc Orrell: vocals Stephanie Doherty: additional vocals
From the album Blackout Hellcat Record 00446-2)
2003 Hellcat Records
WHISKEY, YOU'RE THE DEVIL 12:13) (Live)
The Clancy Brothers With Tommy Makem U. Clancy L. Clancy-T. Clancy-P. Clancy)
Recorded 11/17/61, The Gate of Horn, Chicago, orig, rel. 1962 Producer: Bob Morgan_
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album Irish Drinking Songs (Columbia Legacy CK 528331 Originally Released 1962 SONY BMC MUSIC ENTERTAINMEN Tom the album The Best Of The Dubliners (Epio/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
DIRTY OLD TOWN (4:02) (Live) The Pogues (L. McColl
Recording date original rel. date unknown Original Producer unknown
Personnel: Shane MacGowan: vocat Spider Stacy: tin whistle Jem Finer: banjo; guitar: Andrew David Ranken: drums: Darryl Hunt: bass Philip Chevron vocal
Terry Woods:
From the album Streams of Whiskey- Live In Leys in, Switzerland
1991 (Silverline Record 254559-2)
©2002 Sanctuary Records Group Ltd
should never be introduced with a note of caution or with some kind of health warning that would be to rob these songs of their associations with carousing and togetherness. We all know the double-edged sword that lies within the bottle; a gargle that can liberate and enslave. Or, to quote the great philosopher Homer (Simpson), "Ah, alcohol-the cause of, and solution to, life's problems." And in the 21st Century, many a rowdy night has been had with a glass of orange juice in hand, as you try to smile at those who are full of grog.
There is a fine musical arc on this album, stretching from smoky bars of 60s Ireland and The Dubliners, through 40 years of invention and interpretation to the mosh pits of Boston clubland and the Dropkick Murphys. Everyone herein has carried the Celtic spirit of good times a tradition dating back many centuries without spilling a drop.
The ancient kings of Ireland would summon their bards and minstrels to the table in times of crisis or celebration. They would offer comfort and
reassurance through song, and chronicle the characters and events
that shaped the times.
Centuries later, in thousands of humble dwellings, songs were written and sung as part of the rich oral history of a country where pen and paper were a rarity. Lit by the turf fire, faces wore the look of those being transported away from the hard reality of rural life, for the duration of a song.
Even though the subject matter often reflected those
DM
harsh realities, once embedded in a tune, the words became something else. The tradition of Irish balladry transcended class barriers and has been a way for the nation's people to share experiences with each other from the well-appointed drawing rooms of Georgian Dublin, to the mountain shebeens (drinking dens) of Donegal-via songs of politics, myth, heroism and exile. Now, in case you get the impression that listening to this album is the cultural equivalent of 'eating your greens', let me reassure you that here is a playground of wit, insight and energy. And, just occasionally, drunkenness.
This brings us, not unnaturally, to The Dubliners - probably the most influential traditional folk band to emerge from Ireland. They were born out of informal barroom sessions in early 1960s Dublin and combined superb musicianship with the unique nasal vocal styling of Ronnie Drew and the charisma of Luke Kelly. Over four decades of in-fighting, departures and premature death have failed to dent a glorious catalogue of songs that ignite with ragged grandeur on each hearing.
The
Their first big hit, "Seven Drunken Nights," caused considerable outrage amongst right thinking persons and was banned from radio play because of its saucy lyrics. Contrast this with the haunting yet defiant rendition of Brendan Behan's prison lament, "The Auld Triangle" - The Dubliners shared Behan's poetic vision of a grubby, less noble version of Ireland, and some of his appetite for destruction.
There's rarely a dry eye in the house after hearing "A Nation Once Again." These were the words reportedly on a telegram sent by British Prime Minister Winston Churchill to Irish Premier De Valera during WW2. It was an attempt to persuade Ireland to give up neutral status and join the war against Germany in return for a united Ireland (De Valera refused, though thousands of men left Ireland to fight the Nazis). On the romantic side, the classic hymn to beauty, "Black Velvet Band," catches the twinkle in the eye of The Dubliners, and has
accompanied the crushing of many thousands of women's feet by inexpert male dance partners at wedding receptions.
If The Dubliners were street fighting troubadours, The Clancy Brothers and Tommy Makem were the concert hall entertainers, although not straight away. The Clancys were from a musical family in Tipperary and arrived in New York in the mid '50s when they came together with Armagh singer Tommy Makem. They went on to play a major part in the revival of American folk music and were part of the Greenwich Village scene, playing benefit concerts for Woody Guthrie, despite not being as overtly political as some of their counterparts. Bob Dylan recently cited Liam Clancy as a major influence on his development as a performer.
The Clancy Brothers may sound reassuringly traditional from our perspective, but back in the day, they staged their own little cultural revolution. For decades, America had heard sad, slow ballads from Ireland, but viewers of The Ed Sullivan Show in 1961 leapt from their armchairs as they witnessed an Irish group belting out songs as if their lives depended on it. The Clancys applied the close harmonies of pop music, like those of The Everly Brothers, to the Irish/American folk tradition. Then they took it to a party, and put a glass in its hand!
"Mountain Dew" is a tribute to the illegal distiller's art, and had no trouble traveling from the mountains of Kerry to those of Kentucky. One man's poitin is another man's moonshine, after all. "Waltzing Matilda" and "The Leaving Of Liverpool" touch on the emigrant theme and illustrate the sure touch The Clancys employed to draw contrasting emotions from their audience. As a band, their image was indelible: Aran jumpers, black trousers and caps. It was only the guitars that stopped them being mistaken for the crew of a submarine.
There's no mistaking the smooth charms of Frank Patterson, whose vocal style. harks back to the classic era of Irish tenors. If there is a drop of sentiment to be wrung from even the most stone-hearted scoundrel, Patterson is the man for the job.
Part of the joy of this song collection is the eclectic line-up of artists, gathered in the name of good times... the influence of punk rock can be heard in the poetry and chaos of The live shows. The onstage antics led many to ignore the songwriting skill of Shane MacGowan, who combined romantic notions of old Ireland with a modern street-smart sensibility. The vivid imagery of "Sally MacLennane" allows the listener to visualize both the beautiful and the damned patrons of this mythical pub that draws the
singer back, again and again. (Does this sound familiar to you?)
Dropkick Murphys' incendiary live show has earned them a worldwide reputation for helping music lovers avoid that quiet night of gentle guitar strumming. Here they attack "Wild Rover," the classic repentance tale of wild times. The Young Dubliners, who formed in Los Angeles with two Dublin-born members- and regularly tour their mix
of rock and traditional Irish music across the States, are represented with "The Rocky Road To Dublin." Hailing from NYC, Rogue's March have proved to be a magnet for star guests, eager to accompany gravel-voiced singer Joe Hurley and his eclectic band on stage. Hear them here with "Amsterdam Mistress."
Like the best compilation albums, there's plenty to keep you thinking. as well as drinking. The Ireland that produced these songs is a much- changed place. There is no longer such a need for myths and heroes that make the present more bearable and the future less uncertain. Yet much of the work on these two discs is without the dusty creakiness of a museum piece. Many of the songs have an
indestructible integrity that still grabs the listener, drunk or sober. It offers that perfect combination: paying due respect to a rich cultural heritage, while getting stuck into the gargle. Give your ears a large one.
-
Peter Curran, London,
TRACK LIST OF SONGS
WHISKEY IN THE JAR The Dubliners
(Traditional-The Dubliners)
Recorded 1967, England, orig. rel. 1968 Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, barje, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
IRISH ROVER (232)
The Clancy Brothers With Tommy Makem (Traditional Clancy T. Clancy-L.Clancy-1. Makem) Recorded 11/17/61, orig, rel. 1962
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Makem Super Hits: (Columbia Legacy CK 635400
Originally Released 1962 SONY BMG MUSIC ENTERTAINMENT
SOUTH AUSTRALIA
The Clancy Brothers With Tommy Makem (Traditional-Arranged by P. Clancy -T. Clancy L. Clancy T. Make Recorded 4/19/62, New York, orig. rel.1962
Personnel Liam Clancy, Pat Clancy, Tom Clancy, Tommy Makem: vocals
From the album The Boys Won't Leave The Gids Alone (Columbia CS8709
Originally Released 1962 SONY BMG MUSIC ENTERTAINMENT
4.THE GALWAY RACES (3:18)
The Dubliners
(R. Drew L. Kelly B. McKenna C. Bourke-J, Sheahan) Recording date unknown, England, orig. rel. 1967
Producer
Tommy
Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitars; Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic Legacy Ex 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
5.I'M A FREE BORN MAN (3:52)
The Dubliners
(E. MacColl)
Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars: Luke Kelly: vocals, ban
From the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
I'M A ROVER (45
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan)
Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitars: Luke Kelly: vocals, banjo
From the album The Best Of The Dubiners Epic Legacy EK 6021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
DRINK IT UP MEN (2:03)
The Dubliners
(B. Meek-The Dubliners!
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke, vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
From the album The Best Of The Dublines (Epic/Legacy EK B60211 Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
WEILA WAILE (326)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. ret. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar Barney McKenna: vocals, banjo, Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie
Drew: vocals, guitars, Luke Kelly; vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Red 1967 SONY BMG MUSIC ENTERTAINMENT
THE JUG OF PUNCH (19) Live
The Clancy Brothers With Tommy Makem
(F. McPenke-P. Kennedy)
Recorded 3/17/63, Carnegie Hall, New York, orig. rel, 1963
Producer: Bob Morgan
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Makem Super Hits Columbia/Legacy CK 63540)
Originally Release 1963 SONY BMG MUSIC ENTERTAINMENT
10. WHEN IRISH EYES ARE SMILING 2:59 Live
Frank Patterson
(C. Dicott-G. Graft-E. R. Ba
Recording date unknown, ong, rel. 1999
Producer: Eily O'Grady
Personnel: Geraldin O'Grady, Donagh Keogh, Eanan Patterson: The Eily O'Grady Irish Harp Orchestra,
performer, Irish Promenade Orchestra, performer: John Tate, conductor
From the album God Bless America! (RCA Victor 09026-63659-2) 1999 BMG Music
21. DANNY BOY (436) (Live)
Frank Patterson
Traditional-F. L. Weatherly-J. Tate) Recording unknown, origre 1999 Producer: Eily O'Grady
Personnel Frank Patterson: vocal Geraldin O'Grady Donagh Keogh, Eanan Patterson, violins The Eily O'Grady Irish Harp Orchestra: Irish Promenade Orchestra, performer: John Tate, conductor
From the album God Bless America: (RCA Victor 09026-63659-21 19 1900 BMG Music
32. KELLY. THE BOY FROM KILLAN (2:29)
The Dubliners
(Traditional-The Dubiners
Recorded 1967, England, orig rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan vocals, fiddle, tin whist mandolin, guitar tar Barney McKenna: vocals, banjo, mandolin Claren Bourke vocals, guitar, tin whistle, harmonica, Ronnie Drew: vocals, guitar Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
13. MOUNTAIN DEW (209)
The Clancy Brothers With Tommy Makem (Traditional Clancy T. Cancy T, Makem
Recorded 1999, unknown, orig. rel. 1999
Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album Artisan Bos-Unised Gems Of The Clancy Brothers With Tommy Makem (ColumbiaLesy C2K 57639 1999 SONY BMC MUSIC ENTERTAINMENT
14. THE PUB WITH NO BEER (2:25)
The Dubliners
(G. Parsons!
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mancin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocal, guitar, tin whistle, harmonica Ronnie vocals, guitar, Luke Kelly: vocals, banjo
Drew:
From the album The Best Of The Dubliners (EpicLegacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
15. THE ROCKY ROAD TO DUBLIN (48) The Young Dubliners
(D. Finch S. Lew-J. Young
Recording date unknown, rel. 1994
Original Producer unknown
Personnel: Keith Roberts: lead vocals, acoustic guitar, Paul O'Toole:
vocals, acoustic
guitar, mandolin, harmonica; Randy Woolford: electric and acoustic guitar, vocals; Jeff Bellisant saxophones flute, vocals: Bren Holmes bass guitar, vocals Lovely Previn: electric and acoustic violin, viola, ca Jen Mattox drums, tambourine, salt shaker, large box, vocals From the album The Young Dubiners-Rocky Road Scott Bros. Records 72392 75420-21℗ 1994 Scott Be Records
16. FIELDS OF ATHENRY 4:25)
Dropkick Murphys
Recording date unknown, rel. 2003
Producer: Ken Casey
Personnel: Al Barr Ken Casey, Ryan Foltz, Matt Kelly,
James Lynch and Marc Orrell, vocals
From the album Blackout 180446-2 Hellcat Records)
2003 Hellcat Recor
27. WILD ROVER 9:25
Dropkick Murphys
(Traditional-arranged by Dropkick Murphys
Recording date unknown, el 2000
Original Producer unknown
Personnel: Al Barr, Ken Casey, Ryan Foltz, Matt Kelly,
James Lynch and Marc Orrell: vocals. Guest vocalist:
Shane MacGowan
From the album Singles Collection Volume 2, 1998-2004 sides, Covers, Comps & Other Cras (80469-2 Hellcat Record
2000 Heat Records
HOLY GROUND 12:09 Live
The Clancy Brothers With Tommy Makem (T. Clancy)
Recorded 11/5/66, New York, rel. 1995
Producer: John Hammond
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album Ain't It Grand Boys-Unissued Gems Of The Clancy Brothers With Tommy Makon (Columbia Legacy C2K 57639) 1995 SONY BMG MUSIC ENTERTAINMENT
MALONEY WANTS A DRINK (2:14) The Dubliners
ID. Behan)
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica: Ronnie Drew: vocals, guitar Luke Kelly: vocals, banjo
From the album The Best Of The Dublines (Epic/Legacy EK 86021) Originally Red 1968 SONY SMG MUSIC ENTERTAINMENT
THE LEAVING OF LIVERPOOL (24) The Clancy Brothers With Tommy Makem (Traditional-P. Clancy-T. Clancy-L. Clancy-1. Makem) Recorded 12/16/63, unknown, orig. rel. 1964 Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Maker Super Hits (Columbia/Legacy CK 535400
Originally Released 1964 SONY BMG MUSIC ENTERTAINMENT
THE RISING OF THE MOON (2:58)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar, Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica; Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
From the album The Best Of The Dubiners (Epic/Legacy EK 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT FARE THEE WELL ENNISKILLEN (29) The Clancy Brothers With Tommy Makem
(T. Makem)
Recorded 1/21/6/9, unknown, orig. rel. 1969 Producer: John Hammond
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album The Clancy Brothers & Tommy Make Super Hits
Columbia Legacy CK 635400
Originally Released 1969 SONY BMG MUSIC ENTERTAINMENT
MUIRSHEEN DURKIN' (232)
The Dubliners
Traditional-The Dubliners)
Recorded 1967, England, orig. rel. 1968
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle, mandolin, guitar Barney McKenna: vocals, banjo, mandolin Ciarán Bourke: vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars, Luke Kelly: vocals, banjo
ALL FOR ME GROG (2:0) The Clancy Brothers
(Arranged & adapted by T. Clancy-L. Clancy-T. Makem Recorded 1/21/69, unknown, orig. rel. 1968
Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy: vocals From the album Irish Drinking Songs (Columbia/Legacy CK 52833) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
JOHNNY, I HARDLY KNEW YE 0:45 The Clancy Brothers With Tommy Makem (Traditional P. Clancy-T. Clancy-L. Clancy. Makem D. Hammond)
Recorded 11/17/61, loc. unknown, orig, rel 1962 Original Producer unknown
Personnel: Pat Clancy, Tom Clancy, Liam Clancy, Tommy Makem: vocals
From the album The Clancy Brothers And Tommy Maker Super Hits
Columbia/Legacy CK 615400
Originally Released 1962 SONY EMG MUSIC ENTERTAINMENT
A NATION ONCE AGAIN (242) The Dubliners
IT. Davis-D. Behan
Recorded 1967, England, orig, rel. 1968 Producer: Tommy Scott
Personnel: John Sheahan: vocal, fiddle, tin whistle mandolin, guitar; Barney McKenna: vocals, banjo, mandolin, Ciarán Bourke: vocals, guitar, tin whistle, harmonica: Ronnie Drew: vocal Ronnie Drew: guitar; Luke Kelly: vocals, banjo From the album The Best Of The Dubliners (Epio/Legacy EK 86021) Originally Released 198 SONY BMG MUSIC ENTERTAINMENT
THE ROSE OF TRALEE (3:42) (Live) Frank Patterson
Spencer-Glover-T. C. Kelly)
Recording data/loc. unknown, orig. rel.1999
Producer: Eily O'Grady
Personnel: Geraldin O'Grady, Donagh Keogh, Eanan Patterson: violin The Eily O'Grady Irish Harp Orchestra, Irish Promenade Orchestra, John Tate, conductor From the album God Bless America! (RCA Victor 09026-63659-2) 1999 BMG Music
SEVEN DRUNKEN NIGHTS (45) The Dubliners
IR. Drew-L. Kelly-8. McKenna-C. Bourke-J. Sheahan) Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar, Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
From the album The Best Of The Dubliners (Epic/Legacy EK 86021) Originally Released 1967 SONY BMG MUSIC ENTERTAINMENT
BLACK VELVET BAND (4:23)
The Dubliners
(R. Drew-L. Kelly-B. McKenna-C. Bourke-J. Shenand Recorded 1967, England, orig. rel. 1967
Producer: Tommy Scott
Personnel: John Sheahan: vocals, fiddle, tin whistle,
mandolin, guitar; Barney McKenna: vocals, banjo, mandolin
Ciarán Bourke: vocals, guitar, tin whistle, harmonica
Ronnie Drew: vocals, guitars Luke Kelly: vocals, banjo
from the album The Best Of The Dubliners (Epic/Legacy EK 860211 Originally Released 1967 SONY BMC MUSIC ENTERTAINMENT
AMSTERDAM MISTRESS (29)
Joe Hurley & Rogue's March
W. Hurley-Arranged by Rogue's March)
Recording date unknown, Hoboken, NJ, New York, rel. 1994
Producer: Jimmy Harry
Personnel: Joe Hurley: lead vocals: Gary Johannes:
bouzouki, mandolin, whistle, vocals, Kenny Margolis:
accordion, piano, Jimmy Harry: electric & acoustic guitars, B
Dan Prater: bass guitar, vocals: Bill Gerstel:
drums, percussion
From the album Never Fear (Arban Records JGKBD-1) ℗ 1992 Arban Records
SALLY MACLENNANE (2:500 (Live)
The Poques
(5. MacGowan)
Recording date unknown, Switzerland, orig. rel. unknown
Original Producer unknown
Personnel: Shane MacGowan: vocal; Spider Stacy: tin
whistle: Jem Finer: banjo; guitar, Andrew David Ranken: drums Darryl Hunt: bass Philip Chevron: vocals From the album Streams of Whiskey-Live In Leysin, Switzerland
1991 (Silverlie Records 284559-2)
© 2002 Silverline Records
THE DIRTY GLASS 30
Dropkick Murphys
(Dropkick Murphy)
Recording date unknown, The Outpost, Stoughton, MA
Producer: Ken Casey
Personnel: Dropkick Murphys: Al Barr, Ken Casey,
Ryan Foltz, Matt Kelly, James Lynch and Marc Orrell: vocals Stephanie Doherty: additional vocals
From the album Blackout Hellcat Record 00446-2)
2003 Hellcat Records
WHISKEY, YOU'RE THE DEVIL 12:13) (Live)
The Clancy Brothers With Tommy Makem U. Clancy L. Clancy-T. Clancy-P. Clancy)
Recorded 11/17/61, The Gate of Horn, Chicago, orig, rel. 1962 Producer: Bob Morgan_
Personnel: Pat Clancy, Tom Clancy, Liam Clancy,
Tommy Makem: vocals
From the album Irish Drinking Songs (Columbia Legacy CK 528331 Originally Released 1962 SONY BMC MUSIC ENTERTAINMEN Tom the album The Best Of The Dubliners (Epio/Legacy EK 86021) Originally Released 1968 SONY BMG MUSIC ENTERTAINMENT
DIRTY OLD TOWN (4:02) (Live) The Pogues (L. McColl
Recording date original rel. date unknown Original Producer unknown
Personnel: Shane MacGowan: vocat Spider Stacy: tin whistle Jem Finer: banjo; guitar: Andrew David Ranken: drums: Darryl Hunt: bass Philip Chevron vocal
Terry Woods:
From the album Streams of Whiskey- Live In Leys in, Switzerland
1991 (Silverline Record 254559-2)
©2002 Sanctuary Records Group Ltd
