The Irish Rovers Lyrics And Guitar Chords
The Irish Rovers ballad group song lyrics and guitar chords in the chordpro format.The band recorded many more songs that are located in the other sections of the site. The one's here are those most associated folk songs with the group. More songs will be added soon.
: Their Impact on Irish Music
Introduction
Irish music is a rich and vibrant cultural tradition that has influenced music around the world. The Irish Rovers are a prominent and influential group within this tradition. Formed in the 1960s, the Irish Rovers have become one of the most beloved and well-known Irish bands, with a career spanning over five decades. Through their music, performances, and cultural contributions, the Irish Rovers have had a significant impact on Irish music.
Origins and Early Career
The Irish Rovers were formed in Toronto, Canada in 1963 by siblings George Millar, Wilcil McDowell, and Joe Millar. The trio was later joined by fellow Irish immigrants Jimmy Ferguson and Joe Millar's son, Ian. Together, they began performing traditional Irish music in local pubs and clubs, quickly gaining a following. With their energetic performances and authentic sound, the Irish Rovers soon became a popular act in the Toronto music scene.
In 1966, the Irish Rovers released their debut album, 'The First of the Irish Rovers,' which included traditional Irish songs and some original compositions. The album was a commercial success, reaching number one on the Canadian charts and earning the band a Gold record. This initial success set the stage for the Irish Rovers' future impact on Irish music.
Reviving Traditional Irish Music
During the 1960s, Irish music was experiencing a revival, with artists like The Clancy Brothers and Tommy Makem bringing traditional Irish songs to mainstream audiences. The Irish Rovers were part of this movement, but they also brought their own unique style to the genre. While other artists focused on the more serious and political aspects of Irish music, the Irish Rovers brought a sense of fun and humor to their performances.
One of the ways the Irish Rovers revived traditional Irish music was through their use of traditional instruments. The band's lineup included a wide range of instruments, such as the tin whistle, banjo, accordion, and bodhrán, which were commonly used in Irish music but had fallen out of favor in popular music. The Irish Rovers' use of these instruments helped to reintroduce them to a wider audience and solidify their place in Irish music.
In addition to their instrumentation, the Irish Rovers also revived traditional Irish songs. They recorded many classic songs, such as 'The Bonnie Lass of Fyvie,' 'The Black Velvet Band,' and 'The Wild Rover,' introducing them to new audiences and keeping them alive for future generations. The band's arrangements of these songs were often more upbeat and lively than the traditional versions, making them more accessible to younger listeners.
International Success and Cultural Impact
The Irish Rovers' popularity continued to grow throughout the 1970s, with the release of hit songs like 'The Unicorn' and 'Wasn't That a Party.' These songs, along with their energetic live performances, helped the band gain a global following. They toured extensively, bringing their unique brand of Irish music to countries around the world and introducing audiences to the rich musical traditions of Ireland.
In addition to their music, the Irish Rovers also had a significant impact on Irish culture. They were instrumental in promoting Irish dance through their performances, often incorporating traditional Irish dancing into their live shows. The band also helped to promote Irish culture through their annual St. Patrick's Day concerts, which have become a beloved tradition for fans around the world.
Legacy and Continued Influence
The Irish Rovers' impact on Irish music is still felt today. Their music continues to be played and enjoyed by new generations, and their influence can be heard in the work of many contemporary Irish and Irish-American artists. The band's longevity and continued success are a testament to their enduring impact on the genre.
In addition to their musical legacy, the Irish Rovers have also made significant contributions to charity. They have supported numerous causes, including organizations that promote Irish culture and heritage. Through their charitable work, the band has not only had a positive impact on Irish music but also on the wider community.
Conclusion
In conclusion, the Irish Rovers have had a significant impact on Irish music through their revival of traditional songs and instruments, international success, and cultural contributions. Their unique style and brand of Irish music have made them beloved by fans around the world and have helped to promote and preserve Irish musical traditions. The Irish Rovers will forever hold a special place in the history of Irish music and will continue to be an inspiration for future generations of musicians.
Introduction
Irish music is a rich and vibrant cultural tradition that has influenced music around the world. The Irish Rovers are a prominent and influential group within this tradition. Formed in the 1960s, the Irish Rovers have become one of the most beloved and well-known Irish bands, with a career spanning over five decades. Through their music, performances, and cultural contributions, the Irish Rovers have had a significant impact on Irish music.
Origins and Early Career
The Irish Rovers were formed in Toronto, Canada in 1963 by siblings George Millar, Wilcil McDowell, and Joe Millar. The trio was later joined by fellow Irish immigrants Jimmy Ferguson and Joe Millar's son, Ian. Together, they began performing traditional Irish music in local pubs and clubs, quickly gaining a following. With their energetic performances and authentic sound, the Irish Rovers soon became a popular act in the Toronto music scene.
In 1966, the Irish Rovers released their debut album, 'The First of the Irish Rovers,' which included traditional Irish songs and some original compositions. The album was a commercial success, reaching number one on the Canadian charts and earning the band a Gold record. This initial success set the stage for the Irish Rovers' future impact on Irish music.
Reviving Traditional Irish Music
During the 1960s, Irish music was experiencing a revival, with artists like The Clancy Brothers and Tommy Makem bringing traditional Irish songs to mainstream audiences. The Irish Rovers were part of this movement, but they also brought their own unique style to the genre. While other artists focused on the more serious and political aspects of Irish music, the Irish Rovers brought a sense of fun and humor to their performances.
One of the ways the Irish Rovers revived traditional Irish music was through their use of traditional instruments. The band's lineup included a wide range of instruments, such as the tin whistle, banjo, accordion, and bodhrán, which were commonly used in Irish music but had fallen out of favor in popular music. The Irish Rovers' use of these instruments helped to reintroduce them to a wider audience and solidify their place in Irish music.
In addition to their instrumentation, the Irish Rovers also revived traditional Irish songs. They recorded many classic songs, such as 'The Bonnie Lass of Fyvie,' 'The Black Velvet Band,' and 'The Wild Rover,' introducing them to new audiences and keeping them alive for future generations. The band's arrangements of these songs were often more upbeat and lively than the traditional versions, making them more accessible to younger listeners.
International Success and Cultural Impact
The Irish Rovers' popularity continued to grow throughout the 1970s, with the release of hit songs like 'The Unicorn' and 'Wasn't That a Party.' These songs, along with their energetic live performances, helped the band gain a global following. They toured extensively, bringing their unique brand of Irish music to countries around the world and introducing audiences to the rich musical traditions of Ireland.
In addition to their music, the Irish Rovers also had a significant impact on Irish culture. They were instrumental in promoting Irish dance through their performances, often incorporating traditional Irish dancing into their live shows. The band also helped to promote Irish culture through their annual St. Patrick's Day concerts, which have become a beloved tradition for fans around the world.
Legacy and Continued Influence
The Irish Rovers' impact on Irish music is still felt today. Their music continues to be played and enjoyed by new generations, and their influence can be heard in the work of many contemporary Irish and Irish-American artists. The band's longevity and continued success are a testament to their enduring impact on the genre.
In addition to their musical legacy, the Irish Rovers have also made significant contributions to charity. They have supported numerous causes, including organizations that promote Irish culture and heritage. Through their charitable work, the band has not only had a positive impact on Irish music but also on the wider community.
Conclusion
In conclusion, the Irish Rovers have had a significant impact on Irish music through their revival of traditional songs and instruments, international success, and cultural contributions. Their unique style and brand of Irish music have made them beloved by fans around the world and have helped to promote and preserve Irish musical traditions. The Irish Rovers will forever hold a special place in the history of Irish music and will continue to be an inspiration for future generations of musicians.
Buy Us A Drink
Bluenose Lyrics And Chords
The Boys Of Belfast
The Bonnie Lady
The Banshee’s Cry
Cape Anne
Come In
Donald Where's Your Trousers
Dublin O'Shea
The Day The Tall Ships Came
Hello Patsy Fagan
The Jolly Roving Tar
Kitty The Rose Of Kilrea
Lilly The Pink
Let The Lower Lights Be Burning
The Molecatcher
The Pride Of Portrush Town
Bluenose Lyrics And Chords
The Boys Of Belfast
The Bonnie Lady
The Banshee’s Cry
Cape Anne
Come In
Donald Where's Your Trousers
Dublin O'Shea
The Day The Tall Ships Came
Hello Patsy Fagan
The Jolly Roving Tar
Kitty The Rose Of Kilrea
Lilly The Pink
Let The Lower Lights Be Burning
The Molecatcher
The Pride Of Portrush Town
Missionary's Child
The Other Side Of The Evening
The Rake
Kellswater
Rio Grande
The Wanderer And The Whale
Two Little Boys
Titanic
The Best of the Irish Rovers Album Review
While being interviewed for notes for the 1999 MCA Records compilation The Best of the Irish Rovers, co-founder and current leader George Millar let it be known that he'd like to see an album concentrating less on the novelty songs they'd been so successful with on record "The Unicorn," and "The Biplane, Ever More," for instance- and more on the traditional or traditional-styled Irish material that has made them favorite concert entertainers for more than three decades. Millar, for various reasons, was unable to participate in the preparation of this album, but we hope that it's close to what he had in mind... a selection of songs reflecting the Irish experience, recorded for Decca Records between 1968-1971.
The Irish Rovers Then Nearing their thirty-sixth year of entertaining the public, the Irish Rovers were born as a group in Canada, with brother Will and George Millar and their cousin, Joe Millar - all expatriates from Ballymena, in County Antrim and Jimmy Ferguson, who'd moved to Toronto from Belfast.
The group moved to California, where they quickly caught on in San Francisco clubs. On a visit to the Ice House, a club in Pasadena, they were spotted by Decca Records executive Charles "Bud" Dant, who signed them to the label. Their second album included a song, "The Unicorn," that Will had been singing on his children's TV show in Calgary. The number became an international hit; one they're still singing every performance today, more than 25 albums later (that song, several more of their popular favorites and a more complete group biography were gathered on The Best of the Irish Rovers, MCAD-11958).The Recordings
On this album, as for the first thirty years of their career, George Millar plays guitar and sings backing vocals. Joe Millar plays harmonica and button accordion ("which we called in Ireland a Melodeon," notes Will). Jimmy Ferguson sang many of the lead vocals, alternating with Will, and took over the onstage hosting when Will left the band. Jimmy had the larger voice; Will sings like a leprechaun. Wilcil McDowell, a champion accordion player, joined for the band's third album, All Hung Up, after Joe Millar's temporary departure. He also played electronic keyboards. Will Millar kids that he was (and remains) "the bane of every road guy, because I played about 16 instruments." On these recordings, he's heard predominantly on pennywhistle, autoharp, mandolin and four-string banjo, and opens the album on bodhran, the traditional Irish drum. On record, Will says, the band always used a session musician on bass, and often brought in lead guitarists including Glen Campbell and Mike Deasy. Bud Dant, producer of several of these sessions, occasionally took the band's unfinished tapes to Nashville, overdubbing local musicians there.
The Songs
"King of the Faeries" was a tune that Will and George Millar's father played on the button accordion, to which Will added an old poem. "The rest of the Rovers were content to let me plunder away with my old books and sit in folk clubs, listening for material- they didn't do that (kind of research); they were more interested in the Beatles." Will sings lead. Sean McCarthy was a singer and songwriter from Tralee, in County Kerry, with whom Will had "many great sessions. He wasn't much of a singer, but people loved him because he was a great storyteller." McCarthy wrote all his own material; "Mountain Tay" is one of those songs, with all of the Rovers alternating vocals. Notes Will, "It's a protest song, if you like. The Irish were forced to pay high taxes to the English government, so illegal distilling became a respectable trade in story and song." Joe Millar sings lead on "Bridget Flynn," a traditional number that will adapted for the Rovers.
"Up Among The Heather" is "...a Highland melody with my adapted words," says Will. "I heard it originally sung in a folk club in Scotland when the Rovers were doing one of our TV shows on location in the Highlands, about 1970. The line 'never trust an Irishman an inch above yer knee' was a slogan to live by, back then when we rolled into town."
The Millars had been a musical family long before Will, George and Joe teamed up professionally. When the family would gather for singing sessions, "Bonnie Kellswater" was their grandmother's "party piece." Will loves the melody of "Bonnie Kellswater" so much that he included it on one of his own instrumental albums. Joe sings lead here. Kellswater itself is only a few miles from where the Millars grew up; the actor Liam Neeson is from the same area.
Going to school in Northern Ireland, Will says, the future Rovers learned a version of Irish history that favored the English. After the success of "The Unicorn," Will moved back to Ireland, "just about the time the bombs started going off (after the English occupation)... I was really into the civil unrest and started learning Irish history. 'Pat from Mullingar' was a poem from an Irish rebel book. It was quite kosher in those days to sing rebel songs. Jimmy came from a real rebel area of Belfast and was quite happy to sing them. Mullingar is on the border between the north and south - bandit country as they call it."
The Rovers had a television variety series that ran in Canada for six years, followed by several specials. One of the regular features was a segment that "had girl dancers hammering it out" to instrumentals; "Rovers' Fancy" is such a number, combining two old fiddle tunes and featuring Wilcil's accordion.
While they were establishing themselves in the States, the Rovers based in San Francisco "I was living in my flat with a gorgeous hippie girl," recalls Will, "while we were playing at a club called the Blarney Stone, just a block from the corner of Haight and Ashbury I'd walk about with my tin whistle, seducing women. 'Pennywhistle Peddler' was a direct product of those days." Wilcil plays the harpsichord-sounding electronic keyboard on this number, as redolent of patchouli incense as it is of peat moss.
The next four songs are all based on historical events following the "potato famine or "great hunger" of 1845-1848. During that time, Ireland's population declined by more than 20% - half due to starvation, disease and freezing to death, and half as a result of emigrating to England or the United States or Canada. Of those who shipped to the United States and Canada, an estimated 20 per cent died at sea; another 20 per cent within weeks of arrival, the result of disease. "Shamrock Shore" deals with the move West, as do "Banks of Newfoundland" and "Shores of Americay." Will Millar notes that the "holy stone and sand" mentioned in "Banks of Newfoundland" refers to the pumice used in scrubbing decks.
When they arrived, many Irish found that (even though there had been entire battalions of their countrymen during the Civil War) they weren't welcome, especially in areas where they were competing with locals for what little work was available. And, many hated the English for perceived injustices back home. The Molly Maguires- named after a widow who had led social protests in Ireland 20 years earlier - was one of several secret brotherhoods formed by the immigrant Irish. Attempting to work in the coal mines of northeastern Pennsylvania and West Virginia, the Molly Maguires may have engaged in sabotage and assassination in their fight against discrimination and for better working conditions. Four - Alexander Campbell, Edward Kelly, John Donohue and Michael Doyle - were hanged for murder on "Black Thursday," Even today, some claim that the four were framed by railroad and coal interests who were fighting attempts at unionization. "The Lament of the Molly Maguires" stands un- equivocally behind the members of the group without challenging the charges against them. Will says that he has no idea where the concept of "Fiddler's Green" comes from. It's clearly a seafarer's heaven - what the landlubbers' song called "The Big Rock Candy Mountain" - and must have sounded quite appealing after several weeks on the Atlantic. The title crops up often, from pubs to a prominent Colorado concert venue. The three brief tunes that make up "The Rovers' Street Song Medley" are all Scottish in origin, though the Millars heard them at home: Northern Ireland and Scotland are - due to migration back and forth through the past several hundred years -- in some ways closer than Northern Ireland than the Irish Republic. "Little girls would be skipping down the streets, singing songs like 'You Canna Shove Your Granny Off the Bus'," recalls Will. "And they'd imitate bagpipes by holding their noses while they sane 'Ma, ma, will you buy me a banana'... You know the definition of 'gentleman'? It's some who knows how to play a bagpipe, but won't." Somehow, Doug Dillard's jaunty bluegrass banjo sounds right at home in this unusual context.
"Pigs Can't Fly," the final entry in this collection, sounds like an old street song, but isn't - Will wrote it in his San Francisco days. The Rovers knew a lot of songs for youngsters, dating from Will's days hosting a kid's show in Calgary, and in their own series, they'd dedicate a segment to such material each week.
The Irish Rovers Today
Will Millar split from his fellow Rovers in 1995. George and Joe Millar, Wilcil McDowell and Jimmy Ferguson continued until Ferguson's death in his sleep on October 8, 1997; the band was typically on the road at the time. Today, the roving Rovers consist of George and Joe Millar, Wilcil McDowell, John Reynolds, Sean O'Driscoll, and Kevin McKeown.
Will Millar's band, SOME MAD IRISHMEN, use back projections and Irish dancing in many of their shows; he's also released four instrumental albums under his own name. Of the split with his long-time "brothers" (in the figurative and literal sense), he notes, with a sigh, "We made a lot of great music together, and I certainly don't wish them any ill winds. We lived together for 30 years. There's a certain camaraderie that no one can match. It was too bad that it ended in a typical Irish fashion - rather stormily. There's certainly room for more Irish music in the world.
"If my grandchildren ask 'what did you do,' I can pull out those Rovers albums and there's me and my leprechaun voice and the rest of the boys singing: I'd be very proud of that."
- Todd Everett November 1999
While being interviewed for notes for the 1999 MCA Records compilation The Best of the Irish Rovers, co-founder and current leader George Millar let it be known that he'd like to see an album concentrating less on the novelty songs they'd been so successful with on record "The Unicorn," and "The Biplane, Ever More," for instance- and more on the traditional or traditional-styled Irish material that has made them favorite concert entertainers for more than three decades. Millar, for various reasons, was unable to participate in the preparation of this album, but we hope that it's close to what he had in mind... a selection of songs reflecting the Irish experience, recorded for Decca Records between 1968-1971.
The Irish Rovers Then Nearing their thirty-sixth year of entertaining the public, the Irish Rovers were born as a group in Canada, with brother Will and George Millar and their cousin, Joe Millar - all expatriates from Ballymena, in County Antrim and Jimmy Ferguson, who'd moved to Toronto from Belfast.
The group moved to California, where they quickly caught on in San Francisco clubs. On a visit to the Ice House, a club in Pasadena, they were spotted by Decca Records executive Charles "Bud" Dant, who signed them to the label. Their second album included a song, "The Unicorn," that Will had been singing on his children's TV show in Calgary. The number became an international hit; one they're still singing every performance today, more than 25 albums later (that song, several more of their popular favorites and a more complete group biography were gathered on The Best of the Irish Rovers, MCAD-11958).The Recordings
On this album, as for the first thirty years of their career, George Millar plays guitar and sings backing vocals. Joe Millar plays harmonica and button accordion ("which we called in Ireland a Melodeon," notes Will). Jimmy Ferguson sang many of the lead vocals, alternating with Will, and took over the onstage hosting when Will left the band. Jimmy had the larger voice; Will sings like a leprechaun. Wilcil McDowell, a champion accordion player, joined for the band's third album, All Hung Up, after Joe Millar's temporary departure. He also played electronic keyboards. Will Millar kids that he was (and remains) "the bane of every road guy, because I played about 16 instruments." On these recordings, he's heard predominantly on pennywhistle, autoharp, mandolin and four-string banjo, and opens the album on bodhran, the traditional Irish drum. On record, Will says, the band always used a session musician on bass, and often brought in lead guitarists including Glen Campbell and Mike Deasy. Bud Dant, producer of several of these sessions, occasionally took the band's unfinished tapes to Nashville, overdubbing local musicians there.
The Songs
"King of the Faeries" was a tune that Will and George Millar's father played on the button accordion, to which Will added an old poem. "The rest of the Rovers were content to let me plunder away with my old books and sit in folk clubs, listening for material- they didn't do that (kind of research); they were more interested in the Beatles." Will sings lead. Sean McCarthy was a singer and songwriter from Tralee, in County Kerry, with whom Will had "many great sessions. He wasn't much of a singer, but people loved him because he was a great storyteller." McCarthy wrote all his own material; "Mountain Tay" is one of those songs, with all of the Rovers alternating vocals. Notes Will, "It's a protest song, if you like. The Irish were forced to pay high taxes to the English government, so illegal distilling became a respectable trade in story and song." Joe Millar sings lead on "Bridget Flynn," a traditional number that will adapted for the Rovers.
"Up Among The Heather" is "...a Highland melody with my adapted words," says Will. "I heard it originally sung in a folk club in Scotland when the Rovers were doing one of our TV shows on location in the Highlands, about 1970. The line 'never trust an Irishman an inch above yer knee' was a slogan to live by, back then when we rolled into town."
The Millars had been a musical family long before Will, George and Joe teamed up professionally. When the family would gather for singing sessions, "Bonnie Kellswater" was their grandmother's "party piece." Will loves the melody of "Bonnie Kellswater" so much that he included it on one of his own instrumental albums. Joe sings lead here. Kellswater itself is only a few miles from where the Millars grew up; the actor Liam Neeson is from the same area.
Going to school in Northern Ireland, Will says, the future Rovers learned a version of Irish history that favored the English. After the success of "The Unicorn," Will moved back to Ireland, "just about the time the bombs started going off (after the English occupation)... I was really into the civil unrest and started learning Irish history. 'Pat from Mullingar' was a poem from an Irish rebel book. It was quite kosher in those days to sing rebel songs. Jimmy came from a real rebel area of Belfast and was quite happy to sing them. Mullingar is on the border between the north and south - bandit country as they call it."
The Rovers had a television variety series that ran in Canada for six years, followed by several specials. One of the regular features was a segment that "had girl dancers hammering it out" to instrumentals; "Rovers' Fancy" is such a number, combining two old fiddle tunes and featuring Wilcil's accordion.
While they were establishing themselves in the States, the Rovers based in San Francisco "I was living in my flat with a gorgeous hippie girl," recalls Will, "while we were playing at a club called the Blarney Stone, just a block from the corner of Haight and Ashbury I'd walk about with my tin whistle, seducing women. 'Pennywhistle Peddler' was a direct product of those days." Wilcil plays the harpsichord-sounding electronic keyboard on this number, as redolent of patchouli incense as it is of peat moss.
The next four songs are all based on historical events following the "potato famine or "great hunger" of 1845-1848. During that time, Ireland's population declined by more than 20% - half due to starvation, disease and freezing to death, and half as a result of emigrating to England or the United States or Canada. Of those who shipped to the United States and Canada, an estimated 20 per cent died at sea; another 20 per cent within weeks of arrival, the result of disease. "Shamrock Shore" deals with the move West, as do "Banks of Newfoundland" and "Shores of Americay." Will Millar notes that the "holy stone and sand" mentioned in "Banks of Newfoundland" refers to the pumice used in scrubbing decks.
When they arrived, many Irish found that (even though there had been entire battalions of their countrymen during the Civil War) they weren't welcome, especially in areas where they were competing with locals for what little work was available. And, many hated the English for perceived injustices back home. The Molly Maguires- named after a widow who had led social protests in Ireland 20 years earlier - was one of several secret brotherhoods formed by the immigrant Irish. Attempting to work in the coal mines of northeastern Pennsylvania and West Virginia, the Molly Maguires may have engaged in sabotage and assassination in their fight against discrimination and for better working conditions. Four - Alexander Campbell, Edward Kelly, John Donohue and Michael Doyle - were hanged for murder on "Black Thursday," Even today, some claim that the four were framed by railroad and coal interests who were fighting attempts at unionization. "The Lament of the Molly Maguires" stands un- equivocally behind the members of the group without challenging the charges against them. Will says that he has no idea where the concept of "Fiddler's Green" comes from. It's clearly a seafarer's heaven - what the landlubbers' song called "The Big Rock Candy Mountain" - and must have sounded quite appealing after several weeks on the Atlantic. The title crops up often, from pubs to a prominent Colorado concert venue. The three brief tunes that make up "The Rovers' Street Song Medley" are all Scottish in origin, though the Millars heard them at home: Northern Ireland and Scotland are - due to migration back and forth through the past several hundred years -- in some ways closer than Northern Ireland than the Irish Republic. "Little girls would be skipping down the streets, singing songs like 'You Canna Shove Your Granny Off the Bus'," recalls Will. "And they'd imitate bagpipes by holding their noses while they sane 'Ma, ma, will you buy me a banana'... You know the definition of 'gentleman'? It's some who knows how to play a bagpipe, but won't." Somehow, Doug Dillard's jaunty bluegrass banjo sounds right at home in this unusual context.
"Pigs Can't Fly," the final entry in this collection, sounds like an old street song, but isn't - Will wrote it in his San Francisco days. The Rovers knew a lot of songs for youngsters, dating from Will's days hosting a kid's show in Calgary, and in their own series, they'd dedicate a segment to such material each week.
The Irish Rovers Today
Will Millar split from his fellow Rovers in 1995. George and Joe Millar, Wilcil McDowell and Jimmy Ferguson continued until Ferguson's death in his sleep on October 8, 1997; the band was typically on the road at the time. Today, the roving Rovers consist of George and Joe Millar, Wilcil McDowell, John Reynolds, Sean O'Driscoll, and Kevin McKeown.
Will Millar's band, SOME MAD IRISHMEN, use back projections and Irish dancing in many of their shows; he's also released four instrumental albums under his own name. Of the split with his long-time "brothers" (in the figurative and literal sense), he notes, with a sigh, "We made a lot of great music together, and I certainly don't wish them any ill winds. We lived together for 30 years. There's a certain camaraderie that no one can match. It was too bad that it ended in a typical Irish fashion - rather stormily. There's certainly room for more Irish music in the world.
"If my grandchildren ask 'what did you do,' I can pull out those Rovers albums and there's me and my leprechaun voice and the rest of the boys singing: I'd be very proud of that."
- Todd Everett November 1999
"From the cradle to the grave the Irishman's life is set to music," wrote Redfern Mason in his splendid 1911 reference work The Song Lore of Ireland. "Nothing so great, nothing so small but the Irishman may put it into verse and enrich it with melody." The beguiling songs of the Emerald Isle have enchanted the world for centuries. From lullabies to battle cries, from the pangs of yearning to the bliss of fulfillment, Irish songs explore the entirety of human experience with singular verve and flair. This bountiful musical heritage has had many worthy champions over the years, but perhaps none quite so rakish, delightful, and thoroughly charming as The Irish Rovers. For millions of fans the world over, the Rovers are more than old and dear friends. They are literally the physical embodiment of Irish song. The tremendous success of their 1968 recording of "The Unicorn" transported the group from the folk circuit to the heady realm of pop stardom, but it is the traditional material they perform so inimitably well that serves as the foundation of their enduring success. In addition to interpreting the cream of yesteryear, the Rovers have also enriched the canon with original compositions that effortlessly replicate the feel and sound of considerably more venerable ballads. By definition, this collection of Irish favorites is also a celebration of The Irish Rovers at their very best. "We love and respect traditional music," noted founding member George Millar in a recent conversation, "so when we add new songs to our repertoire, we often try to make them sound traditional." This anthology opens with four Millar compositions that certainly fit the bill. "The Boys of Belfast" is a spirited, boastful tune, which has nothing to do with the "troubles" that beset the region, as Millar is quick to point out. "I got the idea thinking about sailors coming into port and getting ready to light up the town," he explained. "The Roving Trade" is about itinerant laborers who pick up odd jobs on the road. "These fellows worked hard," Millar elaborated. "They'd hire on for a week to do farm labor, and then take another sort of job in the next town. Always on the road, they weren't quite gypsies, but like a lot of my songs, this one goes back to the gypsy idea of living fancy-free." Following the example of "The Star of the County Down" and numerous similar romantic ballads, "Kitty the Rose of Kilrea" links a winsome lass with a particular region of Ireland. "Erin's Green Isle" is a heartfelt tribute to the breathtaking beauty of the entire country. "It's a love song to the land," offered Millar, before mischievously adding, "I should have been employed by the Tourism Board!"
"The Ballintoy Farmer" is a tale of woe that grafts a Millar lyric onto a traditional melody. The unfortunate protagonist has an ugly experience in what is actually a very lovely setting. "Ballintoy Harbor has a wonderful craggy outcropping looking over the wild Atlantic," explains Millar. "I like to go there to sit and think." The delightful "Will You Come and Marry Me?" revolves around yet another hotly pursued lassie (although the winner of this particular matrimonial sweepstakes does not succeed for the most romantic of reasons). "The Tinker" is a powerful piece written by another member of The Irish Rovers, guitar player and vocalist John Reynolds. It has become an audience favorite at the Rovers' many concert appearances. The tinkers were nomads reputed to harbor some rather questionable characters in their midst. "You still hear all sorts of wild, disreputable stories about the tinkers," says George. "It was a way of life. They used to travel the countryside in gally painted wagons, and now they get around in Jaguars and Mercedes." In the traditional ballad "Ten Thousand Miles Away," such a considerable distance separates the narrator from his true love because the unfortunate woman is doing time in a British penal colony in Australia. Folklorists will note that the chorus of this song also turns up in the sea shanty "A Capital Ship."
"The Rambler From Derry" is another George Millar original that returns us to more lighthearted subject matter, as does "The Pride Of Portrush Town," a love story set in County Antrim in Northern Ireland, the region where Millar was born and raised. "Little Brigid Flynn" is a classic song from the great Percy French, who wrote many popular comic novelties before his death in 1920, but is perhaps best remembered for his beautiful ballad "The Mountains O' Mourne." The seafaring life has long been a staple of Irish music, and it receives two rousing tributes here in "The Jolly Roving Tar" and "The Good Ship Rover." The former title has many traditional elements, but the majority of this particular version dates from the 1880s. "The Good Ship Rover" should not be confused with "The Irish Rover," another song about a sailing vessel from which Millar and the other lads derived their professional name in 1963. "The Good Ship Rover" is a highly sanitized treatment of a bawdy old pirate's limerick (the original words would require a "parental advisory" sticker on each copy of this release!). For many listeners, nothing is more representative of Irish instrumental music than the traditional reels, five of which appear here in a medley arranged by Rovers' accordionist Wilcil McDowell and Morris Crumb. "Sometimes purists say we play them a wee bit fast," adds George, "but this is stirring, exciting music that never fails to bring audiences to their feet."
"There are lots of great Irish songwriters around today," notes Millar, "and when we find one of their songs that we like we are happy to do it." Tommy Sands, who bears no relation to the pop star of the same name, first rose to prominence performing with his siblings as The Sands Family, one of the most influential Irish folk groups of the '60s and 70s. He remains active today, and has been a popular Belfast radio personality for many years. Once heard, his lilting composition "Down by the Lagan Side" is guaranteed to linger in your memory, and the Rovers do it full justice. The group was so impressed by this lovely tune that they chose it for the title track of an album released in 2000 on their own Rover Records label. Johnny McEvoy has been a popular Irish balladeer since the '60s. His song "Staten Island" deals with a particularly sad chapter in Erin's storied past, the consequences of the blight that wiped out Ireland's potato crop from 1845 to 1847. The resultant famine claimed nearly a million lives and prompted a massive wave of emigration. For many of these poor souls, New York's Staten Island was the gateway to their new life in America. In typical Irish fashion, this sprightly tune infuses memories of those difficult days with a buoyant sense of optimism and energetic hope that the Rovers convey with instinctive panache.
Our final two selections are slightly more melancholy, but no less appealing. "The Dark Island" is a haunting instrumental written by one of the great exponents of Scottish traditional music, lain McLachlan. Originally composed in 1958 as a pipe lament for a local doctor, it gained international fame when the BBC adopted it as the theme song for the television series The Dark Island in 1963. A lyric was subsequently added, and since then well over 100 artists have recorded this memorable piece. "The Best of Friends Must Part" has a natural place toward the end of the line-up at a typical Rovers concert. "It's a nice way to acknowledge the many friends we get to see only once a year or so when we roll through their towns," explains Millar. For the group itself, however, the song has a different and more poignant connotation. Millar was inspired to write it in part by the passing of Jimmy Ferguson, with whom he co-founded The Irish Rovers in 1963. Ferguson's comic antics were a highlight of every Rovers performance, and it was a terrible loss when he unexpectedly died in his sleep in 1997. His joyful spirit lives on in the continuing saga of The Irish Rovers, which shows no sign of coming to an end even after forty years. Much like the irresistible Irish music that makes up this indispensable collection, their appeal seems to be timeless. -Joseph F. Laredo
"The Ballintoy Farmer" is a tale of woe that grafts a Millar lyric onto a traditional melody. The unfortunate protagonist has an ugly experience in what is actually a very lovely setting. "Ballintoy Harbor has a wonderful craggy outcropping looking over the wild Atlantic," explains Millar. "I like to go there to sit and think." The delightful "Will You Come and Marry Me?" revolves around yet another hotly pursued lassie (although the winner of this particular matrimonial sweepstakes does not succeed for the most romantic of reasons). "The Tinker" is a powerful piece written by another member of The Irish Rovers, guitar player and vocalist John Reynolds. It has become an audience favorite at the Rovers' many concert appearances. The tinkers were nomads reputed to harbor some rather questionable characters in their midst. "You still hear all sorts of wild, disreputable stories about the tinkers," says George. "It was a way of life. They used to travel the countryside in gally painted wagons, and now they get around in Jaguars and Mercedes." In the traditional ballad "Ten Thousand Miles Away," such a considerable distance separates the narrator from his true love because the unfortunate woman is doing time in a British penal colony in Australia. Folklorists will note that the chorus of this song also turns up in the sea shanty "A Capital Ship."
"The Rambler From Derry" is another George Millar original that returns us to more lighthearted subject matter, as does "The Pride Of Portrush Town," a love story set in County Antrim in Northern Ireland, the region where Millar was born and raised. "Little Brigid Flynn" is a classic song from the great Percy French, who wrote many popular comic novelties before his death in 1920, but is perhaps best remembered for his beautiful ballad "The Mountains O' Mourne." The seafaring life has long been a staple of Irish music, and it receives two rousing tributes here in "The Jolly Roving Tar" and "The Good Ship Rover." The former title has many traditional elements, but the majority of this particular version dates from the 1880s. "The Good Ship Rover" should not be confused with "The Irish Rover," another song about a sailing vessel from which Millar and the other lads derived their professional name in 1963. "The Good Ship Rover" is a highly sanitized treatment of a bawdy old pirate's limerick (the original words would require a "parental advisory" sticker on each copy of this release!). For many listeners, nothing is more representative of Irish instrumental music than the traditional reels, five of which appear here in a medley arranged by Rovers' accordionist Wilcil McDowell and Morris Crumb. "Sometimes purists say we play them a wee bit fast," adds George, "but this is stirring, exciting music that never fails to bring audiences to their feet."
"There are lots of great Irish songwriters around today," notes Millar, "and when we find one of their songs that we like we are happy to do it." Tommy Sands, who bears no relation to the pop star of the same name, first rose to prominence performing with his siblings as The Sands Family, one of the most influential Irish folk groups of the '60s and 70s. He remains active today, and has been a popular Belfast radio personality for many years. Once heard, his lilting composition "Down by the Lagan Side" is guaranteed to linger in your memory, and the Rovers do it full justice. The group was so impressed by this lovely tune that they chose it for the title track of an album released in 2000 on their own Rover Records label. Johnny McEvoy has been a popular Irish balladeer since the '60s. His song "Staten Island" deals with a particularly sad chapter in Erin's storied past, the consequences of the blight that wiped out Ireland's potato crop from 1845 to 1847. The resultant famine claimed nearly a million lives and prompted a massive wave of emigration. For many of these poor souls, New York's Staten Island was the gateway to their new life in America. In typical Irish fashion, this sprightly tune infuses memories of those difficult days with a buoyant sense of optimism and energetic hope that the Rovers convey with instinctive panache.
Our final two selections are slightly more melancholy, but no less appealing. "The Dark Island" is a haunting instrumental written by one of the great exponents of Scottish traditional music, lain McLachlan. Originally composed in 1958 as a pipe lament for a local doctor, it gained international fame when the BBC adopted it as the theme song for the television series The Dark Island in 1963. A lyric was subsequently added, and since then well over 100 artists have recorded this memorable piece. "The Best of Friends Must Part" has a natural place toward the end of the line-up at a typical Rovers concert. "It's a nice way to acknowledge the many friends we get to see only once a year or so when we roll through their towns," explains Millar. For the group itself, however, the song has a different and more poignant connotation. Millar was inspired to write it in part by the passing of Jimmy Ferguson, with whom he co-founded The Irish Rovers in 1963. Ferguson's comic antics were a highlight of every Rovers performance, and it was a terrible loss when he unexpectedly died in his sleep in 1997. His joyful spirit lives on in the continuing saga of The Irish Rovers, which shows no sign of coming to an end even after forty years. Much like the irresistible Irish music that makes up this indispensable collection, their appeal seems to be timeless. -Joseph F. Laredo
