The Star Of The County Down Song Lyrics And Guitar Chords
The star of the county down fingerstyle guitar tab included. Written by Cathal McGarvey in 1920. The song is about a young lad infatuated with a girl [Rosie McCann] who he intends to marry if given the chance. Recorded by The Clancy Brothers, The Irish Rovers, Van Morrison, Nathan Carter, Orthodox Celts, The Wolfe Tones The High Kings The Pogues. The youtube video is one of the first ever recordings of the song by John McCormack. Did you know that John McCormack who was the top singer in Ireland from 1920 to 1940s refused to sing any song that was written by Percy French. This was because Percy French was a Protestant and John McCormack was a Catholic, that's how deep feeling were in Ireland at the time. Recently recorded by Angelo Kelly And Family. The Star Of The County Down Sheet Music Notes . The ukulele chords and tab are included. The Tyrone based folk group The Whistlin' Donkeys done a great job recording this song in 2019.The star of the county Down guitar tab added.
[Em] In Banbridge Town in the G County D Down
One Em morning last D July,
From a [Em] boreen green came a [G] sweet [D] colleen
And she [Em] smiled as she [D] passed me by. [Em]
She [G] looked so sweet from her [D] two bare feet
To the [Em] sheen of her nut brown [D] hair.
Such a [Em] coaxing elf, sure I [G] shook my [D] self
For to [Em] see I was [D] really [Em] there.
From [G] Bantry Bay up to [D] Derry Quay and
From [Em] Galway to Dublin [D] Town,
No [Em maid] I've seen like the G brown [D] colleen
That I [Em] met in the D County [Em] Down.
As she onward sped, sure I shook my head
And I looked with a feeling rare.
Then I said, says I, to a passer-by,
"Who's the maid with the nut-brown hair?"
Well, he smiled at me, and with pride says he,
"That's the gem of old Ireland's crown,
She's young Rosie McCann from the banks of the Bann,
She's the Star of the County Down."
Well I've traveled a bit, but ne'er was hit
Since my roving career began;
Then fair and square I surrendered there
To the charms of young Rose McCann.
I'd a heart to let and no tenant yet
Did I see in shawl or gown,
But in she went and I asked no rent
From the Star of the County Down.
At the harvest fair, I'll be surely there
And I'll dress in my Sunday clothes
With my shoes shone bright, and my hat cocked right
For a smile from my nut-brown Rose.
No pipe I'll smoke, and no horse I'll yoke
Though with rust my plow turns brown,
Till a smiling bride by my own fireside
Sits the Star of the County Down.
One Em morning last D July,
From a [Em] boreen green came a [G] sweet [D] colleen
And she [Em] smiled as she [D] passed me by. [Em]
She [G] looked so sweet from her [D] two bare feet
To the [Em] sheen of her nut brown [D] hair.
Such a [Em] coaxing elf, sure I [G] shook my [D] self
For to [Em] see I was [D] really [Em] there.
From [G] Bantry Bay up to [D] Derry Quay and
From [Em] Galway to Dublin [D] Town,
No [Em maid] I've seen like the G brown [D] colleen
That I [Em] met in the D County [Em] Down.
As she onward sped, sure I shook my head
And I looked with a feeling rare.
Then I said, says I, to a passer-by,
"Who's the maid with the nut-brown hair?"
Well, he smiled at me, and with pride says he,
"That's the gem of old Ireland's crown,
She's young Rosie McCann from the banks of the Bann,
She's the Star of the County Down."
Well I've traveled a bit, but ne'er was hit
Since my roving career began;
Then fair and square I surrendered there
To the charms of young Rose McCann.
I'd a heart to let and no tenant yet
Did I see in shawl or gown,
But in she went and I asked no rent
From the Star of the County Down.
At the harvest fair, I'll be surely there
And I'll dress in my Sunday clothes
With my shoes shone bright, and my hat cocked right
For a smile from my nut-brown Rose.
No pipe I'll smoke, and no horse I'll yoke
Though with rust my plow turns brown,
Till a smiling bride by my own fireside
Sits the Star of the County Down.
Here's another version of the chords in the key of Am.
[Am] In Banbridge Town in the G County D Down
One Em morning last D July,
From a [Am] boreen green came a [C] sweet [G] colleen
And she [Am] smiled as she [G] passed me by. [Am]
She [C] looked so sweet from her [G] two bare feet
To the [Am] sheen of her nut brown [G] hair.
Such a [Am] coaxing elf, sure I [C] shook my [G] self
For to [Am] see I was [G] really [Am] there.
From [C] Bantry Bay up to [G] Derry Quay and
From [Am] Galway to Dublin [G] Town,
No [Am maid] I've seen like the G brown [G] colleen
That I [Am] met in the D County [Am] Down.
[Am] In Banbridge Town in the G County D Down
One Em morning last D July,
From a [Am] boreen green came a [C] sweet [G] colleen
And she [Am] smiled as she [G] passed me by. [Am]
She [C] looked so sweet from her [G] two bare feet
To the [Am] sheen of her nut brown [G] hair.
Such a [Am] coaxing elf, sure I [C] shook my [G] self
For to [Am] see I was [G] really [Am] there.
From [C] Bantry Bay up to [G] Derry Quay and
From [Am] Galway to Dublin [G] Town,
No [Am maid] I've seen like the G brown [G] colleen
That I [Am] met in the D County [Am] Down.
Here the chords as played by Angelo Kelly And Family
[Am] In Banbridge Town in the [F] County [Am] Down
One Em morning last [Em] July,
From a [Am] boreen green came a [F] sweet col[G]leen
And she smiled as she passed me [Am]by.
She [C] looked so sweet from her [G] two bare feet
To the [Am] sheen of her nut brown [Em] hair.
Such a [Am] coaxing elf, sure I [F] shook my self
To make sure [G] see I was really [Am] there.
From [C] Bantry Bay up to [G] Derry Quay and
From [Am] Galway to Dublin [Em] Town,
No [Am] maid I've seen like the [F] sweet [D] colleen
That I [G] met in the County [Am] Down.
[Am] In Banbridge Town in the [F] County [Am] Down
One Em morning last [Em] July,
From a [Am] boreen green came a [F] sweet col[G]leen
And she smiled as she passed me [Am]by.
She [C] looked so sweet from her [G] two bare feet
To the [Am] sheen of her nut brown [Em] hair.
Such a [Am] coaxing elf, sure I [F] shook my self
To make sure [G] see I was really [Am] there.
From [C] Bantry Bay up to [G] Derry Quay and
From [Am] Galway to Dublin [Em] Town,
No [Am] maid I've seen like the [F] sweet [D] colleen
That I [G] met in the County [Am] Down.
The Star of the County Down is a traditional Irish folk song that has captured the hearts of listeners for generations. Its captivating melody and romantic lyrics have made it one of the most beloved songs in Irish music, with countless covers and variations by artists from all around the world. But beyond its beauty and popularity, the song also holds a deeper meaning and significance, reflecting the cultural and historical context of Ireland.
The origins of The Star of the County Down can be traced back to the mid-19th century, during a time of great turmoil in Ireland. The country was still recovering from the devastating Great Famine, which had caused widespread poverty and emigration. During this period, traditional Irish music played a crucial role in preserving the culture and identity of the Irish people. The Star of the County Down is just one of the many songs that emerged during this era, with its lyrics and melody reflecting the struggles and hopes of the Irish people.
The song tells the tale of a young man who falls in love with a beautiful woman, the star of the County Down. He is captivated by her beauty and charm, and is determined to win her heart. The lyrics paint a vivid picture of the Irish countryside, with its rolling hills, winding rivers, and lush green fields. This romantic setting serves as a backdrop for the love story, adding a touch of nostalgia and longing to the song.
But beyond the romantic aspect, The Star of the County Down also has a deeper meaning that reflects the cultural and historical context of Ireland. The woman in the song is described as being 'rosy-cheeked' and 'bright as the sun,' a common motif in Irish folklore. This imagery is often associated with the goddess Brigid, a prominent figure in Irish mythology who is said to embody the essence of Ireland and its people. In this sense, the woman in the song can be interpreted as a symbol of Ireland itself, with the young man's quest to win her heart representing the Irish people's struggle to preserve their culture and identity.
The song also reflects the theme of emigration, a prevalent issue in Ireland during the 19th century. The young man's determination to win the star of the County Down's heart is mirrored by the Irish people's determination to hold onto their homeland and culture, even in the face of hardship and adversity. This theme is further emphasized in the last verse of the song, where the young man proclaims, 'But I'll travel the road, until I return, to the star of the County Down.' This line can be interpreted as a promise to never forget one's roots, even when far away from home.
Throughout the years, The Star of the County Down has been adapted and reinterpreted by various artists, each bringing their own unique style and perspective to the song. One notable version is by the Irish folk group The Dubliners, who added a sense of liveliness and energy to the song with their upbeat instrumental accompaniment. Another popular cover is by American folk singer Van Morrison, who infused the song with his soulful vocals and bluesy guitar playing.
The enduring popularity of The Star of the County Down is a testament to its timeless appeal and universal message. The song's romantic lyrics and enchanting melody have captured the hearts of listeners from all walks of life, while its deeper meaning and cultural significance make it a treasured piece of Irish heritage. Whether it is performed in a pub in Ireland or on a stage in another country, The Star of the County Down continues to evoke a sense of nostalgia and pride in the hearts of all who hear it.
The origins of The Star of the County Down can be traced back to the mid-19th century, during a time of great turmoil in Ireland. The country was still recovering from the devastating Great Famine, which had caused widespread poverty and emigration. During this period, traditional Irish music played a crucial role in preserving the culture and identity of the Irish people. The Star of the County Down is just one of the many songs that emerged during this era, with its lyrics and melody reflecting the struggles and hopes of the Irish people.
The song tells the tale of a young man who falls in love with a beautiful woman, the star of the County Down. He is captivated by her beauty and charm, and is determined to win her heart. The lyrics paint a vivid picture of the Irish countryside, with its rolling hills, winding rivers, and lush green fields. This romantic setting serves as a backdrop for the love story, adding a touch of nostalgia and longing to the song.
But beyond the romantic aspect, The Star of the County Down also has a deeper meaning that reflects the cultural and historical context of Ireland. The woman in the song is described as being 'rosy-cheeked' and 'bright as the sun,' a common motif in Irish folklore. This imagery is often associated with the goddess Brigid, a prominent figure in Irish mythology who is said to embody the essence of Ireland and its people. In this sense, the woman in the song can be interpreted as a symbol of Ireland itself, with the young man's quest to win her heart representing the Irish people's struggle to preserve their culture and identity.
The song also reflects the theme of emigration, a prevalent issue in Ireland during the 19th century. The young man's determination to win the star of the County Down's heart is mirrored by the Irish people's determination to hold onto their homeland and culture, even in the face of hardship and adversity. This theme is further emphasized in the last verse of the song, where the young man proclaims, 'But I'll travel the road, until I return, to the star of the County Down.' This line can be interpreted as a promise to never forget one's roots, even when far away from home.
Throughout the years, The Star of the County Down has been adapted and reinterpreted by various artists, each bringing their own unique style and perspective to the song. One notable version is by the Irish folk group The Dubliners, who added a sense of liveliness and energy to the song with their upbeat instrumental accompaniment. Another popular cover is by American folk singer Van Morrison, who infused the song with his soulful vocals and bluesy guitar playing.
The enduring popularity of The Star of the County Down is a testament to its timeless appeal and universal message. The song's romantic lyrics and enchanting melody have captured the hearts of listeners from all walks of life, while its deeper meaning and cultural significance make it a treasured piece of Irish heritage. Whether it is performed in a pub in Ireland or on a stage in another country, The Star of the County Down continues to evoke a sense of nostalgia and pride in the hearts of all who hear it.
The star of the County Down fingerstyle guitar tab- The PDF version has the chords also.
| the_star_of_the_co._down_guitar_tab_with_chords.pdf |
County Down Road Sign
The star of the county Down guitar tab
Star of the county Down Ukulele tab
And Below Is The star of the County Down tenor guitar tab in CGDA Tuning
A Little Bit Of Heaven . Twenty five Vintage Irish Songs. Notes From The Album
The savage loves his native shore, or so the adage runs. Especially the Celtic savage. The above Tin Pan Alley evocation of the "Emerald Isle, with all its quaint clichés, demonstrates that national identification can reach megaproportions when appetite is whetted by the transatlantic divide. And when, musically speaking, the task is one of sating the nostalgia felt by the average Irishman (or even second- or third-generation Irishman) for things Irish and "The Ould Country", this inevitably means big business.
The folklore element which is so inherent a feature of the Irish mentality has always formed the stuff of Irish song, which has long been a standard "import" to the United States in a tradition going back, via Ball and Victor Herbert, to the days of Moore, Lover and others. "Irish Song" is now a broad generalisation embracing many diverse styles, generically including anything from pure folksong (of the type first collected by Edward Bunting, Moore, George Petrie, Perceval Graves, Stanford and Herbert Hughes) through to the "popular" (almost invariably tragically-tinged) ballad in the style of Moore or Balfe and the stage-Irish comic ditties of Percy French. Virtually any Irish song (not excepting more recent developments in the country-and-Westem mode) appears to be appreciated by a wide fratemity and the commercial demand for such material remains thus undiminished.
Traditional.
THE SONGS
The trad or folk-orientated element in Irish song is well represented in this collection by some of the best-known examples by great collectors and arrangers. Top of the list is Thomas Moore (1779-1852), the Dublin grocer's son who collected and arranged and also sang his "Irish Melodies" in salons British and American. This friend and first biographer of Byron arranged and published these in 10 volumes between 1807 and 1835. They have been, in recent years, rather snobbishly relegated to the second division for being too overtly sentimental and none too original in content but The Meeting Of The Waters, Oft In The Stilly Night and his most famous song of all. The Last Rose Of Summer (his 1813 arrangement and setting of an old Irish tune variously known as "The Groves of Blarney" and "The Young Man's Dream") all have a poignancy which is uncloyed by years. Moore's successor, another Dubliner, was the writer, painter, vocalist and darling of genteel society Samuel Lover (1797-1868). Not traditional at all, his best known clitty, Rory O'More, began life as a song before becoming first a novel then (for its day) an outstandingly successful play. The Dawning Of The Day, arranged by N. Clifford Page, is a trad tune set to words by the noted Irish topographer, romancier, philologist and sociologist Patrick Weston Joyce (1827-1914), a collaborator with Alfred Perceval Graves on the monumental 1860s' collection Ancient Music of Ireland. The Garden Where The Praties Grow, while purporting to be a folksong, appears to have been the work of Johnny Patterson (c. 1840- 1899). Among the collector-arrangers of more recent times, the name of Herbert Hughes (1882-1972) is a prominent one. The Belfast-bom composer-arranger produced various albums of Irish Country Songs. Volume 1 (1909) includes the gem She Moved Thro' The Fair, an "old Irish verse" arranged by the Co. Longford poet, playwright and versifier Padraic Colum (1881-1972) while the best-known item of Volume 4 is undoubtedly The Star Of The County Down, a traditional Ulster melody adapted to words by Cathal Garvey (1866- 1927).
Ballads
Crop failures in Ireland during the first half of the last century led to a mass exodus to America and elsewhere, fuelling the fires of nostalgia where song was concerned. An "Irish emigrant"-type ballad par excellence is the now time-honoured Kathleen Mavoumeen. Mock-Irish in theme and of English origin (it was published in Plymouth in 1838) it was composed by the London-born cellist, singer, publisher, inventor, singing-teacher and entrepreneur Frederick Nicholls Crouch (1808-1896); No. 4 of his "Irish Songs, it sets words by one "Mrs. Crawford" (c. 1799-1860). Off To Philadelphia, a jaunty émigré-song in quasi- folk style, is a typical Victorian ballad by the Worcestershire born organist Walter Battison Haynes (1859-1900) and, equally typical of its period (although as a nostalgic evocation of lost youth it rates among the world's finest songs), is The Kerry Dance. This golden song, combining unalloyed sentiment and rhythmic subtlety in equal measure, is one of the masterpieces of the Irish born London barrister James Lymon Molloy (1837-1909). Published in London in 1879, its text is by that other London barrister, Frederic E. Weatherly (1848-1929) whose own Danny Boy, a 1913 setting of the (London) Derry Air, is perhaps the best-loved of all Irish "ballads". More unashamedly sentimental, perhaps, are Macushla or The Green Hills Of Ireland (by the London born singer-songwriter Teresa Clotilde Del Riego alias Mrs. Leadbitter, 1876-1968). Victorian, too, but now almost a folksong, The Rose Of Tralee enjoys pride of place in any Irish song miscellany; it was the work of the London-bom theatre violinist and conductor Charles William Glover (1806-1863). The Lark In The Clear Air, founded on a beautiful trad. Irish air, dates from 1915. Its words are by the Belfast-born Scots-Irish poet and antiquary Sir James Ferguson (1810-1886) and it is No. 2 of "Songs, Opus 41" by the Italian born pianist-composer and folksong collector Michele Esposito (1855-1929).
Stage or film Irish songs
Fodder such as That's How I Spell I-R-E-L-A-N-D or even the jaunty The Pride Of Tipperary, however clever or catchy, is arguably of an order inferior to The Mountains O' Mourne (an 1896 adaptation of an old Irish tune by the composer-vocalist and Irish Inspector of Drains (sic!), the Co. Roscommon born William Percy French (1854-1920), Mother Machree (a hit from a 1910 Broadway musical, Barry of Ballymore) and our album title: A Little Bit Of Heaven (from another musical, of 1916 vintage, The Heart of Paddy Whack). The first of these last two was originally sung by its co-writer, the Buffalo-born tenor Chauncey Olcott (1858-1932); both had input from the Cleveland-bom composer Emest R. Ball (1878-1927), the latter setting some splendid dross by the San Francisco born entertainer and writer Joseph Keim Brennan (1873-1948).
THE SINGERS
It is surely no mistake and no sad thing that we should begin and end with John McCormack (1884-1945). This Athlone born American citizen was not only one of the most consummate vocal technicians on record over the most diverse repertoire but he also delivers Irish songs with a certain magic. On a par with him as a "story-teller" is the great Australian bass-baritone Peter Dawson, who had Scots ancestry but whose vast discography includes some fine Irish renderings. Still highly regarded in some circles as a connoisseur of song interpretation, the Co. Wicklow born Harry Plunket Greene (1865- 1936) has left some interesting records, while his one-time pupil, the Scots-Irish "singing priest" Canon Sydney MacEwan (1908-1991) displays an outstandingly lyrical quality in his earliest discs. Others of biographical note represented here include: the Derry-born James McCafferty (1900-1967), a famed early interpreter of Hughes's arrangements; Florence Austral (1894-1968), a Melbourne-born operatic dramatic soprano who modulates her large voice superbly in song material; the self-dubbed "Maggie from Mayo", Margaret Burke Sheridan (1889-1958), a one-time star of La Scala, Milan, who must certainly be rated among the greatest of recorded Irish singers; the Wolverhampton-born French-song expert and sometime star of the Chicago Opera, Dame Maggie Teyte (1888-1976), who claimed both Irish and Scots ancestry; Cavan O'Connor (b. 1899), the somewhat underestimated Nottinghamshire born tenor who, at this writing, is a hale 97-year-old; Richard Crooks (1900-1972), New Jersey born star of American Radio's Firestone Hour and New York Metropolitan, Morton Downey, Connecticut-bom, second-generation Irish dance band vocalist, radio tenor and aspiring film star (1901-1985); Delia Murphy, the Co. Mayo born folksong arranger and singer (1903-1971)... and several others who, in their various ways, have honoured the traditions of Irish song.
Peter Dempsey (1996)
The savage loves his native shore, or so the adage runs. Especially the Celtic savage. The above Tin Pan Alley evocation of the "Emerald Isle, with all its quaint clichés, demonstrates that national identification can reach megaproportions when appetite is whetted by the transatlantic divide. And when, musically speaking, the task is one of sating the nostalgia felt by the average Irishman (or even second- or third-generation Irishman) for things Irish and "The Ould Country", this inevitably means big business.
The folklore element which is so inherent a feature of the Irish mentality has always formed the stuff of Irish song, which has long been a standard "import" to the United States in a tradition going back, via Ball and Victor Herbert, to the days of Moore, Lover and others. "Irish Song" is now a broad generalisation embracing many diverse styles, generically including anything from pure folksong (of the type first collected by Edward Bunting, Moore, George Petrie, Perceval Graves, Stanford and Herbert Hughes) through to the "popular" (almost invariably tragically-tinged) ballad in the style of Moore or Balfe and the stage-Irish comic ditties of Percy French. Virtually any Irish song (not excepting more recent developments in the country-and-Westem mode) appears to be appreciated by a wide fratemity and the commercial demand for such material remains thus undiminished.
Traditional.
THE SONGS
The trad or folk-orientated element in Irish song is well represented in this collection by some of the best-known examples by great collectors and arrangers. Top of the list is Thomas Moore (1779-1852), the Dublin grocer's son who collected and arranged and also sang his "Irish Melodies" in salons British and American. This friend and first biographer of Byron arranged and published these in 10 volumes between 1807 and 1835. They have been, in recent years, rather snobbishly relegated to the second division for being too overtly sentimental and none too original in content but The Meeting Of The Waters, Oft In The Stilly Night and his most famous song of all. The Last Rose Of Summer (his 1813 arrangement and setting of an old Irish tune variously known as "The Groves of Blarney" and "The Young Man's Dream") all have a poignancy which is uncloyed by years. Moore's successor, another Dubliner, was the writer, painter, vocalist and darling of genteel society Samuel Lover (1797-1868). Not traditional at all, his best known clitty, Rory O'More, began life as a song before becoming first a novel then (for its day) an outstandingly successful play. The Dawning Of The Day, arranged by N. Clifford Page, is a trad tune set to words by the noted Irish topographer, romancier, philologist and sociologist Patrick Weston Joyce (1827-1914), a collaborator with Alfred Perceval Graves on the monumental 1860s' collection Ancient Music of Ireland. The Garden Where The Praties Grow, while purporting to be a folksong, appears to have been the work of Johnny Patterson (c. 1840- 1899). Among the collector-arrangers of more recent times, the name of Herbert Hughes (1882-1972) is a prominent one. The Belfast-bom composer-arranger produced various albums of Irish Country Songs. Volume 1 (1909) includes the gem She Moved Thro' The Fair, an "old Irish verse" arranged by the Co. Longford poet, playwright and versifier Padraic Colum (1881-1972) while the best-known item of Volume 4 is undoubtedly The Star Of The County Down, a traditional Ulster melody adapted to words by Cathal Garvey (1866- 1927).
Ballads
Crop failures in Ireland during the first half of the last century led to a mass exodus to America and elsewhere, fuelling the fires of nostalgia where song was concerned. An "Irish emigrant"-type ballad par excellence is the now time-honoured Kathleen Mavoumeen. Mock-Irish in theme and of English origin (it was published in Plymouth in 1838) it was composed by the London-born cellist, singer, publisher, inventor, singing-teacher and entrepreneur Frederick Nicholls Crouch (1808-1896); No. 4 of his "Irish Songs, it sets words by one "Mrs. Crawford" (c. 1799-1860). Off To Philadelphia, a jaunty émigré-song in quasi- folk style, is a typical Victorian ballad by the Worcestershire born organist Walter Battison Haynes (1859-1900) and, equally typical of its period (although as a nostalgic evocation of lost youth it rates among the world's finest songs), is The Kerry Dance. This golden song, combining unalloyed sentiment and rhythmic subtlety in equal measure, is one of the masterpieces of the Irish born London barrister James Lymon Molloy (1837-1909). Published in London in 1879, its text is by that other London barrister, Frederic E. Weatherly (1848-1929) whose own Danny Boy, a 1913 setting of the (London) Derry Air, is perhaps the best-loved of all Irish "ballads". More unashamedly sentimental, perhaps, are Macushla or The Green Hills Of Ireland (by the London born singer-songwriter Teresa Clotilde Del Riego alias Mrs. Leadbitter, 1876-1968). Victorian, too, but now almost a folksong, The Rose Of Tralee enjoys pride of place in any Irish song miscellany; it was the work of the London-bom theatre violinist and conductor Charles William Glover (1806-1863). The Lark In The Clear Air, founded on a beautiful trad. Irish air, dates from 1915. Its words are by the Belfast-born Scots-Irish poet and antiquary Sir James Ferguson (1810-1886) and it is No. 2 of "Songs, Opus 41" by the Italian born pianist-composer and folksong collector Michele Esposito (1855-1929).
Stage or film Irish songs
Fodder such as That's How I Spell I-R-E-L-A-N-D or even the jaunty The Pride Of Tipperary, however clever or catchy, is arguably of an order inferior to The Mountains O' Mourne (an 1896 adaptation of an old Irish tune by the composer-vocalist and Irish Inspector of Drains (sic!), the Co. Roscommon born William Percy French (1854-1920), Mother Machree (a hit from a 1910 Broadway musical, Barry of Ballymore) and our album title: A Little Bit Of Heaven (from another musical, of 1916 vintage, The Heart of Paddy Whack). The first of these last two was originally sung by its co-writer, the Buffalo-born tenor Chauncey Olcott (1858-1932); both had input from the Cleveland-bom composer Emest R. Ball (1878-1927), the latter setting some splendid dross by the San Francisco born entertainer and writer Joseph Keim Brennan (1873-1948).
THE SINGERS
It is surely no mistake and no sad thing that we should begin and end with John McCormack (1884-1945). This Athlone born American citizen was not only one of the most consummate vocal technicians on record over the most diverse repertoire but he also delivers Irish songs with a certain magic. On a par with him as a "story-teller" is the great Australian bass-baritone Peter Dawson, who had Scots ancestry but whose vast discography includes some fine Irish renderings. Still highly regarded in some circles as a connoisseur of song interpretation, the Co. Wicklow born Harry Plunket Greene (1865- 1936) has left some interesting records, while his one-time pupil, the Scots-Irish "singing priest" Canon Sydney MacEwan (1908-1991) displays an outstandingly lyrical quality in his earliest discs. Others of biographical note represented here include: the Derry-born James McCafferty (1900-1967), a famed early interpreter of Hughes's arrangements; Florence Austral (1894-1968), a Melbourne-born operatic dramatic soprano who modulates her large voice superbly in song material; the self-dubbed "Maggie from Mayo", Margaret Burke Sheridan (1889-1958), a one-time star of La Scala, Milan, who must certainly be rated among the greatest of recorded Irish singers; the Wolverhampton-born French-song expert and sometime star of the Chicago Opera, Dame Maggie Teyte (1888-1976), who claimed both Irish and Scots ancestry; Cavan O'Connor (b. 1899), the somewhat underestimated Nottinghamshire born tenor who, at this writing, is a hale 97-year-old; Richard Crooks (1900-1972), New Jersey born star of American Radio's Firestone Hour and New York Metropolitan, Morton Downey, Connecticut-bom, second-generation Irish dance band vocalist, radio tenor and aspiring film star (1901-1985); Delia Murphy, the Co. Mayo born folksong arranger and singer (1903-1971)... and several others who, in their various ways, have honoured the traditions of Irish song.
Peter Dempsey (1996)
