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The London Lasses & Pete Quinn
Press Reviews
‘One of the most remarkable releases of 2000,’ The Rough Guide to Irish Music
‘There is a genuine sense of personality and a magnetic attraction to the music that enables them to produce performances laced with skill, sincerity and a lack of pretension,’ John O’Regan, fRoots
‘a sheer delight, a beauty of a collection
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The London Lasses & Pete Quinn – By Night and By Day
And now their fourth album, By Night & By Day (2010), in Brian Rooney’s opinion, ‘their best yet’ pays tribute to their 10-year anniversary with the addition of Elma McElligott (Flute player) and Brona McVittie (Vocalist, harper), who joined Karen Ryan and Elaine Conwell (Fiddlers), Maureen Linane (Accordion player) and Pete Quinn (Pianist) two years ago at the 10th Return to Camden Town Festival. The band is now very pleased that for the first time in its history all members are London-based.
The London Lasses and Pete Quinn have toured Germany with the St Patrick’s Day Celebration Festival, performed the first ever ceilidh in the Royal Albert Hall as part of the BBC Proms, and played at Ireland’s longest running folk festival, Ballyshannon. They have brought their unique sound to some of the world’s most prestigious festivals and concert halls including Cambridge Folk Festival, the Concertgebouw (Amsterdam), Glastonbury, Philadelphia Irish Festival and Sidmouth International Festival.
In addition to featuring on the 3-CD box set Beginner’s Guide to Ireland (Nascente, 2005), the band has appeared on UK and Irish TV including Backstage (BBC Choice), Ardán and Geantraí (TG4), plus a memorable turn on EastEnders (BBC1).
Described by Irish Music Magazine as ‘one of the best bands on the scene today’, The London Lasses and Pete Quinn have released three critically acclaimed albums:
* Enchanted Lady (2007) :: ‘a well-balanced helping of first-class Irish music’ Irish Music Magazine Available from Copperplate, click here
* Track Across the Deep (2003) ‘The London Lasses and Pete Quinn’s emergence is vitally important, acknowledging a forgotten voice in Irish music and rebirthing it magnificently’ fRoots. Available from Copperplate, click here
* The London Lasses and Pete Quinn (2000) ‘One of the most remarkable releases of 2000
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The London Lasses & Pete Quinn – Enchanted Lady
“The London Lasses are back in bouncing form with even more excitement, enthusiasm and energy than ever before-if that is possible. Their latest offering presents well chosen material which juxtaposes old with new, slow with racy, song with dance tunes from dreamy to overdrive.
The blend of instruments (and there are many) is a delight to the ear creating an authentic traditional sound with a freshness that attracts and holds the attention of the listener. A tasty use of backing as a strong support to musician and singer completes the sumptuous meal.
For those who follow the group this latest CD will be a welcome addition to their collection. To the newcomer
I simply say buy it now, taste it and discover just how good it is”. Charlie Lennon
The pride of London return with their finest to date. Another rousing set of tunes finely played and a careful selection of songs all delivered with the usual panash and polish. Music to rouse the dullest of hearts!
Copperplate is very proud to have this title on our roster
Also available from Copperplate Mail Order:
LoLa001 London Lasses & Pete Quinn
LoLa 002 London Lasses & Pete Quinn: LoLa002 Track Across The Deep
LoLa003 Kathleen Sullivan: LoLa003: Born On St Patrick’s Day
Further details on their own web site http://www.londonlasses.net/index.html
Press Reviews
provides a well-balanced helping of first-class Irish music’ Alex Monaghan, Irish Music Magazine
‘The sort of album to make anyone fall in love with Irish music’ David Thorpe, The Irish Post
‘They play with much finesse without missing the trick of generating the informality and excitement of pub sessions’ Colin Randall, Daily Telegraph
‘There’s a grace and subtlety in their playing that few bands could match’ Sarah McQuaid, Hotpress (Ireland)
‘guaranteed to keep you riveted for the entire 55mins’ www.irelandxposed.com
‘Kathleen O’Sullivan provides the lovely, warm vocals on all four songs…whilst the beautiful instrumental backings support the vocals well’ Dave Beeby, The Living Tradition
‘Third album from the Irish six-piece who play traditional music beautifully, unadulterated by global influence or genre crossover’
BBC Radio 2, Folk & Acoustic website
‘They bring fresh life and assured musicianship to the immortal Irish tradition’ New Classics website
‘Enchanted ladies and gentlemen you will be, once this album reaches your weary little ears’ Shelley Marsden, The Irish World
The Living Tradition
You have to be careful if you do a Google search for London Lasses, so I was glad for both the promotional material provided (always helpful to a reviewer) and the search has a filter on it. London Lasses and Pete Quinn are back with their third album (I think) of basically good quality Irish Traditional music mixing the old with newer material most arranged by the band themselves. It is these almost spontaneous-but carefully worked out- arrangements, which brings the Enchanted Lady to life, and gives a freshness to the sound.
Let’s deal with the songs first. Kathleen O’Sullivan provides the lovely, warm vocals on all four songs, telling the story clearly, allowing the meaning to come out, whilst the beautiful instrumental backings support the vocals well. Excellent sleeve notes provide the listener with that extra bit of information as well as the words. Incidentally this is an issue, which will have to be addressed before downloading becomes popular with this reviewer as I like to know the sort of info provided in this good quality CD booklet. But back to the Enchanted Lady.
I think Maid from Maraclune shows the group’s talents off at their best, and you can tell Kathleen enjoys singing this, which is, interestingly, in waltz time. My Ballingarry Lady is also a waltz written by John Whelan for his mother and is again handled well by the band but my favourite tune is the slow air Rocking the Cradle – it really does work as I felt myself drifting away before being brought back to earth by the set of reels which follow. Fiddles mix with accordion, banjo takes over from flute and behind it all is the keyboards-never obtrusive though- of Pete Quinn.
Good clear production, engineering and recording also help to make this an enjoyable album. They will be launching the CD at this year’s Ceiliuradh an Earraigh in Gurteen, Co Sligo in May. There seems to be no immediate tour- it’s not on the website – so if you want to hear The London Lasses and Pete Quinn then this CD might be your only chance at the moment, unless they are on Eastenders again. I recommend you take your chance.
Dave Beeby
The Irish World
You might already be big fans of The London Lasses. You may even have seen Karen Ryan and company letting their hair down at The Return to Camden festival, or witnessed their rip-roaring set at Glastonbury.
If so, you won’t need any convincing about the musical prowess of their third album, ‘Enchanted Lady’. If you’ve been living in Outer Mongolia for the past six years and don’t know of them, then you’ll have to trust me on this one.
One of the most talented, vital traditional groups to come out of the London-Irish music revival, The London Lasses are what they say they are, five women from London, all with Irish roots. Pete Quinn is the sole male in the lineup, providing sturdy and versatile piano backing. As their latest offering confirms, The London Lasses still offer their straight-down-the-line traditional music, no messing around.
But they stand out from the crowd because they play it with a modern touch.
Their vibrancy of arrangement and the pure sonic energy of twin fiddles, flute and accordion bring old tunes back to life, set off beautifully by the graceful, restrained vocals of Kathleen O’Sullivan (hear Cailin Rua). Enchanted ladies and gentlemen you will be, once this album reaches your weary little ears. Shelley Marsden
The Telegraph
When need or ambition inspired the Irish to find new worlds, they took their music with them. As a consequence, wherever folk music is played and sung in the English-speaking world, recent emigrants or descendants of old ones are to be found holding the fiddles, singing the maudlin ballads and belting out the choruses.
The five-strong London Lasses, all but one of Irish background but not birth, belong to this tradition. Like the best of the transatlantic variety, exemplified by the exceptional Cherish the Ladies, they have built a reputation for standards of musicianship that sit nobly alongside those of the homespun bands.
With a token male, Pete Quinn, of Liverpool Irish stock, on piano, keyboards and the ubiquitous goatskin drum or bodhrán, they play with much finesse without missing the trick of generating the informality and excitement of pub sessions.
Dotted among the reels, hornpipes and jigs are songs by Kathleen O’Sullivan with a texture that occasionally recalls the Bothy Band’s Triona Ni Dhomhnaill. Irish music in London has moved on some way from the impassioned but raw, scratchy days of Paddy in the Smoke. Colin Randall
Irish Music Magazine, July 07
Officially, this album is the third album by The London Lasses And Pete Quinn: maybe they needed a token man, or they couldn’t find a female keyboards player, but either way this group of five Irish emigrées is backed by a boy who’s among the best in the business. Now we’ve sorted that out, I’ll just call them the London Lasses. In four songs and eight instrumentals, Enchanted Lady provides a well-balanced helping of first-class Irish music. Lyrical reels like The Barr Road and Green Grow the Rushes (from the Burns song), cracking jigs like The Coming of Spring and Peadar Ó Ríada’s Spóirt, together with a sprinkling of slower tunes: all are delivered with depth and feeling. The gutsy flute of Dee Havlin lashes into The Humours of Castlefin, Maureen Linane’s button box bleeds and sighs for My Ballingarry Lady and Rocking the Cradle, and twin fiddling strikes sparks from The Walls of Liscarroll as Karen Ryan and Elaine Conwell ply their bows. A touch of banjo, a touch of whistle, and that man on the ivories supplies the foundation for a fabulous sound.
Kathleen O’Sullivan kicks her heels for eight tracks, but gives us a good mix of songs in her four solo spots. Cailín Rua is an old chestnut tastily roasted here. The Green Fields of Canada is also well known, and gets a mammoth six-minute arrangement from The London Lasses. The Mickey Dam and The Maid from Maraclune are less familiar, but Kathleen’s renditions make them memorable. Her voice is full of fighting passion on The Mickey Dam, and there’s a full showband arrangement to back it up. The air from The Rocks of Bawn visits Maraclune for the usual sad story of untrue love, from which Kathleen wrings every ounce of pathos. The title track is not a song, nor another reference to Pete Quinn as I first thought, but a striking brash and bubbly reel which nicely sums up this album. Alex Monaghan
New Classics
Since the release of their debut album in 2000, this acclaimed Irish six-piece have appeared at some of the world’s most prestigious festivals and concert halls (Cambridge Folk Festival, Glastonbury, Philadelphia Irish Festival). Widely regarded as one of the finest acts on the traditional Irish/folk scene, the group plays a mostly traditional repertoire that is reflected in this new album. Enchanted Lady features a host of lively reels, bursting with life, along with intricately arranged jigs and captivating songs. Highlights include Cailín Rua (beautifully sung by Kathleen O’Sullivan), the plaintive Green Fields Of Canada, the irresistible Hornpipe And Reels (Lad O’beirne’s Hornpipe; Joe Madden’s; Mick O’connor’s Choice), and the wistful Slow Air: Rocking The Cradle (featuring Maureen Linane). The London Lasses are five London-based women of Irish heritage: Karen Ryan (fiddle, whistle, mandola, banjo), Elaine Conwell (fiddle), Dee Havlin (flute, whistle), Maureen Linane (accordion), Kathleen O’Sullivan (vocal). Together with pianist Pete Quinn they bring fresh life and assured musicianship to the immortal Irish tradition. Look out too for the group’s previous albums: LONDON LASSES & PETE QUINN (LL001) and TRACK ACROSS THE DEEP (LL002).
The Folk Diary
Here is another very fine collection from this very fine bunch of second generation London Irish. They offer great variety amongst their seven sets
of tunes and four songs. The tunes are played in a fine ensemble manner with the fiddle of Elaine Conwell and the punchy box playing of Maureen Linane to the fore and a nice sense of pace in whatever rhythm they chose – and the firm adventurous piano accompaniments from Pete are a great asset here. There is a waltz, there are hornpipes, jigs and reels and a polka to round off one of the songs which brings us to the inspiring voice of Kathleen O’Sullivan. Her four songs also show versatility as she switches from the light and humorous “Mickey Dam” to one of the most demanding of Irish songs in English, “The Green Fields of Canada”. Her singing is fine and balanced with excellent diction and the emotional range to do justice to these very different pieces. Vic Smith
Ireland Exposed
The London Lasses are presisely as their name suggests, five women of Irish heritage living in London. The group, Karen Ryan (fiddle, whistle), Elaine Conwell (fiddle), Dee Havlin (flute, whistle), Maureen Linane (accordion), Kathleen OíSullivan (vocal) and Pete Quinn (piano) have compiled this traditional album. Thankfullythough it does not consist of the same tunes you so often hear on the majority of trad albums.
Their sound will not appeal to everyone but nomatter who you are you will appreciate the extraordinary energy and vitality of the album. There is an incrediblearray of sounds from the reel, to a slow air and on to a gig. Its variety is guaranteed to keep you rivetted for the entire 55mins.
Each member of the group gets a chance to shine and shine they do. This will leave you indeed enchanted! It is thoroughly entertaining and a fresh approachto an old fashioned style of music.
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The London Lasses & Pete Quinn – Track across the Deep
Press Reviews
East Bay Express Sept 2003
The American audience is not generally aware of London’s importance in the development of Irish music over the last half century, though it’s taken for granted in Ireland. Pubs such as The Favourite in Finsbury Park, or The White Hart on Fulham Broadway held regular sessions in the 60s and 70s, and when the revival took off, London based youngsters like Kevin Burke were ready to make their own contributions.
The London Irish music scene remains vital, as Track Across the Deep demonstrates. Fiddlers Karen Ryan and Elaine Conwell seem to have absorbed something of every major Irish regional tradition- from the octave doubling of County Kerry to the virtuosic embellishment of the Sligo masters
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Tim Dennehy – The Blue Green Door
Press Reviews
‘The land and lore of his native Kerry and adopted County Clare predominate in songs that are powerfully rendered and intensely felt’. (Irish Times)
‘Tim Dennehy’s rendering of any song would bring a chilling hush to the wildest session. A gem for song collectors everywhere’. (Irish Music)
‘Here is a voice as velvety as the best Irish stout. He produces some moments of breathtaking beauty, especially in his magnificent version of, Be Still as you are Beautiful ‘. (Rock N Reel)
‘There are few better singers than Tim Dennehy in Ireland today- a fine singer of splendid songs’. (Folk Roots)
‘These thoughtful and reflective songs help to contribute to an interesting and varied offering from one of the best traditional singer-songwriters of the present time’. (The Living Tradition)
‘Whether you are interested in learning some new songs or just want to hear one of the finest singers in Ireland today, don’t miss Farewell to Miltown Malbay ‘. (Dirty Linen)
Net Rhythms Web Site March 2003
For the reviewer who’s also a keen explorer, coming across any performer for the first time can be as worthwhile as welcome, and listening to Irish singer Tim’s four (to date) CDs has been one of the most pleasurable experiences of the past few months for me – so much so, in fact, that review of his latest, The Blue Green Door, has been delayed while I’ve continued to make fresh discoveries in Tim’s previous three releases.
The album’s rather wordy subtitle (Traditional And Original Songs Of Love, Loss And Longing, volume 3) is a most accurate depiction of its contents, in fact, though the apparent matter-of-fact driness of this erudite tag shouldn’t put you off, for this (like its predecessors) turns out to be a most appealing and stimulating collection of material, much of it completely new to me – indeed, I think it’s probably the best of the four.
Essentially a Kerryman, Tim was born Ballinskelligs; he lived in Dublin for a while, then in 1989 relocated to Co. Clare, releasing his first (then cassette) album, A Thimbleful Of Song. Tim’s one of those singers of quiet accomplishment, with a smooth tone and enthralling yet subtle delivery and a relaxed, though perennially sensitive approach to phrasing – a description which might well bring to mind Seán Keane
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