Rita Gallagher – The May Morning Dew & Easter Snow
£16.99
Rarely, in any decade, has such a splendid collection of traditional songs been assembled in one audio publication. The quality of the singing in song after song is outstanding. Rita has a remarkably beautiful voice, which, allied to her integrity of taste, and the consummate ease with which she tackles the most challenging of songs, ensures that each song is a gem of special delight. Just look at the list of top quality and challenging songs which she sings with such superb artistry on this CD – songs such as The Mountain Streams Where the Moorcocks Crow, Lovely Willie, The Wounded Hussar, The Banks of the Clyde, The Bonnie Bunch of Roses O, Rambling Boys of Pleasure, Lough Erne Shore, Bunch of Rushes Green, etc, etc – indeed I could list the entire contents as examples of excellent traditional singing. And I must not overlook
The Mermaid, Paddy Tunney’s translation of the Gaelic Song, An Mhaighdean Mhara, previously recorded (to my knowledge] only by Paddy’s daughter Brigid on her CD “Hand in Hand”. Though brief, it is a lovely item. A touch of humour is added with the inclusion of the light hearted Rambling Irishman, and the flippantly jocular Oh The Marriage
Familiar favourites such as Craigie Hill, The Shores of Lough Brann, The Flower of Magherally O, The May Morning Dew and Out of the Window (It will not be long love) are to be heard here, refurbished and renewed to gladden our hearts as when first heard many years ago.
Many of the songs sung here are from the Tunney repertoire – by which I mean they are songs which were regularly sung by the late Paddy Tunney, and by his mother Brigid – may God rest them both — and still sung by Paddys sons and daughters. (They are also sung by countless singers of all ages, for the Tunney disciples are legion). Rita Gallagher studied and assimilated these songs from her early twenties. Paddy Tunney’s songs and singing style were a major source of inspiration.
In singing them now, she remains true to the spirit and integrity of that style; still, this does not prevent her from using her own exceptional musical talents to give her personal interpretation of these songs; a fine example of tradition handed down and renewed.
I would consider her singing of the several Tunney songs on this CD as a major tribute to an inspirational troubadour. This publication is also remarkable because we hear Rita’s solo, unaccompanied voice, in all twenty recordings, apart from bodhran accompaniment on one light hearted song. With so many songs being included, most singers would have been tempted to include some kind of backing on a few tracks at least, or a few songs might have been recorded at a live session where murmured words of encouragement and the generally supportive atmosphere would give the performer confidence.
Only a singer of exceptional ability would have the courage to take on the challenge of maintaining momentum, tuning, and concentration through the four, five or six demanding verses of so many songs.
Rita Gallagher has done it in great style, and these recordings will stand as a testament to her ability”. Seamus MacMathuna
Press Reviews
www.liveIreland.com
Is Rita Gallagher the best Irish singer in the world? We know a LOT of musicians and fans who answer yes to that question for this fabulous alto from Donegal. A hidden treasure, she and her new album, Easter Snow, were brought to our attention by one of the world’s best, Copperplate Distribution in London. Google Copperplate Distribution. You just landed in heaven without having to die first. This album is a masterpiece from a master singer. Do you want to hear the REAL Ireland? You’re in luck. Rita Gallagher will sing it to you. A sean nos classic from a gift of a voice. This is no nasal soprano child singing some nonsense passing as Irish. This is a real Irish woman singing wonderful music in a voice from God. Impeccable. Bill Margeson
The Living Tradition
It’s a brave singer who tackles The Blackbird’, the air is the same as the famous set dance with all that that entails. The range is great and there’s no margin for error; you either hit it right at the start or you’re
in trouble. Start too low, and you finish up grunting the low notes; start too high and you sound like a castrato (if you’re male). I only ever sang it in public once and all the way through it I was in fear of making a mess of it and a fool of myself. It never got a public airing since. Rita Gallagher hits it right on the button, that sweet note that lets you know you have the song right. It’s a good long song, with many chances
of error, but she carries it off magnificently.
Gallagher’s first recording, Easter Snow, in 1997, should have been followed by many more; the quality of her singing is outstanding. The May Morning Dew rectifies the omission. Twenty songs on a CD is exceptional; when you get another fourteen on another disc, you’re getting something extra special. This second disc is a re-mastering of Easter Snow. As she says on the insert, “these 34 tracks are the total
my recorded singing”. These are some of the biggest of the ‘big’ songs from the tradition; if you have these as a repertoire, you’re in good company. When you record them without accompaniment, in spite of
the temptation to use it on a few tracks at least, you have to be good.
Originally from Ballymacahill, Co. Donegal, Gallagher now lives in Crossroads, near Ballybofey. Though not traditional, her parents were both singers; her mother sang in local
concerts in her youth. “I always sang and played music, but only came to traditional singing in my twenties when I attended a Donegal County Fleadh in 1978.” She won her first All Ireland Fleadh for traditional singing in English in 1979, then again in 1981 and 1982 – missing out on a hat-trick by coming second in 1980. “Pauline Sweeney and Bridin Doherty were my initial sources of songs, when we were members of Donegal Seisiun Group together. I began listening to and recording other singers from then on. Between 1978 and now, I’ve collected a number of songs from many sources. I find that the older I get, the more interested I become in the songs, and how complex and diverse the songs and singers are. I realise how little I really know about the wealth of talent out there.”
With Gallagher’s background, it’s not surprising that there is a weighting towards Ulster songs. She had many of the songs from the late Paddy Tunney and later from members of his family. Many of the song airs are different; others have different lyrics, which is always refreshing. But all are great songs from a long tradition. There are songs of love and of loss, of fickle-hearted sweethearts and brash suitors. There are bitter songs of cold-hearted landlords, like John Adair, who was ‘one of our own’ rather than the usual incomer, and transportation, like Edward on Lough Erne Shore. The latter isn’t to be confused with Lough
Erne Shore, which is a courting song with a successful outcome. It’s not all doom and gloom though; Oh The Marriage is a warning against that institution; The Rambling Irishman (not the De Danann version) has a light-hearted bodhran accompaniment. And that’s the only accompaniment you get on any of the songs.
The May Morning Dew, the title song, is rightly regarded as a masterpiece of the regrets at the passing of time. Who could fail to be moved by the lines about the birthplace being “but a stone on a stone”? Gallagher’s version is slightly different from mine but I got mine from three different family sources so long ago that I can’t recall which is which. This is the beauty of traditional singing; to make a song your own yet keep within the spirit of the original. Out of the Window is often said to be a variant of She Moved Through the Fair, the reverse is probably true. So far as I know, Padraic Colum never laid claim to being composer of the air; although those lyrics are his for sure. Similarly, Rambling Boys of Pleasure is older than WB Yeats’ Down by the Sally Gardens. That’s not to imply any base motive; there was a theme, so he borrowed it. Gallagher has a different air for it that’s a pleasant change from the more usual one.
Few female singers’ voices really mature until they reach their thirties. Though I wouldn’t dare ask their ages, I’ve noticed this in quite a few singers I’ve heard. I kept switching between the two discs and
there’s a marked change in Gallagher’s voice. As good and strong as it was in 1997, it’s become even richer and mellower on the later recording. There’s no question of which is best, just a difference.
Thirty-four fine songs from a fine singer; what more could anyone want?
In his introduction my old friend Seamus MacMathuna, who knows more about songs and singers than anyone else I know of, predicts: “…it will be a valued source and inspiration for singers of all ages…” Seamus doesn’t give praise lightly so that’s a real and deserved tribute. I’ll give him the last word for I value his judgement on all things musical: “Only a singer of exceptionable ability would have the courage to take on the challenge of maintaining momentum, tuning and concentration through the four, five or six demanding verses of so many songs. Rita Gallagher has done it in great style, and these recordings will stand as a testament to her ability.” Mick Furey
Bodhran accompaniment by Brian Duffy, Ballyboffey, Co Donegal
20 new recordings from Ireland’s finest female singer. Plus a bonus CD of her 1997 cassette recording Easter Snow.
“I am truly honoured to have been invited to contribute a few thoughts on the occasion of the production of this new CD, “The May Morning Dew”, by Rita Gallagher.
Having enjoyed over and over the songs on “Easter Snow” the cassette which Rita had recorded back in 1997, which included many splendid songs, such as Easter Snow, Edward on Lough Erne Shore, Old Arboe, The Blackbird, Lurgy Sream, and a version of The Mountain Streams (to mention just a few), I wondered could Rita produce a second selection to equal the first. I need not have worried! Having listened several times to the 20 songs she has recorded, I am convinced that this new CD excels and eclipses anything we have heard over the past decade. I predict that it will be a valued source and inspiration for singers of all ages in the years to come.
Audio
The Wounded Hussar:
Oh the Marriage:
Sweet Iniscarra:
Track Listing
Cragie Hill
Bonnie Light Horseman
Bonny Bunch of Roses O
The Banks of the Clyde
The Flower of Magherally
Lovely Willie
Lough Erne’s Shore
The May Morning Dew
Rambling Irishman
The Wounded Hussar
The Shores of Lough Brann
Out of the Window
Oh The Marraige
You Rambling Boys of Pleasure
The Mermaid
Rushes Green
Wee Weaver
The Nightingale
What’s Keeping My True Love
The Mountain Streams
EASTER SNOW
Track Listing:
Going To Mass Last Sunday
John Adair
Old Arboe
Sweet Iniscarra
Easter Snow
Lurgy Stream
Edward on Lough Erne Shore
Sheephaven Bay
The Blackbird
When My Love and I Parted
Blackwater Side
Highland Mary
Dark Is The Colour
The Mountain Streams
This year’s Gradam for Amhránaí na Bliana (Singer of the Year 2017) goes to RITA GALLAGHER
Citation
Upon hearing this distinctive traditional singer, one is immediately aware one is listening to a vocalist of incredible ability. Her mastery of tone, breath, and ornamentation, coupled with her extensive knowledge and understanding of songs, from her native South Donegal and beyond, leave one in no doubt that one is truly in the presence of greatness. A three-time winner of the Comhaltas All-Ireland title for female singing in English, her extensive repertoire contains many exceptionally challenging songs, all of which she makes sound effortless.
Small wonder then that there were no less than 37 songs on her 2010 release The May Morning Dew which garnered much praise, and an award from LiveIreland.com Her humility belies a serious talent, and through her generosity of spirit she has been a great influence on many singers, both through her recordings, and her popular singing workshops at festivals around the country.
This year’s Gradam for Amhránaí na Bliana (Singer of the Year) goes to RITA GALLAGHER
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This is the first solo album by Niamh Dunne from County Limerick, who has spent the last eight years as singer and ?ddler of the band Beoga. Its eleven songs are a mix of traditional and contemporary songs, two in Irish, most of them with a Limerick connection, many of them not well known (to these ears anyway).
It all starts at a fair old lick on the traditional ‘Ballyneety’s Walls’, driven along by Damien O’Kane’s fluid banjo. Overall, the pace tends to be slower and more re?ective, though my particular favourite is the more upbeat ‘When Autumn Comes’ written by Barry Kerr-the only track where Niamh’s punchy fiddle is brought to the fore. More like this would have been most welcome.
The two best-known songs, Richard Thompson’s ‘Strange Affair’ and Joe South’s ‘Games People Play’, are nice enough but the performance offers nothing new. Niamh has a good though quite inexpressive voice and is supported here by a cast of musicians marshalled by Beoga’s Sean Og Graham, to provide tasteful accompaniment. Throughout, it’s all very well sung and played, making it easy to listen to though there’s little to get the heart pumping. Ian Croft
www.irishcentral.com
The snail mailbag brings many treats to me in the form of new (or sometimes old) music contained in those disappearing artifacts known as CDs. I still like holding the covers or booklets describing the musical contents that artists or agents send my way for a listen. Some are greatly detailed revealing extensive research along with the necessary production elements and others simply give you the basic facts. And I’ll share three wonderful CDs with you that came my way this summer.
The Limerick Lass, Niamh Dunne, first came to my awareness as part of the Northern-Ireland based band Beoga (‘Lively’) shortly after she joined the four original gentlemen who founded the already interesting and cutting edge double-accordion trad band (Damien McKee, Sean Og Graham, Eamon Murray and Liam Bradley) eight years ago.
Beoga was performing at the late-lamented ICONS festival at the Canton New England Irish Cultural Center outside of Boston. Dunne was diminutive in stature but not in voice on the occasion, and along with her fiddling she instantly made an impression as a stylish and sophisticated singer whose fiddle licks added great dimension to the band. Since 2005 she has been featured on three of their four CDs.
I had a chance to observe her further on her own around her familiar Limerick haunts near the University of Limerick singing songs in sessions, and it was clear that she was going to be a rising star inside and outside the Beoga firmament.
Classically trained as a violinist, she also has drawn into the Dunne family history as ‘traveler musicians’ (most notably Pecker Dunne who passed away last year), and her fiddling/piping father Mickey Dunne with whom she recorded Legacy in 2004 with another fiddling sister, Brid.
That grounding along with a confident flair for tackling ‘good songs’ in and outside the tradition has made her a singer to be reckoned with. So with great anticipation she finally released a solo CD called Portraits in Ireland to display her wares as a vocalist.
While living up north and touring around Europe with Beoga and around Ireland, Dunne keeps up the family tradition of traveling a good deal, so the notion came to her to emphasize her native Limerick in the song selections on the new recording.
Four of the 11 tracks are Limerick-inspired (‘Ballyneety’s Walls,’ ‘Beauty of Limerick,’ ‘Cailin Rua’ and the oft-covered ‘Shanagolden’ from songwriter Sean McCarthy).
Add to those beautiful trad songs like ‘Bonny Woodhall’ and’ Jimmy mo Mhile Stor’ delivered in her lush voice with just enough musical accompaniment to appreciate the tender care that she and her producer and fellow Beoga bandmate Sean Og Graham apply to their craft.
What makes Dunne so appealing as a contemporary singer in the traditional idiom is her moxy and sensitivity while interpreting modern songs in the folk or popular vein also.
On the CD we have Richard Thompson’s ‘Strange Affair,’ Barry Kerr’s ‘When Autumn Comes,’ Joe Dolan’s ‘Foxy Devil,’ and from the brilliant Irish language combo of John Spillane and Louis de Paor known as the Gaelic Hit Factory ‘Eist do Bhéal,’ voiced with a knowing sensibility.
As a further example Dunne, inspired by Tyrone fiddler Cathal Hayden, resurrects the old Rock and Roll gem ‘Games People Play’ penned by Joe South, whose message of intolerance still resonates today.
As you might expect, Dunne and Graham were able to recruit an outstanding array of musicians to tastefully accompany her solo singing CD that include Damien O’Kane, Eamon Murray, Trevor Hutchinson, Kate Ellis, Barry Kerr, Mickey Dunne, Noell McDonnell, Nicola Joyce, Cathal Hayden, Caitriona McKay and Richard Nelson.
Dunne adds her fiddle and multi-instrumentalist Graham contributes his talents on guitar, bouzouki, accordion, keys and banjo which you think would be enough, but according to the liner notes he has a walk-on part in ‘Beauty of Limerick’ as well.
Regrettably, Beoga forays over to America are too infrequent to expose both their many talents and those of Ms. Dunne, but do yourself a favor and reach out for their CDs at www.copperplatemailorder.com.Paul Keating.
The Living Tradition 97
Limerick’s Niamh Dunne is already renowned for her accomplishments on fiddle; a classically trained violinist, shes also, for the past eight years, been a key member of the award-winning band Beoga, with whom she’s recorded three CDs. Prior to which, Niamh’s only available recording had been Legacy, a joint album with her father Mickey (the famed Limerick piper) and her sister Brid.
Now, at last, Niamh has finally got around to releasing a proper solo album that fully capitalises on her deep love of song (although she does get to play the fiddle too).
lt’s a beguiling mix of traditional and contemporary material which seems to get that tricky balance just right and very naturally too. The depth of her feeling for her native region and its heritage is apparent right from the outset on Ballyneety’s Walls, which tells of Limerick’s victory during the Siege Of Limerick in 1690, which is aptly followed by the yearning ballad Beauty Of Limerick; later on the album we find another Limerick standout, Cailin Rua.
Niamh’s wonderful, warm singing voice is ideally focused by the excellent recording and receives a perfectly judged degree of instrumental support from a small pool of musicians that includes Sean Og Graham (guitars), father Mickey (Uilleann pipes), Trevor Hutchinson (bass), Kate Ellis (cello), Barry Kerr (low whistles) and Eamon Murray (bodhran, percussion), while backing vocals come courtesy of Noelle McDonnell and Nicola Joyce. Other musicians put in isolated appearances to great effect: there’s Richard Nelson’s dobro adding poignancy to Joe Dolan’s Foxy Devil, Cathal Hayden’s sensitive fiddle on The Games People Play (a song which Niamh makes her own by taking a more reflective stance than most), Catriona McKay’s harp on Callin Rua and Damien O’Kane’s banjo on the spirited opener.
But this is so much Niamh’s own personal collection, unerringly conveying the essence of her interpretive flair and her gorgeous singing. Every single track is a highlight in its own right, and the listener feels privileged to be in Niamh’s intimate company for this all-toobrieftimespan. While her version of Richard Thompson’s Strange Affair can hold up is well to competition, it’s also been a revelation to discover new songs through Niamh’s advocacy – here I’m thinking especially of Sean McCarthy’s Shanagolden (another song with a Limerick connection, incidentally) and the beautiful traditional song Jimmy Mo Mhile Stor (Niamh’s treatment of which is crowned by Sean Og Graham’s impeccable flowing guitar solo). All told, this is a quite sublime record, one that’s been worth the wait. David Kidman
www.tradconnect.com
Niamh Dunne is best known for her work with the group Beoga. Over the last decade they have been at the forefront of traditional music with a number of highly regarded albums. As a group they were not afraid to incorporate other genres’ into their music with a resultant jazz and bluesy feel giving it a “wonderful bouncy Irish sound” as they describe it themselves. As always, production values were high and for this release Beoga stalwart Seán Óg Graham is again responsible for production and mixing. Niamh has also brought on board an impressive array of other support musicians including Eamon Murray, Damien O’ Kane, Cathal Hayden, Barry Kerr and Trevor Hutchinson. Another notable feature of the album is the fact that Niamh has brought her song selection back to the city of Limerick with a number of tracks sourced locally.
The opening Ballyneety’s Walls tells of Limerick’s victory during the Siege of Limerick in 1690 and the second track is called The Beauty of Limerick which is a song of “love and great yearning” about an Irish man many miles from his home. The guitar and accordion of Seán Óg underpins many of the tracks. Arrangements are exceptionally good giving a modern feel to some great song selections. In addition to the traditional songs she includes some that are more recent including the ever beautiful Shanagolden by Sean McCarthy and Strange Affair by the legendary Richard Thompson. These sit very comfortably alongside the more traditional Irish material. The arrangements never stretch Niamh’s voice and she steers clear of the jigs and reels, keeping a clear focus on the job at hand. This allows her to take the limelight as an artist with a true interpretative spirit and voice when it comes to traditional song. Other songs include an Andy Irvine inspired Bonny Woodhall from the songbook of Sam Henry, John Spillanes’s Éist do Bhéal and the more modern The Games People Play. Overall it is an impressive debut album with some great songs that have been part of Niamh’s repertoire over the years. The arrangements and accompaniment lift the material and give it a thoroughly modern feel. Tony Lawless
Irish Music Magazine.
Limerick born singer and fiddler, Niamh Dunne has made a reputation as a formidable force on the Irish music scene. Bright eyed and bushy tailed her bubbly personality has woven itself into the Beoga psyche befitting their eclectic approach.The question is how would she cope and fare outside the band confines working as a solo artist.
Niamh’s first solo album Portraits is a highly woven affair with evocative arrangements and a song bag that frames her origins and cuts a swathe through classic ballads and newer compositions. The singing is strong and distinctive and the local ballad cache includes a rousing Ballyneety’s Walls and a recasting of Beauty of Limerick with some ambient soundscapes cradled with a simple narrative. Similarly Shannagolden and Cailin Rua reveal her balladic strengths and Bonny Woodhall breathes anew with a female voice. Barry Kerr, John Spillane, Joe Dolan provide the contemporary material and Dick Gaughan’s setting of Joe South’s Games People Play adds a fitting climax.
Musically the backings are rich and careful never upsetting the vocal authority but throwing some delicious side roads into Americana and Ambient routes as well.
Portraits finds Niamh Dunne treading the without a net syndrome admirably gaining a stylistic footing that satisfies her talents. John O’Regan
NIAMH DUNNE
Portraits
Private Label ND001
Limerick’s Niamh Dunne is already renowned for her accomplishments on fiddle; a classically trained violinist, she’s also, for the past eight years, been a key member of the award-winning band Beoga, with whom she’s recorded three CDs. Prior to which, Niamh’s only available recording had been Legacy, a joint album with her father Mickey (the famed Limerick piper) and her sister Brid.
Now, at last, Niamh has finally got around to releasing a proper solo album that fully capitalises on her deep love of song (although she does get to play the fiddle too). It’s a beguiling mix of traditional and contemporary material which seems to get that tricky balance just right and very naturally too. The depth of her feeling for her native region and its heritage is apparent right from the outset on Ballyneety’s Walls, which tells of Limerick’s victory during the Siege Of Limerick in 1690, which is aptly followed by the yearning ballad Beauty Of Limerick; later on the album we find another Limerick standout, Cáilín Rua.
Niamh’s wonderful, warm singing voice is ideally focused by the excellent recording and receives a perfectly judged degree of instrumental support from a small pool of musicians that includes Seán Óg Graham (guitars), father Mickey (Uilleann pipes), Trevor Hutchinson (bass), Kate Ellis (cello), Barry Kerr (low whistles) and Ramon Murray (bodhrán, percussion), while backing vocals come courtesy of Noelie McDonnell and Nicola Joyce. Other musicians put in isolated appearances to great effect: there’s Richard Nelson’s dobro adding poignancy to Joe Dolan’s Foxy Devil, Cathal Hayden’s sensitive fiddle on The Games People Play (a song which Niamh makes her own by taking a more reflective stance than most), Catriona McKay’s harp on Cáilín Rua and Damien O’Kane’s banjo on the spirited opener.
But this is so much Niamh’s own personal collection, unerringly conveying the essence of her interpretive flair and her gorgeous singing. Every single track is a highlight in its own right, and the listener feels privileged to be in Niamh’s intimate company for this all-too-brief timespan. While her version of Richard Thompson’s Strange Affair can hold up well to competition, it’s also been a revelation to discover new songs through Niamh’s advocacy — here I’m thinking especially of Seán McCarthy’s Shanagolden (another song with a Limerick connection, incidentally) and the beautiful traditional song Jimmy Mo Mhíle Stór (Niamh’s treatment of which is crowned by Seán Óg Graham’s impeccable flowing guitar solo). All told, this is a quite sublime record, one that’s been worth the wait. David Kidman
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
The Road to Lisdoonvarna / Carthy’s Reel / The Mermaid of Mullaghmore. (4.16)
Smuggling the Tin. (3.20)
The Lurgadaun / Dancing Eyes / Down the Back Lane. (3.44)
The Curlew Hills / Father Dollard’s. (4.04)
Will Ye Go to Flanders. (4.02)
The Arragh Mountains / The Rakes of Westmeath / A Fig for a Kiss. (3.55)
The Providence / Roscommon Reels/ Fred Finn’s. (4.24)
Muiris O Coinnleain. (3.10)
McDonagh’s Air. (4.08)
The Jolly Young Ploughboy. (3.37)
In Memory of Coleman / Farewell to London / The Sunny Banks. (3.20)
Se Fath Mo Bhurtha. (3.42)
Music in the Glen / Sean sa Cheo. (4.14)
Providence
Providence have just completed a very successful year of gigging which saw them release their second album A Fig for a Kiss, RoRi CD 002, on their own label Rolling River Productions. Their eponymous debut album received great acclaim both in Ireland and abroad. The band’s first tour outside Ireland brought them to the Arctic Circle for St. Patrick’s Day. The band also appeared at some major European festivals during the summer including Dranouter Festival in Belgium and Waidhofen Festival in Austria, the Finnish Irish Folk Festival Tour as well as making numerous appearances around Ireland, Éigse Mrs Crotty, Mary of Dungloe Festival and the world famous Queens Festival in Belfast to mention but a few. Providence were also special guests on the prestigious Iain Anderson Show on BBC Radio Scotland prior to an appearance at the Callander Festival. Since the launch of their second album the band have featured live on the legendary John Creedon Show, RTÉ Radio 1 and on RTÉ TV’s Open House. They also featured on the award-winning series on TG4 Geantraí. Apart from touring Ireland in February the band will also be touring Italy, Germany, UK, Norway and the USA over the coming months.
Providence are:
Joan McDermott from County Wexford is the group’s singer. Joan formerly sang with the famed a cappella group The Fallen Angels which included Frances Black and Máire Bhreathnach among its ranks over the years. Joan toured extensively with the Fallen Angels and appeared at many major festivals including Cambridge Folk Festival, Leysin Rock Festival in Switzerland, and Fairport Convention’s Reunion Festival. She has also performed with Kieran Halpin, Kieran Goss, Steve Cooney, Manus Lunny, Mark Kelly, and Macalla among others.
Mícheál Ó Raghallaigh hails from a musical family in County Meath. He has played concertina and accordion from an early age. Mícheál has taught workshops and has toured all over Europe and the USA. He is also a member of the three-time All-Ireland winning Táin Céilí Band.
John Wynne plays flute and whistle. From Roscommon, he was immersed in the North Connacht flute tradition, playing with such eminent players as Patsy Hanly, Tommy Guihan, and Peter Horan to mention a few. John has won numerous All-Ireland titled for whistle and flute. He plays and teaches at various workshops and festivals around the country.
Clodagh Boylan also comes from a musical family from Glenullin, Co. Derry. She plays with members of her family in the Gleann an Iolair Céilí Band. She has toured England, USA and Australia extensively with Comhaltas Ceoltóirí Éireann and has also toured Italy with All Set.
Paul Doyle is the band’s bouzouki/guitar player. Formerly he was a member of Arcady which included Frances Black, Sharon Shannon and Cathal Hayden. Paul also played with Martin Hayes, the Máire Bhreathnach Band, and the Seán Keane Band with whom he toured such countries as Poland, Germany, Finland, Sweden. Over the years Paul has also recorded with many of Ireland’s most respected musicians among them Matt Molloy, Paul O’Shaughnessy, Paul McGrattan, Gay McKeon, and Arty McGlynn.
Press Reviews
Pay The Reckoning August 2002
Pay The Reckoning has already waxed lyrical over the solo CD “The Nervous Man”, by Providence’s concertinist and accordionist Micheal O’Raghallaigh. We are no less impressed by this, the second CD by one of Ireland’s most exciting traditional groups, which in addition to O’Raghallaigh comprises Clodagh Boylan (fiddle), John Wynne (flute, low whistles), Joan McDermott (vocals) and Paul Doyle (guitar, bouzouki, backing vocals, bodhran).
The instrumentation invites comparisons to Altan, and indeed if Providence have musical peers, then the Donegal-based outfit are a convenient reference point. (Or at least the early incarnation of the band, when Frankie Kennedy was still with us and the band were wedded to exploring the rich musical traditions of North-West Ulster.) However, although they may be as exciting, as vibrant and as accessible (without ever diluting the music) as the early Altan, Providence plough their own furrow, and a deep and productive furrow at that.
The album’s opening is perfectly judged to raise the hairs on the back of the tradophile’s neck. The opening reel in the set of three (The Road To Lisdoonvarna/Carty’s Reel/The Maid Of Mullaghmore) kicks off with Boylan underpinning O’Raghallaigh’s edgy concertina with an eerie, bittersweet drone. The tension between the two instruments builds to a climax at the end of the first go-round and then, as we knew – or hoped – resolves at the repeat as Boylan picks up the melody with O’Raghallaigh. Wynne takes up the rein for the second tune and then all democracy breaks loose as the band give the final reel (long associated with John Doherty) a lash.
The precise yet characterful playing and intelligent, uncluttered arrangements witnessed in this first set set a standard for the album which Providence never after fail to meet. On reel sets such as “The Providence Reel/Roscommon Reel/Fred Finn’s”, “In Memory of Coleman/Farewell To London/The Sunny Banks” and “Music In The Glen/Sean Sa Cheo”, the same spine-tingling mixture of control and abandon is in evidence. McDermott’s voice is a revelation. Clear as a bell, unforced and untainted by any form of “artfulness”, she is utterly compelling in her renditions of “Muiris O Coinnleain” and “Se Fath Mo Bhuartha”. However her best work is reserved for the English language songs “Smuggling The Tin” and “The Jolly Young Ploughboy”. The former is a great comic song from the Second World War when there was a trade in smuggled tin between Northern Ireland and the Free State and concerns the misadventures of a group of hapless reprobates whose efforts at lawlessness come to nothing. The second, originally from England, McDermott picked up from the singing of the saintly Frank Harte and delivers with great commitment. (Incidentally, are we alone in detecting in the song’s air the embryo of the tune of that American folk classic “Jesse James”?)
Two tune sets in particular are worthy of special mention. The jig set “The Lurgadaun/Dancing Eyes/Down The Back Lane” is instantly gripping and as fine an example of ensemble musicianship as you’re likely to hear. And as for the hornpipe set “The Curlew Hills/Father Dollard’s”, we’re at a loss to describe the inventiveness and sophistication of the band’s mastery of the crooked rhythm. The second tune in this set in particular must surely rank as one of the most definitive of Irish hornpipes.
“A Fig For A Kiss” is the sort of CD which, given a wide audience, will establish Providence at the very forefront of the trad mob! So, do your bit for a great band; via http://go.to/copperplate and order a copy for yourself (and your friends – converted and non-believers alike!). For more information about the band itself, visit http://www.providence-trad.com
The Living Tradition. 01/02
I first came across Providence after hearing John Wynne’s solo flute album. Wanting to hear more, I bought the groups first album and liked it. This is their second, which is usually the trickiest for anybody. Not to worry, this is up to the standard of the previous outing. The only line up change is Clodagh Boylan on fiddle instead of Meabh O’Hare The instrumental balance is slightly different with a wee bit more prominence to Micheal O’Raghallaigh’s concertina this time out, but that’s no harm. They’re not out to make a particular sound, but to show different blends of instruments
Seven dance tracks, one slow air and five songs with nothing you wouldn’t be happy to listen to for a long time. The Road to Lisdoonvarna is mostly played as a jig, odd times as a reel, but Providence play a fling version that works well. The other tunes are a mix of old friends and less widely known tunes.
They’ve even adapted a tune learded from the McDonagh brothers of Ballinafad as a waltz and made a slow air of it. It probably was originally an air, as many of the older players used to play airs in 3:4 time, so they’ve restored it to its rightful place.
I get the feeling that Joan McDermott is more at home with the two songs in Irish than the three in English. Maybe they’re more suited to her singing style, but they do flow more easily. None of the songs are hackneyed though and include some gems. She’s done her homework in the National Archives, and found a fine song in ‘Muiris O’ Coinnleain’, from the Waterford tradition.
Providence have overcome the dreaded ‘second CD’ hazard; we’ll see more of them in future. Mick Furey.
Taplas Dec/Jan 02 (The Welsh Folk Magazine)
As I had predicted, Dublin based Providence’s second album marks a significant advance on their debut. When I reviewed that, I claimed their fiddler was Claire Boylan, Oops! On that CD it was Meabh O’Hare, whom Boylan replaces this time round. Otherwise, the line up is unchanged, with Roscommon flute player John Wynne and concertina player Micheal O’Raghallaigh very much to the fore. I still have reservations about singer Joan McDermott and really dislike the sleeve design. But, don’t let that put you off. This is fine traditional Irish music played with great swing and vitality. Nick Passmore.
Teletext
Some strong Irish albums emerge on the horizon, notably Providence’s A Fig For A Kiss. Top notch instrumentals plus a classy singer in Joan McDermott supplying a light and shade that bears comparison with the immortal Bothy Band. Colin Irwin
Hot Press
The Irish music scene is blessed with an embarrassment of riches where traditional bands are concerned, with outfits such as Sliabh Nulor, Dervish and many more appealing to a variety of constituancies. To that list must now be added the name of Providence. A Fig For A Kiss is their second album, and quite an advance on their debut. A sound, which will be refined even further, is beginning to evolve – a lively interplay between fiddle, flute and double leads, heard to fine effect on tunes sets like, The Road to Lisdoonvarna and The Arragh Mountains, jig set.
There is great internal space created within these tunes, with lead instruments dipping, weaving and walloping where appropraite, and backed up by Paul Doyle’s ever solid guitar work never threatening to overwhelm either the music or the listener.
In every crown there is a jewel and for this listener it’s the voice of Joan McDermott, bell like in its clarity, skittish as a young pup on Smuggling The Tin and solemn as is appropriate on Se Fath mo Bhurtha. With this album, Providence have done themselves a wealth of good, and I’d venture to say that it is one of the finest records of the year so far. Oliver P. Sweeney 10 out of 12
The Examiner
Dark fiddle provides the opening drone for the jaunty concertina driven fling, The Road to Lisdoonvarna. The tune develops nicely, maintaining its shape with the addition of flute and a drop of an octave on the fiddle. This is Providence, more mature and more assured than before.
A Fig for a Kiss is a mix of tunes and songs, a well designed vehicle for the individual and collective talents of Clodagh Boylan, fiddle; Micheal O’Raghallaigh, concertina/ accordion; John Wynne, flute/whistles; Joan McDermott, vocals and Paul Doyle, guitar/ bouzouki/ bodhran. There is a natural interplay on Junior Crehan’s sprightly Lurgadaun Jig, with an increasingly dense sound leading into Dancing Eyes. Precise fiddle opens The Curlew Hills, a second cousin of The Glenbeigh Hornpipe. The bands signature tune, The Providence Reel, is given a special surge of power, as is its follow up, Roscommon Reel. Fred Finn’s has a hint of raggedness that gives the music its fourth dimension. Doyle’s guitar comes to the fore on an air learned from the McDonagh Brothers of Sligo. He may rarely emerge from the background, yet his playing is the glue that holds the Providence sound together. The songs have a good balance. Smuggling The Tin, refers to cross – border trade during the Second World War. Will Ye Go To Flanders is an 18th century Scotish anti war song. The album closes with a live set, Music In The Glen/ Sean sa Cheo, recorded at Dougie McLean’s bar in Taybank, Scotland. Pat Ahern
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