The Clancy Brothers are a family of singing Irish expatriates who have been important figures in re-popularizing their native music in North America and are still among the most internationally renowned Irish folk bands. Some even credit the band as important figures in starting the folk revival of the '50s and '60s.

The Clancys,... [+] Read More

The Clancy Brothers are a family of singing Irish expatriates who have been important figures in re-popularizing their native music in North America and are still among the most internationally renowned Irish folk bands. Some even credit the band as important figures in starting the folk revival of the '50s and '60s.

The Clancys, Tom, Pat and Liam were born in Carrick-on-Suir, County Tiperrary, Ireland to a family of nine, all of whom were musically inclined. Tom and Pat emigrated to New York around the early '50s to become actors. Liam and his friend Tommy Makem, born in Keady, County Armagh the son of noted balladeer Sarah Makem, came to the U.S. in 1956. Before Liam emigrated, he had founded a dramatic society and had put on a play taking over the direction, producing and set design himself. He had also acted at the famed Gaiety Theatre in Dublin. Both he and Makem also hoped to have acting careers in New York. The Clancy Brothers with Tommy Makem (as they were first billed) came together to sing fund-raising concerts for the Cherry Lane Theater and at the Guthrie benefits. Forgoing the stereotypical maudlin Irish ballads in favor of lusty party songs, traditional American and Irish folk songs and even protest tunes sung in close harmony and performed most theatrically, the Clancys soon became popular folk performers around Greenwich Village. In the mid-'50s, Pat founded Tradition Records so the Clancys and Makem could begin recording. Early recordings include "The Rising of the Moon" and "Come Fill Your Glass with Me."

By recording and touring often, the Clancys continued to become more and more popular in Eastern and Midwestern clubs, but it was their debut on the Ed Sullivan Show in 1961 that brought them national exposure. Originally scheduled to only play three minutes, they ended up playing for 16 minutes and became an instant national sensation and soon signed a major contract with Columbia Records. The Clancys continued recording and performing together through 1969. That year Makem left to pursue his solo career. In 1975, Liam departed; he and Makem were replaced by brother Bobby Clancy and their nephew Robbie O'Connell. Since then, the original members have occasionally regrouped for reunion concerts. Tom Clancy died in 1990 but the band continued on. ~ Sandra Brennan, All Music Guide [-] Hide

The original traditional Irish folk band, as far as anyone who came of age in the 1970s or 1980s is concerned, is the Chieftains. Their sound, built largely on Paddy Moloney's pipes, is otherworldly, almost entirely instrumental, and seems as though it comes out of another age of man's history. That they became an international phenomenon in the... [+] Read More

The original traditional Irish folk band, as far as anyone who came of age in the 1970s or 1980s is concerned, is the Chieftains. Their sound, built largely on Paddy Moloney's pipes, is otherworldly, almost entirely instrumental, and seems as though it comes out of another age of man's history. That they became an international phenomenon in the '70s and '80s is testament to their virtuoso musicianship.

The Chieftains were first formed in Dublin during 1963, as a semi-professional outfit, from the ranks of the top folk musicians in Ireland. Until that time, and for some years after, the world's (and even Ireland's) perception of Irish folk songs was rooted in either the good-natured boisterousness and topicality of acts such as the Irish Rovers or Tommy Makem and the Clancy Brothers, or the sentimentality of Mary O'Hara. That began to change in Ireland with the advent of Ceoltoiri Cualann, a group formed from the ranks of the best traditional Irish musicians by a composer named Sean Ó Riada, who hailed from County Cork. Ceoltoiri Cualann, which specialized in instrumental music, stripped away the pop music inflections from Irish music -- the dances were played with a natural lilt and abandon that came from deep within the music's origins, and the airs, stripped of their worst modern inflections, came across with even greater poignancy than anyone had recognized them for in decades, and perhaps centuries. Tempos were changed in midsong, from reel to polka to jig to slow air and back again.

Paddy Moloney came out of Ceoltoiri Cualann to found the Chieftains in 1963, seeking to carry this work several steps further. The earliest recorded incarnation of the group consisted of Moloney (pipes), Sean Potts (tin whistle), Martin Fay (fiddle), David Fallon (bodhran), Mick Tubridy (flute, concertina), and Ó Riada. They were a success virtually from the beginning, their music weaving a spell around audiences in Ireland and later in England, where they quickly became popular as both a performing and recording act -- the only thing holding them back was the decision by the members to remain a semi-professional, part-time ensemble until the early '70s. Their first four albums, spread over a period from 1965 through 1973, were originally available only from the Claddagh label in Ireland, but were later picked up by Island Records for release in England and America in 1976, after the group had achieved international renown.

The 1970s saw the group break big in America. A new, younger generation of Irish-American listeners, who enjoyed folk music and whose cultural and musical tastes weren't limited to songs about "the troubles" (i.e., England), had already begun discovering the Chieftains' music in the early to mid-'70s. By that time, the group had elected to go professional, and to expand its lineup. Ó Riada and Fallon left after the first album, and Peadar Mercier (bodhran) and Sean Keane (fiddle) joined with the second. Following the recording of Chieftains 4, they'd added Ronnie McShane (percussion) and Derek Bell (harp, oboe, timpan), a classically trained musician. Bell's harp lent the group's sound a final degree of elegance and piquancy.

The group's big breakthrough in America, however, occurred when they provided the music for Stanley Kubrick's 1975 movie, Barry Lyndon. The film itself wasn't a hit, but the Chieftains were, especially one track called "Women of Ireland," which began getting played heavily on FM progressive rock stations, and even managed to get onto the play lists of some Top 40 stations. Suddenly, the Chieftains were hot in America, and a U.S. tour and a series of performances on television -- especially the network morning news/feature shows -- brought them into demand.

By that time, Island Records had contracted to release both the group's latest album, Chieftains 5, and their four previous records in England and America. With their newfound audience, Chieftains records started coming out every year instead of every two or three years -- Bonaparte's Retreat in 1976, Chieftains Live in 1977, and Chieftains 7, 8, and 9 in 1978, 1979, and 1980, respectively, although for their U.S. releases, from 1977 through 1980, they abandoned Island Records in favor of Columbia Records. Ever since the dawn of the CD era, their music has been available on compact disc from Shanachie Records, while their more recent work has shown up on the BMG label, on both compact disc and home video. The latter have included a Christmas concert and a mixed-ensemble performance interweaving the group with orchestras, American folk and country musicians, and rock musicians, and an album (Irish Heartbeat, 1988) recorded with Irish-born R&B shouter Van Morrison. Additionally, the group has been engaged steadily for film work.

Since the late '70s, the group's recordings have settled into an effective but not fully inspired level of creativity. The band has kept its sound fresh with the periodic addition of new members and a search for sounds beyond the boundaries of Ireland -- as distant as Spain -- as sources for its music.

In 2003, long time harp player Derek Bell passed away while on tour in Phoenix, AZ. The group, who continue to play and record, released a tribute in 2005 called Live in Dublin. ~ Bruce Eder, All Music Guide [-] Hide

With an encyclopedic knowledge of traditional Irish music and virtuosic instrumental skill, Seamus Ennis (1919-1982) helped to preserve the ancient folk songs and airs of the Emerald Isle. The host of radio shows for Radio Eireann and the BBC,Ennis spent countless hours in the rural countryside of Ireland collecting hundreds of songs to play on...

With an encyclopedic knowledge of traditional Irish music and virtuosic instrumental skill, Seamus Ennis (1919-1982) helped to preserve the ancient folk songs and airs of the Emerald Isle. The host of radio shows for Radio Eireann and the BBC,Ennis spent countless hours in the rural countryside of Ireland collecting hundreds of songs to play on his shows. ~ Craig Harris, All Music Guide [-] Hide

Patrick Street is comprised of some of Ireland's most accomplished musicians. Formed in Dublin in 1986, the current group includes fiddler Kevin Burke (the Bothy Band), bouzouki player and vocalist Andy Irvine (Sweeney's Men, Planxty), button accordionist Jackie Daly (DeDanaan) and guitarist Ged Foley (the Battlefield Band, The House Band).... [+] Read More

Patrick Street is comprised of some of Ireland's most accomplished musicians. Formed in Dublin in 1986, the current group includes fiddler Kevin Burke (the Bothy Band), bouzouki player and vocalist Andy Irvine (Sweeney's Men, Planxty), button accordionist Jackie Daly (DeDanaan) and guitarist Ged Foley (the Battlefield Band, The House Band). Previous members include guitarists Arty McGlynn (Van Morrison, Planxty) and Gerry O'Beirne and Uillean pipe and keyboard player Declan Masterson. Patrick Street's self-titled debut album was produced by multi-instrumentalist Donal Lunny (Planxty, the Bothy Band, Moving Hearts).

Burke, Irvine, Daly and O'Beirne first came together to tour the United States as "Legends Of Irish Music". The enthusiastic reception that they received encouraged them to make the band more permanent. Taking the name "Patrick Street", the four musicians recorded four albums and toured the United States five times between 1987 and 1993. In the Fall of 1994, O'Beirne was replaced by Foley and Patrick Street joined with French Canadian band, La Boutine Sorriente, for a tour of New England. While much of Patrick Street's repertoire is traditional Irish music, the group has recorded original tunes by Irvine, Daly and O'Beirne, as well as tunes by Si Kahn, Woody Guthrie, Andy Mitchell, Dave Richardson and Colum Sands.

The core quartet of Patrick Street has been augmented by additional musicians on several albums. Donal Lunny played keyboard and bodhran on the group's first album. Enda Walsh played keyboards on their second effort, No. 2 Patrick Street. Patrick Street's third album, 3 Irish Times 3, featured the group's largest arrangements with the addition of Declan Masterson (Uillean pipes, low whistle, keyboards) and Bill Whelan (keyboards). The producer of Patrick Street's 1993 recording, All In Good Time, Whelan played keyboards and sang background vocals on the album. ~ Craig Harris, All Music Guide [-] Hide

This record, made on the eve of the group's breakthrough in the United States, is where the modern Chieftains sound began. It is filled with too many instances of hauntingly beautiful music to name, from the gorgeous, reflective "Morgan Magan" to the rousing fiddle reel "The Bucks of Oranmore." Not only is all of the material absolutely first... [+] Read More

This record, made on the eve of the group's breakthrough in the United States, is where the modern Chieftains sound began. It is filled with too many instances of hauntingly beautiful music to name, from the gorgeous, reflective "Morgan Magan" to the rousing fiddle reel "The Bucks of Oranmore." Not only is all of the material absolutely first rate -- and all of it holds up on repeated listening -- but this was the first of the group's albums to include harpist Derek Bell. His presence has the curious effect of softening but deepening their sound, and adding a degree of lyricism that they'd previously lacked. There are moments on this album where the group sounds as much like a chamber orchestra as a folk ensemble, and it fulfills both roles exceptionally well (as listeners to the numerous albums that have appeared since can attest). The lineup here -- Paddy Moloney (pipes, tin whistle), Sean Potts (tin whistle), Michael Tubridy (flute, concertina, tin whistle), Martin Fay (fiddle), Seán Keane (fiddle), Peader Mercier (bodhran, bones), Derek Bell (harp) -- is generally considered the peak of the group's membership and history, and lasted until the end of the decade. ~ Bruce Eder, All Music Guide [-] Hide

The Uilleann pipes are one of the most temperamental instruments on the planet. Just about anything, from heat and humidity to the phase of the moon can determine whether you get the right reedy tone out of them or belch out a bunch of honks and squeaks. It's a rare musician who can master this petulant instrument. When you hear those plaintive... [+] Read More

The Uilleann pipes are one of the most temperamental instruments on the planet. Just about anything, from heat and humidity to the phase of the moon can determine whether you get the right reedy tone out of them or belch out a bunch of honks and squeaks. It's a rare musician who can master this petulant instrument. When you hear those plaintive airs on commercials and soundtracks, you can be sure that a heck of a lot of work went into getting those pure tones.

You can also be sure that the piper was influenced, either directly or indirectly, by Seamus Ennis. Ennis, who lived from 1919 to 1982, was a near legendary figure in Irish music. He was a tireless tune collector and a skilled storyteller, with a deadpan delivery and a wealth of dialects at his disposal. This release contains 21 tracks that were recorded throughout his career. Unfortunately, the producers haven't provided dates or locations for the tracks. Despite the scratchy field recording quality of many of the tracks, and the occasional unintentional honk or squeak, Ennis' gift shines through. Aging tapes can't hide the spry rhythm and flawless ornamentation that inspired younger generations of pipers.

Also included are a couple of stories told in Ennis' light, rhythmic speech and a whistle tune, "The Copperplate Reel," in which the tapping of a step dancers feet provides percussion to shouts of approval from bystanders. Forty Years of Irish Piping is a testament to Ennis' distinguished career and a fine document of his artistry. ~ Peggy Latkovich, All Music Guide [-] Hide

The Rising of the Moon was the Clancy Brothers and Tommy Makem's first appearance on wax as a group. Recorded in 1959, in the kitchen of Kenneth S. Goldstein (co-creator of the Tradition label with Paddy Clancy), the album is a largely austere collection of fight songs and ballads that trace the fighting history of Ireland. It features the... [+] Read More

The Rising of the Moon was the Clancy Brothers and Tommy Makem's first appearance on wax as a group. Recorded in 1959, in the kitchen of Kenneth S. Goldstein (co-creator of the Tradition label with Paddy Clancy), the album is a largely austere collection of fight songs and ballads that trace the fighting history of Ireland. It features the singing of Paddy, Liam, and Tom Clancy; Makem sings as well, adds his tin whistle, and even plays rousing, military-style percussion on tracks like "Men of the West." While Makem and the Clancys' vocals are rich and melodic throughout the set, Rising of the Moon might be most striking for its instrumentation. Besides the input of Makem, the album features expressive guitar and harp, courtesy of Jack Keenan and Jack Malady, respectively. Both musicians help to lend Rising of the Moon its intimate, fireside feel; it's a sound that the Clancys and Makem would move away from on later, more crowd-pleasing releases, but here it helps imbue these songs with a respectful air. "Eamonn an Chniuic" is supported by the plucked harp like raindrops on a stubbornly wavering flower petal, while the instrument adds color to the guitar's urgent rhythm during "Foggy Dew." "Whack fol the Diddle" introduces one of the group's most famous singing techniques, while Makem's whistle livens up the title track's melody. But it's "Wind That Shakes the Barley" that could best combine aesthetic instrumentation with heartfelt emotion. This Tradition reissue includes Paddy's original liner notes and was digitally remastered for optimum sound quality. ~ Johnny Loftus, All Music Guide [-] Hide

For their third record, Celtic royalty Patrick Street have brought in some heavyweights. Adding to the already impressive roster of Andy Irvine, Arty McGlynn, Jackie Daly, and Kevin Burke, the quartet have employed the talents of fiddler James Kelly, piper Declan Masterson, keyboardist and Riverdance creator Bill Whelan, and most importantly,... [+] Read More

For their third record, Celtic royalty Patrick Street have brought in some heavyweights. Adding to the already impressive roster of Andy Irvine, Arty McGlynn, Jackie Daly, and Kevin Burke, the quartet have employed the talents of fiddler James Kelly, piper Declan Masterson, keyboardist and Riverdance creator Bill Whelan, and most importantly, guitarist and songwriter Gerry O'Beirne. O'Beirne, whose two self-penned tunes for 3 Irish Times 3 are among the group's finest recordings, are a breath of fresh air amidst the somewhat stale trappings of traditional Irish music. "In the Land of the Patagarang," his wondrous character sketch of an Irish felon's forced immigration to Australia is both chilling and gorgeous, showcasing his unique voice and 12-string guitar prowess while providing the band with one of their most creative arrangements. "Strokestown" is a warm, bittersweet ode to small town life in County Roscommon, Ireland, and O'Beirne effectively describes his lovelorn predicament as being "down, living in a four street town." Andy Irvine provides a lighthearted rendering of "Humours of the King of Ballyhooley," and offers the listener a portrait of a dying political veteran in the powerful "Forgotten Hero." The real gem on 3 Irish Times 3 is a fantastic cover of the Penguin Cafe Orchestra's "Music for a Found Harmonium" -- a rollicking reel that has since found new life in movie trailers and television commercials -- that serves as a powerhouse opener for what many call Patrick Street's finest record. ~ James Christopher Monger, All Music Guide [-] Hide