The Lonesome Valley

My Fav I created it

Absolutley Free The Mothers of Invention



Absolutely Free (1967) is the second album by The Mothers of Invention, led by Frank Zappa. Absolutely Free is once again a display of complex musical composition with political and social satire. The band had been augmented since Freak Out! by the additions of saxophone player Bunk Gardner, keyboardist Don Preston, guitarist Jim Fielder and drummer Billy Mundi. However, Fielder quit the group before the album was released. His name was removed from the album credits.
For this album, the emphasis is on interconnected movements, as each side on the original vinyl LP composes a mini-suite. It also features one of the most famous songs of Zappa's early career, "Brown Shoes Don't Make It," a track which has been described as a "condensed two-hour musical".^[1]
The CD reissue adds a single The Mothers released at the time between where side one would have ended and side two would have begun featuring the songs "Why Dontcha Do Me Right?" (titled "Why Don't You Do Me Right" on the 45) and "Big Leg Emma," both described as: "an attempt to make dumb music to appeal to dumb teenagers" (these were a rare Verve single).
In the book Necessity Is..., former Mothers of Invention band member Ray Collins claimed that Absolutely Free is probably his favorite of the classic Mothers albums.^[2]
The UK -67 release (Verve VLP/SVLP 9174) came in a laminated flip-back cover, with a Mike Raven poem at the reverse that was not apparent on any other issue.
The title of "Brown Shoes Don't Make It" was inspired by an event covered by Time Magazine reporter Hugh Sidey in 1966. The reporter correctly guessed that something was up when the fastidiously dressed President Lyndon B. Johnson made the fashion faux pas of wearing brown shoes with a gray suit. LBJ flew to Vietnam for an unannounced public relations visit later that day.
In the songs "America Drinks and Goes Home" and "America Drinks" Zappa combines a silly tune with nightclub sound effects to parody his experiences playing with drunken bar bands during the early 1960s. Other songs recorded soon after that used the same kinds of ideas include "On with the Show" by The Rolling Stones (released in 1967), "My Friend" by Jimi Hendrix (recorded in 1968, released in 1971) and "You Know My Name (Look Up The Number)" by The Beatles (recorded in 1967 and 1969, released in 1970.)
"Plastic People" begins with a mock introduction of the President of the United States, who (along with his wife) can only recite the opening notes to "Louie, Louie". "Louie, Louie" is often interpolated in Zappa's compositions (other examples appear in the Uncle Meat and Yellow Shark albums, among others), and when Zappa first began performing "Plastic People" ca. 1965, the words were set to the tune of "Louie, Louie."

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The Wreck of the Edmund Fitzgerald

Tennessee ernie Ford - 16 Tons

Pink Floyd - Cirrus Minor

Blues Magoos - Psychedelic Lollipop (1966)

The band was formed in 1964 as "The Trenchcoats". The original members were Emil "Peppy" Thielhelm aka Peppy Castro (vocals and guitar), Dennis LaPore (lead guitar), Ralph Scala (organ and vocals), Ronnie Gilbert (bass) and John Finnegan (drums). The band made a name for itself in various clubs in Greenwich Village. By 1966 the band had changed its name to fit in with the psychedelic vibe of the times - they first changed their name to the Bloos Magoos, though they changed that to the more conventional Blues Magoos. They also made some line-up changes, bringing in Mike Esposito as lead guitarist, and Geoff Daking as drummer.

Like their name, the group's sound was of the psychedelic variety. They released singles on smaller labels, like Ganim Records and Verve Records, but those singles did not gain the band much recognition. However, Mercury Records signed the band to a record deal in late 1966 and the group's debut album, Psychedelic Lollipop was released shortly thereafter. It was one of the first records to contain the word "Psychedelic" on the sleeve (along with the 13th Floor Elevators' first album, The Psychedelic Sounds of the 13th Floor Elevators, and The Deep's Psychedelic Moods, both also from 1966). They played a lot then at the Chess Mate Coffeehouse owned by Morrie Widenbaum, a mostly folk venue that also hosted bands like Southbound Freeway, Siegel-Schwall Blues Band and Blues Magoos.

In a tour of the US in 1967 they were the opening act followed by The Who and then the headliners Herman's Hermits. The group's biggest song, "(We Ain't Got) Nothin' Yet", whose Farfisa riff bears an uncanny resemblance to the 1962 hit by Ricky Nelson, "Summertime" (Deep Purple also used this riff in their hit "Black Night") , was released as a single in 1967 (albeit from their 1966 album), with "Gotta Get Away" as the b-side. The song hit number 5 on the US charts, although it did not fare nearly as well in the UK. It was used for the movie Easy Rider in 1968. Incidentally, The Magoos' "(We Ain't Got) Nothin' Yet" was released as a single in February 1967 by British group The Spectres (later to become The Status Quo). The record did not chart.

The next single by the Blues Magoos, "There's A Chance We Can Make It," was only a minor hit, with its b-side "Pipe Dream" actually charting higher (though neither side hit the top 40). After one more minor chart single with "One By One," subsequent singles were largely ignored by record buyers. Neither of the two albums released after Psychedelic Lollipop, Electric Comic Book and Basic Blues Magoos, had much success. By 1968, the band was discouraged and they split up.

The group's management had other plans. The band was signed to ABC Records, but most of the members did not go along with this plan. Only Castro agreed and started up a revamped Blues Magoos, with Eric Kaz, Richie Dickon, John Leillo and Roger Eaton. In 1969, the band completed Never Goin' Back To Georgia, but that release did not attract public attention either. Eaton left the band, and the other Blues Magoos used session musicians for the follow up Gulf Coast Bound. It did poorly as well and though the Magoos struggled for another two years, they eventually parted ways. In 1981, Castro resurfaced with the group Balance.
Tracks
1.(We Ain't Got) Nothin' Yet (2:18)
2.Love Seems Doomed (3:02)
3.Tobacco Road (4:42)
4.Queen of My Nights (3:05)
5.I'll Go Crazy (2:03)
6.Gotta Get Away (2:42)
7.Sometimes I Think About (4:13)
8.One by One (2:52)
9.Worried Life Blues (3:53)
10.She's Coming Home (2:43)

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seamus ennis plays a reel

The Beatles- You've Got to Hide Your Love Away

The Irish Uprising 1966 - CBS Legacy 32-B5-0001 (mono only) LP

In honour of  My Father Gerald James Ryan and my Uncle Thomas John Ryan

Happy St Patricks Day

The Irish Uprising
1966 - CBS Legacy 32-B5-0001 (mono only) LP

The story of ireland's fight for freedom in songs and ballads, interviews with survivors, and excepts from speeches by its leaders,
including president Eamon de Valera
recorded live in dublin, and by the Clancy brothers and Tommy Makem
CBS Legacy Collection records 32-b5-0001

A1a	Liam Clancy , Clancy Brothers & Tommy Makem, The  -	The Soldier's Song	4:47
A1b	Daniel Callahan (2)  -	Padraic Pearse's Oration At The Grave Of O'Donovan Rossa
A1c	Breandan O'Duill  -	The Bold Fenian Men
A1d	Sean T. O'Kelly  -	From An Interview With Sean T. O'Kelly
A2a	Eamon DeValera*  -	From A Speech By Eamon DeValera	6:41
A2b	Kay Hart  -	Lonely Banna Strand
A2c	Eamon DeValera*  -	Eamon DeValera
A2d	Tommy Makem  -	From "The Rebel"
A2e	Anne Byrne  -	Tri-Colored Ribbon
A3a	Tommy Makem And The Clancy Brothers*  -	The Rising Of The Moon	4:51
A3b	Donal Donnelly  -	The Proclamation Of 1916
B1a	Tommy Makem And The Clancy Brothers*  -	Wrap The Green Flag 'Round Me Boys	4:52
B1b	Eileen O'Hanrahan Reilly  -	From Interviews With Mrs. Eileen O'Hanrahan Reilly
B1c	Rory Brugha  -	From Interviews With Rory Brugha
B1d	Sean Harling  -	From Interviews With Sean Harling
B2a	Clancy Brothers & Tommy Makem, The  -	Who Fears To Speak Of Easter Week	6:42
B2b	Tom Clancy  -	From "Easter 1916"
B2c	Tom Clancy  -	Tipperary So Far Away
B2c	Ed Golden   -	The Rose Tree
B3a	Kay Hart  -	Down By The Glenside	6:30
B3b	Liam Clancy  -	From "Drums Under The Window"
B3c	Anne Byrne , Breandan O'Duill And Abbey Tavern Singers, The  -	The West's Awake
C1a	Daniel Callahan   -	Padraic Pearse's Surrender Order, April 1916	5:19
C1b	Pat Clancy , Clancy Brothers & Tommy Makem, The  -	The Foggy Dew
C1c	Tom Clancy   -	Sixteen Dead Men
C2a	Kay Hart  -	The Dying Rebel	7:27
C2b	Deirdre O'Maera  -	The Mother
C2c	Eamon DeValera*  -	Eamon DeValera
C2d	Tommy Makem  -	The Grand Ould Dame Brittannia
C2e	Sean T. O'Kelly  -	From Interviews With Sean T. O'Kelly
C2f	Joseph Clarke  -	From Interviews With Joseph Clarke
C2g	Sean Harling  -	From Interviews With Sean Harling
C2h	Frank Sherwin  -	From Interviews With Frank Sherwin
C3a	Clancy Brothers & Tommy Makem, The  -	Johnson's Motor Car	9:01
C3b	Liam Clancy  -	The Valley Of Knockanure
C3c	Eamon DeValera*  -	Eamon DeValera
C3d	Sean Mooney  -	From Interviews With Sean Mooney
C3e	Sean Harling  -	From Interviews With Sean Harling
C3f	Liam Clancy , Clancy Brothers & Tommy Makem, The  -	Green In The Green
D1a	Tommy Makem And The Clancy Brothers*  -	Boys From The County Cork	5:18
D1b	Liam Clancy  -	Kevin Barry
D1c	Eamonn Kelly*  -	The Manifesto Of Sinn Fein
D1d	Eamon DeValera*  -	Eamon DeValera
D2a	Anne Byrne  -	Shall My Soul Pass Through Old Ireland	6:12
D2b	Rory Brugha  -	From An Interview With Rory Brugha
D2c	Sean Mooney  -	From An Interview With Sean Mooney
D2d	Liam Clancy , Clancy Brothers & Tommy Makem, The  -	An Durd Fainne
D2e	Sean Harling  -	From An Interview With Sean Harling
D3a	Donal Donnelly  -	From "The Fool"	5:35
D3b	Tommy Makem And The Clancy Brothers*  -	A Nation Once Again
D3c	Eamon DeValera*  -	From The Easter 1966 Message
D3d	Clancy Brothers & Tommy Makem, The  -	The Soldier's Song

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Donovan - Barabajagal (Love is Hot)

The rising of the moon

Grand Old Dame Britania.mpg

Rory Gallagher - Bullfrog Blues

Irish Blues what can I say but yay

Roy Buchanan Thats What I am here for

This Album blew my mind when i first listened to it in my friend Tim Gitten's Barn.....It played a pivotal role in the formation in my musical tastes.

My Baby Says She's Gonna Leave Me	3:22
Hey Joe (In Memory Of Jimmy Hendrix)	5:25
Home Is Where I Lost Her	4:27
Rodney's Song	4:30
That's What I Am Here For	2:30
Roys Bluz	5:59
Voices	2:27
Please Don't Turn Me Away	4:47
Nephesh	3:27



Buchanan's 1962 recording with drummer Bobby Gregg, nicknamed "Potato Peeler," first introduced the trademark Buchanan pinch harmonics. An effort to cash in on the British Invasion caught Buchanan with The British Walkers. In the mid-'60s, Buchanan settled down in the Washington, D.C., area, playing for Danny Denver's band for many years, while acquiring the reputation as "one of the very finest rock guitarists around. Jimi Hendrix wouldn't take up the challenge of a 'pick-off' with Roy"^[7] In D.C., Buchanan played with his own band, The Snakestretchers, with whom he made his first recording as a front man, on Polydor.
Buchanan's life changed in 1971, when he gained national notoriety as the result of an hour-long PBS television documentary. Entitled The Best Unknown Guitarist in the World, it earned a record deal with Polydor and praise from John Lennon and Merle Haggard, besides an alleged invitation to join the Rolling Stones (which he turned down).^[8]
He recorded five albums for Polydor, one of which, Second Album, went gold,^[9] and after that another three for Atlantic Records, one of which, 1977's Loading Zone, also went gold.^[2][10] Buchanan quit recording in 1981, vowing never to enter a studio again unless he could record his own music his own way.^[8]
Four years later, Buchanan was coaxed back into the studio by Alligator Records.^[8] His first album for Alligator, When a Guitar Plays The Blues, was released in the spring of 1985. It was the first time he was given total artistic freedom in the studio.^[11] His second Alligator LP, Dancing on the Edge (with vocals on three tracks by Delbert McClinton), was released in the fall of 1986.
He released the twelfth and last album of his career, Hot Wires, in 1987. According to his agent and others, Buchanan was doing well, having gained control of his drinking habit and playing again, when he was arrested for public intoxication after a domestic dispute,^[2][5] and was found hanged from his own shirt in a jail cell on 14 August 1988 in the Fairfax County, Virginia Jail. According to Jerry Hentman, who was in a cell nearby Buchanan's, the Deputy Sheriff opened the door early in the morning and found Buchanan with the shirt around his neck.^[6][10]
His cause of death was officially recorded as suicide, a finding disputed by Buchanan's friends and family. One of his friends, Marc Fisher, reported seeing Roy's body with bruises on the head.^[6]
After his death, compilation and other albums continue to be released, including in 2004 the never-released first album he recorded for Polydor, The Prophet.

Here I am Come and Get me

How Ceasar Was Driven From Ireland Dominic Behan

Crowbar Bad Manors 1971

 

 

A piping hot slice of Americana served up by a band of Canadians -- it's a situation that any fan of the Band could appreciate. Jozef Chirowski's speedy honky-tonk piano in "House of Blue Lights" and his boogie-woogie "Murder in the First Degree" give the proceedings an air of saloon wildness, and the off-kilter production on the lead vocals and harmonies throughout the album only adds to the effect. There are some nicely wry moments too, as when the cuckold's tale of "Too True Mama" boasts that "I got a private eye on you, and I got a private eye on the private eye!" For all its loving invocation of American genres, Crowbar also indulges in some unexpected experiments. The gravelly "In the Dancing Hold" is interrupted by a faux-AM broadcast of pleading soul music, while the erstwhile religious content of "Prince of Peace" sits among a swirled montage of urban ambient noise, booming bass drums, and repeated crowd choruses invoking the return of the Prince of Peace. But for sheer devilish frenzy, it's hard to beat "Oh What a Feeling." With its funked-up R&B guitar and whooshing chorus, it is just about a perfect musical evocation of a head rush

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Ireland Sings Dominic Behan

This Record has a very special place in my heart. It is an album that I have spent many hours to clean up and make listenable. My Father loved this album and hence it was played till you couldn't hear the words :). Anyway in Time for St Pat's and in Honour of My Father I leave you this Gem.

Side One
Not a Star from the Flag Shall Fade
Sodding
Sit Yeh Down and I'll Treat Yeh Decent
Fineen O'Driscoll, the Rover (Fineen the Rover)
How Ceasar Was Driven from Ireland
Dicey Riley
Kerry Boatman

Side Two
Trust in Drink
Love of My Heart
My Redheaded Mot from Ringsend
Brown and Yellow Ale
Sea Around Us
Irish Famine
Patriot Game

I think this was Dominc Behans best work

Take me Away

Screaming Lord Sutch - Jack The Ripper (live 1964)

Teddy O`Neill sung by Ruby Murray

Let Him Go, Let Him Tarry

Colleen Dhas

The Clancy Brothers and Tommy Makem

The Clancy Brothers and Tommy Makem
1961—Tradition TLP 1042 LP

Side One
Brennan on the Moor
The Work of the Weavers
The Stuttering Lovers
Paddy Doyle's Boots
The Maid of Fife-E-O
The Bard of Armagh
The Jug of Punch
Roddy McCorley

Side Two
The Barnyards of Delgaty
The Castle Of Dromore
The Bold Tenant Farmer
Ballinderry
Bungle Rye
Eileen Aroon
Johnny I Hardly Knew You

Sleeve Notes

There's always been something to sing about when folk musicians and their admirers get together. But in the spring of 1961, as the upward spiral of the folk-music revival in America went higher and higher, the success of one group caused a particularly joyous outburst of song.

The group we're talking about, it won't surprise you to learn, is none other than the Clancy Brothers and Tommy Makem. And the reason for all the gaiety is that America has taken to its heart these four, tough-fisted, gentle-hearted Irish singers. This is a not altogether unexpected phenomenon. For one thing, it has opened up the flood-gates of an entirely new freshet of song for American listeners. And out pours the rushing, clean waters of Irish folk music, with its lilting charm, fierce independence of spirit, melodic inventiveness and whimsical view of life.

Still another reason for being happy about the success of Messrs. Clancy and Makem is that for the first time in this revival the line between "authentic" and "entertainment" has been narrowed.

How often in the past has the American listening audience had to endure only prettied-up and popularized arrangements of folk melodies? Yes, there was always a core of devotees who knew the real article, who said that the real folk music was so much richer, deeper and more durable than anything the popularizers were offering.

What changed? More than anything, it was the taste of the audience that began to change. City people got a sniff of folk music and gradually got curious to know what the unadorned, straight product was like. Somehow the ballads of Jean Ritchie or the craggy voices of southern mountaineers were being taken on their own terms, and appreciated for what they were. The audience began to understand that folk music can sometimes be a bit rough around the edges and not always the most technically polished, yet the conviction and belief and artistry would still be there.

This has been brought about by many performers who have refused to change their standards. Like a bunch of stalwart rocks in an eddying stream, these singers held on firmly to their styles and their ideals of performing. And the Clancys and Tommy Makem, traditional singers all, are turning out to be among the biggest, boldest rocks in the stream.

Now the group is finally getting the acclaim it justly deserves. They've sung at Carnegie Hall and Town Hall. They've appeared on Ed Sullivan's television show and Arthur Godfrey's radio show. They have recorded for Columbia Records (but will also continue to be heard on their "home" company, Tradition Records). They have appeared twice at Gerde's Folk City, One Sheridan Square, the Blue Angel, the Gate of Horn in Chicago and have also appeared at the Village Gate in Manhattan, the hungry i in San Francisco, the Playboy Club in Chicago, and in Minneapolis with the comic Bob Newhart.

One Greenwich Village "folknik" became worried when she heard that the Clancy Brothers and Tommy Makem had gone to New York's swank, sophisticated Blue Angel. "Oh, they've gone and sold out," she fretted, unknowingly. "Nonsense," replied a friend and admirer who knew what they were doing at the Blue Angel. "They haven't changed a bit," he said, "the audience has changed."

It's a long way from home from the Clancy residence, a limestone and mortar, slate-roofed house in Carrick-on-Suir, Tipperary , to the Blue Angel. And it's an equal distance from Tommy Makem's home in Keady, County Armagh, to the plush room, as he described the place on first seeing it. "with mattresses on the wall."

But the quartet, ramblers, adventurers and actors all, have not changed what they do. There's still the ring of honesty about their songs, there's still the spirit of good fun and infectious happiness that irradiates their work. Tradition is the backbone of folk music and it is often the backbone of strong men in a world where the quick profit and the easy way out have become almost symptomatic institutions.

Pat Clancy is the oldest of the clan, and is president of Tradition records. He has acted for nearly ten years and sung for more than thirty. He served in the Irish Republican Army and volunteered for the Royal Air Force in World War II. His brother, Tom, is next in age, and is a successful actor on Broadway and television. He has been a cook, a welder and a warrant officer in the R.A.F. Liam has appeared at the Poet's Theatre in Cambridge, Mass., on various television dramatic shows, and done folk-song collecting in the highlands of Scotland and the Southeastern United States. Tommy Makem is the most recent emigré from Ireland, but has been making up for "lost" time with a rigorous schedule of acting and singing, with Pete Seeger and the Clancy's.

The performers are to be heard on several other Tradition releases: The Lark in the Morning (TLP 1004), The Rising of the Moon (TLP 1006), Come Fill Your With Us (TLP 1032), and Songs of Tommy Makem (TLP 1044).

Instrumental backing on this record is provided by Bruce Langhorne on guitar Liam Clancy on guitar, Tommy Makem on penny whistle, and banjo by Eric Darling. Everyone taps their feet!

THE SONGS

SIDE A
The Clancy Brothers and Tommy Makem have chosen a program that runs across all the moods and lines of Irish song. They start off with a rousing curtain-raiser, Brennan on the Moor. Pat learned this song from his father's mother, a tall woman who wore a big, black cloak and hood and was known throughout the neighborhood for her fine singing. Brennan, the bold highwayman, was executed in Clonmel, which is twelve miles from where the Clancys lived. It is one of the evocations of the bold outlaw that have lived so long in folklore, from Robin Hood to Jesse James. Paddy has shortened and adapted the song from the way he learned it, but the heart of this tale of a "brave and undaunted" highwayman who was "betrayed by a false-hearted woman" remains intact.

Pride in craft, a trait of the performers on this disk, is the subject of The Work of the Weavers, a catchy song, which Liam takes the lead on. It is obviously a drinking song, but the lineaments of the working experience are still on their mind. Mechanization of the clothing industry may have brought about cheaper prices, but what elan exists today to rival that of these artisan-weavers?

Love will have its way, the next song seems to say, and knows no impediment, not even in the face of a speech impediment! The Stuttering Lovers is a short and humorous song that was collected and arranged by Herbert Hughes. Tommy Makem is the soloist.

Tom Clancy would give you the feeling that he's an old salt, as he leads the vigorous bunting chantey, Paddy Doyle's Boots. Here is a "functional" folk song, used to keep time for work being done on shipboard. In his book "Shanties from the Seven Seas" (E. P. Dutton & Co.) Stan Hugill says that Paddy Doyle "probably was some Liverpool boarding-master from whom a clever seaman had swiped a pair of seaboots. the boots themselves being now made famous for ever."

The Maid of Fife-e-o is a popular country song from Scotland, especially so in the Northeast. It was learned from the singing of Ewan MacColl, who believes this characteristically Scottish air originated as a broadside ballad.

If Tommy Makem wanted a "theme song" he would have it in The Bard of Armagh, since he is, to put it simply, a bard from Armagh. The song is a distant cousin of the Irish version of "The Unfortunate Rake" and of the American "Streets of Laredo." It is the song of an old man, who reflects philosophically that "Merry-hearted boys make the best of old men."

The uninhibited quality of a drinking session is caught in The Jug of Punch, which Paddy sings, aided and abetted by a chorus of imbibers. Pat recalls hearing the song all his life, and says it is widely known in Ireland in many versions. It contains, besides an irresistible melody and roll to it, some beautiful folk poetry, such as the line, "even the cripple forgets his hunch, when he's snug outside of a jug of punch." The song is believed to be of Gaelic origin, and the reference to liquor at the head and feet of a corpse is a recurring image in many Irish drinking songs. The "Kerry pippin" in the second verse is a type of apple.

Roddy McCorley gives the group a chance to show how big and heroic a sound they can make. In a note on the song accompanying an article on the group in the April-May, 1961, issue of. Sing Out!, the following background note is offered: "Roddy McCorley was a local leader in County Antrim in Ireland during the famous Rebellion of 1789. After being captured by the British, he was executed in the town of Toomebridge&hellip" The song has been adapted by the Clancys from words written by Ethna Carberry.

SIDE B
Makem's playful little penny whistle and Tom Clancy's playful baritone start the second side off at a clip, with The Barnyards of Delgaty, a widely known song in Scotland today. It is a bothy song, taking its terms from the name for the wooden shacks that housed the seasonally-hired ploughmen.

The story behind the gently lyric Castle of Dromore, which Liam Clancy sings, is a curious one. The music is believed to date from the eighth century. A manuscript of it was found in the ruins of the town of Cashel, once the seat of the Kingdom of Munster. No words were found to it, and they were then written in English. Subsequently the lyrics were rewritten in Gaelic, and once again, converted into English.

A strange mixture of poetry and a tongue-twisting verse is the distinctive quality of The Bold Tenant Farmer, sung by Liam, with some assistance by the ensemble. A hit-parade candidate?

Ballinderry is taken from a fragment of a love song. Makem sings the melancholy air that tells of a ship that sank and a romance that was lost. Bungle Rye is just for fun, collected by the Clancy brother who stayed at home, Bobby Clancy, from Dennis Coffee in County Waterford. Some of the outlandish things that happened to a bold sailor and a "damsel who skipped up and down" make up this humorous ditty.

Eileen Aroon is believed to have been written by Carolin O'Daly, a blind bard of the eighteenth century. O'Daly was known far and wide for his vanity about women, and would stop at nothing to get his heart's desire, even when it included writing such beautiful poetry as in this song: "Beauty must fade away/Castles are sacked in war/Chieftains are scattered far/Truth is a fixed star, Eileen Aroon." Liam sings the melody and Makem sings harmony.

One of the world's most famous anti-war songs, which was to become popular in America at the time of the Civil War. is Johnny I Hardly Knew You. The well-known melody uses a bristlingly bitter set of verses, and such imagery as "you're an eyeless, boneless, chicken-less egg," to condemn war.

Drink Me

The Clancy Brothers and Tommy Makem In Person at Carnegie Hall

Well Good Morning everybody. Here we are fast approaching St Patrick's. I get the fever so get ready for some fine partying music over the next couple of days....Slainte

Sleeve Notes

There was an air of excitement in Manhattan's Carnegie Hall on the evening of November 3, 1962. The Clancy Brothers and Tommy Makem, Ireland's leading musical exports, were giving a concert. A capacity audience gathered to hear the four singing actors trot out their songs of love, their songs of patriotism, of childhood and of drinking. This disc preserves some of the finest moments from that concert.

This was the fourth time the singers from County Tipperary and County Armagh had appeared at Carnegie Hall in recent years. As their popularity grows by leaps, bounds and ballads, there seems to be no end to the variety of places in which they sing. Tom, Liam and Pat Clancy and Tommy Makem have been heard In concert in a dozen cities and campuses † throughout the U.S.A.

They have appeared on the Ed Sullivan TV show, as guests of Adlai Stevenson at a United Nations party, at festivals, at Playboy Clubs and a score of nightclubs around the country. When relaxing, they take their ease—with songs, of course—at two Greenwich Village bistros, the White Horse Tavern and the Limelight.

Always, they sing with spirit, always with a touch of nostalgia for their homeland, with more than a touch of love for the rich and many-faceted folk culture of Ireland. As the laughter and cheers in the recording indicate, there was a strong feeling of Irish nationalism among the audience at Carnegie Hall that night. And few singers could feed that bold and colourful nationalistic hunger better than the Clancy Brothers and Tommy Makem. Bill Lee on bass and Bruce Langhorne on guitar are their accompanists.

Beginning this lively, memorable concert is a playful song of the Irish rebellion, Johnson's Motor Car. Although the subject of the song, the common practice of commandeering transportation during the Irish Troubles, † was far from humorous, the characteristic Irish whimsy could not help but find the lighter side of it.

Youngest brother Liam Clancy takes over on The Juice of the Barley, a topic that needs no further explanation. He picked up the song during a trip home in the summer of 1962.

One of the most endearing things about the Irish to non-Irish ears is the music of the speech. Tom Clancy's reading of The Host of the Air is interpolated in this in this song programmes as if it were another song. The poem, also known as O'Driscoll, was written by William Butler Yeats at the turn of the century, and is considered one of the greatest and most musical, of his works, a set of eleven quatrains.

Nothing seems to bring out the spirits of the quartet quite so much as when the subject is a girl. Reilly's Daughter is one of the best to bring out the rogue in this quartet of rogues. Tommy Makem takes the lead.

The Patriot Game is a traditional air, "The Merry Month of May," with new words by Dominic Behan, brother of the playwright, Brendan Behan, and a poet, writer and singer in his own right. Few bolder statements in song have been written by an Irishman in recent years than The Patriot Game.

The battle for national identity and independence is inextricably tied in with the Irish folksong tradition. One of the most stirring of these is the paean in march tempo to gallant soldiers, Legion of the Rearguard.

There have been many sing-alongs at Carnegie Hall over the recent years of the folksong revival. But Liam Clancy may well have led the first Gaelic "hootenanny" at the famous auditorium when he got the enthusiastic audience to sing Oro Se Do Bheatha Bhaile, which closes the first side of the disc.

Pat Clancy, being the oldest of the group, has, as a consequence, the greatest experience with the drinking song and the pleasant activities that surround it. In A Jug of Punch he imparts some of the background and all of the joy of such an event.

One of the finest vignettes of Irish life is next presented by the Clancy Brothers and Tommy Makem. This long, integrated re-creation of Irish childhood gives full play to the quartet's talents as actors, singers and Irishmen. Here are the street songs, the sounds of play, the taunts, the rhymes, the jokes and the fantasies of the young. It is, in Pat's phrase, the story of the towns in which they were "bred and buttered," Carrick-on-Suir, County Tipperary, for the Clancys and Keady, County Armagh, for Tommy Makem.

This childhood medley starts with When I Was Young, a lovely lyric, and runs to the mimed game of war and wounds, The Irish Soldiers, in which Irish children show a stunning comprehension of the insanity of war. As you may gather, the quartet has been at work on this series of folklore portraits of a child's world for a lifetime, four lifetimes. †

A sentimental drinking song, which closes the evening in many an Irish pub, The Parting Glass, closes this evening as well. Liam sings the song at Carnegie Hall, but it might as easily have been a night at home with the Clancy Brothers and Tommy Makem.

Side One

Johnson's Motor Car - arr. & adapted by Liam Clancy

The Juice of the Barley * - arr. & adapted by Liam Clancy

O'Driscoll (The Host of the Air) - W.B. Yeats

Reilly's Daughter - arr. the CBTM

Patriot Game - Dominic Behan

Legion of the Rearguard - Keating

Oro Se Do Bheatha Bhaile * - P. Pearse: arr. the CBTM

Side Two

A Jug of Punch - F. McPeake - arr. & adapted by P. Kennedy

Galway Bay - Dr. A. Colahan

Children's Medley: When I Was Young; Shellicky Bookey; Up the Long Ladder; Big Ship Sailing; Ahem! Ahem!; Wallflowers; Mary the Money; Frosty Weather; Man of Double Deed; The Wren Song; Up the Long Ladder; Some Say the Divil's Dead; The Irish Soldiers; Up the Long Ladder - arr. & adapted by J., L., P., T. Clancy & T. Makem

The Parting Glass - arr. & adapted by P. Clancy

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My First Upload It Ain't Easy Long John Baldry

It Ain't Easy is a 1971 album by Long John Baldry.
According to extensive notes about Long John Baldry's career in the re-release 2005 CD, Rod Stewart was brought on board to produce It Ain't Easy for Warner Brothers. Soon after in 1970, Stewart met Elton John at a party and the piano player joined on, too. Stewart and John each produced half of this bluesy album, with John contributing much of the piano work. Stewart brought in mate Ronnie Wood to play guitar, as well as many others who would appear on Stewart's Every Picture Tells a Story, released later in 1971.
The Baldry album features his biggest U.S. hit, "Don't Try to Lay No Boogie-Woogie on the King of Rock and Roll." In the liner notes, Baldry notes how Stewart's loose and late-night recording sessions affected the tracks, "especially those recorded on my thirtieth birthday when he showed up with cases of Remy Martin cognac and several measures of good quality champagne!" Baldry points out that "Don't Try to Lay No Boogie-Woogie on the King of the Rock and Roll" was recorded "whilst laying on the floor."
The 1971 release also features "Black Girl," the centuries-old American folk song most associated with Lead Belly, though covered by the likes of Bob Dylan, the Grateful Dead, Dolly Parton and Nirvana. Baldry does an impressive version singing with Maggie Bell, who also appeared on Every Picture Tells a Story.
It Ain't Easy also includes Willie Dixon's classic "I'm Ready" and an Elton John-Bernie Taupin song, "Rock Me When He's Gone". The story goes that John, a budding star in the early 1970s, took his last name from Long John Baldry.

1. "Intro: Conditional Discharge" (Long John Baldry, Ian Armitt)
2. "Don't Try to Lay No Boogie-Woogie on the King of Rock & Roll" (Jeff Thomas)
3. "Black Girl" (Traditional, Leadbelly)
4. "It Ain't Easy" (Ron Davies)
5. "Morning, Morning" (Tuli Kupferberg)
6. "I'm Ready" (Willie Dixon)
7. "Let's Burn Down the Cornfield" (Randy Newman)
8. "Mr. Rubin" (Lesley Duncan)
9. "Rock Me When He's Gone" (Elton John, Bernie Taupin)
10. "Flying" (Ronnie Wood, Rod Stewart, Ronnie Lane)

Get Me

Odetta Live in concert 2005, "House of the Rising Sun"

The Oul' Man from Killyburn Brae

Wow I wonder if I can interest people

Welcome, Come On Down the Cellar Stairs watch your step :)

Well here we are....What do I do now mmmm. Ok I am gonna start posting links to really cool music and stuff. Mostly old and slightly Irish but I am open to suggestion but I would really like it if it was about music in general. I guess thats it for now so sit down relax and enjoy. Here is our first link

An Album etched in my Memory