The Dubliners were an Irish folk band founded in Dublin in 1962 as The Ronnie Drew Ballad Group after its founding member. The line-up saw many changes over their fifty-year career, but the group's success was centred on lead singers Luke Kelly and Ronnie Drew; the band garnered international success with their lively Irish folk songs, traditional street ballads and instrumentals. The band were regulars on the folk scenes in both Dublin and London in the early 1960s, were signed to the Major Minor label in 1965 after backing from Dominic Behan, they went on to receive extensive airplay on Radio Caroline, appeared on Top of the Pops in 1967 with hits "Seven Drunken Nights" and "The Black Velvet Band". Performing political songs considered controversial at the time, they drew criticism from some folk purists and Ireland's national broadcaster RTÉ had placed an unofficial ban on their music from 1967 to 1971. During this time the band's popularity began to spread across mainland Europe and they appeared on The Ed Sullivan Show in the United States.
The group's success remained steady right through the 1970s and a number of collaborations with The Pogues in 1987 saw them enter the UK Singles Chart on another two occasions. The Dubliners were instrumental in popularising Irish folk music in Europe, though they did not quite attain the popularity of The Clancy Brothers and Tommy Makem in the United States, they influenced many generations of Irish bands, their legacy can to this day be heard in the music of artists such as The Pogues, Dropkick Murphys and Flogging Molly. Much adored in their native country, covers of Irish ballads by Ronnie Drew and Luke Kelly tend to be regarded as definitive versions. One of the most influential Irish acts of the 20th century, they celebrated 50 years together in 2012, making them Ireland's longest surviving musical act. In 2012, the BBC Radio 2 Folk Awards bestowed them with a Lifetime Achievement Award; the Dubliners announced their retirement in the autumn of 2012, after 50 years of playing, following the death of the last of the founding members, Barney McKenna.
However, the surviving members of the group, with the exception of John Sheahan, continued touring under the name of "The Dublin Legends". As of 2019, Seán Cannon is the only former member still in this group, following Eamonn Campbell's death in October 2017; the Dubliners known as "The Ronnie Drew Ballad Group", formed in 1962 and made a name for themselves playing in O'Donoghue's Pub in Dublin. The change of name came about because of Ronnie Drew's unhappiness with it, together with the fact that Luke Kelly was reading Dubliners by James Joyce at the time. Founding members were Drew, Ciarán Bourke and Barney McKenna. Drew, McKenna and Thomas Whelan had teamed up for a fundraising concert and went on to work in a revue with the Irish comedian John Molloy at the Gaiety Theatre in Dublin, they used to sing songs between acts. Before joining the Dubliners full-time, Kelly had spent some time playing at English folk clubs such as the Jug o'Punch in Birmingham, run by the folk singer Ian Campbell.
The group played at the Edinburgh Festival in 1963 and that led to them being featured on a BBC programme called Hootenanny. The extra exposure helped them to win a contract with Transatlantic Records, with whom they recorded their first album, called The Dubliners, they recorded their first single featuring Rocky Road to Dublin and The Wild Rover. Drew spent some time in Spain in his younger years where he learned to play Flamenco guitar, he accompanied his songs on a Spanish guitar. Drew left the band in 1974 to spend more time with his family, was replaced by Jim McCann, he returned to The Dubliners five years but left the group again in 1995. Ronnie Drew died at St Vincent's Private Hospital in Dublin on 16 August 2008 after a long illness. Paddy Reilly took Drew's place in 1995; some of Drew's most significant contributions to the band are the hit single "Seven Drunken Nights", his rendition of "Finnegan's Wake", "McAlpine's Fusiliers". Luke Kelly was more of a balladeer than Drew, he played chords on the five-string banjo.
Kelly sang many defining versions of traditional songs like "The Black Velvet Band", "Whiskey in the Jar", "Home Boys Home". In 1980, Luke Kelly was diagnosed with a brain tumour. Kelly was too ill to sing though he was sometimes able to join the band for a few songs. While on tour in Germany he collapsed on stage; when Kelly was too ill to play, he was replaced by Seán Cannon. He continued to tour with the band until two months before his death. Kelly died on 30 January 1984. One of the last concerts in which he took part was recorded and released: Live in Carré, recorded in Amsterdam, released in 1983. In November 2004, the Dublin city council voted unanimously to erect a bronze statue of Luke Kelly. Kelly is buried in Glasnevin Cemetery in Dublin. Ciarán Bourke was a singer, but he played the guitar, tin whistle and harmonica, he sang many songs in Irish. In 1974 he collapsed on stage after suffering a brain haemorrhage. A second haemorrhage left. Bourke died in 1988; the band did not replace him until his death.
John Sheahan and Bobby Lynch joined the band in 1964. They had been playing during the interval at concerts, stayed on for the second half of the show; when Luke Kelly moved to England in 1964, Lynch was taken on as his temporary replacement. When Kelly returned in 1965, Lynch le
Limerick is a city in County Limerick, Ireland. It is located in the Mid-West Region and is part of the province of Munster. Limerick City and County Council is the local authority for the city; the city lies on the River Shannon, with the historic core of the city located on King's Island, bounded by the Shannon and the Abbey River. Limerick is located at the head of the Shannon Estuary where the river widens before it flows into the Atlantic Ocean. With a population of 94,192, Limerick is the third most populous urban area in the state, the fourth most populous city on the island of Ireland; the Limerick City Metropolitan District had a population of 104,952. On 1 June 2014 following the merger of Limerick City and County Council a new Metropolitan District of Limerick was formed within the united council which extended the city area; the Metropolitan District includes the city urban area and extends outwards towards Patrickswell in the west and Castleconnell in the east. The City Metropolitan Area however excludes city suburbs located within County Clare.
Limerick is one of the constituent cities of the Cork–Limerick–Galway corridor which has a population of 1 million people. It is located at a strategic position on the River Shannon with four main crossing points near the city centre. To the south of the city is the Golden Vale, an area of rich pastureland. Much of the city's industry was based on this rich agricultural hinterland and it is noted for Limerick Ham. Luimneach referred to the general area along the banks of the Shannon Estuary known as Loch Luimnigh; the earliest settlement in the city, Inis Sibhtonn, was the original name for King's Island during the pre-Viking and Viking eras. This island was called Inis an Ghaill Duibh, "The Dark- Foreigner's Island"; the name is recorded in Viking sources as Hlymrekr. The city dates from 812, the earliest probable settlement. Antiquity's map-maker, produced in 150 the earliest map of Ireland, showing a place called "Regia" at the same site as King's Island. History records an important battle involving Cormac mac Airt in 221 and a visit by St. Patrick in 434 to baptise an Eóganachta king, Carthann the Fair.
Saint Munchin, the first bishop of Limerick died in 652, indicating the city was a place of some note. In 812 the Vikings sailed up the Shannon and pillaged the city, burned the monastery of Mungret but were forced to flee when the Irish attacked and killed many of their number; the Normans redesigned the city in the 12th century and added much of the most notable architecture, such as King John's Castle and St Mary's Cathedral. In early medieval times Limerick was at the centre of the Kingdom of Thomond which corresponds to the present day County Clare, the Kingdom included North Kerry and parts of South Offaly. One of the kingdom's most notable kings was ancestor of the O'Brien Clan of Dalcassians; the word Thomond is synonymous with the region and is retained in place names such as Thomondgate, Thomond Bridge & Thomond Park. Limerick in the sixteenth and seventeenth centuries was called the most beautiful city in Ireland; the English-born judge Luke Gernon, a resident of Limerick, wrote in 1620 that at his first sight of the city he had been amazed at its magnificence: "lofty buildings of marble, like the Colleges in Oxford".
During the civil wars of the 17th century the city played a pivotal role, besieged by Oliver Cromwell in 1651 and twice by the Williamites in the 1690s. The Treaty of Limerick ended the Williamite war in Ireland, fought between supporters of the Catholic King James II and the Protestant King William of Orange; the treaty offered toleration to Catholicism and full legal rights to Catholics that swore an oath of loyalty to William III and Mary II. The Treaty was of national significance as it ensured closer British and Protestant dominance over Ireland; the articles of the Treaty protecting Catholic rights were not passed by the Protestant Irish Parliament which rather updated the Penal Laws against Catholics which had major implications for Irish history. Reputedly the Treaty was signed on the Treaty Stone, an irregular block of limestone which once served as a mounting block for horses; this stone is now displayed on a pedestal at Clancy Strand. Because of the treaty, Limerick is sometimes known as the Treaty City.
This turbulent period earned the city its motto: Urbs antiqua fuit studisque asperrima belli. The peace times that followed the turmoil of the late 17th Century allowed the city to prosper through trade in the late 18th century. During this time Limerick Port established itself as one of Ireland's major commercial ports exporting agricultural produce from one of Ireland's most fertile areas, the Golden Vale, to Britain and America; this increase in trade and wealth amongst the city's merchant classes saw a rapid expansion of the city as Georgian Limerick began to take shape. This gave the city its present-day look including the extensive terraced streets of fine Georgian townhouses which remain in the city centre today; the Waterford and Limerick Railway linked the city to the Dublin–Cork railway line in 1848 and to Waterford in 1853. The opening of a number of secondary railways in the subsequent decades developed Limerick as a regional centre of communications. However, the economic downturn in the European conflicts of the French Revolution and Napoleonic eras, following the Act of Union 1800, the impact of the Great Irish Famine of 1848 caused much of the 19th Century to be a more
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
The uilleann pipes are the characteristic national bagpipe of Ireland. Earlier known in English as "union pipes", their current name is a partial translation of the Irish-language term píobaí uilleann, from their method of inflation. There is no historical record of the name or use of the term uilleann pipes before the twentieth century, it was an invention of the name stuck. People mistook the term'union' to refer to the 1800 Act of Union; the bag of the uilleann pipes is inflated by means of a small set of bellows strapped around the waist and the right arm. The bellows not only relieve the player from the effort needed to blow into a bag to maintain pressure, they allow dry air to power the reeds, reducing the adverse effects of moisture on tuning and longevity; some pipers can sing while playing. The uilleann pipes are distinguished from many other forms of bagpipes by their tone and wide range of notes – the chanter has a range of two full octaves, including sharps and flats – together with the unique blend of chanter and regulators.
The regulators are equipped with closed keys that can be opened by the piper's wrist action enabling the piper to play simple chords, giving a rhythmic and harmonic accompaniment as needed. There are many ornaments based on multiple or single grace notes; the chanter can be played staccato by resting the bottom of the chanter on the piper's thigh to close off the bottom hole and open and close only the tone holes required. If one tone hole is closed before the next one is opened, a staccato effect can be created because the sound stops when no air can escape at all; the uilleann pipes have a different harmonic structure, sounding sweeter and quieter than many other bagpipes, such as the Great Irish Warpipes, Great Highland Bagpipes or the Italian Zampognas. The uilleann pipes are played indoors, are always played sitting down. Uilleann is the genitive of the Irish word uillinn, meaning "elbow", emphasising the use of the elbow when playing the uilleann pipes; the Irish word for uilleann pipes is píobaí uilleann, which means "pipes of the elbow".
However, the first attested written form is "Union pipes", at the end of the 18th century to denote the union of the chanter and regulators. Another theory is that it was played throughout a prototypical full union of England, Wales and Scotland; this was only realised, with the Act of Union. Alternatively Union pipes were a favorite of the upper classes in Scotland and the North-East of England and were fashionable for a time in formal social settings, where the term Union pipes may originate; the term "uilleann pipes" is first attested at the beginning of the 20th century. William Henry Grattan Flood, an Irish music scholar, proposed the theory that the name "uilleann" came from the Irish word for "elbow", he cited to this effect William Shakespeare's play The Merchant of Venice published in 1600 where the expression "woollen pipes" appears. This theory originated in correspondence between two earlier antiquarians, was adopted as gospel by the Gaelic League; the use of uilleann was also a rebellion against the term union, with its connotations of English rule.
It was however shown by Breandán Breathnach that it would be difficult to explain the Anglicization of the word uillin into'woollen' before the 16th century and its adaptation as'union' two centuries later. The first bagpipes to be well attested for Ireland were similar, if not identical, to the Scottish Highland bagpipes that are now played in Scotland; these are known as the "Great Irish Warpipes". In Irish and Scottish Gaelic, this instrument was called the píob mhór. While the mouth-blown warpipe was alive and well upon the battlefields of France and other parts of Europe, it had disappeared in Ireland; the union or uilleann pipe emerged during the early 18th century around the same time as the development of the bellows-driven Northumbrian smallpipes and the bellows-driven Scottish Lowland bagpipes. All three instruments were far sweeter in tone than their mouth-blown predecessors, their design required the joining of a bellows under the right arm, which pumped air via a tube to a leather bag under the left arm, which in turn supplied air at a constant pressure to the chanter and the drones.
Geoghegan's tutor of the 1740s calls this early form of the uilleann pipes the "Pastoral or New bagpipe". The Pastoral pipes were bellows played in either a seated or standing position; the conical bored chanter was played "open", that is, unlike the uilleann pipes, which can be played "closed", that is, staccato. The early Pastoral pipes had two drones, examples had one regulator; the Pastoral and flat set Union pipes developed with ideas on the instrument being traded back-and-forth between Ireland and England, around the 18th and early 19th century. The earliest surviving sets of uilleann pipes date from the second half of the 18th century, but it must be said that datings are not definitive. Only has scientific attention begun to be paid to the instrument, problems relating to various stages of its development have yet to be resolved, it is accepted that the union p
Irish traditional music
Irish traditional music is a genre of folk music that developed in Ireland. In A History of Irish Music, W. H. Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use; these were the cruit and clairseach, the timpan, the feadan, the buinne, the guthbuinne, the bennbuabhal and corn, the cuislenna, the stoc and sturgan, the cnamha. There is evidence of the fiddle being used in the 8th century. There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin. Important collectors include Colm Ó Lochlainn, George Petrie, Edward Bunting, Francis O'Neill, James Goodman and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists. Irish traditional music has endured more against the forces of cinema and the mass media than the indigenous folk music of most European countries.
This was because the country was not a geographical battleground in either of the two world wars. Another potential factor was that the economy was agricultural, where oral tradition thrives. From the end of the second world war until the late fifties folk music was held in low regard. Comhaltas Ceoltóirí Éireann and the popularity of the Fleadh Cheoil helped lead the revival of the music; the English Folk music scene encouraged and gave self-confidence to many Irish musicians. Following the success of The Clancy Brothers and Tommy Makem in the US in 1959, Irish folk music became fashionable again; the lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies; the international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand. Much old-time music of the USA grew out of the music of Ireland and Scotland, as a result of cultural diffusion.
By the 1970s Irish traditional music was again influencing music in the US and further afield in Australia and Europe. It has been fused with rock and roll, punk rock and other genres. Irish dance music is isometric and is built around patterns of bar-long melodic phrases akin to call and response. A common pattern is A Phrase, B Phrase, A Phrase, Partial Resolution, A Phrase, B Phrase, A Phrase, Final Resolution, though this is not universal. Many tunes have pickup notes which lead in to the beginning of the B parts. Mazurkas and hornpipes have a swing feel. Tunes are binary in form, divided into two parts, each with four to eight bars; the parts are referred to as the A-part, B-part, so on. Each part is played twice, the entire tune is played three times. Many tunes have similar ending phrases for both B parts. Additionally, hornpipes have three quavers or quarternotes at the end of each part, followed by pickup notes to lead back to the beginning of the A part of onto the B part. Many airs have an AABA form.
While airs are played singly, dance tunes are played in medleys of 2-4 tunes called sets. Irish music is modal, using ionian, aeolian and mixolydian modes, as well as hexatonic and pentatonic versions of those scales; some tunes do feature accidentals. Singers and instrumentalists embellish melodies through ornamentation, using grace notes, cuts, crans, or slides. While uilleann pipes may use their drones and chanters to provide harmonic backup, fiddlers use double stops in their playing, due to the importance placed on the melody in Irish music, harmony is kept simple or absent. Instruments are played in strict unison, always following the leading player. True counterpoint is unknown to traditional music, although a form of improvised "countermelody" is used in the accompaniments of bouzouki and guitar players. In contrast to many kinds of western folk music, there are no set chord progressions to tunes. Many guitarists use DADGAD tuning because it offers flexibility in using these approaches, as does the GDAD tuning for bouzouki.
Like all traditional music, Irish folk music has changed slowly. Most folk songs are less than 200 years old. One measure of its age is the language used. Modern Irish songs are written in Irish. Most of the oldest songs and tunes are rural in origin and come from the older Irish language tradition. Modern songs and tunes come from cities and towns, Irish songs went from the Irish language to the English language. Unaccompanied vocals are called sean nós and are considered the ultimate expression of traditional singing; this is performed solo. Sean-nós singing is ornamented and the voice is pl
Davy Spillane is an Irish musician, songwriter and a player of uilleann pipes and low whistle. At the age of 12, Spillane started playing the uilleann pipes, his father inspired him with his love of all music genres. For the next three years he met many prominent Irish musicians. At the age of 16, he played in the United Kingdom and Europe. In 1978 he began to write his own music, he starred as a gypsy in Joe Comerford's 1981 film Traveller. He was a founder member of Moving Hearts, along with Christy Moore and Donal Lunny in 1981. Although each member had a strong pedigree of Irish folk music, the band played original compositions, sometimes with a political edge and a folk-rock sound, their final album The Storm was purely instrumental and had several slower pieces written by Spillane. He made the surprise move of joining up with American musicians Béla Fleck, Albert Lee and others to record a "Davy Spillane" debut album of his new compositions and bluegrass and original blues, Atlantic Bridge.
There was a promotional touring band which recorded Out of the Air in 1988 a live version of Atlantic Bridge. Spillane gathered together a new set of musicians, including Rory Gallagher and Kevin Glackin to record Shadow Hunter, an album of various rock and folk styles; this was followed by Pipedreams in 1991. Spillane played as special guest soloist in orchestral work in 1992 called "The Seville Suite", describing events in 1601 in Irish-Spanish history. Bill Whelan worked for Spillane and Andy Irvine on the album EastWind. In 1993, Spillane collaborated with Canadian Artists such as Bryan Adams, Daniel Weaver on his album Weeds as well and Celine Dion's My Heart Will go On. In 1994, Spillane was a special guest soloist in Riverdance. Spillane collaborated with Rory Gallagher on the tracks'The road to Ballyalla','Litton Lane' and'One For Phil' as well as with Enya on her 1988 Watermark tracks'Exile' and'Na Laetha Geal M'óige'. In 1992, Spillane composed music for Peter Kosminsky's film Emily Brontë's Wuthering Heights and, in 1995, reached a larger audience with the film Rob Roy.
Other compositions and guesting includes Kate Bush's Sensual World, Mike Oldfield's Voyager, Bryan Adams' MTV Unplugged, Van Morrison and Elvis Costello. Other films include Eat The Disappearance of Finbar. Paul Winter's album Journey with the Sun. Spillane was awarded a Grammy and nominated for second one. Spillane served his apprenticeship with pipe-makers Dan Dowd and Johnny Burke and now makes all his own instruments. In 2000, he recorded his only album of traditional tunes with Kevin Glackin, entitled Forgotten Days. Moving Hearts Dark End of the Street The Storm Live Hearts Live in Dublin Atlantic Bridge Out of the Air Shadow Hunter Pipedreams A Place Among The Stones The Sea of Dreams Forgotten Days Deep Blue Sea Between Longing & Belonging EastWind – with Andy Irvine Calman The Dove – with Savourna Stevenson Forgotten Days – with Kevin Glackin The Piper's Rock - A Compilation of Young Pipers, Various Artists - Uilleann Pipes The Heritage Tapes: Songs and Stories from Old Tiger Bay, Various Artists Irish Festival, Various Artists - Uilleann Pipes on The Old Bush/Rakish Paddy My Very Favourite Nursery Rhyme Record, Tim Hart - Uilleann Pipes The Drunken Sailor and other Kids Favorites, Tim Hart - Uilleann Pipes Inarticulate Speech of the Heart, Van Morrison - Uilleann Pipes & Low Whistle Getting to the Border, Alistair Russell - Uilleann Pipes & Low Whistle Now and Then, The Sands Family - Low Whistle on When the Music Starts to Play Classic Irish Ballads, Diarmuid O'Leary & The Bards - Uilleann Pipes & Low Whistle Dancing With Strangers, Chris Rea - Uilleann Pipes, Low Whistle & Guitar Under the Influence, Mary Coughlan - Uilleann Pipes Goreuon, Best of, Jim O'Rourke, Uilleann Pipes & Low Whistle Watermark, Enya - Uilleann Pipes & Low Whistle North and South, Gerry Rafferty - Uilleann Pipes & Low Whistle Dublin Millenium Song, Various Artists - Uilleann Pipes We've Come A Long Way, Liam Clancy/Tommy Makem - Uilleann Pipes & Low Whistle The Sensual World, Kate Bush - Uilleann Pipes & Low Whistle All I Remember, Mick Hanly - Uilleann Pipes & Low Whistle Ogam, Ogam - Fearless composed by Davy Spillane Winds of Change, Oisin - Geraldine MacGowan & Anne Conroy - Uilleann Pipes & Low Whistle Spike, Elvis Costello - Uilleann Pipes & Low Whistle Elio Samaga Hukapan Kariyana Turu, Elio E Le Storie Tese - Uilleann Pipes Brand New Dance, Emmylou Harris - Uilleann Pipes This Rhythm, T. T. Oksala - Uilleann Pipes Hopes and Bodies, The Senators - Uilleann Pipes The Sweet Keeper, Tanita Tikaram - Low Whistle on It All Came Back Today Sojourner's Song, Buddy Greene - Uilleann Pipes & Low Whistle Vigil in a Wilderness of Mirrors, Fish - Uilleann Pipes & Low Whistle on Vigil Put'Em Under Pressure, Republic of Ireland Football Squad Two Rooms, Celebrating the Songs of Elton John & Bernie Taupin - Uilleann Pipes on Kate Bush, Rocket Man Mighty Like a Rose, Elvis Costello - Uilleann Pipes Mission Street, Kieran Halpin - Uilleann Pipes & Low Whistle Rude Awakening, Andy Irvine Smoke and Strong Whiskey, Christy Moore - Low Whistle The Ways of the World, Mary Custy & Eoin O'Neill - Uilleann Pipes Lam Toro, Baaba Maal - Uilleann Pipes High On The Happy Side, Wet Wet Wet - Low Whistle on Put The Light On Soul Inspiration, Simo
Patrick Street is an Irish folk group founded by Kevin Burke on fiddle, Andy Irvine on mandolin, bouzouki and vocals, Jackie Daly on button accordion, Arty McGlynn on guitar. Other members were added at various times: Ged Foley who held the tenure on guitar for many years, Bill Whelan on keyboards, Declan Masterson on uilleann pipes and keyboards, James Kelly on fiddle, Brendan Hearty on harmonium and John Carty on fiddle and banjo. Dónal Lunny and Enda Walsh joined as producers on some albums. In 1985, Andy Irvine joined up with fiddler Kevin Burke and guitarist Mícheál Ó Domhnaill and toured as a trio in the USA. Billed on a 1986 American tour as "The Legends of Irish Music", they soon chose to call themselves Patrick Street; the line-up for the band underwent several changes, but always included Burke and Daly. The guitar role, passed: from O'Beirne to Arty McGlynn – before the recording of their first album, Patrick Street, which began in August 1986. After Daly retired from Patrick Street, John Carty joined on fiddle and tenor banjo in time to record On the Fly.
Patrick Street was conceived as a part-time band they have recorded nine studio albums and one live album. The song was included on the Green Linnet 20th Anniversary, 2-CD collection of various artists, issued in 1996. In 2004, Patrick Street's rendition of "Music for a Found Harmonium", was used near the end of the movie Napoleon Dynamite, it was used in the 1991 film Hear My Song. In 2008, the furniture company MFI used Patrick Street's cover of "Music for a Found Harmonium" as the soundtrack of a TV advertisement. In 2009, Topic Records included "Music for a Found Harmonium" from Irish Times as track fifteen on the first CD of their 70-year anniversary boxed set Three Score and Ten. Patrick Street No. 2 Patrick Street Irish Times All in Good Time Cornerboys Made in Cork Street Life On the Fly Live from Patrick Street The Best of Patrick Street Compendium: The Best of Patrick Street Patrick Street'Artist page' at Green Linnet website. Retrieved 26 March 2015. Patrick Street at Adastra website.
Retrieved 26 March 2015. Patrick Street at Herschel Freeman Agency website. Retrieved 26 March 2015. Patrick Street at Celtic Cafe website. Retrieved 26 March 2015. Patrick Street catalogue at MusicBrainz website. Retrieved 16 March 2015. Patrick Street at The Shamrock Traditional Irish Music Society website. Retrieved 15 December 2007 Patrick Street concert promotion at Dublinks website. Retrieved 15 December 2007. Kevin Burke – Official website. Retrieved 26 March 2015. Andy Irvine – Official website. Retrieved 26 March 2015. Jackie Daly's biography at Kanturk Arts website. Retrieved 26 March 2015. Arty McGlynn's biography at Tara Music website. Retrieved 26 March 2015. Ged Foley – Official website. Retrieved 7 November 2009