Kid On The Mountains - The Dubliners - Down By The Glensides (CD, Album)

Livingston Recording StudiosLondon. Irish folk. Nathan Joseph. The Dubliners Add Comment. Dirty Old Town 2. Down by the Glenside 3. Gentleman Soldier 4. Home Boys Home 5. I'll Tell My Ma 6. Joe Hill 7. Lord of the Dance 8. Monto 9. Off to Album) in the Green Peggy Lettermore Within a Mile of Dublin. Finnegans Wake.

Dublin Fusiliers. Banks of the Roses. Reel: My Love Is in America. The Foggy Dew. The Sea Around Us. Genre International. Wild Rover Traditional. The Dubliners. Chief O'Neill's Favourite Traditional. That, along with the image of the Dubliners circa the mid-'90s, should be a dead giveaway that these are modern re-recordings. And that wouldn't be bad -- in fact, it isn't bad most of the time, especially on "Rocky Road to Dublin" and "Raglan Road," which are done as beautifully as they ever would or will be.

Kid On The Mountains - The Dubliners - Down By The Glensides (CD difficulty is when they try to apply what amounts to a high-energy, drum-laden rock approach to numbers such as "Whiskey in the Jar," which, despite its title, is a song of outlawry rather than a drinking song. There are also uncredited live performances intermingled with the studio work here, which makes for an uneven Album), too full of surprises even when Kid On The Mountains - The Dubliners - Down By The Glensides (CD concert numbers such as "Leaving of Liverpool" happen to work.

The entire CD ends up being as confusing as some of those unannotated multi-disc sets issued on this group from EMI, though perhaps a little more unified and rewarding than some of those -- apart from some of those reinterpretations.

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Luke Kelly must have been a delight on stage. Indeed, the cover of this album features a delightful photograph of the lads which may even have happened and not been staged. It shows the five on stage. He in turn holds a bow and plays a fiddle on which Barney McKenna fingers the notes. He then plucks away on the strings of his own banjo. I have just gone through a list of 30 or 40 songs I have selected from that trove of lyrics on the Net. There is enough material here to fill a book.

The Irish are a literary people. Even their songs have a literary air to them, probably even more so than the old English folk songs. It also has a lot to do with the beautiful-sounding names which abound in the countryside. As with the others, the guitar, violin and banjo accompaniment is superb. John Sheahan introduces the next instrumental medley, on which he performs solo on tin whistle: The Belfast Hornpipe and then a reel, Tim Maloney.

With just a guitar backing him, it is incredible how, using this tiny instrument, Sheahan has the whole hall eating out of his hand as the tune increases in tempo and complexity. What is notable here is his plucking of notes on the fiddle at the end of certain sections, and the thumping on guitar wood by other band members. Again, the fiddle playing is superb — particularly considering it is a live show. The next song, for me, sums up the allure which Irish music had and still has for me.

It is Drew who takes the lead for the first time on the album, and his voice has just the right rich, deeply Dublin inflection for a song that captures something of the zaniness Kid On The Mountains - The Dubliners - Down By The Glensides (CD is Ireland.

Take the word Finnigan. Finish and begin again. And wake, to awaken and to celebrate after a funeral — again total contradictions. It is upon these paradoxes that the song, and no doubt the novel, turns. The flure is the floor and yer trotters are your legs. So they arranged a wake. O, why did you die? And one of the biggest importers of those people is a certain English gentlemen who we in Ireland hold in the highest regard.

His name is Sir Robert McAlpine. Coming from apartheid South Africawhere this sort of work was almost exclusively the preserve of black people, it was a wake-up call. I was also aware, however, that a more subtle form of apartheid reigned in the UKwith Irishmen often doing the hard labouring jobs considered beneath their dignity by the English. The last two, censored, verses which are not sung are a trifle naughty. I rather prefer the last verses omitted, since they do cheapen the song.

Indeed, he plays Kid On The Mountains - The Dubliners - Down By The Glensides (CD reels on his banjo, a medley which again virtually has the crowd on their feet. It was more a case of our going to listen to a young biology teacher, Ms McGee, who was Scottish. And she would play all manner of folk songs which she sang quite beautifully.

We kind of joined in the choruses. This was one of them. Anyway, Luke Kelly raised the rafters with his version. It had nothing overtly to do with Dylan, despite borrowing the title from a song of his, but rather dealt with the phenomenon whereby Irish and British songs were taken across the Atlantic Ocean by the numerous waves of emigrants over the past centuries, how they found a new form in the United States and then, in some cases, how they returned to Ireland.

This is another of those rollicking instrumentals in which the fiddle and banjo travel note for note alongside much clapping and general adulation. The Wild Rover became a standard Irish drinking song, and on this album you can hear how well versed the audience is in it, as they enthusiastically take Luke Kelly up on his invitation to join in as he gives another stellar performance.

It is clear from the response, and the droll way in which Drew says it, that this was an old joke and that Drew was probably going through the motions — which in the end makes it even funnier — a sort of self-parody.

And three loud knocks came knocking at the door. These are sounded out on the guitar box. The woman is jailed and, in the next two verses, sans trial it seems, is hanged.

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