Bart Peeters komt op de proppen met I’m into folk.
Tijdens een optreden van The Pogues op Pinkpop had Bart Peeters gezien hoe een duidelijk door de folk geïnspireerde groep als The Pogues het publiek kon begeesteren, beter nog dan de Red Hot Chili Peppers. Als het mij nu eens zou lukken, dacht Bart, al die folkclichés in één liedje te vatten. Hij ging op zoek naar een geschikt doordeweeks riedeltje op zijn gitaar, zo eentje, of het nu folk is, of flamenco of wat dan ook, dat vlot in het gehoor ligt. Daarmee zou de song moeten beginnen en dan zouden de clichés de revue mogen passeren. I’m into folk moest , dat wou Bart , cabaretesk klinken, grotesk zelfs. Het nummer werd uiteindelijk een pastiche, een doelbewuste slechte nabootsing van de oerdegelijke Ierse folkmuziek. Begin 1989 geraakten The Radios met I’m into folk tot in de staart van de BRT Top 30
We are playing our Celtic Folk Night in Losser (NL) this Friday the 13th of july, will you join us? Tickets available here Continue reading “Celtic Folk Night this Friday – Losser”
Today we play ‘The Stride’ for you.
This is one of my favorite pieces, because I can play my violin really wild.
Live recording at O’Ceallaigh Irish Pub
RAKISH PADDY REEL
Also known as Cabar Feidh, Cabar Feigh, Caber Feidh, Caber Feigh, Caberfeidh, The Deer’s Antlers, Fainne Gail An Lae, O’Halloran’s, Rakish Pat.
SHEILA COYLE’S REEL
Also known as Shiela Coyle’s, Shielded Coils.
“Miss MacLeod” was popular as long ago as 1779 in Ireland
as its playing is mentioned in an account by a foreign visitor named Berringer or Beranger of a “cake” dance (i.e. where the prize was a cake) he participated in while visiting in Connacht. O’Neill (1913) relates Beranger’s observations somewhat differently and gives that it was one of six tunes played by Galway pipers in 1779 for the entertainment of the traveler. Irish violinist R.M. Levey includes the reel (as “Miss M’Cloud”) in his first collection of Irish dance tunes (1858), but notes its Irish provenance is “doubtful.” In modern times in Ireland the tune was included in a famous set of the late Donegal fiddlers, brothers Mickey and John Doherty, who played it as the last tune after “Enniskillen Dragoon” and “Nora Chrionna” (Wise Nora), though sometimes they substituted “Piper of Keadue (The)” for “Miss McLeod’s.” The whole set was played in the rare AAae tuning, which required playing in position (Caoimhin MacAoidh). See also “Foxhunter’s Reel” and “Grey Plover” for a related tunes in O’Neill. (Wikipedia)
Also known as Dance For Your Daddy My Little Laddie, Did You Ever Meet The Devil, Uncle Joe?, The Dun Cow, Eighthsome, Hop High Ladies, Iníon Mhic Leóid, May Day, McCleod’s, McCloud’s, McLeod’s, Miss MacLeod, Miss McCleod, Miss McCleod’s, Miss McCloud, Miss McCloud’s, Miss McLeod, Miss McLeod’s, Mrs MacLeod Of Raasay, Mrs Mc Leod’s, Mrs Mcleod Of Raasay, Mrs McLeod’s, Mrs McLeods, Mrs. MacLeod’s, Mrs. Mc Cloud, Mrs. McCloud, Mrs. McCloud’s, Mrs. McClouds, Mrs. McLeod, Mrs. McLeod Of Rasay, Mrs. McLeod’s, Mrs. McLeods, Ms McCloud’s, Old Mammy Knickerbocker, Uncle Joe’s.
Welcome at my place!
The song we will sing for you now is amazing, but also very difficult: Bog Down in the Valley-o.
Can you sing along?
In writing the lyrics to “Lord of the Dance” in 1963,
Sydney Carter was inspired partly by Jesus, but also partly by a statue of the Hindu God Shiva as Nataraja (Shiva’s dancing pose) which sat on his desk, and was partly intending simply to give tribute to Shaker music. He later stated, “I did not think the churches would like it at all. I thought many people would find it pretty far flown, probably heretical and anyway dubiously Christian. But in fact people did sing it and, unknown to me, it touched a chord … Anyway, it’s the sort of Christianity I believe in.”
One Jig and two reels: “The Blarney Pilgrim”, “Father Kelly” & “Pinch of Snuff”
“The Blarney Pilgrim”:This jig is a popular tune at Irish sessions. It seems to be especially popular under fiddle players, but is equally nice to play on tin whistle or any other instrument. The title of this jig is referring to The Blarney stone, a block of limestone built into the walls of Blarney Castle, located close to Cork, Ireland. The legend goes that kissing the stone endows the kisser with the gift of the gab, meaning giving the ability to speak freely and in a way people want to listen to you and believe you. The stone attracts people from all over the world.
“Father Kelly’s Reel” in G is yet another tune that is played in sessions around the globe. Father P. J. Kelly (1926 – March 25, 2006) named this tune “The Rossmore Jetty” after the pier on the river Shannon near his hometown of Woodford in East Galway. This tune is also called “Father Kelly’s #1.” He was an accordionist, composer, and missionary in Fiji, Australia and Pakistan.
“Pinch of Snuff”: Known as a northern Irish reel, and especially one from County Donegal where it is particularly popular. Caoimhin Mac Aoidh (1994) recounts the origins of the tune in the faerie folklore of Donegal (Seamus Ennis appears to have told the same story). It seems that the fairies were trying to abduct a bride at a wedding in the Teelin, southwest Donegal, area by trying to trick her into uttering the magic words which would bind her to them and seal her fate. As luck would have it, hiding in the rafters was a young man who had been her suitor, but whom had lost in the bid for her hand. He saw what was about to happen to his still-beloved (who was dancing below), and from his high hiding place he thought to shake down some snuff upon her. The bride breathed it in, sneezed, and was greeted with a polite chorus of “Dia agus Muire dhuit” (God and Mary bless you) from members of the wedding party. This was anathema to the fairies, who took flight. The tune the fiddlers were playing while the bride was dancing at the time of her rescue was dubbed “The Pinch of Snuff.”
The last song in my garden
“Dunmore Lassies” is played on the “Low Whistle”: mysterious and one of my favourites!
I think the atmosphere goes very well with this song.