The Fiddler’s
Companion
© 1996-2008 Andrew Kuntz
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DIN - DIX |
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Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with your
cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at http://www.concertina.net/tunes_convert.html **Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces between
all the lines of abc notation after pasting, so that they are single-spaced,
with no intervening blank lines. This being done, the F/C abc’s will convert
to standard notation nicely. Or, get a copy of abcNavigator 2 – its well
worth it. [AK] |
DIN TARRANT’S [1]. AKA and see “I
Have a Bonnet Trimmed with Blue [1].” Irish, Polka. Ireland, Sliabh Luachra
region of the Cork-Kerry border. A Major. Standard tuning. AB. Din Tarrant was
a Sliabh Luachra regional fiddler, an exponent of the "house party"
style of fiddling (less ornamentation in the left-hand, less slurring with the
bow) as contrasted with the more famous Sliabh Luachra style of fiddling
typefied by Paddy O'Keeffe, Dennis Murphy and Julie Clifford. Source for
notated version: accordion player Johnny O’Leary (Sliabh Luachra region)
[Moylan]. Moylan (Johnny O’Leary),
1994; No. 73, pg. 42. Topic 12T357, Johnny O’Leary -
“Music for the Set” (1977).
DIN TARRANT’S [2]. Irish, Polka.
X:1
T:Din Tarrant’s [2]
M:2/4
L:1/8
R:Polka
N:Matt paired it with “Din Tarrant’s
[7]” in the workshop
S:Matt Cranitch – Catskills Irish
Arts Week, 2004
Z:AK/Fiddler’s Companion
K:G
G>A | Bd de | dB B>c | dB AB |
dB G>A | Bd de | dB BB/c/ | dG BA | AG G :|
|: B/c/ | dg g>g | fe e2 | ed
d/d/d | ed B>c | dg g>g | fe e/f/g/e/ | dB B/c/A | AG G :|
DIN TARRANT’S [3]. AKA and see “The
Gneevgullia Polka [3],” “The
Lonesome Road to Dingle [1],” “Paul
Landers’.” Irish, Polka. D Major. Standard tuning. AABB (Mallinson): AABB’
(Moylan). Source for notated version: accordion player Johnny O’Leary (Sliabh
Luachra region of the Cork-Kerry border) [Moylan]. Mallinson (100 Polkas), 1997; No. 53, pg. 20.
Moylan (Johnny O’Leary), 1994; No.
250, pg. 144.
DIN TARRANT’S [4]. AKA and see “Bill the Weaver’s," “Julia Clifford’s Polka.”
Irish, Polka. D Major. Standard tuning. Gael-Linn
CEF092, Julia and Billy Clifford - “Ceol as Sliabh Luachra.” Globestyle CDORBD
085, “The Rushy Mountain” (appears as “Julia Clifford’s Polka”).
X:1
T:Din Tarrant's
D:Julia and Billy Clifford, "Ceol
as Sliabh Luachra"
R:polka
M:2/4
L:1/8
Z:Transcribed by Paul de Grae
K:D
a>f df|Ad e2|e/f/e/d/ cA|Bc df|
a>f df|A/B/c/d/ ee/f/|g/f/e/d/ cA|1Bc d2:|2 Bc dB/c/|
|:dB fB|dB fe/d/|cA eA|BA ce| fb
ba|fb ba|f/g/f/e/ cA|1Bc dB/c/:|2 Bc d2||
DIN TARRANT’S [5]. AKA and see “The
Humours of Ballydesmond,” “Knocknaboul
Polka [1],” “Knocknabower
Polka [1],” “The Little Green
Cottage,” “The Scartaglen Polka [1].”
Irish, Polka. G Major. Standard. AA’BB’C. The tune is usually paired with “The Knocknaboul Polka [2],” and
together they are known as “The Knocknaboul Polkas.” Source for notated
version: accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]. Ceol,
Vol. 2, No. 4 (appears as “The Little Green Cottage”). Moylan (Johnny O’Leary), 1994; No. 280, pgs.
160-161. Claddagh CC5, Denis Murphy & Julia
Clifford - “The Star Above the Garter” (appears as “Knocknabower Polkas” [1]).
Topic 12T309, Padraig O’Keeffe, Denis Murphy & Julia Clifford - “Kerry
Fiddles” (appears as “The Humours of Ballydesmond”).
DIN TARRANT’S [6]. AKA and see “Jim Keeffe’s
(Polka) [4],” “O’Keeffe’s
(Polka) [1],” “Mert Plunkett’s.”
Irish, Polka. G Major. Standard. AABB. Nigel Gatherer points out the tune is
well-known in
X:1
T: Din Tarrant's [6]
B: Johnny O'Leary of Sliabh Luachra
R:Polka
Z:Paul Kinder
M:2/4
L:1/8
K:G
G2 GA|BA B/2c/2d|GA/2G/2 dB|AG ED|
G>F GA|BA Bd|e/2f/2g f/2g/2a|gG
G2:|
|:Bd de/2f/2|gf ed|Bd de/2f/2|gB
AG/2A/2|
Bd de/2f/2|gf ed|B/2c/2d B/2c/2d|BG
G2:|
DIN TARRANT’S [7]. Irish, Polka.
X:1
T:Din Tarrant’s [7]
M:2/4
L:1/8
R:Polka
N:Matt paired it with “Din Tarrant’s
[2]” in the workshop
S:Matt Cranitch – Catskills Irish Arts
Week, 2004
Z:AK/Fiddler’s Companion
K:G
B/c/ | dg Bd/B/ | GA Bd | fa
e/f/g/e/ | dB B>c | dg Bd/B/ | GA Bd | fa ef | g2 g :|
|: a2 f/g/f/e/ | de f2 | fa e/f/g/e/
| dB B>c | dg Bd/B/ | GA Bd | fa ef |1 g2 g2 :|2 g2 g ||
DIN TARRANT’S [8]. AKA – “Julia
Clifford’s (Polka) [3].” Irish, Polka. D Major. Standard. AA’BB. Globestyle Records CDORBD 085, Julia Clifford – “The Rushy Mountain” (appears as “Julia
Clifford’s”).
X:1
T:Din Tarrant's [8]
D:Julia and Billy Clifford,
"Ceol as Sliabh Luachra"
R:polka
M:24
L:1/8
K:D
f>a ge|f>a ge|fd ed|e/f/e/d/
Bd|
f>a ge|f/e/f/a/ ge|fd
e/f/e/c/|1df de:|2 df dB|
|:A>F AB|Af af|ed ef/e/|dA
B/c/d/B/|
A>F AB|Af af|ed ef|df d2:|
DIN TARRANT’S [9]. AKA and see “Blue Ribbon
Polka [2],” “The Cobbler [3],” “Din
Tarrant’s No. 1,” “O’Keeffe’s
(Polka) [2],” “Tarrant’s [2].” Irish,
Polka. B Minor. Standard tuning. AABB. Source for notated version: Sliabh
Luachra accordion player Johnny O’Leary (1924-200?,
X:1
T:Din Tarrant’s [9]
M:2/4
L:1/8
R:Polka
K:B Minor
dB bB|de f/g/f/e/|dB bB|c/B/A/c/
ef/e/|d2 bB|de f/g/f/e/|de f/e/d/A/|B2B2:|
|:f>a ba|fe f>e|dB bB|c/B/A/c/
ed/e/|f>a ba|fe f/g/f/e/|de f/e/d/A/|B2 Bd/e/:|
DIN TARRANT’S FAVORITE. AKA and see “Breeches Mary,”
“Catholic Bill’s,” “Humours of Kilkenny,” "You stay away a long time,"
"Your bag is handsome, my
boy." Irish, Jig.
DIN TURRANTS'. Irish, Polka. B Minor. Standard tuning. AABB. The title is a mispelling
of the name of the Kerry musician Din Tarrant.
Miller & Perron (101 Polkas),
1978; No. 74.
DINAH. AKA and see "Go To
Sleep, John Dinny." Old‑Time, Breakdown.
DINEEN DINNY DIN DAN’S. AKA and see “The Clog [1].”
DINEEN’S FANCY. Irish, Jig. G Major: B Flat Major
(O’Malley). Standard tuning. AABBCC. Source for notated version: [O’Malley].
Source for notated version: a recording by George Wilson [O’Malley]. O’Malley (Luke O’Malley’s Collection or Irish Music,
vol. 1), 1976; No. 109, pg. 55.
X: 1
T: Dineen's Fancy
M: 6/8
L: 1/8
Q: 325
S: Luke O'Malley vol 1
Z: Transcribed by Bill Black
R: Jig
K: G
B/A/ | GDB, DB,G, | B,A,G, B,CD | EAB c2 A/B/ |
cAG FGA |
GDB, DB,G, | B,A,G, B,CD | EAB cAG | FGA G2 :|
|: d/c/ | B2 G GF=F | ECE DB,D | GFG BdB | ABE
F2 D |
GFG BAG | ECE DB,D | GBe dBG | FGA G2 :|
|: D | GFG BAG | dBG BAG | EAB c2 A/B/ | cAG FGA
|
GFG BAG | dBG BAG | EAB cAG | FGA G2 :|
P: Original key Bb
K: Bb
d/c/ | BFD FDB, | DCB, DEF | Gcd e2 c/d/ | ecB
ABc |
BFD FDB, | DCB, DEF | Gcd ecB | ABc B2 :|
|: f/e/ | d2 B BA_A | GEG FDF | BAB dfd | cdG A2
F |
BAB dcB | GEG FDF | Bdg fdB | ABc B2 :|
|: F | BAB dcB | fdB dcB | Gcd e2 c/d/ | ecB ABc
|
BAB
dcB | fdB dcB | Gcd ecB | ABc B2 :|
DINEO. AKA and see "Di‑nee‑o, Ladies,"
"Darneo," "Sally Ann [1]."
Old‑Time, Breakdown.
DI-NEE-O, LADIES. AKA and see "Dineo."
DINEFWR WALTZ, THE. Welsh, Waltz. From the manuscript of ‘Llewelyn
Alaw’, Aberdâr (held at the National Libarary at Aberystwyth). Flying Fish FF70610, Robin Huw Bowen – “Telyn Berseiniol Fy
Ngwlad/The Sweet Harp of My Land” (1996).
DINGLE HORNPIPE, THE. AKA and see “The Kerry Hornpipe [2],” “Murphy’s Fancy,” “Murphy’s Hornpipe [2].”
DINGLE REEL, THE. Irish, Reel. D Major. Standard. AABB.
X:1
T:Dingle Reel, The.
R:Reel
M:2/2
L:1/8
R:Reel
K:D
D3F EDB,A,|D3E FAA2|Beed e2de|f2ed
BAFE|\
D3F EDB,D|A,B,DE FAA2|Beed e2dB|AFEF
D4:||\
ABde f3g|afdf edBd|ABde f3g|afdf
e2dB|\
ABde f3g|afdf edBA|d3B ABdB|AFEF
D4:||
DINGLE REGATTA. AKA and see “Jazzing
with Meaig Leary,” "Tom
Billy's Favourite [3]." English, Jig; Irish, Slide (12/8 time).
***
spontaneously at one
of the rehearsals but unfortunately I mixed
up two tunes and got
the second part of it wrong. It didn’t matter
though because it
blended beautifully and become our theme tune
that was played at the
beginning of every show Ceoltóirí Cualann
ever did. (pg. 47).
***
“Dingle Regatta” has become a 'pub
tune' if ever there was; one hearing and you think you've known it all your life.
A pub session tradition has grown up around the tune in which the third part is
sometimes sung with out words, though in many circles the ‘ya-da-duh-da-da-da’
singing is by now considered a hackneyed bore. Kevin Finnegan, formerly of the
Liverpool Céilí Band has recently remarked that this 'dittying' to the melody
originated as a joke. He says:
***
The members of the band got along famously and when playing at ceili's
etc. and did many strange things to enjoy the 'craic'. For example, it
was
not unusual for us to suddenly start changing seats while in the middle
of
a tune. It brought a great response from dancers when they'd look up to
the
stage and see Eamon Coyne (fiddle) walking around to change chairs with
Frank Horan(button box) who was sitting behind him. Or to see Charlie
Lennon (fiddle) switching places with Sean Murphy(banjo). It brought a
great sense of camaraderie and fun to the group. Another favourite
activity
of each of the players was to suddenly stand up
and straight back down
again in sequence across the stage. This might be condemned by some
'purists' but it always added to the 'craic' and certainly didn't hurt
the
musical ability of the band - we still won two All-Irelands and
countless
other honours. As part of the craic the "hi-ho" stuff started
in the early sixties
as just another part of the fun we had playing together. It was not
confined to
the "Dingle Regatta" - as you will hear if you listen to the
two LP's we made
in the mid-sixties with Decca Records. In fact, like changing chairs, we
did
it fairly regularly with a number of tunes but I never heard another
band
do it until after our records came out. When we were in
the Lp's we started the Hi-Ho as a laugh during the recording session
and
never intended for it to come out on the final record - but the producer
loved it and asked us to leave it on that particular track. That's the
story of the Hi-ho sound. Of course it was always enhanced by the fact
that most of us did partake of a few sups of the 'black milkshake'
throughout the night so I'm sure that the bobbing up and down, the
chair switching and the hi-ho were somewhat as a result of our love
of the 'porter' !!!
***
An untitled quadrille (no. 45b) in
John Moore's c. 1837-1840 MS (Ashman, 1991) resembles parts of this tune.
Cotter (Traditional Irish Tin Whistle
Tutor), 1989; 24. Cranitch (Irish
Fiddle Book), 1996; No. 21, pg. 133. Cranitch (Irish Session Tunes: Red Book), 2000; 21.
X:1
T:Dingle Regatta, The
M:6/8
L:1/8
K:G
dBd e2d|BAB d2B|A2A AGA|B2A G2B|dBd e2d|BAB
d2B|AGA B2A|G3 G2B:|
|:d2 d def|g3 gfg|a2a aga|b2a
gfe|d2d def|g2g gab|a2g f2e|1 def g2e:|2 def g2d||
|:g3 ded|BdB G3|FGA DEF|G2B def|g3
ded|BdB G3|FGA DEF|1 G3 G2d:|2 G3 G2B||
DINKIE
DORRIAN’S. AKA – “Dinkie’s,” “Dinky Dorian’s.”
AKA and see “Dinky’s.” Irish, Reel (cut time).
X:1
T:Dinky's
S:Altan
Z:Juergen.Gier@post.rwth‑aachen.de
M:4/4
L:1/8
K:AMix
ed|~c2Bc ABcd|egfd edBa|gB~B2
gBaB|gB~B2 gfed|\
(3cdc Bc ABcd|egfd edBa|~g3d
egfd|(3cdc Bc A2::fg|\
aA~A2 aAbA|aA~A2 agef|gB~B2
gBaB|gB~B2 gfeg|\
aA~A2 aAbA|aA~A2 agef|gfgd
egfd|(3cdc Bc A2:|
DINKY'S/DINKIE’S. AKA and see “Dinkie Dorrian’s.”
DINNA THINK, BONNIE
LASSIE. AKA and see "Carrick Rant."
DINNY DELANEY('S) [1]. AKA and see “Hag at the Churn,” “Hag in the Kiln,” "Old Hag in the Kiln."
Irish, Single Jig or Slide (12/8 time). D Mixolydian. Standard. ABB. Dennis
“Dinny” Delaney (1836-1919) was a blind piper and character from Ballinasloe,
east
***
One of the few surviving, good, old-time players of the rollicking style
lives
in his native town of
complexion, he is one of the central figures in its life, and in its
celebrated fair.
Though totally blind, he is, strange to say, unsurpassed as a judge of
cattle and
other kinds of farm stock, and so well recognized in his skill in this
respect that
at fair and market his opinion is eagerly sought when trading is in
progress.
Stranger still is the fact that furniture moving is his principal
occupation. With
a table on his head, or a cupboard on his back, he can make his way
safely all
over town. To see him thus engaged and without a trace of timidity in
his footsteps,
a stranger would never suspect that he was blind.
***
Gifted with great conversational powers, an endless fund of humor, and a
tenacious memory, his is naturally the life of every gathering which he
attends.
With such attractions, not to mention his qualifications as a prize-winning
piper,
we can understand how he won the heart and hand of a buxom young colleen
half his age, it being his second matrimonial venture.
***
The jolly Denis, having “seen” to the burial of an old friend and
brother
piper, naturally “came in” for his beautiful set of pipes. He disposed
of his own
superannuated set, made by the elder Kenna in 1781, to Mr. Wayland, the
irre-
pressible enthusiast and untiring promoter, of
possessor of this specimen of Kenna’s handiwork. The first owner after
coming
from the hands of the maker was a Mr. Burke of Tyrquinn, near Athenry,
County
Burke’s nephew, Mr. C. Natton, of Kingstown, Dublin, from whom Denis
Delaney
purchased them in 1873.
***
In friendly rivalry at a big concert in
played their respective versions of the “Fox Chase,” and, while both
delighted
the audience with their performance, it was freely conceded that Prof.
Grffith’s
version of that famous but much varied composition was the better. [Hereafter,
O’Neill prints a long poem, called
“Warpipes versus Fiddle”, inspired by the incident].
***
As a prize-winner at pipers’ competitions all over
nothing to equal Denis Delaney’s record. Since 1897—the date of their
origin—he has to his credit 29 first, 12 second, 6 third, and 1 special
prizes
up to the year 1912, according to his own account. Accustomed as he had
been to winning distinction for over a dozen years, his bump of
self-esteem
suffered no diminution in the flight of time, and however much we may
approve
the decisions of the adjudicator in awarding the prizes to others at the
Feis in 1912, we cannot help sympathizing with Delaney, whose pride had
sustained a shock so severe that he hastened away without waiting to
enjoy
the subsequent festivities, or sit in the group of competitors for a
picture.
***
Source for notated version: piper
Pat Mitchell, 1972 (
|
See also listings at: Jane Keefer’s Folk Music Index: An Index
to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T:Old Hag in the Kiln, The
T:Dinny Delaney’s
R:slide
N:Parts 3 and 4 are optional.
Z:id:hn-slide-26
Z:transcribed by henrik.norbeck@mailbox.swipnet.se
M:6/8
L:1/8
K:Dmix
A2D ~D3|A2G EFG|A2D ~D3|G2A GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|
|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|
|:A2D ~D3|A2B G2B|A2B G2A|E2E GED|A2D ~D3|c2d e2d|dcA AGE|G2A GED:|
|:dcA AGE|c3 ABc|dcA AGE|G2A GED|dcA AGE|c2d e2d|dcA AGE|G2A GED:|
DINNY DELANEY’S [2]. AKA and see AKA and see "An Ril Cam,"
“The Crooked Reel,” “Follow Me Down to Carlow [2],”
"Miss Murphy [2],"
"Bonnie Annie [3]."
Irish; Reel, Hornpipe. A Dorian. Standard. AB. Named for blind piper and
character Dinny Delaney (1836-1919) of Ballinasloe, east
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
X:1
T: Dinny Delaney's [2]
S: M. Rafferty
Q: 350
R: reel
M: 4/4
L: 1/8
K: Ador
ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cAdc |
ABAG EF G2 | A2 AB cded | ABAG EF G2 | aged cA A2 ||
egdg egdc | BG G2 Bc d2 | edeg e2 ab | aged cA A2 |
ag e2 aged | cA A2 EF G2 | AGAB cdea | g2 ea gedB ||
X:2T:Dinny Delaney's [2]S:Dangerous Reel, Mike and Mary RaffertyZ:Lesl NJ what exit.R:hornpipe; reelM:C|L:1/8N:Posted to the woodenflute mailing list January 2002K:Adordc| A2AG EFGE | A2AB cdec | A2{A}AG EFGE | A2BG A2dc |ABAG EFGE | A2AB cdec | A2AG EFGE | A2BG A2 (3Bcd |eAAG EFGE | A2AB cdd2 | eaag EFGE | A2BG A2 (3Bcd |eaag EFGE | A2AB cdd2 |eaag EFGE | A2BG A2dc ||"reel:"|:ABAG EFGG | A2AB cded | cAag efge | aged cAdc |A2GB EG~G2 | A2AB cded | cAag efge | aged cAA2 ||egdg egdc | BG~G2 Bcd2 | eged e2ab | aged caa2 |
agea
aged | cABG EFGG | AzAB cdef | g2fa gedc :| A8 ||
DINNY MESCAL'S SLIDE (Sleamhnán Dhinní Uí Mheiscill). AKA and see "Micko Doyle's Jig," "Patsy Mack." Irish, Slide (12/8 time). G
Major. Standard tuning. AABB'. See also the closely related “Old Favourite.” The “Paddy Mack” title
is from Breathnach’s Folk Music and
Dances of Ireland while Treoir II
(pg. 11) has printed it under the title “Micko Doyle’s Jig.” Source for notated
version: fiddler Patrick Kelly (Ireland) [Breathnach]. Breathnach (CRÉ III), 1985; No. 44, pg. 21.
Breathnach (Folk Music and Dance of
Ireland), 1971; 17. Mulvihill (1st
Collection), 1986; No. 6 in slide section (appears untitled). Comhaltas Ceoltoiri Eireann CL17, John Kelly ‑
"Ceol an Chlair vol. 1."
DINNY O’BRIEN’S
HORNPIPE. Irish, Hornpipe. G Major. Standard
tuning.
X:1
T:Dinny O'Brien's Hornpipe
S:Planxty
Z:Juergen.Gier@post.rwth‑aachen.de
L:1/8
M:C
K:G
DE|GABG ABcB|defa gfdc|BGBd (3ABc
AF|GFGF DEFD|\
G2BG ABcA|defa gfdc|BGBd cAFG|(3ABA
GFG2::Bd|\
g3a gfdf|g2bg afde|dffg afge|fdec
dcAF|G2BG ABcA|\
defa gfdc|BGBd cAFG|(3ABA GFG2:|
DINNY O’BRIEN’S JIG. Irish, Jig. Green Linnet SIF 3082, Paddy
O’Brien – “Banks of the Shannon.”
DINNY O'BRIEN'S REEL
[1] (Ríl Dhonncha Uí
Bhriain). AKA
and see “John Bowe’s [2],” "The Last House of Connaght [2].”
Irish, Reel. D Mixolydian. Standard tuning. AAB (Miller & Perron/2006):
AABB (most versions). Dinny O’Brien was the fiddle and concertina playing
father of B/C box player Paddy O’Brien (1922-1991, Nenagh, County Tipperary),
who composed the tune is his honor (Mick Brown says it was Paddy’s first
composition). Dinny was the leader of the famous Bridge Céilí Band.
Accordionist Jim Coogan (New York) says that New York B/C box player Joe Madden
learned the tune while travelling in a car on his way to Dunvargan, where he
promptly won the All-Ireland 2-row accordion championship playing it. Sources
for notated versions: fiddler Joe Ryan and harmonica player Eddie Clarke
(Ireland) [Breathnach]; Frank McCollam (Ballycastle, County Antrim)
[Mulvihill]; a 1971 recording by Na Fili [. Breathnach (CRÉ III), 1985; No. 145, pg. 68. Carlin (Master Collection), 1984; pg. 123, No. 208. Cranitch (Irish Fiddle Book), 1996; No. 55, pg.
146. Cranitch (Irish Session Tunes: Red
Book), 2000; 55. Feldman & O’Doherty (Northern Fiddler), 1979; pg. 104. Miller & Perron (Irish Traditional Fiddle Music), 1977;
vol. 3, No. 56. Miller & Perron (Irish
Traditional Fiddle Music), 2nd Edition, 2006; pg. 62. McGuire
& Keegan (Irish Tune by the 100, vol.
1), 1975; No. 55, pg. 15. Moylan (Johnny
O’Leary), 1994; No. 318. Mulvihill (1st
Collection), 1986; No. 126, pg. 34. O’Brien Minogue (The Compositions of Paddy O’Brien), 1992; pg. 38. Cló Iar-Chonnachta, CICD 148, Mick Conneely – “Selkie”
(2001). Everest Tradition, The Kilfenora Ceili Band (with Tommy Peoples,
recorded by Mick Moloney, 1974). Green Linnet SIF 1030, Joe Ryan & Eddie
Clark ‑ "Crossroads" (1981). Green Linnet SIF 1165, Joe Burke -
“The Bucks of Oranmore.” Outlet 1010, Na Fili. Eileen O’Brien - “The
Compositions of Paddy O’Brien” (with accordion player Willie Fogarty).
Shanachie 34016, Joe Burke, Andy McGann & Felix Dolan - “The Funny Reel.”
Shanachie 78030, Danú – "Think Before You Think" (2000). Seamus
Thompson - “The Long Mile.” John Rea - “Traditional Music on the Hammered
Dulcimer.” Paddy O’Brien - “Paddy O’Brien Collection.” Brogue - “At
Boolavogue.” Brendan Mulhaire Ceili Band - “Ceili Time in Ireland #2.”
|
See also listings at: Jane Keefer’s Folk Music Index: An
Index to Recorded Sources Alan Ng’s Irishtune.info |
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