By Jamie O’Brien
Tommy Sands
Fair Play To You All
For so many years, Tommy Sands has been one of my musical heroes. Over time, he has released so many albums and written so many songs that have meant – indeed, still mean – so much to me. And from the first moment I heard Fair Play To You All, I’ve known that this 12-track CD is going to mean a lot, too.
The opening song, “The Answer Is Not Blowing In The Wind,” tells me he has not lost his ability to express thoughts and beliefs in ways that really hit home. This song uses Bob Dylan’s “Blowing In The Wind” as its starting point. Where Dylan went on to pose questions, but then later used the bitter and angry “Masters of War” to state his views, Sands expands the original words with his own thoughts:
“How Many Times must a cannonball fly before they be forever banned/Well they’ll fly just as long as there’s fortunes to be made by the wheelers and dealers of arms.”
Throughout this album, he pulls no punches. For some, these songs may be difficult to listen to, but there is no getting away from the fact Tommy Sands is a powerful wordsmith who uses song to express himself in such a way that it is hard not to be moved and affected.
It helps that he sings without bitterness. Instead, his gentle, melodic voice is one that makes you want to listen to every word. His wide-ranging subject matter here runs from refugees to the desire to return home to the assassination of John F Kennedy to wanting to put America back on track. And it’s so easy to understand his viewpoints. One song that really hits home for me is “Ode to Europe,” using the Beethoven melody (which, incidentally, seems perfectly made for the uilleann pipes!)
Brendan Monaghan and Bruce Foley are the pipers – they also add whistle, as do Moya Sands and Sorcha Keane; Ian Sands plays harmonica. Joining them are fiddlers Lisa Gurkin, Gerry O’Connor and David Ochs, Robbie Perry (cymbals, hi hat), Caoilte O Cuanaigh mandolin and a bunch of singers: Anne, Ben, Colum, Fra, Moya and Ryan Sands, Padrigin Ni Uallachain and Eimear Keane. The album also features Pipe Major Richard Parkes and Field Marshall Montgomery Pipe Band.
Sands himself plays guitar banjo, shruti, dotara and low whistle. And producer, Steve Cooney, adds a variety of instruments.
Sands wrote all the songs on this album and presents them in a variety of styles: touches of blues, folk, country, marches and more. But the one I love most of all is “Caoineadh Mhacha.” With its drones, haunting accompanying voices, the discrete banjo and most of all, Sand’s voice singing in Irish. It’s a beautiful song and part of an amazing, appealing album.
For so many years, Tommy Sands has been one of my musical heroes. Over time, he has released so many albums and written so many songs that have meant – indeed, still mean – so much to me. And from the first moment I heard Fair Play To You All, I’ve known that this 12-track CD is going to mean a lot, too.
The opening song, “The Answer Is Not Blowing In The Wind,” tells me he has not lost his ability to express thoughts and beliefs in ways that really hit home. This song uses Bob Dylan’s “Blowing In The Wind” as its starting point. Where Dylan went on to pose questions, but then later used the bitter and angry “Masters of War” to state his views, Sands expands the original words with his own thoughts:
“How Many Times must a cannonball fly before they be forever banned/Well they’ll fly just as long as there’s fortunes to be made by the wheelers and dealers of arms.”
Throughout this album, he pulls no punches. For some, these songs may be difficult to listen to, but there is no getting away from the fact Tommy Sands is a powerful wordsmith who uses song to express himself in such a way that it is hard not to be moved and affected.
It helps that he sings without bitterness. Instead, his gentle, melodic voice is one that makes you want to listen to every word. His wide-ranging subject matter here runs from refugees to the desire to return home to the assassination of John F Kennedy to wanting to put America back on track. And it’s so easy to understand his viewpoints. One song that really hits home for me is “Ode to Europe,” using the Beethoven melody (which, incidentally, seems perfectly made for the uilleann pipes!)
Brendan Monaghan and Bruce Foley are the pipers – they also add whistle, as do Moya Sands and Sorcha Keane; Ian Sands plays harmonica. Joining them are fiddlers Lisa Gurkin, Gerry O’Connor and David Ochs, Robbie Perry (cymbals, hi hat), Caoilte O Cuanaigh mandolin and a bunch of singers: Anne, Ben, Colum, Fra, Moya and Ryan Sands, Padrigin Ni Uallachain and Eimear Keane. The album also features Pipe Major Richard Parkes and Field Marshall Montgomery Pipe Band.
Sands himself plays guitar banjo, shruti, dotara and low whistle. And producer, Steve Cooney, adds a variety of instruments.
Sands wrote all the songs on this album and presents them in a variety of styles: touches of blues, folk, country, marches and more. But the one I love most of all is “Caoineadh Mhacha.” With its drones, haunting accompanying voices, the discrete banjo and most of all, Sand’s voice singing in Irish. It’s a beautiful song and part of an amazing, appealing album.
Marla Fibish
The Bright Hollow Fog
I believe this is the first time I’ve had the pleasure of listening to a Marla Fibish solo album and it is such an enjoyable experience. The mandolin has a very special sound that appeals greatly to me and Fibish is truly one of the best players in Irish music. Eleven tracks and 54 minutes of fascinating, delightful music.
She doesn’t always take the easy route. The mandolin doesn’t have the same long lasting sound of, say, a violin or pipes. So, holding notes without sounding ‘corny’ is not easy on this instrument. But as you listen to a tune like Tommy Peoples’ “The Quiet Glen,” you hear that she has developed a wonderful approach to mandolin playing. It’s a difficult tune but it works so well here.
But then, the bouncy, lively sound is also apparent, such as on the opening “The Humours of Derrycrossane” set. Throughout the album, Fibish has a rich, vibrant way of presenting the music. This is especially noticeable on a melody like the title tune where she plays both mandolin and the deeper sounding mandola, bringing out the best in both instruments.
She is joined by fiddlers Martin Hayes and Rebecca Richman, Keith Murphy (mandola), Steve Baughman on gourd banjo and guitarist Bruce Victor. Miriam Adrianowicz, also adds a lovely dancing sound on the “An Buachaill Dreoite” set with foot percussion.
To add to the overall experience of the album she adds a couple of songs — “Riversmoke” with words from Stephen Vincent Benet and Thomas Hardy’s “Are You Digging On My Grave.” I have to say, these are my two least favorite tracks, but I do appreciate the break from the nine instrumentals.
Overall, this is an excellent album. One which demonstrates the wonderful sounds of the mandolin and one which presents a tremendous selection of tunes.
www.marlafibish.com
The Legends of Tomorrow
Don’t Go To Nashville
This is a fascinating EP which brings together a number of Irish performers from a variety of genres and it really is most enjoyable. The Legends of Tomorrow is a project conjured up by Colin Harper and features Cormac O’Kane (Redbox Belfast), Mickey Rafferty (The Minnows), Ciaran Gribbin (Leyla/NXS/solo artist), Paul Casey (solo artist), Janet Henry (solo artist) and Lyndsay Crothers (Wookalily). No, I don’t know any of them, either, but listening to this CD makes me want to know more.
Opening with the title track, which hits you with a superb bass, piano, percussion and guitar intro, your attention is grabbed and not let go of until the final notes of electronics fade away on the final “When It’s Gone.” And in between are three songs, each one distinctly different, but somehow connecting and flowing with the other material here. I wish I knew who was singing “Greta Thunberg At The End Of Time” — what a moving voice and what a dynamic track. “People On The Highway” works so well with its soft singing (lovely harmonies!) and unexpected arrangement — Martin Hayes (I know him!) plays fiddle and there’s a strong banjo throughout.
Harper’s idea is to bring together musicians to play music for the sake of the music. As he explains, it’s not easily feasible nowadays to rely on making a living playing music. I guess if you want money, get a job! But that shouldn’t stop you from playing and creating. And that’s exactly what this EP is all about. I wish it was more than five tracks because each and every one of them is an exciting adventure.
That’s it for this month. Get in touch if you have problems finding any of this music — c/o Irish Edition or by email at jamieobrienmusic@gmail.com.