Formed while the members were working in America, the initial impetus was to record an album of Irish rebel songs (released as "The Rising of the Moon") as one of the first releases in 1956 of new folk label, Tradition Records. Paddy Clancy's harmonica provided the only musical accompaniment for this debut album.
Little thought was given at that point to continuing as a singing group. The four were all were busy establishing careers (in the theatre) for themselves, in addition to their work at Tradition Records. With the album being a local success, requests were often demanded for the brothers and Makem to sing some of their songs at parties and informal pub settings. Slowly, the singing gigs began to outweigh the acting gigs and by 1959, serious thought was given to a new album. Liam had developed some guitar skills, Tommy's hand, which hasd been injured, had healed enough that he was again able to play tin whistle and Uilleann pipes, and the times spent singing together had improved their style. No longer were they the rough, mostly unaccompanied group of actors singing for an album to jump-start a record label; they were becoming a professional singing group.
The Clancy Brothers were an influential Irish folk music singing group. Most popular in the 1960s, they were famed for their woolly Aran jumpers and are widely credited with popularizing Irish traditional music in the United States. The brothers were Patrick "Paddy" Clancy, Tom Clancy, Bobby Clancy and Liam Clancy. Paddy, Tom, Bob, and Liam are best known for their work with Tommy Makem, recording dozens of albums together as The Clancy Brothers and Tommy Makem. They were a primary influence on a young Bob Dylan and on many other emerging artists.
The release of their second album, this one of Irish drinking songs called "Come Fill Your Glass with Us", solidified their new careers as singers. The album was a success, and they made many appearances on the pub circuit in New York, Chicago, and Boston. It was at their first official gig after "Come Fill Your Glass With Us" that the group finally found a name for themselves. The nightclub owner asked for a name to put on the marquee, but they had not decided on one yet. Unable to agree on a name (which included suggestions like "The Beggermen", "The Tinkers", and even "The Chieftains") the owner decided for them, simply billing them as "The Clancy Brothers and Tommy Makem". The name stuck. They decided to try singing full-time for six months. If their singing was successful, they would continue with it; if not, then they would return to acting. The Clancy brothers and Tommy Makem proved successful as a singing group and in early 1961, they attracted the attention of scouts from The Ed Sullivan Show.
The Clancy Brothers' mother read news of the terrible ice and snow storms in New York City so she sent Aran sweaters for her sons and Tommy Makem to keep them warm. Paddy and Liam Clancy stated they wore the sweaters for the first time in the Blue Angel club. When Marty Erlichman, their manager, saw the sweaters, he was beside himself! "That's it!" he exclaimed. I've been looking for a special costume for the group. It was also the night that Barbra Streisand sang in the Blue Angel for the first time. The sweaters became the Clancy Brothers and Tommy Makem's trademark. When back in their hometown, the band purchased their Aran jumpers from Babington, on the main street. Babington had a local woman by the name of Betty McGillivray née Duggan knit the jumpers and supply the shop on regular occasions.
On 12 March 1961, the Clancy Brothers and Tommy Makem performed for 16 minutes in front of a televised audience of 80 million people on The Ed Sullivan Show. As Pearl Bailey did not show that night, the Clancy Brothers & Tommy Makem were given her time. The televised performance instantly attracted the attention of John Hammond of Columbia Records. The group was offered a five-year contract with an advance of $100,000, a huge sum in 1961. For their first album with Columbia, they enlisted Pete Seeger as backup banjo player for the live album A Spontaneous Performance Recording It included songs that would soon become classics, such as "Brennan on the Moor," "Jug of Punch," "Reilly's Daughter," "Finnegan's Wake," "Haul Away Joe," "Roddy McCorley," "Portlairge" and "Moonshiner." The album was nominated for a Grammy Award in 1961.
By the end of 1961, they had released two more albums, one final one with Tradition Records, and another with Columbia, Hearty and Hellish: A Live Nightclub Performance, and they were playing Carnegie Hall. Additionally, they were making appearances on major radio and television talk-shows in America.
1962 proved to be an even better year. Ciarán MacMathuna, a popular radio personality in Ireland, was visiting America when he heard of the group. He collected the few albums they had out at the time, brought them back home to Ireland and played them on his radio show. The broadcasts skyrocketed the Clancy Brothers and Tommy Makem to fame in Ireland, where they were still unknown. In Ireland, songs like "Roddy McCorley," "Kevin Barry" and "Brennan on the Moor" were slow, depressing songs full of melancholy, but the Clancy Brothers and Tommy Makem had transformed those songs (the disgruntled purists in Ireland said "commercialized") and made them lively. For generations the songs had been a reminder of the troubles in Ireland and therefore they weren't anything anybody sang proudly. The Clancy Brothers changed all that, and the transformed songs reinvigorated Ireland's pride in her music. The Clancy Brothers and Tommy Makem were brought over for a sold-out tour of Ireland in late 1962. Popularity in England and other parts of Europe soon followed, as well as Australia and Canada. By 1963, appearing on major talk-shows in America, Canada, England, Australia and Ireland, as well as their own TV specials, the Clancy Brothers and Tommy Makem were "the most famous four Irishmen in the world" as said by Ireland's Late Late Show host, Gay Byrne, in a retrospective interview in 1984. In 1964, one third of all the albums sold in Ireland were Clancy Brothers and Tommy Makem records.
The 1960s continued to be a successful decade with the release of approximately two albums per year, all of which sold millions of copies. They continued to peak with television appearances in front of President John F. Kennedy in 1963.
Their popularity is the result of several factors. There was already an American folk revival beginning in the United States, and men such as Ewan MacColl popularizing old songs on the other side of the Atlantic. But it was the Clancys' boisterous performances that set them apart, taking placid classics and giving them a boost of energy and spirit (not that they took this approach with all their songs; they would still sing the true mournful ballads with due reverence).
But by the late 1960s, rock music had taken full swing, and the ballad and folk boom was waning. To keep the band at the top, Teo Macero began producing their records for Columbia. Macero introduced new instrumentation to their music, including Louis Killen coming in to play concertina on backup, particularly on their 1968 album of sea songs, Sing of the Sea. But their last three albums for Columbia Record in 1969 and 1970 are considered by many to be overproduced, with a multitude of string instruments and synthesizers added to the simpler traditional Clancy mix of guitar, banjo, tin whistle and harmonica.
In 1969, the group recorded a song for a two-minute-long TV ad for Gulf Oil: "Bringin' Home the Oil". They adapted a traditional Scottish tune they had recorded, "The Gallant Forty Twa," with new words about large-capacity supertankers. The song and commercial featured the then-largest supertanker in the world, the Universe Ireland, which operated with sister ships Universe Kuwait, Universe Japan and Universe Portugal, all mentioned in the song and which operated from the seaport at Bantry Bay.
1969 marked the amicable departure of Tommy Makem from the group. Giving them a year's notice, Makem left in April 1969 to pursue a solo career armed with such recent compositions as "Four Green Fields", debuted on 1968's Clancy Brothers album, Home Boys Home.
The "other brother", Bobby Clancy, filled Tommy Makem's vacancy and the band became The Clancy Brothers.
The Bard of Armagh
The Clancy Brothers And Tommy Makem Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And scorn not the strains of his old, withered hands
But remember his fingers, they once could move sharper
To raise up the memory of his dear native land
At a fair or a wake, I could twist my shillelagh
Or trip through a jig with my brogues bound with straw
And all the pretty colleens around me assembled
Oh, how I long to muse on the days of my boyhood
But four score and three years have flitted since then
But they bring sweet reflections, as every young joy should
For, the merry hearted boys makes the best of old men
And when sergeant death, in his cold arms shall embrace me
And lull me to sleep with sweet Erin go bragh
By the side of my Kathleen, my young wife then place me
Then forget Phelim Brady, the bard of Armagh
The Bard Of Armagh is a traditional Irish folk song that tells the story of Phelim Brady, an old Irish harper who reminisces about the days of his youth. Despite his age and physical limitations, Phelim Brady still has fond memories of his past when he could play his harp with dexterity and dance with young women. As he contrasts his present with the past, he longs for those earlier days and the joy they brought him.
The bard's words offer a striking contrast between the youth and old age and the different ways we experience and remember them. The first stanza focuses on the harper's hands and his hope that he won't be scorned for their current state. He then goes on to describe how he could dance and play at fairs, and how the ladies swooned over the "bold Phelim Brady, the bard of Armagh." The second stanza is an ode to the joys of youth, with Phelim longing to relive those days of his boyhood. He acknowledges that he has lived a long life but still cherishes the memories of those years.
While the song is straightforward, it offers a poignant commentary on the nature of aging and our relationship with time. The final stanza is perhaps the most poignant, as Phelim contemplates his own mortality and hopes that he will be laid to rest beside his beloved wife. It is a powerful reminder that life moves quickly and that we should cherish the time we have.
Line by Line Meaning
Oh list to the lay of a poor Irish harper
Listen to the music played by a poor Irish harp player
And scorn not the strains of his old, withered hands
Do not dismiss the music due to the player's age or worn hands
But remember his fingers, they once could move sharper
Recall that the player's fingers were once quicker and more skillful
To raise up the memory of his dear native land
To evoke memories of Ireland through his music
At a fair or a wake, I could twist my shillelagh
At social gatherings, I could perform traditional Irish dances and exercises using my walking stick known as a shillelagh
Or trip through a jig with my brogues bound with straw
I could dance a jig wearing traditional Irish shoes with straw woven into the fabric
And all the pretty colleens around me assembled
Assembled around me were many beautiful young women
Loved their bold Phelim Brady, the bard of Armagh
Who admired the musician known as Phelim Brady, also referred to as the poet (bard) of Armagh
Oh, how I long to muse on the days of my boyhood
I desire to reflect on the experiences of my youth
But four score and three years have flitted since then
Although it has been 83 years since that time
But they bring sweet reflections, as every young joy should
Those memories are pleasant ones, as they should be
For, the merry hearted boys makes the best of old men
Those who find joy in their youth will find fulfillment in old age
And when sergeant death, in his cold arms shall embrace me
When death comes to take me
And lull me to sleep with sweet Erin go bragh
And soothe me into eternal rest with the Irish phrase meaning 'Ireland Forever'
By the side of my Kathleen, my young wife then place me
Place me alongside my beloved Kathleen, my young wife at the time of my passing
Then forget Phelim Brady, the bard of Armagh
At that time, forget about me (Phelim Brady) and my music
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: J BAIRD, PD TRADITIONAL
Lyrics Licensed & Provided by LyricFind
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led here from "the streets of Laredo" one sprang from another and the soul of both flow onward to soften the souls of those seeing the end .