Makem was born and raised in Keady, County Armagh (the "Hub of the Universe" as Makem always said), in Northern Ireland. His mother, Sarah Makem, was an important source of traditional Irish music, who was visited and recorded by, among others, Diane Guggenheim Hamilton, Jean Ritchie, Peter Kennedy and Sean O'Boyle. His father, Peter Makem, was a fiddler who also played the bass drum in a local pipe band named "Oliver Plunkett", after a martyr of the Cromwell age. His brother and sister were folk musicians also. Young Tommy Makem, from the age of 8, was member of the St. Patrick's church choir for 15 years where he sang Gregorian chant and motets. He didn't learn to read music but he made it in his "own way".
He started to work at 14 as a clerk in a garage and later he worked for a while as a barman at Mone's Bar, a local pub and as a local correspondent for The Armagh Observer.
He emigrated to the United States in 1955, carrying his few possessions and a set of bagpipes (from his time in a pipe band). Arriving in Dover, New Hampshire, he worked at Kidder Press, where in 1956 his hand was accidentally crushed by a press.[4] With his arm in a sling, he left Dover for New York to pursue an acting career.
The Clancys and Makem were signed to Columbia Records in 1961. The same year, at the Newport Folk Festival, Makem and Joan Baez were named the most promising newcomers on the American folk scene. During the 1960s, The Clancy Brothers and Tommy Makem performed sellout concerts at such venues as Carnegie Hall, and made television appearances on shows like The Ed Sullivan Show and The Tonight Show. The group performed for President Kennedy. They also played in smaller venues such as the Gate of Horn in Chicago. They appeared jointly in the UK Albums Chart in April 1966, when Isn't It Grand Boys reached number 22.
Makem left the group in 1969 to pursue a solo career. In 1975, he and Liam Clancy were both booked to play a folk festival in Cleveland, Ohio, and were persuaded to do a set together. Thereafter they often performed as Makem and Clancy, recording several albums together. At a concert in 1977, Tommy noticed an audience member having a good time and exclaimed, "What have you been smoking? Good whatever you have, pass it around to the rest of them we'll all get goin'!" He once again went solo in 1988. Throughout the 70's and 80's Makem performed both solo and with Liam Clancy on The Irish Rovers various television shows, which were filming both in Canada and Ireland.
In the 1980-90s, Makem was a principal in a well-known Irish music venue in New York City, "Tommy Makem's Irish Pavilion." This East 57th Street club was a prominent and well-loved performance spot for a wide range of musicians. Among the performers and visitors were Paddy Reilly, Joe Burke, and Ronnie Gilbert. Makem was a regular performer, often solo and often as part of Makem & Clancy, particularly in the late fall and holiday season. The club was also used for warm-up performances in the weeks before the 1984 reunion concert of The Clancy Brothers and Tommy Makem at Lincoln Center. In addition, the after-party for Bob Dylan's legendary 30th Anniversary Concert Celebration at Madison Square Garden in 1992 was held at the Irish Pavilion.
In 1997 he wrote a book, Tommy Makem's Secret Ireland, and in 1999 premiered his own one-man theatre show, Invasions and Legacies, in New York. His career includes various other acting, video, composition, and writing credits. He also established the Tommy Makem International Festival of Song in South Armagh in 2000.
Makem was married to Mary Shanahan, a native of Chicago, for 37 years, and had four children - daughter Katie Makem-Boucher, and sons Shane, Conor and Rory. They also had two grandchildren, Molly (Dickerman) Makem and Robert Boucher. Mary died in 2001.
Makem's three sons (who perform as "The Makem Brothers") and nephews Tom & Jimmy Sweeney continue the family folk music tradition.
Makem died in Dover, New Hampshire on August 1, 2007, following a lengthy battle with lung cancer. He continued to record and perform until very close to the end. Paying tribute to him after his death, Liam Clancy said, "He was my brother in every way" He is buried next to his wife at New Saint Mary Cemetery in Dover.
Makem was a prolific composer/songwriter. His performances were always full of his compositions, many of which became standards in the repertoire. Some, notably "Four Green Fields", became so well known that they were sometimes described as anonymous folk songs. During the fall of the Iron Curtain, Makem often proudly told the story that his song "The Winds Are Singing Freedom" had become a sort of folk anthem among Eastern Europeans seeing a new future opening before them.
Makem's best-known songs include "Four Green Fields", "Gentle Annie", "The Rambles of Spring", "The Winds Are Singing Freedom", "The Town of Ballybay", "Winds of the Morning", "Mary Mack", and "Farewell to Carlingford". Even though many people mistakenly believe that Makem wrote "Red is the Rose", it is a traditional Irish folk song.
Makem had a gripping stage presence – the result of years of public performance, a charismatic personality, and a bard's voice. An army of friends and fans attended his frequent concerts, many recognizing each other at far-flung venues. Performances frequently included the following familiar elements:
Original Makem compositions; the first set often began with "The Rambles of Spring"
The standard repertoire of folk and Irish music, both well-known and little-known (but never "Danny Boy", "When Irish Eyes are Smiling", "Toorah Loorah Looral", or other forbidden requests)
Oddball songs, such as "Bridie Murphy and the Kamikaze Pilot" (Colm Gallagher) or "William Bloat" (Raymond Calvert)
Poetic recitations, often as introductions to songs; a frequent source was William Butler Yeats. (Thus "Gentle Annie" usually began with "When You Are Old and Grey", and Four Green Fields usually began with Seamus Heaney's "Requiem for the Croppies".)
Jokes, often silly, made funnier through repetition:
"If your nose is running and your feet smell, you're upside down."
Rarely: monologues, such as Marriott Edgar's "The Lion and Albert"
Exhortations, nearly always successful, for the audience to join in the singing
He received many awards and honours, including three honorary doctorates: one from the University of New Hampshire in 1998, one from the University of Limerick in 2001, and one from the University of Ulster in 2007; as well as the World Folk Music Association's Lifetime Achievement Award in 1999. With the Clancy Brothers he was listed among the top 100 Irish-Americans of the 20th century in 1999.[10]
A bridge over the Cocheco River on Washington Street in Makem's long-time home of Dover, New Hampshire, was named the Tommy and Mary Makem Memorial Bridge in 2010.
Johnny I Hardly Knew Ye
Tommy Makem Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
While goin' the road to sweet Athy, hurroo, hurroo
While goin' the road to sweet Athy,
A stick in me hand and a drop in me eye,
A doleful damsel I heard cry,
Johnny I hardly knew ye.
[Chorus]
With your guns and drums and drums and guns, hurroo, hurroo
With your guns and drums and drums and guns,
The enemy nearly slew ye
Oh my darling dear, Ye look so queer
Johnny I hardly knew ye.
Where are the eyes that were so mild, hurroo, hurroo
Where are the eyes that were so mild, hurroo, hurroo
Where are the eyes that were so mild,
When my heart you so beguiled
Why did ye sci-daddle from me and the child
Oh Johnny, I hardly knew ye
Where are the legs with which you run, hurroo, hurroo
Where are the legs with which you run, hurroo, hurroo
Where are the legs with which you run,
When first you went to carry a gun
Indeed your dancing days are done
Oh Johnny, I hardly knew ye
Ye haven't an arm, ye haven't a leg, hurroo, hurroo
Ye haven't an arm, ye haven't a leg, hurroo, hurroo
Ye haven't an arm, ye haven't a leg,
Ye're an armless, boneless, chickenless egg
Ye'll have to put with a bowl out to beg
Oh Johnny I hardly knew ye
I'm happy for to see ye home, hurroo, hurroo
I'm happy for to see ye home, hurroo, hurroo
I'm happy for to see ye home,
All from the island of Ceylon;
So low in the flesh, so high in the bone
Oh Johnny I hardly knew ye
[Chorus]
The enemy never slew ye
Oh, my darling dear you look so queer
Johnny I Hardly Knew Ye is a traditional Irish anti-war song. It describes a woman's encounter with a wounded Irish soldier returning home from fighting in a foreign war, who is unrecognizable to her. The song uses irony to criticize war for the harm and mutilation inflicted on young men who go off to fight in their prime but return broken, damaged and barely recognizable. The song's title "Johnny I Hardly Knew Ye" suggests that the woman barely recognises Johnny, who might have been a former lover or acquaintance. The slow and mournful tune of the song further underscores the solemn mood of the lyrics.
The chorus of "Johnny I Hardly Knew Ye" sarcastically celebrates the military percussion instruments, guns, and drums that render their players to become walking dead, with their legs and arms amputated, and their bodies mostly turned into a carcass. The reference to the island of Ceylon (now Sri Lanka) in the final verse highlights the gruesome reality of young Irish men being sent overseas to fight in wars that had no direct relation to Ireland. The song's message is that war turns men into mindless killing machines, while consigning many of them to a life of pain and misery.
Line by Line Meaning
While goin' the road to sweet Athy, hurroo, hurroo
As I walked down the road to sweet Athy, I sang hurrah, hurrah
A stick in me hand and a drop in me eye,
I held a walking stick in one hand and had been drinking alcohol, making me a little teary-eyed
A doleful damsel I heard cry,
I heard a sorrowful woman lamenting and crying
Johnny I hardly knew ye.
She cried out the name Johnny, but I could barely recognize him from his current condition
[Chorus]
Refrain repeated throughout the song
The enemy nearly slew ye
You were nearly killed by the enemy
Where are the eyes that were so mild, hurroo, hurroo
Your gentle and pleasant eyes are gone
When my heart you so beguiled
When you had my heart so enchanted and charmed
Why did ye sci-daddle from me and the child
Why did you leave me and our child behind
Where are the legs with which you run, hurroo, hurroo
Your legs which used to carry you so fast are lost
Indeed your dancing days are done
You will never be able to dance again
Ye're an armless, boneless, chickenless egg
You have lost both arms and legs, and are thus a helpless and defenseless person
Ye'll have to put with a bowl out to beg
You will have to resort to begging without any limbs
I'm happy for to see ye home, hurroo, hurroo
I am pleased to see you back home
All from the island of Ceylon;
All the way from the island of Ceylon
So low in the flesh, so high in the bone
You are emaciated from illness or injury, but your spirit remains unbroken
Lyrics © Warner Chappell Music, Inc.
Written by: J BAIRD, PD TRADITIONAL
Lyrics Licensed & Provided by LyricFind
@zeldagamer7477
The low quality audio actually makes it better. Amazing song
@johnwhynot5508
It sounds like he has bubbles in his throat
@theblackbaron4119
@@johnwhynot5508 It's the "magnetic tape dying on" you sound :D
@not2hot99
@@theblackbaron4119 I wonder if there is a higher quality one?
@Rollin_L
@@not2hot99 There is a clean live audio recording in existence. I have it on an compilation CD titled "Wrap the Green Flag- Favorites of The Clancy Brothers and Tommy Makem."
@timothymeehan181
The most dramatic & theatrical I’ve ever seen Tommy Makim…….beautiful.☘️🎶🎭
@peterlyonify
This is not a song about the Irish fighting the British, it is a song about an Irishman back at home after fighting abroad in the British Army.
@ediri94
Irishman who fight With Kandyan Kingdom in Ceylon (Sri Lanka) during British rule era.
@nozecone
@@ediri94 Were there Irishmen in Ceylon fighting against British rule, or are you speculating? (Yes, I'm skeptical, but I'm willing to learn.)
@crankyticket6061
Let Englishmen fight English wars,
It's nearly time they started oh!