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.
The Foggy Dew
Tommy Makem Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
There Ireland's lines of marching men, in squadron passed me by
No pipes did hum or no battle drum did sound its dread tattoo
But, the Angelus bell o'er the Liffey swell, rang out in the Foggy Dew
Right proudly high over Dublin town, they hung out the flag of war
For, 'twas better to die 'neath an Irish sky than at Suvla or Sud El Bar
And from the plains of Royal Meath, strong men came hurrying through
'Twas England bade our wild geese go that small nations might be free
But, their lonely graves are by Suvla's waves on the fringe of the grey North Sea
Oh, had they died by Pearse's side, or fought with Valera true
Their graves we'd keep where the Fenians sleep, 'neath the hills of the Foggy Dew
The bravest fell and the sullen bell rang mournfully and clear
For those who died that Easter tide in the springing of the year
And the world did gaze in deep amaze at those fearless men and true
Who bore the fight that freedom's light might shine through the Foggy Dew
The lyrics to Tommy Makem's song, The Foggy Dew, describe a moment in Ireland's history. The singer tells a story of riding to a city fair on Easter morning and seeing the lines of marching men, proudly displaying the Irish flag. The atmosphere is solemn, with no music or battle drums, only the ringing of the Angelus bell. The British army arrives with their long-range guns, sailing in by the Foggy Dew. The song speaks of the sacrifice made by the Irish who fought for their country's freedom, and the graves of those who died on the shores of Suvla Bay in Turkey.
The song refers to the Easter Rising of 1916, when Irish Republicans attempted to win independence from British rule. The "lines of marching men" were the Irish Volunteers, who had taken control of various important buildings in Dublin, including the General Post Office, where they raised the Irish tricolour. However, the rebellion was short-lived, and the British army soon regained control, executing the leaders of the uprising.
The song portrays the bravery of the rebels, their sacrifice for their cause, and their willingness to fight for their country's freedom. The lyrics are a tribute to those who died in pursuit of that cause. The reference to the Foggy Dew, a heavy mist that descends on the Irish countryside, adds to the somber, elegiac tone of the song.
Line by Line Meaning
It was down the glen one Easter morn, to a city fair rode I
I rode to the city fair down the glen on Easter morning
There Ireland's lines of marching men, in squadron passed me by
I saw Ireland's marching men pass by me in formation
No pipes did hum or no battle drum did sound its dread tattoo
There were no musical instruments playing, no drums or bagpipes
But, the Angelus bell o'er the Liffey swell, rang out in the Foggy Dew
Instead, I heard the Angelus bell ringing over the Liffey, echoing through the fog
Right proudly high over Dublin town, they hung out the flag of war
The flag of war was raised high above Dublin with pride
For, 'twas better to die 'neath an Irish sky than at Suvla or Sud El Bar
Dying under an Irish sky was preferable to dying at Suvla or Sud El Bar
And from the plains of Royal Meath, strong men came hurrying through
Strong men from the plains of Royal Meath hurried to join the fight
While Brittania's sons with their long range guns, sailed in by the Foggy Dew
Brittania's sons arrived by sailing in with their long range guns, shrouded by the fog
'Twas England bade our wild geese go that small nations might be free
England sent our soldiers away so that smaller nations could gain freedom
But, their lonely graves are by Suvla's waves on the fringe of the grey North Sea
Unfortunately, their graves are far away by Suvla's waves on the edge of the grey North Sea
Oh, had they died by Pearse's side, or fought with Valera true
It would have been better if they had fought by Pearse's side, or with Valera
Their graves we'd keep where the Fenians sleep, 'neath the hills of the Foggy Dew
Then we could honor them where the Fenians sleep, under the hills surrounded by the fog
The bravest fell and the sullen bell rang mournfully and clear
The bravest soldiers fell and the mournful bell rang out clearly
For those who died that Easter tide in the springing of the year
The bell rang out for those soldiers who died during Easter time in the midst of spring
And the world did gaze in deep amaze at those fearless men and true
The world looked on in amazement at those brave and true soldiers
Who bore the fight that freedom's light might shine through the Foggy Dew
Those soldiers fought so that the light of freedom could shine through the fog
Lyrics © Universal Music Publishing Group
Written by: CIARAN PADRAIG MAIRE BOURKE, RONALD JOSEPH DREW, BARNEY MCKENNA, JOHN EDMUND SHEAHAN, LUKE KELLY
Lyrics Licensed & Provided by LyricFind
Dayepipes
He chanced onto my booth in the periphery of an American [Ohio] Irish festival; the only booth I ever set up at any festival. He sat and played a while, left and came back a time or two and played some more. It was a branch of the music the public doesn't know him for. I don't pretend to know much of the man and little more of his music, but he was gentle, inquisitive, musically expressive; he couldn't have been a better ambassador of Irish peoples' music.
Marci Keesler
I've never heard of him before, but I will surely look up more of his music! Thank you for publishing this.
jenny_jenny_nc
+Marci Hilliker He was amazing. Brilliant musician with one of the best voices ever. I had this album at some point. I miss it. maybe I can find it again. Proud to have grown up with this stuff
Kathleen Pfeiffer
Oh I miss Tommy so much!
Gaff
Been seeking this a long, long time. Thanks.
Stephanee Turschmann
Tommy Makem is a great singer, who sings great songs against oppression. Sadly, oppression is still a problem. Sinead O'Conner is a more contemporary singer who sings against oppression as well as institutional abuse. Both are great voices voicing great causes.
Chris Prhyme
I agree there. Beautiful music with greater meaning behind it.
g smith
Too bad when Sinead O'Connor sang this song, she was horribly flat.
captain deadpool1997
but too and frow in my dreams I go an I kneel and pray for you for slavery fled ye rebel dead when you fell in the foggy dew