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 Town I Love So Well
Tommy Makem Lyrics
Jump to: Overall Meaning ↴
Where wild heather mountains look out to the sea
You will find hearts as kind as the soft winds of summer
And a warm welcome waiting for you and for me
[Chorus]
In that land of song and story
In that land where legends dwell
In that land, that land I love so well
Let your feet walk the green hills where heros have battled
For freedom and honour and glory and right
Where the birds sing the praises of men who were gallant
The first in the fray and the last to take flight
[Chorus]
You can roam the sweet meadows when the flowers are all blooming
Or fish the bright waters forgetting all care
You can sing with the lark when she welcomes the morning
Or hunt for the pheasant, the fox and the hare
[Chorus]
If your bones they are weary and your mind is uneasy
The struggle with life, it is taking its toll
Come with me to a green land of laughter and legend
There's rest for the body and peace for the soul
[Chorus]
The lyrics to Tommy Makem's song "The Town I Love So Well" evoke a sense of nostalgia and deep connection to one's roots. The singer invites the listener to accompany them to the land of their fathers, where the rugged beauty of wild heather mountains meets the vast expanse of the sea. This setting embodies a sense of belonging and warmth, with hearts as kind as the gentle summer winds and a welcoming embrace awaiting all who visit.
The chorus emphasizes the significance of this land, steeped in rich song and story, where legends reside and history is honored. It is described as a place enshrined in glory, cherished by those who call it home and hold it dear to their hearts. The repetition of the phrase "that land I love so well" reinforces the deep affection and reverence the singer feels for their homeland.
The imagery evoked in the lyrics paints a picture of a land marked by heroism and valor, where battles for freedom, honor, and glory have shaped its history. The mention of birds singing the praises of gallant men highlights the reverence for those who have shown bravery and resilience in the face of adversity. The connection between the natural world and the courage of its people is further underscored in this verse.
As the song progresses, the narrative shifts to a more serene and idyllic depiction of the land. The mention of green hills, blooming flowers, and bright waters conveys a sense of tranquility and peace. The singer invites the listener to partake in the simple joys of nature, whether it be strolling through meadows, fishing in the streams, or reveling in the melodies of the lark at dawn. This offers a respite for the weary soul, a reminder of the restorative power of connecting with the land and its bounty.
In conclusion, the lyrics of "The Town I Love So Well" by Tommy Makem encapsulate a profound love and reverence for one's homeland, rooted in its history, beauty, and sense of community. The invitation to journey to this cherished land speaks to the universal longing for connection, belonging, and solace amidst life's struggles. Through vivid imagery and heartfelt sentiment, the song conveys a deep appreciation for the land that shapes our identities and offers a sanctuary for the spirit.
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