Review by Sean McGuinness

This was the first non-Columbia release for the Boys in almost a decade. Their Columbia contract expired, they struck a deal with Audio Fidelity Records, which was the label that originated stereophonic albums and stereo sound in 1957 and was best known for its specialty albums (i.e. belly dancing music, sound effects and the like). The album was recorded in London and the musical arrangements were influenced greatly by Steve Benbow, an English folk artist who also was involved in Christy Moores infamous debut lp, “Paddy on the Road”, but thats another story. Had it not been for Teo Maceros penchant for string orchestration on “Flowers in the Valley,” Benbows arrangements would seem a somewhat over-produced when compared to other Clancy releases. Eddie and Finbar Furey are also not featured on this album. The album cover is the first non-Tradition release to not feature the aran sweaters.

In an effort to garner a hit single, a Shel Silverstein song, “Youre Always Welcome to Our House” served as the lead track and a 45 single release. The Irish Rovers had recently had a major hit with another Silverstein song, “The Unicorn”, which has caused that song, for better or worse, to be almost universally considered an Irish song, although Silverstein was a Jewish author/artist from Chicago. The world of Irish music would have been better served if “Youre Always Welcome to Our House” had become a hit. The song has a dark humorous quality that is very Irish in nature (i.e. “Weila Walla”), which would make for easier assimilation into the Irish music lexicon. Another great plus is that this song doesnt have hand motions.

Often overlooked, the version of “The Limerick Rake” is the best I have heard. The same goes for the Australian song, “Overlanders.” The first three songs are all great, but then the album hits a wall with a song that can best be placed in the “What on earth were they thinking” category. “The Poor Young Man”, sung solo by Paddy, is so bad, words cannot properly describe. You just have to hear it for yourself. This is followed by a lightweight forgettable song, “The Card Song,” sung by Bobby (although, I will grant that a live version of this song sung with Lou Killen in 1971, which featured the group alternating the verses took the tediousness out of the song and made it quite enjoyable).

Side two opens with “Beer Galore,” which is good song. Liams solo on Ewan MacColls “Sweet Thames” follows and again this is one of the best versions of that song done by anybody. A great version of “The Foggy Dew” is next, but it is labeled “Down the Glen” on the album itself (for the 1970 tour program, the advertisement for the album lists it as “The Foggy Dew”—thus, it is evident that the Boys knew the correct title of the song). The incorrect title is most likely due to some sort of provision in their Columbia contract that forbade them from releasing alternate versions of songs that they had previously recorded for Columbia for a specified number of years (a very common provision, by the way). At least this way, they were able to make it less obvious and disguise it somewhat. The track was too good not to release.

Then, once again, we hit the wall with “Lolly Too Dum,” which just isnt that good. Tommy Makem recorded this as well for his 1971 LP, “Love is Lord of All” and it is one of the weaker contributions to that release. “Welcome to Our House” closes with Gene Raskins “Caf by the Sea,” which is great, and “Time Gentlemen Time.” The latter song was the b-side to the 45 single release and features Tom as the soloist.

Theres some really great material on this album. Unfortunately, there are three clunkers here that significantly mar an otherwise great album. This lp is not available on CD, nor are any of its individual tracks. I rate this album a B -

Reviews Copyright © Sean McGuinness, 2001-2007