Bringing It All Back Home

Bringing It All Back Home (Original Release)

  • Bringing It All Back Home
    • 1991 - BBC Records BBC 884 LP (3 LP set)
    • 1991 - BBC Records BBCCD884 CD (2 CDs)
    • 1991 - Hummingbird HBCD0010 CD (2 CDs)
    • 2000 - Hummingbird HBC0026 CD (2 CDs)
      • with slightly different tracks
  • Bringing It All Back Home/Terres Irlandaises
    • 1999 - Keltia Musique KMCD99 CD (2 CDs) (France)

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  • Record One — Side One
    1. April The 3rd (D. Lunny) — Dónal Lunny & Friends
    2. My Love Is In America (M. Hanly) — Dolores Keane with Mick Hanly
    3. A Stór Mo Chroí (Trad. / Arr. R. & S. Keane) — Rita & Sara Keane
    4. When First Into This Country (Trad. / Arr. Lee Valley String Band) — The Lee Valley String Band
    5. Carolina Star (H. Moffat ) — The Lee Valley String Band [1]
    6. Kilkelly (Peter Jones) — Mick Moloney, Jimmy Keane, Robbie O'Connell
  • Record One — Side Two
    1. Thousands Are Sailing (P. Chevron) — Philip Chevron
    2. The Bucks Of Oranmore (Trad. / Arr. The Hughes' Band) — The Hughes' Band
    3. Rose Connolly (C. Munroe / Roy Acuff) — The Everly Brothers
    4. Lakes of Ponchartrain (Trad. / Arr. Hothouse Flowers) — Hothouse Flowers
    5. Humours Of Galway (Trad. / Arr. De Danann) — De Dannan
  • Record Two — Side One
    1. Sonny (R. Hynes) — Emmylou Harris, Dolores Keane, Mary Black
    2. Grey Funnel Line (Cyril Tawney) — Emmylou Harris, Dolores Keane, Mary Black
    3. Nothing But The Same Old Story (P. Brady) — Paul Brady
    4. Kevin Griffins (Trad. / Arr. S. Shannon, M. Custy, Eoin O'Neill) — Sharon Shannon, Mary Custy, Eoin O'Neill
    5. No Frontiers (J. McCarthy) — Mary Black
    6. You Couldn't Have Come At A Better Time (L. Bloom) — Luka Bloom
  • Record Two — Side Two
    1. Go mBeannaoithar Duit (D. Ó Liatháin. P. Ó Riada) — Peadar Ó Riada & Cór Cúil Aodh [1]
    2. Carolan's Farewell To Music (Carolan / Arr. Ní Chathasaigh) — Máire Ní Chathasaigh
    3. An T-Aiséirí (Trad. / Arr. M. O'Súilleabháin) — Noirín Ní Riain & The Monks Of Glenstall Abbey
    4. Oileánn/Island (M. O'Súilleabháin) — Míchael O'Súilleabháin & The Irish Chamber Orchestra with John McCarthy
    5. Idir Eatarthu/Between Worlds (M. O'Súilleabháin) — Míchael O'Súilleabháin & The Irish Chamber Orchestra [1]
  • Record Three — Side One
    1. Mischievous Ghost (E. Costello) — Elvis Costello with Mary Coughlan
    2. Equinox (D. Spillane) — Davy Spillane
    3. Blue (Frew, Whelan, Wyatt, Murphy) — An Emotional Fish with Máire Ní Bhraonáin
    4. St. Ann's Reel (Trad. / Arr. Skaggs, Glackin, Lunny. O'Connor) — Ricky Skaggs, Paddy Glackin, Mark O'Connor
    5. The Dimming Of The Day (R. Thompson) — Richard Thompson, Mary Black
    6. Cooler At The Edge (S. Condell) — Sonny Condell
    7. Glen Road To Carrick (Trad. / Arr. P., S. & K. Glackin) — Paddy Glackin, Seamas Glackin, Kevin Glackin
  • Record Three — Side Two
    1. Don't Let Our Love Die (L York) — The Everly Brothers
    2. Easter Snow (Trad. / Arr. Ennis & Flynn) — Catherine Ennis, Liam O'Flynn
    3. All Messed Up (P. Turner) — Pierce Turner
    4. Tunes (Trad. / Arr. R. Sherlock) — Roger Sherlock, Bobby Casey, John Bowe, Tom Nagle, Eilish Byrne, Siobhan O'Donnell
    5. Western Highway (G. O'Beirne) — Maura O'Connell
    6. A Song For The Life (R. Crowell) — The Waterboys
    7. The Parting Glass (Trad. / Arr. The Voice Squad) — The Voice Squad
    8. A Stóir Mo Chroí (Trad. / Arr. Liam O'Flynn) — Liam O'Flynn [1]
  • Additional—Alternate Tracks
    1. Gone Girl
    2. Im Long Me' Measaim
    3. Moran's Return

  • Credits
    • Recording Produced by Dónal Lunny
    • Engineered by Andrew Boland, assisted by Sinead Hanna
    • Sleeve notes by Nuala O'Connor and Philip King
    • Music recorded on location in Ireland, U.S.A. and England, and at Ringsend Road Studios, Dublin
    • Album Produced by Bruce Talbot
    • Art Direction: Mario Moscardini/Jacqueline Davis
    • Sleeve Design: Mainartery, London
  • Track Notes:
    1. The 2000 Hummingbird (HBC0026) double CD release features slightly different tracks:
      • "Carolina Star" is replaced with "Gone Girl" — which appears on Valley VE 15012
      • "Go mBeannaoithar Duit" is replaced with "Im Long Me' Measaim" — which appears on Valley VE 15012
      • "Idir Eatarthu/Between Worlds" is replaced with "Moran's Return" — which appears on Valley VE 15013
      • "A Stóir Mo Chroí" is omitted.

Sleeve Notes

For several centuries now, Irish music has been on the move, carried in the hands and voices of Irish people. Bringing It All Back Home attempts to chart some of its journeys; to go to some of the places reached, and to tell the story of how it inevitably wound its way back home again, as if to bear out that cyclical impulse at the heart of Irish artistic expression, the 'commodious vicus of recirculation' as Joyce thought of it.

The journeys undertaken were physical journeys — to America, England, and to a lesser extent Canada and Australasia. These waves of emigration began in the eighteenth century and have not yet receded. America is an important element in the story of Bringing It All Back Home. It was in America that the future development of Irish music, including traditional music, and indeed of American folk music was shaped.

Every living music undertakes a journey through time. But time is relative, and the journey of Irish music through time exemplifies this. On the one hand, traditional music changed very slowly, if at all. The culture it expressed remained much as it always had been … Irish-speaking, rural, and poor. Time was a commodity in plentiful supply and must have seemed to move slowly. So we get long songs of thirty verses and more to accommodate longer memories and an abundance of time. The spirit which animated this culture still lives on in parts of Ireland. As we shall see it was carried through the music into twentieth-century Ireland, changed, but recognisable. But in America, a new country, rapid change was the driving force, and Irish music absorbed this spirit of the new age, in order to re-invent itself, and meet the musical needs of the New World.

Dance music left Ireland in the heads, hands and feet of emigrants. In America its seductive rhythms influenced a host of diverse traditions, from Bluegrass to Country and Rock. Coming home on record, it proved fertile imaginative ground for a new generation of players who gradually realised the extraordinary richness of their own musical culture. Full circle....

Fed on a rich diet of emigrant dreams, bitter poverty and New World optimism, the Irish Ballad took root and flourished in America where it quickly found an appreciative audience. In the 1950s The Clancy Brothers perfected their style in the folk clubs of Greenwich Village where they met (and influenced) the young Bob Dylan. As so often happens, success abroad bred curiosity at home. The Clancys returned to Ireland in the 1960s.

It was inevitable that Irish Rock Musicians would begin to experiment with traditional Irish elements in their work. Inevitable too that the purists would grumble and the rockers yawn … at first. Because what started as a flirtation soon turned into a full blooded marriage of styles, with the emergence of Thin Lizzy, Sinead O'Connor, The Waterboys, and one day along came "U" Know Who …

The twentieth-century influences of communications media and technology sent Irish music off in many different directions, towards rock, country, pop, electric folk, blues, and the avant-garde.

Old collections of the past also played a part in revitalising contemporary Irish music, particularly the classical tradition.

For Centuries Irish harp music flourished under the patronage of a wealthy aristocracy. 17th century Baroque music was also popular with the Irish nobility and an emerging middle class. These two traditions combined to produce a composer of extraordinary quality in Turlough O Carolan and his "Much Admired Old Tunes" have inspired generations of Irish (and not so Irish!) artists, from Sean O'Riada to the uncompromising father of the American Avant Garde, John Cage.

All of these Irish musical forms are offspring of the same traditional-music parent. They do not all co-exist happily together; some are regarded by others as bastards; some are at loggerheads; some are ignorant of their illustrious parentage. But they do share common features, not necessarily of musical construction, but of spirit, which identify them in some way as Irish.

Through the music, then, that has touched all of these generations, we can read the history of Ireland and her people, especially her emigrant people.

The traditional music of Ireland was the only enduring cultural baggage, intangible as it was, that impoverished emigrants could take out of the country.

In the past one hundred and fifty years Ireland has had more of its people leave the country than remain in it. This is unique in the history of emigration.

Being Irish outside Ireland is central to the Irish experience. As sociologist, Liam Ryan, recently wrote: 'Emigration is a mirror in which the Irish nation can see its true face! The question of identity for Irish people is fraught with ambivalence and tensions. Tensions come in the form of contradictory pressures — one to become assimilated into the new country, the other to affirm exclusive Irishness.

This music inevitable changed in the process of travel, sometimes to be unrecognisably transformed, sometimes evolving at the natural pace dedicated by the passing of time and a changing world. In places here and there, often on opposite sides of the globe, it remained almost untouched, a living, vibrant bridge to the past. Nor, as we shall see, was the traffic all one way.

Music returned to Ireland in many guises at different times, re-invigorating the tradition when it most needed it, Bringing It All Back Home — to the source and sensibility from which it had sprung.

Irish Music … Soul Music

'I have a theory that soul music originally came from Scotland and Ireland'.


'that kind of stuff (Irish traditional music) I think comes directly from life … that kind of music springs directly uncensored from the soul of the people … it has no intellect that says I'd better do this or I'd better do that; it's soul music if you like'.


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Bringing It All Back Home - Volume One
  • Bringing It All Back Home - Volume One
    • 1998 - Valley VE 15011 CD

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  • Track List:
    1. April The 3rd Dónal Lunny & Friends
    2. Nothing But the Same Old Story Paul Brady
    3. Sonny — Emmylou Harris/Dolores Keane/Mary Black
    4. Rose Connolly — The Everly Brothers
    5. Kevin Griffins — Sharon Shannon/Mary Custy/Eoin O'Neill
    6. When First Into This Country — The Lee Valley String Band
    7. No Frontiers — Mary Black
    8. Idir Eatarthu/Between Worlds — Micheal O Suilleabhain & The Irish Chamber Orchestra
    9. Lakes of Ponchartrain — Hothouse Flowers
    10. Humours of Galway De Danann
    11. Dimming of the Day, The — Richard Thompson/Mary Black/Dolores Keane
    12. The Shoals of Herring Clancy Brothers
    13. Kilkelly Mick Moloney, Jimmy Keane, Robbie O'Connell
    14. Western Highway — Maura O'Connell
    15. The Parting Glass — The Voice Squad

  • Track Notes:
    1. Track: 12, "The Shoals of Herring", was not included on the original release, and is the last recording made by Tom Clancy.

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Bringing It All Back Home - Volume Two
  • Bringing It All Back Home - Volume Two
    • 1999 - Valley VE 15012 CD

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  • Track List:
    1. My Love Is In America Dolores Keane with Mick Hanly
    2. St. Anns Reel/The Blackberry Blossom — Ricky Skaggs/Paddy Glackin/Mark O'Connor
    3. Johnny Don't Go To Ballincollig — John Spillane
    4. Oilena/Island — Micheal O'Sulleabhain/The Irish Chamber Orchestra
    5. The Bucks Of Oranmore — The Hughes Band
    6. A Song For The Life — The Waterboys
    7. Mischievous Ghost — Elvis Costello
    8. The Japanese Hornpipe — Cooney & Begley
    9. Im Long Me Measaim — Peadar O'Riada/Cor Cuil Aodh
    10. Waltzings For Dreamers — Richard Thompson, Mary Black, Dolores Keane
    11. Port Na Bpucai — Tony McMahon
    12. Carolina Star — The Lee Valley String Band
    13. Grey Funnel Line — Emmylou Harris/Dolores Keane/Mary Black
    14. Gone Girl — Cowboy Jack Clement
    15. A Stóir Mo Chroí Liam O'Flynn

  • Tracks Notes:
    1. Tracks: 3, 8 10 & 11 are not included on the original release.
    2. Tracks: 9 & 14 are not included on the original release, but are included on the 2000 Hummingbird double CD.

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Bringing It All Back Home - Volume Three
  • Bringing It All Back Home - Volume Three
    • 2000 - Valley VE 15013 CD

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  • Track List:
    1. Equinox Davy Spillane
    2. You Couldn't Have Come At A Better Time Luka Bloom
    3. Moran's Return — Noilaig Casey and Arty McGlynn
    4. All Messed Up — Pierce Turner
    5. Glen Road To Garrick/The Wild Irish Man — Paddy Glackin, Seamus Glackin, and Kevin Glackin
    6. Thousands Are Sailing Philip Chevron
    7. Cooler At The Edge — Sonny Condell
    8. Tunes — Roger Sherlock, Bobby Casey, John Bowe, Tom Nagle, Eilish Byrne, and Siobhan O'Donnell
    9. Easter Snow — Catherine Ennis and Liam O'Flynn
    10. A Stór Mo Chroí — Rita and Sara Keane
    11. Blue — An Emotional Fish with Máire Ní Bhraonáin
    12. An T-Aiséirí — Noírin Ní Riain and the Monks of Glenstall Abbey
    13. Don't Let Our Love Die — The Everly Brothers
    14. Operator De Dannan and Friends
    15. Carolans Farewell To Music — Máire Ní Chathasaigh

  • Tracks Notes:
    1. Tracks: 11 & 14 are not included on the original release.
    2. Track: 3 is not included on the original release, but is included on the 2000 Hummingbird double CD.

  • Notes:
    • Bringing It All Back Home was originally released in 1991 as a 3 (vinyl) LP set & double CD
    • These tracks were subsequently re-released in various versions.
      • 1993: Keltia Musique - French release, with all the tracks from the original album.
      • 1998-2000: Valley Entertainment re-released the original tracks on three (separate) volumes.
        • With additional (initially omitted) songs.
      • 2000: Hummingbird Records re-released most of the original songs on 2 CD set.

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