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Sleeve Notes
The concept of recording a Country album has been on my mind for several years; in fact, 30 years ago I presented a radio series based on the influence and relationship of Irish music to Country music. I decided to move forward with the idea shortly after The Chieftains performed a sellout show at Nashville's Tennessee Performing Arts Center. Following this concert the group were immediately asked to guest-host a programme for the Nashville Network's "American Music Shop" with a number of notable Country artists. Most of the artists who appeared on that programme feature on this recording.
The day after the TPAC concert we were in Javelina Studios recording Killybegs with members of The Nitty Gritty Dirt Band, who had been at the show the night before. With such a buzz from that session we immediately decided to book studio time for a run of recordings to complete the album in Nashville after the tour.
A few days earlier we had recorded Cúnla with Colin James in Toronto, after he had joined us on stage the previous evening at our St. Patrick's Night concert. As a teenager Colin's father used to play him the tapes of the Chieftains. From these Colin developed a love of Irish music and took to playing the mandolin and tin whistle.
On returning to Ireland I managed to catch up with Willie Nelson backstage after a great show by the Highwaymen in Dublin. We talked about recording a version of Goodnight Irene and two days later Willie was with us in Windmill Lane Studios to record the song, bringing Kris Kristofferson with him to help out with backing vocals!
So, with the album really beginning to take shape, it was back to Nashville for possibly the most busy yet enjoyable week of recordings we have ever put in. Country legend Don Williams kicked off the week's sessions with a sublime recording of I Can't Stop Loving You. His great voice and relaxed performance make this classic song glorious.
Ricky Skaggs was more than helpful to me in putting this project together. The enthusiasm and energy of Ricky and his musicians really comes across on Wabash Cannonball and a new version of Cotton-Eyed Joe. There is a real empathy between Ricky and the Chieftains, and during these sessions we even managed to perform with Ricky and his band on TNN's "Nashville Now" and to play together at the Grand Old Opry.
Chet Atkins plays, as always, with pure originality, taste and style. With Seán Keane's superb fiddle playing, they do a great job on Heartbreak Hotel (a somewhat different approach to when Chet played with Elvis), and a jig, The Cliffs of Moher, thrown in for good measure. Chet also plays on Tahitian Skies and Chief O'Neill's Hornpipe.
Nobody's Darlin' But Mine, sung by Emmylou Harris, is a song that I first heard when I was a child at dances in my grandmother's house up in the Sliabh Bloom mountains. Emmylou is a truly great singer, a joy to be with in the studio and her interpretation of the song is inspired.
Kevin sings Paddy's Green Shamrock Shore, with atmospheric dobro from Jerry Douglas and bass from Edgar Meyer. This fittingly tells the story of emigration to 'another country'. The lyrics express the cultural bridge between Ireland and America with sentiments that match the spirit of the whole album perfectly.
So, at the end of a long week in the studio, we all decided to assemble for a grand finale session. With standing room only in the studio and everybody stepping in for their own contributions, we launched into Did You Ever Go A-Courtin', Uncle Joe finishing with Will the Circle Be Unbroken. With a lot of help from our friends, the music for this recording has truly surpassed our expectations.
— Paddy Moloney
