Live At Vicar Street

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  • Live At Vicar Street
    • 2006 - Celtic Airs CADVD0102 DVD (IRL)
  • Tracklist
    1. Countdown
    2. Jim McCann introduces the Dubliners
    3. The Fermoy Lassies & Sporting Paddy
    4. The Black Velvet Band
    5. The Spanish Lady
    6. The Ferryman (St. John)
    7. The Rare Auld Times (St. John)
    8. The Belfast Hornpipe & The Swallow's Tail (Trad. Arr. McKenna, Sheahan, Campbell)
    9. The Pool Song (O'Drisceoil)
    10. When The Boys Come Rolling Home (Sands)
    11. Luke's 21st Anniversary Poem (Sheahan)
    12. The Dublin Minstrel (O'Donoghue)
    13. Paddy On the Railway
    14. I Wish I Had Someone to Love Me
    15. The Maid Behind the Bar, The Boyne Hunt, The Shaskeen & The High Reel (Trad. Arr McKenna. Campbell)
    16. I'll Tell Me Ma
    17. Kelly The Boy from Killane
    18. Fiddler's Green (Conolly)
    19. All For Me Grog
    20. The Three Sea Captains & The Mullingar Races (Trad.Arr McKenna, Sheahan, Campbell)
    21. The Rocky Road to Dublin
    22. Finnegan's Wake
    23. The Leaving of Liverpool
    24. The Marino Waltz (Sheahan)
    25. The Foxrock Hornpipe & Ostinelli's Hornpipe (Sheahan)
    26. Dirty Old Town (MacColl)
    27. Whiskey In the Jar
    28. The Wild Rover
    29. Molly Malone
    30. The Irish Rover (Crofts)

  • The Dubliners
    • Barney McKenna: Banjo, Vocals, Mandolin
    • John Sheahan: Fiddle, Whistle, Background Vocals, Mandolin
    • Seán Cannon: Vocals, Guitar
    • Eamonn Campbell: Guitar, Background Vocals
    • Patsy Watchorn: Vocals, 5-String Banjo, Bones & Bodhrán
  • Guests
    • Compère: Jim McCann
    • Ceoladh Sheahan: Fiddle (Track: 24)
  • Credits
    • Producer: John Sheahan
    • Music Mixed & Produced by John Sheahan & Eamonn Campbell
    • Executive Producers: Shay Hennessy, Fiachra Sheahan
    • Director: David Donaghy
    • Venue Sound Engineers: Audio International
    • Post Production Supervisor: Louise Curran
    • Assistant Engineer: Michael Manning
    • Sound Mixing Engineer: Ciarán Byrne @ Cauldron Studios
    • Editor: Mark Quinn @ High Wire
    • Artwork: Design Warehouse
    • Production Manager: Ceoladh Sheahan
    • All tracks: Trad. Arr. McKenna, Sheahan, Cannon, Campbell & Watchorn — unless otherwise noted.

Sleeve Notes


The great Peggy Seeger; theorist and reanimator of traditional music, observed that the folk revival in these islands, as witnessed on the floor of the legendary Singers Club in London, was bogus. All the singers wanted to sound like Americans. 'They failed to see the power of authenticity," said Seeger The Dubliners had no such problem. In 1960 they were a ramshackle gang of working-class lads — an electrician, a dishwasher a fisherman, a telephonist and an agricultural student — and their musical voices were as varied and authentic as their day jobs. When they became The Dubliners, and started gigging regularly in Howth in 1962, the fusion of interests — musical and personal — created a profoundly original phenomenon.

The road has been long and winding. The Dubliners went on to take centre stage on The Ed Sullivan Show in New York in the wake of The Beatles. They conquered Tops Of The Pops in 1967 and again in 1987 with The Pogues. They toured America, Australia, Scandinavia, all ports. Some of the early participants passed, but the new boys — Jim, Paddy, Eamonn, Seán and, latterly, Patsy — reinforced the unique power of preserving authenticity. There were changes, but The Dubliners remained the ultimate nourishment — a grand loaf of bread whose wrapper varies but whose recipe never alters.

In July 2006, the bread was sliced yet again for a homecoming at Vicar Street. The venue has become a cultural nexus, where Art Garfunkel, Brian Wilson and The Flaming Lips are equally at home. It was new to The Dubliners, who have played in just about every concert hall the breadth of Europe. “We last played Dublin for our fortieth anniversary at the Gaiety in 2002," says John. “But this room offered a real intimacy." In the queues before the sell-out concert, apprehension was high as the age bracket of new fans was low. The number of young faces in the crowd surprised everyone. "It's liberating," says Barney. “It says that music is a family celebration. There should be no boundaries."

The unity was in the voice of the audience: a roar that stirred when Jim came on to announce them, ascending to deafening sing-along by the time Whiskey In The Jar was rollicking. One song after another, one hit after another a poem from John, banter from Seán and Barney a soft shoe from Eamonn, a tug at the heartstrings from Patsy: the cumulative effect was overpowering, building to the kind of crescendo I've only experienced at a world heavyweight boxing showdown. By the end, the searing heat of the July night, electrified by the tirelessness of the band, had the audience on its knees. And then the floor-pounding demands for the encores began. They played on, well beyond closing time, John's fiddle never so sweet Barney's voice never so emotive, Seán and Eamonn and Patsy raising the rafters.

There were smiles and whoops and hugs and air-punches from the audience. This had been an extraordinary homecoming, an indisputable musical feast. The bread was rarely fresher

Michael Feeney Callan