 |
|
About "The Gatecrashers"
"The Gatecrashers" was presented for a week at the Gate Theatre last June.
Says Tribune Records' Noel Pearson: "It was basically a folk music entertainment mounted by a subsidiary of Tribune. The artists concerned had previously sung and played largely in ballrooms and pubs, and we felt it was time to broaden their experience via an authentic theatrical atmosphere."
"We chose a time when the tourist season was in full swing. Happily, the response was gratifying. At the time, the idea of doing an LP of extracts was only a hazy notion One night, the show was taped and the result was so much better than we had anticipated that it was decided to go ahead with the album".
When I attended "The Gatecrashers" I was struck by the informality of the proceedings. There was absolutely nothing contrived about it…which, it seemed to me, served to accentuate the audience's appreciation.
The Pecker Dunne, whose face has illuminated many a newspaper and magazine in the past few months (and whose screen debut in John Huston's "Sinful Davy" is eagerly awaited) contributes two of his own compositions-although when one has seen and heard him even briefly, the word sounds somewhat pretentious-and "Seven Drunken Nights". Danny Doyle, who has had all the usual adjectives applied to his work, is also forcefully represented. Since recording this album (Summer '67) Danny Doyle has emerged as practically a national hero. He was voted 1967 show biz personality of the year and his single "Whiskey on a Sunday" was acclaimed the best record of '67. Danny's interpretation of Cluain Meala (Clonmel) must certainly be considered as some of the best folk singing of any Irish artiste. Unlike Danny, Paddy Reilly has yet to have a disc in the top ten, but that small detail doesn't deter people from flocking to see him whenever he appears…and cheering their heads off at the least excuse.
Finally, there's Shay Healy, upon whose shoulders fell the considerable burden of supervising "The Gatecrashers". Between engagements, Shay writes words and music with equal facility
Ken Stewart Winter 1967