Anthologies   •   Long Journey Home

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• Musicians
  • The Chieftains
    • Derek Bell: Harp (Tracks: 1,2, 4-6,8, 9, 11 & 12) & Orchestration (Tracks: 12)
    • Kevin Conneff: Bodhran (Tracks: 8, 11, 13 & 16) & Vocals (Tracks: 13)
    • Martin Fay: Fiddle (Tracks: 1, 2, 4, 7, 11 &16)
    • Matt Molloy: Flute (Tracks:, 2, 4, 6, 7, 11 & 16)
    • Paddy Moloney: Tin Whistle (Tracks: 1-5, 7, 9-11, 15 & 16), Uilleann Pipes (Tracks: 1-5, 7, 8, 11, 15 & 16) & Uilleann Pipes, Drones (Tracks: 14)
    • Seán Keane: Fiddle (Tracks: 1, 2, 4, 5, 8 & 11)
  • Van Morrison: Vocals (Track: 1)
  • The Irish Film Orchestra: (Tracks: 1, 2, 4, 6, 9, 12, 15 & 16)
  • Mary Black: Vocals (Track: 3)
  • Vince Gill: Vocals (Track: 5)
  • Sinead O'Connor: Vocals (Track: 6)
  • Liam Ó Maonlaí: Vocals (Track: 8)
  • Mick Moloney: Vocals, Guitar (Track: 10)
  • Sissel: Vocals (Track: 11)
  • Eileen Ivers: Fiddle (Tracks: 10 & 14)
  • Elvis Costello: Vocals (Track: 16)
  • Anúna: Choir (Track: 16)
  • Annbjørg Lien: Swedish Keyed Fiddle & Hardanger Fiddle (Track: 11)
  • Arty McGlynn: Guitar (Tracks: 1 & 16)
  • Bjørn Ole Rasch: Keyboards (Track: 11)
  • Brian Keane: Orchestration (Tracks: 2, 4, 9 & 15)
  • Dave Flemming: Double Bass (Track: 1)
  • Eamonn Campbell: Mandolin & Guitar (Track: 3 )
  • Fiachra Trench: Piano (Tracks: 1 & 16), Hammond Organ, (Track: 1), Orchestration (Tracks: 1, 4, 6 & 16) & Conductor (Track: 4)
  • Gearóid Grant: Conductor (Tracks: 2, 4, 9, 12 & 15)
  • James Blennerhassett: Double Bass (Track: 16)
  • James J. Higgins: Bodhran (Tracks: 7, 16) & Percussion (Track: 10)
  • Jerry O'Sullivan: Additional Pipes (Track: 15)
  • Joanie Madden: Additional Whistles (Track: 15)
  • John Jarvis: Piano (Track: 5)
  • John Whelan: Accordion (Track: 10)
  • Johnny Cunningham: Fiddle (Track: 7)
  • Kim Plainfield: Drums (Track: 15)
  • Lawrence Feldman: Recorders (Track: 15)
  • Liam Bradley: Drums (Track: 1)
  • Mairtín Ó Connor: Accordion (Track: 3)
  • Martin Matrustry: Tympani & Piatti (Track: 15)
  • Michael McGlynn: Choral Arrangement (Track: 16)
  • Michael Rhodes: Bass (Track: 5)
  • Paddy Glackin: Fiddle (Tracks: 3 & 16)
  • Paul Leim: Drums (Track: 5)
  • Per Hillestad: Percussion (Track: 11)
  • Richard O'Donnell: Additional Snare Drums (Track: 15)
  • Robbie Casserly: Drums (Track: 16)
  • Seamus Egan: Banjo (Track: 7)
  • Sharon Riley & Faith Chorale: Choir (Track: 1)
  • Stuart Duncan: Mandolin (Track: 5)
  • Zan McLeod: Guitar (Tracks: 7 & 16) & Bouzouki (Track: 16)

• Credits
  • Produced by Paddy Moloney & Brian Keane
  • Track 1: Recorded at Windmill Lane Recording Studios, Dublin & D.A.V.E. Audio, Toronto
    • Engineered by Brian Masterson (Dublin) & Kevin Doyle (Toronto)
    • Assisted by Ciarán Cahill & Paul Offenbacher
    • Mixed by Brian Masterson
    • Assisted by Ciarán Cahill.
  • Track 2, 4, 12: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Jeffrey Lesser
    • Assisted by Ciarán Cahill, Jonathon Ford, Cameron Doyle & Liam Cooney
    • Mixed at Sound Techniques, Boston
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Mark Fraunfelder.
  • Track 3: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Brian Masterson
    • Assisted by Jonathon Ford
    • Mixed by Brian Masterson & Paddy Moloney
    • Assisted by Ciarán Cahill.
  • Track 5: Recorded at Ocean Way Studios, Nashville
    • Engineered by Jeffrey Lesser
    • Assisted by Howell Luther
    • Mixed at Sound Techniques, Boston
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Mark Fraunfelder.
  • Track 6: Recorded at John Reynolds Studio, London, D.A.V.E. Audio, Toronto & Windmill Lane Recording Studios, Dublin
    • Engineered by John Reynolds (London), Kevin Doyle (Toronto) & Brian Masterson (Dublin)
    • Assisted by Paul Offenbacher
    • Mixed at D.A.V.E. Audio, Toronto
    • Mixed by Kevin Doyle & Paddy Moloney
    • Assisted by Paul Offenbacher, Ciarán Cahill, Jonathon Ford, Cameron Doyle & Liam Cooney.
  • Track 7: Recorded at Windmill Lane Recording Studios, Dublin & Sound Techniques, Boston
    • Engineered by Jeffrey Lesser (Dublin) & Brian Keane (Boston)
    • Assisted by Ciarán Cahill, Cameron Doyle, Liam Cooney, Jonathon Ford
    • Mixed at Clinton Recording Studios, NYC
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Ted Paduck.
  • Track 8: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Brian Masterson
    • Assisted by Jonathon Ford
    • Mixed at Windmill Lane Recording Studios, Dublin
    • Mixed by Brian Masterson & Paddy Moloney
    • Assisted by Ciarán Cahill.
  • Track 9: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Jeffrey Lesser
    • Assisted by Ciarán Cahill, Jonathon Ford, Cameron Doyle & Liam Cooney
    • Mixed at Clinton Recording Studios, NYC
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Ted Paduck.
  • Track 10: Recorded at Sound Techniques, Boston
    • Engineered by Brian Keane
    • Assisted by Tom Richards & John Berkowitz
    • Mixed at Clinton Studios, NYC
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Ted Paduck.
  • Track 11: Recorded at Windmill Lane Recording Studios, Dublin & Major Studio, Oslo
    • Engineered by Brian Masterson (Dublin) & Per Sveinson (Oslo)
    • Assisted by Jonathon Ford
    • Mixed at Windmill Lane Recording Studios, Dublin
    • Mixed by Brian Masterson & Paddy Moloney
    • Assisted by Ciarán Cahill.
  • Track 13: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Brian Masterson
    • Assisted by Conal Markey
    • Mixed at Windmill Lane Recording Studios, Dublin
    • Mixed by Brian Masterson
    • Assisted by Ciarán Cahill.
  • Track 14: Recorded at Sound Techniques, Boston
    • Engineered by Brian Keane
    • Assisted by Tom Richards & John Berkowitz
    • Mixed at Sound Techniques, Boston
    • Mixed by Jeffrey Lesser & Paddy Moloney
    • Assisted by Mark Fraunfelder.
  • Track 15: Recorded at Windmill Lane Recording Studios, Dublin & Carriage House Studios, CT
    • Engineered by Jeffrey Lesser (Dublin) & Brian Keane (CT)
    • Assisted by Andy Katz, Cameron Doyle, Liam Cooney, Ciarán Cahill, Jonathon Ford
    • Mixed at Clinton Recording Studios (NYC) & Little Big Feet Studio (CT)
    • Mixed by Jeffrey Lesser & Paddy Moloney (NYC) & Phil Magnotti & Brian Keane (CT)
    • Assisted by Ted Paduck.
  • Track 16: Recorded at Windmill Lane Recording Studios, Dublin
    • Engineered by Brian Masterson & Jeffrey Lesser
    • Assisted by Jonathon Ford, Ciarán Cahill, Cameron Doyle
    • Mixed at Windmill Lane Recording Studios
    • Mixed by Brian Masterson & Paddy Moloney
    • Assisted by Ciarán Cahill.
  • Additional Mixes & Production on Tracks 2, 4, 7, 9, 10, 12, 14 & 15 by Brian Keane
  • Additional Orchestra Mixes on Tracks 2, 4, 9, 12 & 15 by Brian Keane, assisted by Phil Magnotti at Little Big Feet Studios, CT
  • Pre-Mastering Digital Editing by Troy Halderson, Clinton Recording Studios, NYC
  • Digital Editing on Tracks 2, 4, 9, 10, 12 & 15 by Keith Chirgwin
  • Mastering Engineered by Greg Calbi, Masterdisk Inc. NYC
  • Copyists: Don Wallace, Debbie Matrustry
  • Project Coordination: Stephen Macklam & Sam Feldman
  • Art Direction: James O'Mara/'O'Mara & Ryan
  • Cover Photo Provided Courtesy of The Society for the Preservation of New England Antiquities, Boston, Mass
  • Special Thanks to Thomas Lennon, Jessica Cohen, Carolyn Conger and all the staff at Lennon Documentary Group; Brian Keane, Jeff Frez-Albright, Kimberly Cronin, Josh Weinstein, Eddy Krakauer, Justin Luchter and all the staff at Brian Keane Music; Roy Disney, Paul Villadolid, Eleanor Richman, Howard Davine and all the staff at Buena Vista Home Video and Walt Disney Television; Cor Dubois, Hanky Palmer, Paula Morris, Kate Winn, Janet Dematteis, Monica Petty, Kathleen Finnegan and all the staff at BMG Classics; Catherine Rutter, Lauren Koch, Paul W. Worth, Caitríona Walsh, Sin ad Murphy, Liam Cabot, Richard Picart, Gill Taylor, Willy Richardson, Patrick Clancy, Larry Fitzgerald, Joe O'Reilly, Arne Svare, Chris O'Donnell, Sallyanne McKeown; Char Power, Barb McIvor, Darrell Gilmour, Guadalupe Jolicoeur, Ian Menzies and all the staff at S.L. Feldman and Associates

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Sleeve Notes

When I was first approached about contributing to the Irish in America project, the director Tom Lennon asked me how I could take a whole year's work like this on board and be working on two other albums at the same time. I told him "I have to do this. It belongs to me and I must take part." Little did I know that the Long Journey Home, as the project came to be known, would turn into such a monumental music experience. The wonderful contributions from friends old and new speaks more eloquently than I had ever dreamed, and 1 am grateful to them all.

Paddy Moloney
November 1997

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The Irish in America: Long Journey Home
A Film by Thomas Lennon
Executive Music Producer: Paddy Moloney
Original Score by Paddy Moloney & Brian Keane

Hurricane Paddy, I called him: a furious storm we tracked as best we could while he raced from one time zone to another, making music. I got used to the calls from Dublin, Brittany, China, Newfoundland or from vacation. Paddy Moloney's idea of a vacation is to walk a beach humming into a micro-cassette and then trying to play it back over his cell phone: "sufferin' cha-a-yssus, did I wake y' then Tom?" From these calls, the film score began to take shape the majesty of dawning of the day, the raucous exuberance of Larry.

We were charged with telling the story of the Irish in America. A film that big is a carnival, a three-ring circus. Maybe that's why we worked so easily together. Paddy makes music the way I make films, collegially he's always the sly ring-master, working to create magic by bringing disparate acts into a single ring.

And what acts! Sinead O'Connor gives a raw and vulnerable voice to the silent women in the old photographs … Van morrison's shenandoah evokes the irish diaspora across america … Sissel … Liam Ó Maonlaí … Kevin Conneff … Mary Black … Vince Gill … Eileen Ivers … and Elvis Costello, who in ten minutes at his kitchen table found the lyrics to tell our story whole.

I'd set aside a few weeks for the film music it took us more than six months. I was jet-lagged, impatient, over-budget and blissful; as when Matt Molloy of the Chieftains explained he'd been taught the flute by his father, who'd been taught by his father, who had been taught by his father and I realized I was listening to sounds that reached back a century; or, when Brian Keane, Paddy's gifted collaborator on the score, brought his Irish-American father, uncle, brother and old drinking friends to the studio to sing irish eyes are smiling, Rosie O'Grady, wear in 'o' the green and to fit the film scenes, we made them all sing out of tune; and then paddy, conjuring million-dollar music from his dime-store whistle, alone in the studio late at night when everyone else had quit.

I've made films for twenty years and hope to for another twenty, but it's unlikely I'll ever work on this scale again. Because with Long Journey Home the music is the story. Some people conquer the world with armies the Irish did it with song.

Thomas Lennon

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Shenandoah — Recording Shenandoah with my good friend Van Morrison was a memorable experience. It took only three takes to capture the magic of Van's rendition. For me, it evokes the tug of this wide open continent, makes me think of the great Irish journey through America, that ends with their becoming Americans. It was always my wish to have a gospel choir included on this song. I brought the tape to Toronto where the women from "Faith Chorale" had a ball recording over Van. What touched me most was that all of us said a little prayer before and after the session.

Main Theme — I based the Main Theme on an ancient Irish air. During my school days we were taught another version of the air better known as "The Dawning of the Day" which the poet Patrick Kavanagh adapted for his poem "On Raglan Road."

Paddy's Lamentation — Paddy's Lamentation is a song that has been popularised recently by Mary Black. It's a wonderful tune that reminds us "dear old Dublin" remained in the hearts of those who emigrated to other lands. I felt it was appropriate to follow it with a reel called Ships Are Sailing that fits so well with the song.

Emigration Theme — Emigration Theme is based on music I borrowed from my 'symphony in progress' about the Potato Famine of the 1840s.

The Bard Of Armagh & The Streets Of Laredo — The Bard of Armagh, recorded in Nashville with Vince Gill, is a 19th century Irish song, the melody of which may be better known in the United States as The Streets of Laredo. This song is a perfect example of the music that the immigrants brought with them and which eventually became an important part of American culture.

Skibbereen — The horror of the Famine was so great that those who survived it chose, for the most part, not to speak or write of it. But a generation later, the anger at what had happened poured out — nowhere more eloquently than in Skibbereen. Sinead, with her stark rendition and passion brings this song beautifully to life.

The Night That Larry Was Stretched — Jig — The Night That Larry Was Stretched is a well known ballad, the tune of which was taken from a traditional air. I recorded it in a few different styles; the way it would have been played in Ireland and how it would have changed as it moved across the Atlantic and into the American West. On this track I combined the performances of The Chieftains with guest musicians from America.

White Potatoes — White Potatoes is a rare poem about the Great Famine, written by a small tenant-farmer who lived through it. In 1846, on seeing the death of his neighbors O'Callanan wrote a traditional Irish Lament, a "keen," to be sung or recited at a funeral. However he mourns not for those who died but for the potato itself which was the source of all life then in the West of Ireland. I was unable to trace the music for his words and decided to compose a special tune sung here by Liam Ó Maonlaí whose family are all native Irish speakers. The original poem is thirty-three verses long. Here we've selected three.

Famine Theme — How does one write music to evoke the Great Hunger which caused the death of a million Irish and drove a million and a half more out of Ireland? Composing this piece was an emotional experience for what I would regard as the most important part of the documentary film.

Muldoon, The Solid Man & Grandfather's Tune — I've known Mick Moloney since his early days with the Irish folk group, The Johnstons. His wonderful rendition of this song about a political boss captures the joy and pride of the Irish as they started to make their way in the New World. I've followed it with another joyful tune my grandfather, a flute player, taught me as a child.

An Raibh Tu Ag An gCarraig? (Were You At The Rock?) — The beautiful voice of Norwegian performer Sissel adds a wonderful element to the song An Raibh Tii Ag an gCarraig? (Were You At The Rock?). It recounts a time in Irish history when the celebration of the Mass was forbidden. The mass rock referred to in the song was sometimes no more than a large stone that took the place of the altar. More often than not the setting was in some remote part of the countryside. The location was not chosen for its wild beauty but rather so that approaching soldiers could be sited far enough away for the worshippers to disappear into the country side.

O'Carolan's Farewell To Music — O 'Carolan's Farewell To Music is a most appropriate lament beautifully performed by Derek "Ding Dong" Bell (as he is known to us) and The Irish Film Orchestra. This piece was composed by the great 18th Century Irish harper, Turlough O'Carolan, three weeks before his death.

Bean Phaidin — Bean Phaidin or "Pawdeen's Wife" is sung in Irish by Kevin Conneff. It's a humorous song about a woman who wishes she were Pawdeen's wife and captures some of the sweetness of life in Ireland before the Famine struck.

O'Donnell's Lament & Reel With The Beryle — O'Donnells Lament & Reel With The Beryle is played here by the accomplished American fiddler, Eileen Ivers, who is best recognized today for her contribution to the popular show Riverdance. O'Donnell's Lament I learned from the late Kerry fiddler, Julia Clifford. I followed it with a lively reel called Reel With The Beryle.

American Theme — American Theme was composed and arranged by my colleague, Brian Keane. An Irish-American, his music is most appropriate for a time in history when the Irish found a home for themselves in the New World.

Long Journey Home (Anthem) — For the anthem, Long Journey Home I called on my good friend Elvis Costello to write the lyrics. I put everything into this piece )almost the kitchen sink); full orchestra, The Chieftains, percussion, choir and of course the voice of Elvis Costello.