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Irish Folk Records Hal Roach Danny Doyle The Chieftains Wille Lynch Trio Patrick O'Hagan Frank Patterson James Galway Sonny Knowles

Irish Folk  Records Hal Roach Danny Doyle The Chieftains Wille Lynch Trio Patrick O'Hagan Frank Patterson James Galway  Sonny Knowles
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Irish Folk Records Hal Roach Danny Doyle The Chieftains Wille Lynch Trio Patrick O'Hagan Frank Patterson James Galway Sonny Knowles


** REDUCED BY 30% * NOW ONLY €6 each **

3 RECORDS - €15

Singles are €3

Irish Folk and Traditional music artists,
Original pressings Vinyl Albums in excellent condition

Hal Roach
Danny Doyle
The Chieftains
Wille Lynch Trio
Patrick O'Hagan
Frank Patterson
James Galway

Sonny Knowles

Big Tom (single) * SOLD *
Johnny McEvoy (single) * SOLD *
The Furys "I will love you" (single)

Sweet & Traditional Music of Ireland * SOLD *
The Fureys & Davey Arthur * SOLD *
The Bards * SOLD *
Macgowran Speaking Beckett SOLD
Christy Moore (singles) * SOLD *

NB Postage is NOT included in price

Irish traditional music (also known as Irish trad, Irish folk music, and other variants) is a genre of folk music that developed in Ireland.

In A History of Irish Music (1905), W. H. Grattan Flood wrote that, in Gaelic Ireland, there were at least ten instruments in general use. These were the cruit (a small harp) and clairseach (a bigger harp with typically 30 strings), the timpan (a small string instrument played with a bow or plectrum), the feadan (a fife), the buinne (an oboe or flute), the guthbuinne (a bassoon-type horn), the bennbuabhal and corn (hornpipes), the cuislenna (bagpipes – see Great Irish Warpipes), the stoc and sturgan (clarions or trumpets), and the cnamha (castanets).[1]There is also evidence of the fiddle being used in the 8th century.[1]

There are several collections of Irish folk music from the 18th century, but it was not until the 19th century that ballad printers became established in Dublin. Important collectors include Colm Ó Lochlainn, George Petrie, Edward Bunting, Francis O'Neill, James Goodman and many others. Though solo performance is preferred in the folk tradition, bands or at least small ensembles have probably been a part of Irish music since at least the mid-19th century, although this is a point of much contention among ethnomusicologists.

Irish traditional music has endured more strongly against the forces of cinema, radio and the mass media than the indigenous folk music of most European countries. This was possibly because the country was not a geographical battleground in either of the two world wars. Another potential factor was that the economy was largely agricultural, where oral tradition usually thrives. From the end of the second world war until the late fifties folk music was held in low regard. Comhaltas Ceoltóirí Éireann (an Irish traditional music association) and the popularity of the Fleadh Cheoil (music festival) helped lead the revival of the music. The English Folk music scene also encouraged and gave self-confidence to many Irish musicians. Following the success of The Clancy Brothers and Tommy Makem in the USA in 1959, Irish folk music became fashionable again. The lush sentimental style of singers such as Delia Murphy was replaced by guitar-driven male groups such as The Dubliners. Irish showbands presented a mixture of pop music and folk dance tunes, though these died out during the seventies. The international success of The Chieftains and subsequent musicians and groups has made Irish folk music a global brand.

the US, traditional musicians remained popular in Irish communities in large cities. Francis O'Neill (1848–1936) was a collector and promoter of Irish traditional music whose work was a "huge influence on the evolution of Irish traditional dance music in the twentieth century".[16] In the 1920s and 1930s the records of emigrant musicians such as Ed Reavy, Michael Coleman, James Morrison and John McKenna breathed new life into music being played back in Ireland.[17]

Religion also played a role in the re-development of Irish culture. The actual achievement of independence from Britain tallied closely with a new Irish establishment desire to separate Irish culture from the European mainstream, but the new Irish government also paid heed to clerical calls to curtail 'jazz dancing' and other suggestions of a dereliction in Irish morality—though it was not until 1935 that the Public Dance Halls Act curtailed the right of anyone to hold their own events; from then on, no public musical or dancing events could be held in a public space without a license and most of those were usually only granted to 'suitable' persons – often the parish priest.

Combined with continued emigration, and the priesthood's inevitable zeal in closing down un-licensed events, the upshot was to drive traditional music and dancing back into the cottage where it remained until returning migrants persuaded pub owners to host sessions in the early 1960s.

Second revival in the 1960s and 70sEdit

Seán Ó Riada's The Chieftains, The Clancy Brothers, The Irish Rovers, The Dubliners and Sweeney's Men were in large part responsible for a second wave of revitalisation of Irish folk music in the 1960s, followed by Planxty, The Bothy Band and Clannad in the 70s. This revival was aided in part by a loose movement of musicians founded in 1951 with the aim of preserving traditional music, Comhaltas Ceoltóirí Éireann, which led to the popular Fleadh Cheoil (music festival).

The 1960s saw a number of innovative performers. Christy Moore and Dónal Lunny, for example, first performing as a duo, and later creating two of the best-known bands of the era, Planxty and Moving Hearts (in the 1980s). The Clancys broke open the field in the US in the early part of the decade, which inspired vocal groups like The Dubliners, while Ceoltóirí Chualann's instrumental music spawned perhaps the best-known Irish traditional band, The Chieftains, which formed in 1963.

By the 70s, Planxty and Clannad set the stage for a major popular blossoming of Irish music. Formed in 1974, The Bothy Band became the spearcarriers of that movement; their début album, 1975 (1975), inspired a legion of fans. New groups that appeared in their wake included Moving Hearts formed by Dónal Lunny and Christy Moore and featuring Davy Spillane on uilleann pipes – the first time this had effectively happened in a rock setting

Van Morrison is also renowned from the trad-rock scene, and known for incorporating soul and R&B.

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