Pure Clare — the Flanagan side of my family

My great-grandmother was Máire Ní Ríada, from Moher, in West Clare and she married Pádraig Flanagan from the hamlet of Barr Trá on the other side of Liscannor Bay. The O’Ríadas were a musical family, as were the Flanagans, and both were staunch Irish speakers. At that time, there were seven Flanagan families in Barr Trá and their ‘taoiseach’ was Murt Mór, Pádraig’s father. They were a tight knit clan, fishermen and small farmers, black haired and genteel, and partial to fun and sport. They were cynically called the ‘Barr Trá Gentry’ by their English overlords, who they refused to kowtow to.

Pádraig and Máire’s wedding took place at her house in Moher, and seven currachs of Flanagans rowed across the bay for the celebrations. They came ashore in Clahane, a mile or so from the O’Ríada house. Other guests walked the 10 miles by road to get there. The Barr Trá Flanagans were related to the Doolin Flanagans (also musicians) who were there in force and the wedding must have looked like a meeting of the clans. The celebration was said to have lasted two days and nights with much music and dance, songs and stories.

When it was time to return to Barr Trá, the sea was choppy and the Flanagans stood at the shore in Clahane and looked out at the breaking swell, near where the sunken village of Killstiofín lay. Men spoke in whispers and Murt Mór pulled a fistful of grass from the ground and tossed the blades in the air to see how the wind was blowing. North east and swirling. Not great weather for being on the sea. The sky was darkening and they decided to and make a dash across the bay. They figured it would be safer for the women and the older men to walk home along the coast road and Máire blessed her husband and watched the currachs launching. The crowd waited on the shore at Clahane until the boats had ploughed through the breakers and into the open sea. They said prayers for their safety and walked up to the road and headed for home.

By the time the group had reached the village of Liscannor, it was raining hard and they couldn’t see beyond the breakers. They proceeded to Lahinch, and took the cliff road to Barr Trá. It was a slow walk, hampered by wind and rain. Every now and then they looked out to sea, but there was no visibility. It was dark when they reached home, the men had not arrived, and the village worried.

The Barr Trá people built a bonfire on a height above the shore to guide the currachs to safety. They doused it with kerosene and the flames danced wild in the wind. The women looked to sea and said prayers for the seafarers. Old Murt Mór and his friends smoked pipes and muttered. They knew it was a terrible night to be on the sea and they feared the worst.

Four hours passed before the first currach came ashore. The shattered boatmen brought tales of mountainous seas and the dreaded reefs of Killstiofín. It was their fear that the sunken village would rise from the depths and take them down, as was known to happen back then. They said the currachs were scattered like the Spanish Armada and they had lost sight of the others. More prayers were said and more turf was fed to the bonfire.

One by one, five more currachs arrived with drenched and weary men who said they had never been on a sea so wild. Then there was a lull, and hope was fading for the safety of Pádraig and his men. By dawn the sea had calmed, and a black speck was seen way out in the ocean. At last Pádraig made the shore with his crew, after nearly 12 hours at sea. The men were hugged and blessed and Pádraig took my grandmother to her new home. She boiled the kettle while he undressed and dried himself. She was going to make tea, but Pádraig got a bottle of poitín from a cupboard, so she made hot punch instead. He said he was saving that bottle until he had something to celebrate, and today was the day.

The newly weds were still in bed that night when the Strawboys came rapping at their door. It was party time again, and Barr Trá lit up for a mardi gras. There were celebrations to welcome the new bride, and to thank the sea for not taking the 20 and more Flanagan men who had gone to bring her home.

Barr Trá by Phillip Morrison

Pádraig and Máire had eight children, of which seven survived into adulthood. My grandmother Susan was the youngest and played fiddle and concertina. True to her roots, she became an active member of Cumann na mBán during the War of Independence. After the Rineen Ambush on 22 September 1920, the Black and Tans burned the town of Lahinch, including the Flanagan house on Main Street. Susan’s boyfriend Mick Lehane, a local IRA commander who was wounded at Rineen, and her sister Bridget perished in the blaze. Susan escaped through a hail of bullets, and was declared an enemy of the Crown for her part in the aiding the IRA and more. She went on the run and months later, arrived in Philadelphia in Feburary, 1921. From there she went to New York where three of her sisters lived and became active in the Biddy Earlys, the Clare branch of Cumman na mBan in NY. She told me that for years afterwards, she woke up with nightmares of that horrific night of The Burning.

The Golf Hotel, Lahinch —where British Army officers stayed and played. It was mysteriously burned down in the 1950s.

Susan returned to Ireland with Sinéad de Valera after the Treaty. She arrived home to the Civil War and seeing old friends shoot at each other disillusioned her. She wanted to go back to New York, but her mother pleaded with her to stay. She did, and got married a few years afterwards. Thirty years or so later I was born in West Clare, her first grandchild and the fourth great-grandchild of Pádraig and Máire Flanagan.

A few years ago, my son Aindrias was playing at an Irish trad session in Sydney, Australia. The session was led by an accordion player from Moy, near Barr Trá, an older man who didn’t take to easily to strangers joining his gig. When he left down the accordion to get a drink, Aindrias played a few tunes on the fiddle that he had learned from me, tunes I got from my grandmother Susan. After he finished, the accordion player cried, “Hey! I know who you are now! You’re Flanagan from Barr Trá!”
Aindrias carries their music and their dark looks. Goes to show you can’t beat breeding, as they say in West Clare.

I heard the story of my great-grandparents wedding and the aftermath from the late Micheal Flanagan, from near Spanish Point, who was from one of the seven Flanagan families of Barr Trá. It came back to me during the week and I thought it better to write it down before it left my mind again.


images courtesy of Clare County Library and Phillip Morrison


Books by Eddie Stack

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The Reflections: doing our bit for Ireland

The Reflections were not a tourists’ band; we didn’t have a broad repertoire of waltzes, ballads, come-all-yahs and the other stuff that tourists can clap hands to. So we were a bit apprehensive when Aughty Taw announced that he had such a gig for us. It was a default gig: the original band had a double booking and a panicked hotel manager got in touch with Aughty. He said it was a lucrative job and there would be a free bar at the event. That clinched it.

It was in a venerable hotel in Ennis on a July Saturday afternoon, and we had nothing else to do that day, apart from an unplugged gig at Johnny Burke’s in Spanish Point later in the night. Johnny’s was a ‘trad and beyond gig,’ low pay, hi-jinks and free porter. We had fans down that side of the country and the plan was to camp out afterwards near the beach, have a bonfire and whoop it up until maidin geal. I was looking forward to that more than the tourist reception.

Tires the Roadie got the loan of a pick-up truck and brought drums, keyboards and other gear to Ennis; the rest of the outfit traveled with Aughty in a little green mini which was used to running on empty. On the way, I began writing out a set list. ‘Lovely Leitrim’, ‘Rambling Rose’, ‘Goodbye Johnny Dear’ and so on. I knew the melodies and would ad-lib the words as per normal. Aughty suggested instrumentals he could do on sax or clarinet — ‘When Irish Eyes are Smiling’, ‘Moonlight in Mayo’, ‘Christmas in Killarney’ and the likes. If worse came to the worst, he volunteered to croon old chestnuts like ‘Gentle Mother,’ ‘The Mountains of Mourne,’ and other vintage numbers. On whistle and fiddle he would play jigs and reels to give them a bit of diddly-eye candy. We had it all sorted by the time we passed through Inagh. Though we had never played these numbers before, we would ensure the tourists were happy campers.

Aughty said, “Jaysus lads, it’ll be a piece of cake. Money for shag-all and free drink for the boys. Sheo! It’ll set us up nicely for Johnny Burke’s — where, if we play our cards right, we’ll get more drink agus go leor ladies. Sheo!”

We echoed a chorus of “Sheo! Sheo! Sheo!” and Drummer Hill rattled on an empty petrol can with two coins.

We got to the hotel on time and Aughty met the manager, who brought us upstairs to the function room. I was taken aback by the size of it. The bandstand was in the corner opposite the bar and there were dozens and dozens of tables around the room. At the back, a team of chefs were setting up a banquet and I wondered if we had bitten off more than we could chew.

As Aughty had sourced the gig, he was the de-facto bandleader for the show. He called the shots. Tires set up the gear with Killoran and Drummer, and Aughty and myself massaged the set-list at a table. A waiter appeared and asked if we’d like a drink. I ordered a pint and Aughty said he’d have a brandy and port, with a pint of Harp. I gave him a sharp glance, indicating that it was a bit early to be hitting the hard stuff. He just muttered ‘Sheo!’ and jingled coins in his pocket. Shortly, we were joined at the table by the rest of the lads and we went over the set-list.

I don’t know how much we had drunk by the time the tourists arrived into the room, but it was a lot even for a Saturday afternoon. I remember the invasion of oddly dressed people, baseball caps, cameras, perfume, blue perms and ill-fitting toupees. They were mostly middle-aged and older, American, German, Asian, British. Hundreds of them. Ten busses, a waiter said. Reality shifted. We were in a Fellini movie. Killoran, now verging on speechless, leaned towards me and muttered best he could,

“I don’t…I…I don’t think we’ll get away with this one.”

The manager had requested that we play while the visitors dined and we took to the stage when a gong rang. Sax hanging from his neck, Aughty frowned at the set list and said, “Achtung! ‘When Irish Eyes are Smiling’. 3-4 time, two sharps. Over and out.”

We had a wobbly start but got it together after the first verse. I looked around and Drummer nodded, so did Killoran, we were in the groove and it was mellow. Aughty was playing fluid as a river and all that was missing was Bing Crosby. I was next up with ‘Lovely Leitrim,’ followed by ‘The Boys from the County Armagh.’ The visitors clapped cautiously and we ploughed along with ‘Katie Daly’, ‘The Butcher Boy’ and god knows what else. The clapping got louder and people came closer to have a look at us.

An American woman asked if we knew ‘Danny Boy,’ and Aughty said,

“Yes indeed, madam, and it is one of our all time favourites.”

He gave the usual commands, then blew a funky version of the song on the sax. It was a stand-out performance, totally out-there stuff, blues on the green, pure magic. Killoran took a solo on the ivories and Aughty gave a back-beat on a tambourine. He nodded to me to take a solo, and I went to the mic and spoke the words, like I imagined Van Morrison would do — “Oh Danny, Danny-Danny Boy…the pipes, the pipes, yeah man the pipes are calling…” I made up most of the rest of the words but the crowd didn’t mind, and clapped enthusiastically when I finished my piece. Then Aughty topped off the number on the clarinet and we got a huge applause.

The Asians were the first to twig that Aughty was a star and they gathered around the stage and took pictures of him. The attention sent him further out there and he took up the fiddle and blasted out a set of rocky reels. It was a Reflection’s gig like no other and we morphed into a Clare version of Horslips cum Fairport Convention. The tourists loved it and danced and pranced like Deadheads. We just couldn’t go wrong and Aughty controlled the show with commands like:

“Five-four on the two-eighty. Engines ready. Check, check. ‘Thank God We’re Surrounded by Water.’ Visibility good, prepare for takeoff.”

And away we’d go. Everything we did was a hit and so I asked Aughty if we might chance ‘Like a Rolling Stone’. I figured it would be awesome to have all the Yanks and the Germans, the Asians and everybody else sing ‘How does it feel? How does it feeeel..’ Aughty was horrified and said,

“Jesus, H Christ…is it daft you are? There will be no fucking Bob Dylan played at this engagement. I’m in the fucking cockpit!”

I was sorry for asking and drained a pint in two slugs. Then he had me sing ‘I’ll Tell My Ma,’ and as a peace-offering he funked it up a bit and that was as near as we got to Bob.

The evening flew and we hadn’t time to drink all that we got. After the show, we spent a good half-hour having our photos taken with giggling tourists. We smiled for Ireland and everyone was happy. Aughty was really spaced out and spoke to the foreigners in his own lingo. They were all enthralled, apart from the Germans. He did dodgy tricks for them with a pint glass, and tried to do somersaults and cartwheels on the dance floor. It was a comic attempt, money spilling out of his pockets before he crumbled into a laughing heap. The visitors clapped and laughed and photographed him. He could do no wrong, no matter how he tried. Up the Republic.

We dismantled the gear and packed away the instruments. Tires helped Aughty down the stairs from the function room, but he got wedged into the corner of a landing and became stuck. How we got from Ennis to Spanish Point, I don’t know.

Talty the Roadie was there before us and frowned when he saw Aughty stagger into the pub. We were late, we were banjaxed but the show had to go on: Johnny was a cousin of mine and family pride was at stake. I switched to lemonade to sober up a bit. Seeing our state, Johnny produced a huge plate of grilled sausages and said, “Ate up lads.”

Somehow or other we rose to the occasion, Aughty got a second wind and though all he could say was ‘Sheo!’ he played whistle and fiddle as good as the best. Killoran tinkled on a piano; Drummer beat bongos and bodhran, I rattled away on the mandolin and gave a few songs with the guitar. When our fans gathered, the bar revved up to ninety and we played anything that came into our heads. We were blasting out ‘Hey Jude’ — the long version — when the cops came, cleared the pub and told us to go home. Nah-nah-nah-nanan-an-nah…

Miltown Girl and a few of her mates pitched the tent for us. Fellas brought driftwood up from the shore and made a bonfire. Killoran and Talty came with crates of drink; Tires rolled joints and a few of the local heads gave him a hand. I lay on my back and looked at the stars, listened to the the surf lapping on the shore below. It was a beautiful night, surrounded by friends and happy ghosts, a salty freedom in the air. It had been a long day, but we did Ireland proud. Aughty played ‘The West Clare Reel’ on the whistle, and Miltown Girl sat beside me and rubbed my head.

“Hey you,” she said, “how did the Ennis gig go?”

“It was a bit of a detour,” I replied, “but they’re always the most interesting ones.”

“How about taking another detour?” she asked, pulling me to my feet.

We linked each other down to the beach and walked between the sea and the starry sky. From the bonfire came whoops and screams of merriment. Aughty blew a few notes on the whistle, Killoran strummed the guitar and the revelers sang Dylan’s ‘Mighty Quinn’. Then Drummer sang ‘Lay Lady, Lay’ and Miltown Girl and myself danced close and slow under the West Clare sky; danced until long after the music had stopped.


Books by Eddie Stack

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St Patrick’s Day Story: Granda and me

couldn’t let the day pass by without posting something…dig the graphix…have a great 17th everyone

Granda and Me

Granda had a ‘thing’ about the church — he was excommunicated during the Irish War of Independence for carrying a gun and that turned his head. Even though Bishop Harty took him back to the fold afterwards and blessed him and everything, Granda never went back spiritually. He just went through the motions.

At Mass, I used watch his Einstein head from the choir gallery, his mind in another world, rising, kneeling and sitting with the flow of congregation. He came without prayer book or beads and sometimes fell asleep, even snored, during fire and brimstone sermons.

Granda seldom mentioned religion, which was kind of taboo in our house. If it did come up in conversation, he’d point to the picture of St. Patrick which hung above the radio in the kitchen and calmly say,
“D’you see that man up there who’s staring down at you? Your own patron saint? Well it’s that man’s followers who dug Ireland’s grave and put the stake in her heart to make sure she was dead and would never rise again.”
I saw grown men and women flee from our house in horror after hearing Granda’s revisionist theories on our patron saint and the men in black who came in his wake.

The picture of Saint Patrick was ever-present and I think it hung on the wall as a prop for Granda’s theories, sort of like a wanted poster. Sitting, eating or doing homework at the table, you couldn’t escape the Saint’s gaze as he stood on the sea-shore in bad weather, rage in his eyes, crosier raised and vestments flapping. At his feet were scores of wriggling snakes, squirming from Erin with their lives. It was a nightmarish sight.
“But what about the snakes?” I asked Granda one day.
“There were no snakes. All that snakes stuff is pure propaganda.”
Proper gander to my young ears, a polite way of saying total bullshit.

Saint Patrick came to the fore at school some months later when Brother Liston announced it was time to practise our Irish hymns, the National Holiday was coming round the bend. There was a big cheer in class, because we loved to sing. It was an easy way to pass the time and the noise we generated blocked the wind and rain and raised our tender young hearts. We could build up great steam with a hymn, belting out Latin words that meant nothing to us. When we got really cooking Brother Liston would light a few candles, put them in front of the statue of Our Lady, close his eyes and conduct the choir with a pencil. Sometimes we sang for hours, candles would expire and the smell of burning wax would bring Brother Liston back from Heaven. Then we’d finish with a rousing march that went—We stand for God, And for his Glory.

We had hymns for all season — requiems, High Mass, Benediction, Novenas, Rosaries, plain chant, hymns for the conversion of Russia, Easter specials, Christmas carols, but Saint Patrick’s melodies were the oddest. Unlike the others, they were mostly in Irish and so we understood the words. But that in turn opened another can of maggots when I deduced that one of the hymns was a plea to Saint Patrick to give us hope. I didn’t realize we were hopeless until then. It seemed something was going on that I knew nothing about. There was no point in discussing my anxiety with Brother Liston so I mentioned it to Granda one Lenten evening over a supper of kippered herrings and brown bread. He asked me to sing a snatch of the hymn, which I did:
Give us hope, Glorious Saint Patrick,
Great Liberator of Ireland,
Soul of brightness and joy,
You who vanquished the druids,
Dark hearted pagans of no good.

The song freaked Granda. He reeled from the table like he was shot. It was all wrong, he flared, it was propaganda. And what’s all this tripe about the druids, he asked, the druids were fine people, very learned and wise. And what was all this about the liberation of Ireland, he cried, sure it’s the Church that oppressed us. Jesus Christ, he moaned that’s the worst piece of propaganda I’ve heard in years. And worser still, it’s being drummed into the heads of children. My mother told him to shut up. His eyes glazed and he shook his wild head of wild white hair and muttered,
“That song is heresy. Pure unadulterated heresy. If the druids were around today, we’d be a lot better off.”
I didn’t know what heresy was, but I knew it was serious and after that I held back on the song at choir practice. Brother Liston twigged my reluctance to sing and stood beside me, his ear a foot from my mouth. Louder, he muttered. I obliged. Louder, he growled giving me a pinch on the ear. I skidded out of key and he hit me a fierce clatter across the head and knocked me out of my desk.

That year, a new curate called Father Malachy organized the first ever Saint Patrick’s Day parade in our parish. It was a small affair that started outside the church after last Mass and trailed through the street, ending at the Protestant Church on the other end of town. The parade was led by a fife and drum band from a place called Bunwanny, a bedraggled lot in kilts and black tunics, they were famous for the amount they drank and they made an awful sound. Behind them marched a company of soldiers without guns, followed by our civil defence corp—the men from the firebrigade, then Bogie Molloy leading a pack of greyhounds. Next came a couple of floats—coal and sand trucks decked with green ribbons, carrying dancers, footballers and local characters.

We had no experience with parades and wondered what to do as it passed. Should we cheer like they did in America? Heckle like we did politicians? Or join in behind Willie Daly’s pony troupe? We joined in. The whole street joined in: shouting and cheering like a crowd of jail breakers, we marched behind Daly’s team of ponies. The town hadn’t seen so much jubilation since the night Bogie’s greyhound won a big race in Shelbourne Park.

Afterwards, Brother Liston corralled us into the parochial hall to sing hymns for the annual old folks party. We sang well, got sweets and green jelly for our efforts and were allowed to stay for the sing-song. Granda was there, a big sprig of shamrock in his cap. He had drink taken and no sooner were we finished with our hymns than he stood up, dragged Murt Hynes, (who sat beside him) to his feet and announced that they were going to sing.
They sang a rebel song, Down By The Glenside. They were old soldiers and never missed a chance to put things in perspective. Brother Liston smiled but didn’t join in the chorus like everyone else. I sang like a lark,
“Glory-oh, glory-oh, to the bold Fenian men.”
After that performance, when the clapping died down, Aggie Marrinan began to croon in a soft voice,
“The night was dark and the fight was over,
The moon shone down on O’Connell Street.”

Everyone sang and the mood had shifted from a religious one to a patriotic one. I was beginning to notice there were different layers to Saint Patrick’s Day. Some had nothing to do with the saint, as far as I could see. It was an occasion to open the valve and let it all out. You could be as Irish as you liked and feel good about it. You could put away the Halloween costume for a day.
Granda was asked to sing again and he obliged with an emigration song which began “On the dock the ship is anchored…” and had a line in the chorus that went — “Three leaf Shamrock I adore thee.”
That started a spate of shamrock songs and then Brother Liston took the limelight and sang a quasi-religious ballad called “Dear Little Shamrock.”
He had a quivering tenor voice, a trained voice, as Aggie Marrinan would say, and his performance was unsettling. Old timers shuffled their feet under the tables, cutlery fell on the floor, chairs creaked. He finished on a high tension note that lasted for half a minute or more, but before anyone could applaud, Granda thumped the table, staggered to his feet and shouted,
“Propaganda! Propaganda!” at the startled Christian Brother.
Cronies pulled at Granda and whispered,
“Sit down Ned. Take it easy.”
John Gallery muttered to me,
“Jesus, your grandfather will be arrested.”
Granda wagged his finger at the monk and shouted,
“Don’t hijack the shamrock, ye did it once but ye won’t do it again!”
The party delved into confusion. People shouted, staggered, chairs overturned, Father Malachy appealed for calm. Aggie Marrinan seized the moment and thumped out “When Irish Eyes are Smiling” on the piano. But they weren’t, they were just cockeyed with drink and anarchy.

Granda was taken home by Coyne the butcher and later that night Father Malachy came to the house to see how he was. In bed, my mother said, opening the door three inches. He didn’t rise for two days and when he did, mother ignored him.
Back at school Brother Liston looked at me strangely and didn’t ask me anything for days, kept out of my space. My mother’s intuition told her he was planning to give me a trouncing for Granda’s indiscretions. She suggested that Granda write an apology to the monk and when he made no attempt to, she wrote one herself. I brought the note to school with me and planned to give it to Liston at the eleven o’clock break, as discreetly as possible.
The note gave me a sense of security, like a holy medal or a drop of Lourdes water is said to give. But then when I wasn’t expecting it, Brother Liston pounced. It was Catechism class and he asked me to prove the existence of God. My proof didn’t even convince me. It was curtains.
“Come up here you pagan,” squalled Brother Liston, beckoning me up to the front of the class for public execution.
“Put out your hand and take it like a man,” he ordered.
I did, and with every blow wanted to scream ‘propaganda’ at the panting monk. He belted me until I cried, not with hurt but with rage. Then he gave me two clips across the face for good measure and said,
“You better learn the Proof of the Existence of God by tomorrow or you’ll get twice the hiding. Pagans aren’t welcome in my class.”

Back at the desk I sat on my hands to ease the searing pain. My cheeks blazed as if they’d been branded with a red-hot cattle iron and I hung my head in shame as the Christian Brother ridiculed me and my family in front of the class. I think that was the day I became totally disillusioned with God, St. Patrick, Rome, vocations, teachers and men in dark clothes.
Mid-morning break came, time to slip Liston the note. As I walked towards him, something older than me muttered inside my head, “don’t bother”. I hurried past the sneering holy man and went straight to the toilet, locked myself into a stall, tore the note into tiny pieces and scattered them into the bowl. I pulled the chain and rang out the bells of hell again and again until a torrent of monastery water washed away my poor mother’s plea in a hundred pieces. No apology, no surrender. That’s the way Granda would have done it.


Books by Eddie Stack

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From Bob Dylan to Clare Sets

The Reflections had neither a rehearsal space or sound equipment. We just had our instruments, and we hired out gear when we gigged. I never remember us having any formal rehearsal, apart from what we did in venues when we got there early, which was rare.

We were North Clare latchicos, playing songs most people never heard of. And when we did popular stuff, we put our own twist on it and that was always different. Officially we were a four piece unit — Brendan Killoran on piano and keyboards, Johnny Rockett on bass, Jimmy ‘Drummer’ Hill on the sticks and me on electric guitar. Most nights we were joined at some point by a ‘ghost’ fifth member, Aughty Tá, an older multi-instrumentalist from Ennistymon. Aughty played sax, flute, piano, whistles, fiddle, clarinet and saw. Sometimes he just joined us for the National Anthem and the booze up after the gig. Other times he could be at the venue before us, ready to rock and roll, in a blue blazer from Micky Hogan’s band. You never knew how the night could go with with Aughty Tá.

Unwittingly, we were Clare’s poor version of the Grateful Dead. Like them, we arrived late and took a long time to set up. Sometimes band members were a bit canned or maybe well canned, when we hit the stage. Occasionally our starts were disastrous, and we had to stop and begin the number again. But it was all part of the show, and our fans forgave us. And like the Dead, we had long solos that could go anywhere, especially if Aughty was on board. He was a genius to improvise and go ‘out there’.

Ennistymon used have a Happy Family Festival back in those days. It was held in July and the pubs stayed open legally until 2am. The town used be mobbed every night. There was a huge white marquee in Blake’s Field and the showbands played there. Open air dancing was held in the town square, where ceili bands played on a stage. Fr. Easton, a hip padre, asked The Reflections to play for a teenage hop in the marquee one Wednesday night. He offered us twenty pounds, to play from 9pm to midnight, and we agreed. By Aughty’s calculations, that was at least two hundred pints.The same night, the Kilfenora would be playing in the square, and there was sure to be a huge crowd in town. We were looking forward to the gig. We’d be finished early and in good form for a bit of craic.

The Reflections had two roadies at the time: Talty the Vet and Tires O’Dwyer. Talty had a grey Ford Anglia estate, reg number DIE 999. His parents also had a grey Anglia Estate with the same reg. Anyway, he was in charge of things electrical and Tires’ job was to make sure the gig went smoothly, by opening bottles of beer and cider, and rolling spliffs for the band. Tires was a cousin of Aughty Tá’s.

On the afternoon of the gig, Talty and myself went to rent the sound gear from Mr. Tierney in Corofin, a local genius who had recently built a one-man submarine. Mr. Tierney showed us the craft and told us of his plans to launch the sub in Lake Inchequin. He already had 2 crates of Harp larger for the celebration. Talty said we played a song called ‘Yellow Submarine’ and Mr. Tierney smiled and said, “See, everything is connected.” He opened a few bottles and we drank to that. Several more bottles clinked while we listened to him expound on physics, cosmology and hydromechanics.

The rest of the lads were loitering around back-stage when we arrived with the gear. There was a bit of annoyance that we were late and a tad oiled. Aughty said,
“Let there be no panic. Sheo! Sheo and a Box. Galtee, voo!”
I knew he was half-pissed too.

The roadies set up the gear in a hurry, and plugged us in. Father Easton looked a bit nervous and had four frowns ploughed across his forehead. Drummer Hill clicked the sticks and we just hit the groove like turning a tap. We sort of surprised ourselves. Everything was spot on — the sound was just right and the band was earnest and tight. I spotted Aughty playing maracas to ‘Lovely Rita’ and thought, ‘this is going to be a great night’.

In no time at all, we had the marquee hopping, and lashed out all sorts of stuff. We knew the melody and chorus of many songs, but not a lot of the lyrics. Dylan’s ‘Like a Rolling Stone’ was in that zone, but we did it anyway. Killoran played a masterful introduction, swirling on the keyboards, and I invoked Bob, making up the words as I went. The rest of the lads joined in the chorus and so did the crowd. A few girls from Liscannor swayed in front of the stage, screaming “How does it feel? How does it feel?” and that drove us further. I think our version had more verses than Dylan’s one.

The gig was flying, when one of the roadies thought we needed a light show. We were in the middle of a Stones’ number — ‘No Expectations’ or ‘Sweet Lady Jane’ — a slow, check to cheek song anyway, when I noticed activity a little away from me. Tires was standing on a beer barrel with a black cable, which was strung with colored bulbs. Soon a string of flashing lights ran across the top of the stage, with a huge Christmas Star shimmering in the middle. We went into another orbit.

Whoever was ‘doing’ the lights — switching then on and off — couldn’t keep time to the music, and Drummer Hill got pissed off by the distraction. But it’s hard to tell a roadie anything. Eventually the light switch burned out and everything returned to normal on stage. Johnny Rockett sang a Doors’ number and the drummer did “Sunny Afternoon,” by the Kinks. We were back in the groove.

Just as I twanged the opening of the Beatles’ “Revolution,” the light show began again. It was horribly out of time, and I shouted at the roadie to stop. No good. When Aughty did a searing sax solo, I smelled electrical discharge and looked around. I saw a spray of sparks coming from behind the stage, like there was welding going on. Everyone else seemed oblivious, as if it was part of the show. Aughty stood on one leg like a yogi, eyes closed and he blew his heart out. Suddenly there was a boom, total darkness and a little sizzle. Then confusion.

The audience began foot stamping and shouting, “We want more! We want more!”

But there was nothing we could do. It was an emergency beyond the band’s control. A man from the Festival Committee appeared in a hurry with a long silver flash light and announced that the gig was over and told everyone to go home. Two cops arrived and shouted “Home! Home!” Then Fr. Hannon and Fr. Easton rushed into the tent with flashlights, and escorted the audience outside. The Committee man fecked us out of it, said we couldn’t play for nuts and our shit had blown the town’s electrical transformer. We had plunged Ennistymon into darkness. He was drunk, and Aughty told him to shag off before he banjaxed him. Fr. Easton passed me twenty quid and sighed ‘thanks’. Then we were left to ourselves in the dark, until Aughty produced a candle from his sax case.

While the gear was being packed away, we finished the beer and smoked a few spliffs. Aughty decreed that we, The Reflections, did NOT blow the town transformer, per se, BUT we may have conspired the circumstances for such an event to take place. He said it MAY have been written in the planets, and that strange stuff could, and DID happen when great music was being played. He reminded us that the crème de la crème were playing in the town that night: the venerable Kilfenora Ceili Band, and us, The Reflections. Timidly, one of the roadies suggested that he might have helped the situation along, because he recalled something going wrong while he tipped two naked electric wires together, to the beat of Revolution.
“Anything is possible,” Aughty conceeded, “Strange things are done in the midnight sun, by the men who mine for gold. Sheo! Sheo!”
I knew we were not far from launch time.

We left the marquee and strolled up the road to the square. The town was in beautiful blue darkness, and night was happy to see us. There were stars in the July sky and candles in every pub. The Kilfenora Ceili Band played on without amplification, warriors that they were. Dancers did sets in the dark and battered sparks from the road stone. It was magical to hear the rousing cheers from the town when the band changed tune, like someone had scored a goal. And they had. We stood listening to the jigs and reels, tapping and shuffling our feet as good as the rest of them. A few West Clare girls who had been to our gig, dragged us out for a set. From Bob Dylan to ‘The Pigeon on the Gate’, in no time at all. That was Clare in those days. Music had no boundaries. We were all tuned in, in some inexplicable way.

The Kilfenora Ceili Band


(courtesy of Clare County Library)


Books by Eddie Stack

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Posted in ireland, irish life, irish traditional music, strange but true...no word of a lie | Tagged , , , , , , , , , , , | 12 Comments

Morning Tea

here’s short story about a woman and her man…roles can be reversed to suit…

Morning Tea

She woke earlier than usual, suddenly alert, like she’d parachuted into the dawn from a dreamless sleep. It was 6.51 on the digital radio clock,  and grey slivers of light crept through the sides of the curtains.  She’d snooze  for another hour, until Jack brought  her morning cup of tea. And then it struck her that she’d talk to him today. She’d break the ice and say,

“Thanks, Jack.”

Maybe she’d ask, “What kind of a day is it?”  The freeze had gone on too long— two months, maybe more. She’d relent and speak to him today.

Mona turned towards the wall and pulled the duvet over her head and shoulders like a hood. The bedroom was cold, and she made a mental note to ask Jack to reset the boiler for quickening winter. She’d say it in a soft voice, maybe at teatime. They should be cautiously talking by then. She’d prepare something nice for him — one of his favourite dishes, something from their early years.  Toad in the Hole, Cornish Pasties, Welsh rarebit.

And lunch too. When he’d come at 1pm from his job in Carney’s Medical Hall, she’d have a hearty plate on the table instead of a sliced loaf  and a hard lump of  orange cheddar. Of course, if right was right, he should be having his lunch in Carney’s.  If right was right, Carney’s should be theirs: she was Carney, it had been her father’s business. The thought made her restless and she turned on her back and felt colder. It was Jack’s fault. Her father didn’t like him, thought him a wimp. And rather than pass on the business to them, he sold it instead. She didn’t even get the money, her father left it all to the Vincent de Paul. That caused the first major row between her and Jack. That row lasted nearly a year and finished when she fell down the stairs and broke her ankle.

As she recovered, Jack began talking about starting a family. She’d postponed having a child  while her father was alive, because the old man was adamant he’d prefer the line to be extinct  than have it tainted with Jack’s blood.  She didn’t tell this to Jack, but filed it away as ammunition for a vicious row, when she really wanted to stab him in the heart. Now  talk of starting a family was unnerving. She wasn’t ready. The thought of coupling with Jack  paled and lined her face. It slowed her recovery. One evening at tea, as he served up spicy chicken wings and French fries, he said,

“I can’t wait until we’re setting this table for three.”

“Who’s moving in?” she asked wearily.

“Well…our child…I mean not immediately…but you know what I mean…in the future.”

“Oh,” she sighed, paused to push away her untouched plate and said, “If you don’t mind Jack, I’d prefer not to think of that right now. I need all my energy to get on my feet again, so I don’t have to depend on you.”

“It’s no bother to me.”

“Well it bothers me Jack. And for the last month at least, it’s nothing from you but having a baby, preferring a girl if it made me happier. What the hell is all this about? It’s all your decision. What about me? What about me, Jack? Hmm? You lost the Medical Hall on me and now you want a baby.  You’re pathetic Jack.”

He took his meal into the sitting room and they didn’t speak again until she had to go to the hospital to have the cast removed from her leg. But he never stopped bringing her a cup of tea in the morning. That was the one constant in their marriage, Jack always brought her a cuppa in bed, and he was always waving the flag of truce. And though she despised the gesture, she always welcomed the tea.

She turned on the left shoulder and glanced at the clock: 7.40. Times goes slowly when you wake early. She’d often stayed awake right through the night, only dropping off when she heard children going to school. Many movies had run in her head in the darkness, reels of film were scattered on the floor of her mind. In some films, she was married to other men— Gabriel Byrne and Bill Clinton were husbands in a few dramas. In another feature, Jack dies, gets killed or just disappears, and she marries Robert de Niro,  who’s the local doctor.

The floor upstairs creaked and she perked her ears like a hound. Jack was up. More rummaging than usual. The wardrobe door creaks open, clothes hangers rattle, and rumble of shoes. A sneeze. Then solid footsteps across the landing and down the stairs to her floor. Right turn into the bathroom, bolts the door and water fills the hand-basin.  Washing. Gurgle of wastewater. Toilet flush. Door unbolts and Jack exits the bathroom, turns left and goes down the stairs.

She waited for the snapping sound of kindling wood, waited for the scent of burning pine to weave upstairs through the thin morning air. Hearing no fire making, she wondered what he was at. That bloody kitchen will be freezing when I get up, she thought, if he doesn’t put down a fire soon. From below came the shrill whistle of the kettle on the gas burner as it boiled.  At least he’s making the tea, she sighed and relaxed.

Footsteps came up the stairs and she pretended to be asleep, heart pacing as she waited for Jack to twist the brass doorknob. But Jack turned right instead, and climbed the steps to the next floor. Mona opens her eyes. What’s he at? Rummaging. Footsteps on the landing and down the stairs again, slowly, like he’s taking one step at a time. He passes her room and descends to the kitchen. That’s odd, she thought and turned on her back and looked at the ceiling.

They never had a family. After she broke the ankle, they weren’t intimate again. They slept together for the warmth and security of the company, but there was no talk of  babies coming into the house. She was the boss, it was her house, inherited from her grandmother. He’d made a good catch and he should be happy to have such a sturdy roof over his head. In fairness, he wasn’t demanding and was always there when she needed him. When they went out to dine with friends or to functions at the golf club or the hotel, he was the perfect partner and great company. He blossomed when they socialized with Doctor Logan and his wife, the Carters, the Faheys, or other town gentry. After Jack had a few gins, she could almost love him. It was then she saw the man she married. The vision never lasted long and the more she drank, the more he morphed into a toad. If it wasn’t her house, she’d have left him years ago. She tried to throw him out several times, but he refused to go. Ignored her and went about his life as normal.

A few years after her father died, they attended a marriage counselor in Limerick. It was expensive and they went twice a month on Thursday afternoons, when the Medical Hall closed for the half-day. She remembered the journeys were long and grey, she drove her father’s old Morris Oxford, because Jack never learned to drive. But he paid for the session and bought the petrol. On the way home, they stopped at the West County Grill and he was always chatty and ordered the best courses on the menu. He always said they were making progress and urged her to do the communication exercises that the counselor suggested. She promised to do them the following day,  but that day never came.  And then, as they were about to attend their first session of the New Year, something snapped and Mona said,

“This is going nowhere, Jack. I’m not wasting anymore time. This therapy thing isn’t working for me.”

“Just give it a few more tries, we’re making progress Mona, we really are. We had the best Christmas we’ve ever had.”

She shook her head and said, “If you want, go by yourself, you can have my car.”

He called the counselor and apologized that they wouldn’t be making the appointment. Then wrote a check for the fees and put it in the mail.

She heard the toaster pop and then got the whiff of charred bread. Soon he’ll bring  the tea, she thought, maybe he was making toast for her. Maybe he’d go the extra mile and  bring a glass of orange juice as well, like he used do when they were first married. Sometimes he brought her grapefruit, sprinkled with brown sugar and caramelized under the grill.

The sun came over the houses and weakly lit the room with a slice of light through the window drapes. A magpie chattered somewhere outside, and a few cars passed on their way to Ennis. The garbage truck trundled down Main Street, and a school bus pulled up in the square and unloaded students. She glanced at the clock: 8.50. Christ! Where was her tea? Here he comes — the  solid footstep climbing steadily, balancing the cup. A rush of thoughts scrambled through her head. What would she say to him? Thanks? Eyes open, she lay on her back, staring at the ceiling as the doorknob turned and he entered.

“You’re awake,” he said softly as he bent down to leave the cup and saucer on the bedside locker, “here’s your tea.”

She got a whiff of cologne, but said nothing, thinking he never wears cologne going to work.  She decided to ignore him.

“No word today either,” he said.

Jack stood beside the bed and Mona stared blankly at the ceiling. He turned away after a short while, left the room and quietly closed the door. His cologne hung in the  room and she sat up in annoyance. She heard him sob quietly as he descended to the kitchen. The old softy, she spat, what a bloody weeping willow. It’s me who has cause to weep, not him. She sipped the tea: it was too strong and she angrily left it back on the locker. He couldn’t even make a proper cup of tea anymore.

The cathedral bells pealed for morning Mass, as a car pulled up outside and someone got out. Gentle knock on the door. That’s odd, she thought and  wondered who it was.  She felt tempted to peep out the window. The door opened and she heard the mumble of voices. A woman talking to Jack? She heard the front door close with a firm bang, car doors shut and the vehicle moved away. What was that about? Who was that woman? Did Jack go off in the car with her? Was she giving him a ride to work? Why?

Peeved, she bounded from the bed, donned dressing gown and slippers and hurried downstairs. A growing sense of emptiness met her step by step, and by the time she reached the ground floor, her heart was alarmed.  She flashed her eyes around the kitchen, trying to understand what was different, what was wrong. Nothing was out of place, except the bunch of keys on the bare table. Jack’s keys. The key of her house, the keys of Carney’s Medical Hall, the key of his bicycle lock. She picked them up and hurried back upstairs, wondering where to hide them.

“What a fool,” she mulled, “to leave the house without his keys.”

She put them at the bottom of her underwear drawer and got back into bed to wait for his  knock on the door or his call on the phone. Of course she wouldn’t answer either. Rain pattered against the  window and cold crept around her. Mona wondered why he hadn’t put down the fire.

“What about me, Jack?” She asked the empty house, “What about me?”

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A Musical Youth in West Clare

The Tulla Ceili Band, 1952, Georgie on piano, far right

I read the news today, oh boy, and learned that Georgie Byrt had died. It put me thinking about my musical journey and the musicians I played with, back in West Clare during the 60’s and 70’s. Piano player and taxi man, Georgie was from my hometown of Ennistymon and the first time I ever played on stage, it was with Georgie and Mickey Hogan’s Dance Band. I was fifteen and scared and excited as if I was going on my first date.

Mickey Hogan had invited me to his house a week or so beforehand, and I figured it was just to play a few tunes; he played the fiddle and tenor sax and had the reputation of being a maestro. I brought my electric guitar and amp and we played for an hour or two — tunes and songs that my parent’s generation danced to.

After the session, his wife served us tea and plain biscuits, and we chatted. It turns out Mickey was checking my musicianship, and asked if I was free to play at an upcoming wedding with his band.  I said yes, yes of course. We shook hands and his wife said that a musician would always find a wife. She told how she fell in love with Mickey when she danced to his music, forty years beforehand.

“It was the uniform that got me,” she said, “Mickey had a beautiful band uniform, snow-white with gold buttons and I was smitten.”

At the wedding, Mickey wore a red tunic with gold buttons and the rest of us wore blue blazers, which he supplied. Mine was oversized, and I had to turn up the cuffs so I could play the guitar. I forget who the other band members were apart from Georgie, who told me to stand near him. When Mickey announced the next number, George would whisper to me, something like: “Key of G and there’s an E minor in the second part.” That’s how the evening went. The band blasting out tunes and songs, and Georgie telling me the keys and the chords. Georgie was a gentleman, may he rest in peace.

Ennistymon, 1961

For a town as small as   Ennistymon, there were more  musicians than houses. Fiddlers, drummers, piano players, accordionists, sax players, trumpet blowers, guitarists, flute and whistle blowers — you name it, we had it. Some musicians had regular gigs with bands like the Tulla Ceili Band and the Kilfenora; others were hired hands and could flit from trad to country to old-time, jazz to soft pop. We were crossover musicians, guns for hire and in spite of my father’s disapproval, I was sneaking out and playing with some outfit most weekends. School took a back seat and I used fall asleep at class on Mondays. Eventually it was too much for my parents and they decided to pack me off to boarding school in Galway, telling me to ‘mind the books and forget about the music for the time being.’ Of course I didn’t, both parents came from musical families and music was in my blood and in my nature.

A few weeks before I left for boarding school, I was invited to join a ‘pop’ band in Miltown Malbay, a few miles down the coast from Ennistymon. It was Fintan Malone’s band and called The Merchants. Another Miltown guy — Alsie Clancy was the singer, Malone played lead guitar and Willie Healy, a friend from Ennistymon played drums. We had no bass, but it didn’t occur to us that was odd, as we rehearsed Kinks, Beatles and Rolling Stones songs in Malone’s Markethouse. We were rebels, playing rock and roll in the sacred shrine of Irish traditional music. In shop doorways around the street, local teenagers listened to us rehearse, and when we had a few dozen numbers together, we did our first gig.

That was on a Sunday afternoon and called a ‘hop’, something less serious than a night gig, which might have freaked parents and Fr. Kelly. The gig went well, even though we fluffed a few numbers. I made a shambles of a Kink’s song ‘Tired of Waiting’ and Malone cracked up laughing and the drummer lost time. Alsie took a song in the wrong key and we couldn’t find where he was until the second verse. It must have sounded woeful, but the Miltown crowd was loyal and clapped rather than booed. Afterwards, Mrs. Malone had dinner ready for us, and excited as Oscar winners, we plotted our course to the top of the charts. We also decided to let our hair grow long.

Miltown, 1973

The following summer, we were a tight outfit. Willie Healy got a job in Dublin and our new drummer was my good friend Jimmy Hill. We practiced a few of times a week, Jimmy and myself hitching to Miltown, often staying the night in Malone’s house.

Every Sunday night we did a gig in the Markethouse and it was always crammed. We did a mixture of pop and rock, dressed in mod gear, inspired by Limerick band, Granny’s Intentions. In West Clare we were hotshots, an up and coming young band which priests were wary of. Getting gigs in parochial halls was tough work and a lot of padres turned us away from their doors. But we got other breaks — playing support to top band in ballrooms around the county. For those gigs, we had a roadie-cum-driver called Christy Body, who had a sister called Annie.

People in West Clare still talk about The Merchant’s gigs, and hindsight makes the band appear a lot better than we were. One night, a group of Girl Guides from Limerick who were at camp in Spanish Point came to our gig and screamed every time we played a number from the charts. It was like we were the Beatles, the way they crowded around the stage, beaming and waving at us. The local girls were a bit miffed and there were a couple of cat-fights. When I began ‘I Saw Her Standing There,’ the place went gaga, and I struggled with stage fright until Malone joined in the chorus.

Since I was a toddler, I spent the summers with my grandmother and grandfather — Susan and Tommy O’Sullivan — in Lahinch. Grandma played fiddle and concertina and tried her best to get me interested in traditional music. She played tunes every night of her life and my grandfather tapped a box of matches for percussion. She used finish the session with a reel called ‘My Love is in America,’ but granda didn’t tap for that one. Many years later she told me she had fallen in love in America in 1922, when she was on the run from the Black and Tans at home. Grandma never forgot the cop from Cork who arrested her for picking flowers in Central Park, on her first Sunday in New York. He let her go and asked her for a date. She fell in love, came home to do her duty in the Civil War and never went back to New York. I’d say she went to bed thinking of him every night, after she played that tune. She called my guitar ‘the yaw-yaw’, inspired by the Beatles ‘She Loves You, Yeah, Yeah, Yeah.’ She rooted out an old mandolin she brought back from America and encouraged me to learn it, but my head was with the Beatles, Dylan and the Stones.

And then I was struck on the Road to Damascus…or rather the road to Miltown. It was in the month of August, when Miltown hosted the ‘Darling Girl from Clare Festival.’ Every night there were big crowds in town and we were gigging heavy, we had groupies and girlfriends and were waiting for our big break. I hitched from Lahinch with my guitar and got a ride to Spanish Point crossroads, about a mile from Miltown. It was late afternoon, warm lazy weather that brings out the best of West Clare. I walked towards town, in the distance I could hear music playing from the speakers mounted on telegraph poles, ceili bands, flutes, pipes, fiddles. This used be the fashion, to ‘warm the town’ and invoke a festive feeling. Paddy Flynn was the local DJ and PA expert. I wasn’t paying much heed to the music, probably thinking of the girl I would meet after the gig, a good-looking chick called Bríd, who wrote love poems and gave me one every night we met. The old railway station was on the outskirts of the town and here was the first telephone pole which had a speaker. As I was approaching it, Paddy Flynn put on a record that I hadn’t heard before. It began with harmonica, guitar, mandolin and maybe another instrument. Then a guy began singing and the first words brought me to a standstill.

‘Sullivan’s John to the road you’ve gone,
Far away from your native home…’

Sweeny's Men — Johnny, Andy and Terry

The hair stood on the back of my neck. I leaned against a stonewall and listened, not with my ears as much as with my heart. Something came over me and I’ll never forget those few minutes. I remember thinking, ‘who is that?’ Then Paddy Flynn played a tune I knew — The Exiles Jig— by the same group. I’d never heard traditional Irish music played like that, with counter melody and harmonies weaving around the tune. It was Sweeny’s Men — Johnny Moynihan, Andy Irvine and Terry Woods — musicians who I would become friends with a few years later. Traditional Irish music suddenly became relevant to me, after listening to it for well over a decade.

I don’t recall how our gig went that night, or if I got a love poem from the girlfriend. The following day I took out the mandolin grandma had brought back from New York and asked her to teach me The Exiles Jig. I remember her blessing herself and saying,

“Jesus, Mary and Joseph, what has come over you?”

She got the fiddle and we sat in the kitchen while bread baked in the oven. She showed me how to tune the mandolin and then played The Exile’s Jig until I got it. Then she taught me Banish Misfortune, Patcheen Flanagan’s Jig and Hardiman the Fiddler. Local tunes which rose easily from my  genetic memory. Later I went up to the attic and practiced on my own.

That night when she took down the fiddle, we played my new tunes and granda tapped the box of matches. I vamped along and picked a note here and there when she played her own selection. As she drew the notes at the beginning of ‘My Love is in America’, granda put the box of matches in his pocket. And for the first time, I felt the wistful longing and loneliness she channeled into that tune. I had finally arrived at the Well.

Tom Barrett, Susan O'Sullivan and Kevin Houlihan


All Clare images courtesy of Clare County Library


more about Eddie Stack…

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Electric Picnic 7.30 Sat

Great set from Iarla O’Lionard + Afro Celt Sound System….kinda like Moving Hearts jamming in Mali. Threatening rain here…more people beginning to stagger and do strange shit… Red Cross lady told me their work is mostly young people who have ‘over indulged in drugs or and alcohol…it’s party time here and the vibe is raising by the notch as is the volume…still cool…

forgot to add earlier that Brian Deedy (?) did a great opening gig on Main Stage this morning. Great energy, sound etc. Also, last night Duke Special was great…

Wandering about here, it’s hard to believe that Ireland is in dire straits…and harder to fathom why we have the kinda government that we have, when you see all the alternative minded heads who are here…off now to catch Aindrias de Staic on the Love Letter stage…

more info www.bodyandsoulive.ie

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Electric Picnic Sat, 5.30pm

Electric Picnic Sat, 5.30pm.

there’s a fashion thing going on here….a mix of anything goes, ‘look at me’, rave gear, outrageous naff…and costumes. Any sort of costumes…I’ve met at least six Charlie Chaplins…dozens of white faced people tickling others with feathers. And lots of wellie wearing now…even though for the most part, the rain has held off…but if you got a pair of designer wellies, this is the place to sport them…a cheer has gone up because the sun has broken through the clouds.

Thought this is interesting — long queues at the tarot reading stalls and longest of all outside a fortune telling gaff…mostly anxious looking young women. Maybe it’s the recession..maybe it’s love…only the fortune tellers knows.

Tucan are on Body and Soul stage now…loads of the Charlie Chaplin People dancing and grooving to them…happy out and it’s not six o’clock yet…

more later…maybe

more later

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Electric Picnic: Sat 4.15pm

Amping up here…finding our way around after last night…best vibe and sound is in Body and Soul. And the coolest people. Best grub as well for the body and All sort of madness which is great for the soul. Last night Janelle Monae played a great gig…DOnal Dineen and friends kept us happy forever….Big gig at B&S tonight is Martin Hayes and Dennis Cahill…trad at its very, very best…My son Aindrias de Staic is on Love Letter from 8 to 8.30pm…looking forward to seeing him…heard he had a great gig last night…all my 4 kids are here performing at some stage or other…we just had breakfast…late breakfast in Hurly Gurly…hope to update this blog later…then again, maybe I’ll go away with the fairies…

also check out www.bodyandsoulive.ie for podcast, videos, dj sets and loads of other good stuff….

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The Festival of Lúghnasa: an Irish harvest festival

Yesterday was Féile Lúghnasa, the pre-Christian Irish harvest festival, which is still celebrated at a few locations in Ireland. One time it was held at around 200 sites, nearly always remote, inaccessible places that were on heights, or near water. The festival was dedicated to Lúgh, the young and most brilliant god of the Tuatha de Danann. Lúgh was the god of light, god of arts and crafts, father of inventions and the likes. It was he who saved the harvest by vanquishing Bal, the sun god who was in the process of scorching all the country’s plants and crops with relentless heat.

Lúgh was a good time god. His festival was a young peoples gig and it was party central. In the Irish calendar it was the biggest celebration, the harvest was safe and the population could go and boogie. Held at remote locations, only the young, the fit and the agile made their way there.

As was its practice, the Catholic Church cast their net wherever there was a crowd. They took over Lúghnasa and put a religious stamp on it. One of the most glaring examples of this hi-jacking is Reek Sunday on Croagh Patrick, an ancient Lúghnasa site. The Irish Church said that St. Patrick spent 40 days and nights on the mountaintop, fasting and praying for the salvation of Ireland. If he did, he failed. But it’s more likely a pr job and the nearest Paddy got to the mountain was Campbell’s pub in Murrisk or maybe Matt Molloys in Westport. Anyway, year in and year out, thousands of the hoodwinked faithful climb the mountain on Féile Lúghnasa, saying prayers to Patrick, Mary and Jesus. Some climb barefooted, others climb blindfolded. Lúgh is probably shaking his head at the pain, wondering why they no longer believe in a good time god.

Bridget: Irish goddess disguised as a nun

In west Clare, the oldest Lúghnasa site is Dabach Bríde, also known as The Blessed Well or Bridget’s Well. Near the Cliffs of Moher, it’s a well in a little grove and has the sense of an ancient place. The Well is unique, as it’s the site of pilgrimage on Féile Bríde (February 1) as well as Lúghnasa. One time, thousands of people came there on Lúghnasa and later went down to the seaside village of Lahinch to sport and play. In recent times attendance has been slack and it’s mainly a scattering of diehard locals like myself who turn up to ‘pay our respects’ to the local deity, i.e. Lúgh.

So I went over to the Well yesterday afternoon. It was misty up by the Cliffs and I had a sense that the year had turned. When I was a youngster, Lúghnasa was the highpoint of our summer. We knew it as Garland Sunday, the last Sunday of Hungry July. It marked the day when we could harvest the new crop of potatoes — the ‘floury spuds’ and we gave thanks.

There was nobody at The Well when I got there. Inside, there were a few candles flickering, the faithful had been and gone. I paid my respects and walk up the old path three times to do ‘the rounds’, went back to the well again and sipped the water. Outside the sky was a bit brighter, the mist had cleared and I could see across Liscannor Bay and down along the coast of West Clare.

all around the shrine, there are offerings, prayer requests, memory cards

As I was about to leave, I heard the chattering of young voices, and saw a troop of teenagers coming down the road. They stopped outside The Well and looked at maps or guidebooks. They were young German hikers. One of them approached me and said,
‘Please, what is this?”

So I told him about Lúgh and the tradition and said it was auspicious that they came this way on his feast day. He related the story to the others. They asked questions and I answered best I could. They were respectful and asked if it was ok for them to enter the shrine and taste the water.
“Sure,” I said, “Lúgh would be delighted.”

Young German hikers about to meet Lúgh...


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