0:00:25 > 0:00:27APPLAUSE
0:00:29 > 0:00:31Hello, glad you could join us
0:00:31 > 0:00:34for a very special Arts Show.
0:00:34 > 0:00:37Tonight we are celebrating the art of performance.
0:00:37 > 0:00:40We have got Patrick and Cara, sculptor and silversmith,
0:00:40 > 0:00:44we also have the Wireless Mystery Theatre being dramatic, as they do.
0:00:44 > 0:00:47Yes, that is Michael Longley, and that is Duke Special.
0:00:47 > 0:00:50But first of all, I kind of like to think of them as
0:00:50 > 0:00:52an Irish traditional music supergroup.
0:00:52 > 0:00:54They are Ulaid.
0:00:54 > 0:00:56APPLAUSE
0:04:13 > 0:04:14CHEERING AND APPLAUSE
0:04:20 > 0:04:23Ulaid - Donal, Sean Og and John.
0:04:23 > 0:04:25We'll have more from them later in the programme
0:04:25 > 0:04:27with a very interesting collaboration.
0:04:27 > 0:04:30And speaking of surprising partnerships, Cara Murphy,
0:04:30 > 0:04:33what have you got to do with Number 10 Downing Street?
0:04:33 > 0:04:37I have a piece that is a desk set in Downing Street,
0:04:37 > 0:04:40that is part of the Silver Trust Collection.
0:04:40 > 0:04:43There is no other work in the collection that is
0:04:43 > 0:04:45from Northern Ireland, so when I was asked to do that,
0:04:45 > 0:04:47I wanted it very much to represent Northern Ireland,
0:04:47 > 0:04:50so it's got quite a lot of green enamel on it.
0:04:50 > 0:04:51Who uses it, the PM?
0:04:51 > 0:04:54- Yes. Whoever the current prime minister is.- I wonder...
0:04:54 > 0:04:58I wonder who's seen it. I mean, imagine who's been in that room.
0:04:58 > 0:05:00- Yeah.- OK, that's just me wandering!
0:05:00 > 0:05:04Now, your work covers everything from teapots to cutlery.
0:05:04 > 0:05:07That's quite functional, isn't it? Is that art?
0:05:07 > 0:05:10Yeah, and I'm really interested in that idea that it IS functional,
0:05:10 > 0:05:14but it IS sculptural, and it's looking at that idea of
0:05:14 > 0:05:16challenging what is contemporary silverware?
0:05:16 > 0:05:20I like the idea that the pieces are metaphorically growing
0:05:20 > 0:05:23from the table, but it can also be used.
0:05:23 > 0:05:28Well, this is the poshest-looking salt cellar and pepper thing
0:05:28 > 0:05:31- that I've ever seen. Can I have a go of it?- Yes.- So I can pick this up...
0:05:31 > 0:05:33- Yeah.- How expensive is this? I don't even want to think.
0:05:33 > 0:05:35And then you scoop it up and...
0:05:35 > 0:05:38And then you can scatter it over your plate,
0:05:38 > 0:05:43so I have lots of conversations with farmers about furrows and growing.
0:05:43 > 0:05:46- Do you want them to be used?- Yes.
0:05:46 > 0:05:48Because, aesthetically, they are so beautiful.
0:05:48 > 0:05:51This could be in an art gallery.
0:05:51 > 0:05:55Yeah, and there are lots of pieces of mine - I'm very fortunate that
0:05:55 > 0:05:59there are lots of pieces in different galleries and collections.
0:05:59 > 0:06:02But it's really interesting when I'm making work for clients,
0:06:02 > 0:06:05cos I look the idea that they use it, and they decide
0:06:05 > 0:06:08how they're going to use it and they decide how things might sit.
0:06:08 > 0:06:11So you could decide that these are all going to sit
0:06:11 > 0:06:14to one direction, or you can have them facing different directions,
0:06:14 > 0:06:16and I like that idea that when you own the piece,
0:06:16 > 0:06:18you are then in control of the piece.
0:06:18 > 0:06:21- Hours of endless fun at the dinner table...- Yes.
0:06:21 > 0:06:24..deciding which direction these fellas go in.
0:06:24 > 0:06:26I still kind of get the feeling
0:06:26 > 0:06:29there's a misconception between crafts and visual arts.
0:06:29 > 0:06:31There's a certain snobbery.
0:06:32 > 0:06:34No, I don't agree.
0:06:34 > 0:06:36Oh, OK, fine, fine! LAUGHTER
0:06:36 > 0:06:38We'll not... We'll take the fight outside.
0:06:38 > 0:06:42Cara Murphy, it has been a pleasure. Aren't they absolutely beautiful?
0:06:42 > 0:06:44Thank you very much.
0:06:44 > 0:06:47- Thank you.- Thank you so much. Now...
0:06:47 > 0:06:50When is a spoon more than a spoon?
0:06:50 > 0:06:54Well, that's the curious kind of question I think would appeal to
0:06:54 > 0:06:57the Wireless Mystery Theatre, an audio theatre company who have
0:06:57 > 0:07:00tackled everything from Sherlock to Ghostbusters.
0:07:00 > 0:07:02For us tonight,
0:07:02 > 0:07:06they have a Victorian tale which they swear is not made up.
0:07:16 > 0:07:21- The year is 1851.- The place is Smithfield Market, Belfast.
0:07:21 > 0:07:23I am the judge who put him away.
0:07:23 > 0:07:26I am the woman he cheated and killed.
0:07:26 > 0:07:30And I am Dr Frew, apothecary, pseudo-physician,
0:07:30 > 0:07:32healer of ailments, ills and what ails ye.
0:07:32 > 0:07:35People call me a snake oil salesman.
0:07:35 > 0:07:37I say what else will give your snake
0:07:37 > 0:07:39the shiny, scaly skin that it deserves?
0:07:39 > 0:07:43If you truly love your snake, then you'll rub him daily
0:07:43 > 0:07:45with Dr Frew's Patented Smithfield Snake Oil.
0:07:45 > 0:07:47Not tested on animals.
0:07:47 > 0:07:48LAUGHTER
0:07:48 > 0:07:51So come down to Smithfield Market and ask for the doctor whose
0:07:51 > 0:07:54name is in...inverted commas.
0:07:54 > 0:07:55MUSICIANS HARRUMPH
0:07:55 > 0:07:56Order in the court!
0:07:56 > 0:07:58Now, you were saying, Mrs Montgomery,
0:07:58 > 0:08:00you rent the house to this gentleman and his wife.
0:08:00 > 0:08:02- Yes.- Where they practise medicine.
0:08:02 > 0:08:04Oh, we never practise medicine in the house.
0:08:04 > 0:08:06Then what were you doing on the evening in question?
0:08:06 > 0:08:10We were PRACTISING medicine. Trying to get good at it.
0:08:10 > 0:08:14They were drinking! Drunk in my good Christian home.
0:08:14 > 0:08:18No, no, no, no, we were merry with intellectual curiosity.
0:08:18 > 0:08:22- We had just discovered a potent new curative.- A curative for what?
0:08:22 > 0:08:24We don't know, which is why we were merry with curiosity.
0:08:24 > 0:08:26LAUGHTER
0:08:26 > 0:08:30I was only there for the rent, and all I said was,
0:08:30 > 0:08:34"Doctor, I have come for what's owed me for the last time.
0:08:34 > 0:08:38"I am sick and tired." And then he bottles me in the head!
0:08:38 > 0:08:39With a bottle and everything.
0:08:39 > 0:08:43I was offering her reprieve from her sickness and tiredness.
0:08:43 > 0:08:45I was merely putting the bottle to her lips,
0:08:45 > 0:08:47but my vision was a little impaired.
0:08:48 > 0:08:52Then they roughhoused me and threw me down the stairs.
0:08:52 > 0:08:55- They tried to ply you with drink. - It was palliative.
0:08:55 > 0:08:58As I said, we had discovered an unknown curative and were
0:08:58 > 0:09:00very excited to see its effects.
0:09:00 > 0:09:02Well, if it's such a miracle curative,
0:09:02 > 0:09:05why is Mrs Montgomery's arm still broken?
0:09:05 > 0:09:07Well, we'd drunk it all by then.
0:09:07 > 0:09:10- LAUGHTER - But look, my arms are fine.
0:09:11 > 0:09:18Meanwhile, in 1857, another woman is about to fall foul of Dr Frew.
0:09:18 > 0:09:20BELL TINKLES
0:09:20 > 0:09:24- Doctor, Doctor?- Yes? - Are you Dr Frew?
0:09:24 > 0:09:27- I am.- Oh, thank goodness.
0:09:27 > 0:09:28My name is Ellen Young,
0:09:28 > 0:09:31an otherwise local, un-noteworthy woman.
0:09:31 > 0:09:33Oh, I'm kept awake by horrible dreams.
0:09:33 > 0:09:37Well, what you need is a good night's sleep once daily.
0:09:37 > 0:09:38But you're in luck!
0:09:38 > 0:09:41I've been working on a special draught for this very purpose.
0:09:41 > 0:09:43One minute, please.
0:09:45 > 0:09:49- Take this. - Is it meant to spit like that?
0:09:49 > 0:09:51Yes, yes, it's all perfectly natural.
0:09:51 > 0:09:54- If you say so, Doctor.- I do, I do.
0:09:54 > 0:09:58I would stake my reputation on this bubbling, phlegmatic draught.
0:09:58 > 0:10:01Did you administer this draft to Miss Ellen Young?
0:10:01 > 0:10:04I didn't administer it to her, Your Honour. I sold it to her.
0:10:04 > 0:10:07A draught which when she took she fell into a sleep
0:10:07 > 0:10:09from which she never awoke.
0:10:09 > 0:10:11Definitely the bit about falling asleep.
0:10:11 > 0:10:14Now she cannot complain about that bit, satisfaction guaranteed.
0:10:14 > 0:10:17It was a grave misjudgement on your part.
0:10:17 > 0:10:19It was wanton medical malpractice.
0:10:19 > 0:10:22Well, it can't be medical malpractice, Your Honour,
0:10:22 > 0:10:23because I'm not a real doctor.
0:10:23 > 0:10:27If you're not a real doctor, Dr Frew, then what are you?
0:10:27 > 0:10:31Some sort of conjurer, a chiseler or a mystic woo-woo man?
0:10:31 > 0:10:35I give the people what they want, a magical cure.
0:10:35 > 0:10:40So you consider yourself some sort of mystical shaman, then, Mr Frew?
0:10:40 > 0:10:43Nothing so great, Your Honour, nothing so great.
0:10:43 > 0:10:47You can't spell "shaman" without simply "man."
0:10:47 > 0:10:50Nor can you spell it without "sham."
0:10:50 > 0:10:52Ooh.
0:10:52 > 0:10:56I hoped to never again hear from Dr Frew, but I did,
0:10:56 > 0:10:58in a folk song that ran throughout Belfast
0:10:58 > 0:11:00all through the 19th century.
0:11:02 > 0:11:05# Joe Muggins he stood by his old donkey cart... #
0:11:05 > 0:11:09To cut the 42-verse ballad short,
0:11:09 > 0:11:10Joe Muggins brings his donkey to market,
0:11:10 > 0:11:12where he dreams of the herring
0:11:12 > 0:11:14his young Sally Belle will cook for his tea.
0:11:14 > 0:11:17When he comes home, he finds her drunk and belligerent.
0:11:17 > 0:11:22# So he sent for two boxes of Dr Frew's pills... #
0:11:22 > 0:11:25One box of which pills kills Sally Belle in her sleep
0:11:25 > 0:11:29and then he takes the other to numb the pain.
0:11:32 > 0:11:36# Sally was buried as we might do today
0:11:36 > 0:11:41# Joe Muggins in less than a week
0:11:41 > 0:11:47# And out of her bosom there grew a red carrot
0:11:47 > 0:11:52# And out of Joe Muggins a leek, leek, leek
0:11:52 > 0:11:57# And out of Joe Muggins a leek. #
0:11:58 > 0:12:01All 100% natural ingredients.
0:12:01 > 0:12:03And I never heard from Dr Frew again.
0:12:07 > 0:12:10APPLAUSE
0:12:13 > 0:12:15Wireless Mystery Theatre
0:12:15 > 0:12:19and what they say is the true story of Dr Frew -
0:12:19 > 0:12:21we believe them, don't we?
0:12:21 > 0:12:24Now, for an exclusive for The Arts Show, our next guest
0:12:24 > 0:12:27has been reading the poetry of Michael Longley since he was
0:12:27 > 0:12:30at school, and he got thinking,
0:12:30 > 0:12:33what would it be like if I put my music to his words?
0:12:33 > 0:12:35He is Duke Special -
0:12:35 > 0:12:39here he is reimagining Michael Longley's poem, Lena.
0:12:39 > 0:12:41APPLAUSE
0:13:01 > 0:13:07# The first person I did not want to die
0:13:07 > 0:13:13# Was Lena Hardy, the country girl
0:13:13 > 0:13:19# Who during the war took care of me
0:13:19 > 0:13:24# She didn't die, she went away
0:13:24 > 0:13:28# Lena
0:13:31 > 0:13:37# I remember where I haven't been
0:13:37 > 0:13:42# A townland that overlooks a lake
0:13:42 > 0:13:47# We are strolling among the Wee Homes
0:13:47 > 0:13:52# We are trying to find the Beggars' Bush
0:13:52 > 0:13:55# Lena
0:14:19 > 0:14:24# The first person I did not want to die
0:14:24 > 0:14:29# Was Lena Hardy, the country girl
0:14:29 > 0:14:33# Who during the war took care of me
0:14:33 > 0:14:37# She didn't die
0:14:40 > 0:14:44# She didn't die, she went away
0:14:44 > 0:14:48# Lena
0:14:50 > 0:14:54# Lena. #
0:14:58 > 0:15:02APPLAUSE
0:15:06 > 0:15:08Well, we did say it was pretty special.
0:15:08 > 0:15:11Peter, come on and join us over here,
0:15:11 > 0:15:15myself and the man himself, Michael Longley.
0:15:15 > 0:15:18Michael, what did you make of that?
0:15:18 > 0:15:20Did he do your words justice?
0:15:20 > 0:15:22I thought it was beautiful. Really.
0:15:22 > 0:15:25I think Duke Special is brilliant.
0:15:25 > 0:15:28We met properly about a year ago
0:15:28 > 0:15:32and it was amazing how many things we liked together.
0:15:32 > 0:15:35Like what, Peter?
0:15:35 > 0:15:36Chips.
0:15:38 > 0:15:43Ivor Cutler, Leonard Cohen,
0:15:43 > 0:15:47and it was...
0:15:47 > 0:15:52a completely relaxed conversation we had about music.
0:15:54 > 0:16:00I was very touched when he said he wanted to set some of my poems
0:16:00 > 0:16:04to music. That's the first one, I think, isn't it?
0:16:04 > 0:16:05Yeah.
0:16:05 > 0:16:08And why did you choose that one?
0:16:08 > 0:16:10- Um...- Short.
0:16:10 > 0:16:12Brevity always helps!
0:16:12 > 0:16:18Yeah, I guess whenever... Like anybody that thinks about
0:16:18 > 0:16:22creating something, you're not sure why it is
0:16:22 > 0:16:25that you're drawn to something,
0:16:25 > 0:16:29but it felt like an itch, is the only way I can describe it.
0:16:30 > 0:16:32It's been brewing for this year now
0:16:32 > 0:16:35and that's the only one I've set to music so far, actually.
0:16:35 > 0:16:39And did you do it first and then tell Michael?
0:16:39 > 0:16:42And then ask permission.
0:16:42 > 0:16:45- OK, yes.- Better to say sorry than to ask permission.
0:16:45 > 0:16:50Duke sent me a CD and I was captivated
0:16:50 > 0:16:55and I can't wait for other ones.
0:16:55 > 0:16:57And has he been allowed to change... because this is the thing
0:16:57 > 0:17:02about collaborations, because it's not song lyrics. It's poetry.
0:17:02 > 0:17:06Even though Bob Dylan did win the Nobel Prize for literature,
0:17:06 > 0:17:11they are lyrics, so there's a different meter, a different rhythm.
0:17:11 > 0:17:15So what do you do? Were you able to change anything in Lena?
0:17:15 > 0:17:20I think I just repeated a line, perhaps, but for me,
0:17:20 > 0:17:23like a song lyric is poetry.
0:17:23 > 0:17:27And for me it's about communicating something.
0:17:27 > 0:17:30For me, I don't know where it's going to go in terms of what songs
0:17:30 > 0:17:33will come out of it, and that frightens me
0:17:33 > 0:17:36and also really excites me as to the unknown.
0:17:36 > 0:17:40Well, we can't have Michael Longley here without reading
0:17:40 > 0:17:41some of your poetry.
0:17:41 > 0:17:43You've chosen one for us tonight.
0:17:43 > 0:17:47This is Swans Mating, and why this particular one?
0:17:47 > 0:17:50It goes back to when I was in my 30s.
0:17:50 > 0:17:55It's a love poem from my youth,
0:17:55 > 0:17:58and it's rather difficult to write love poems like this
0:17:58 > 0:18:01when you're 77 and a half, but...
0:18:01 > 0:18:03I think there's plenty of life still there
0:18:03 > 0:18:05for a love poem or two, Michael.
0:18:05 > 0:18:09I like this poem because it describes a happy moment
0:18:09 > 0:18:13on the canal in Dublin when I was a student
0:18:13 > 0:18:16and then it went into the back of my mind, and one day,
0:18:16 > 0:18:20I was walking down the stairs in our house,
0:18:20 > 0:18:26and the second stanza, it just came into my head complete.
0:18:26 > 0:18:29I went to a typewriter nearby
0:18:29 > 0:18:34and I thought it needs a first stanza and I rattled that out.
0:18:34 > 0:18:39So if this is the best poem I've ever written,
0:18:39 > 0:18:41it only took about five minutes.
0:18:43 > 0:18:45Swans Mating.
0:18:45 > 0:18:49Even now I wish that you had been there
0:18:49 > 0:18:52Sitting beside me on the riverbank:
0:18:52 > 0:18:57The cob and his pen sailing in rhythm
0:18:57 > 0:19:00Until their small heads met and the final
0:19:00 > 0:19:04Heraldic moment dissolved in ripples.
0:19:06 > 0:19:09This was a marriage and a baptism,
0:19:09 > 0:19:13A holding of breath, nearly a drowning,
0:19:13 > 0:19:18Wings spread wide for balance where he trod,
0:19:18 > 0:19:22Her feathers full of water and her neck
0:19:22 > 0:19:26Under the water like a bar of light.
0:19:28 > 0:19:30A round of applause, please.
0:19:30 > 0:19:33APPLAUSE
0:19:39 > 0:19:42Michael Longley reading Swans Mating, and you heard it here,
0:19:42 > 0:19:45or maybe you didn't hear it, but he turned to Peter there and said,
0:19:45 > 0:19:48"Do you want to set that one?"
0:19:48 > 0:19:50So no pressure, fella!
0:19:50 > 0:19:51You're so busy at the moment,
0:19:51 > 0:19:54we're going to hear you at the end of the show with those Ulaid boys
0:19:54 > 0:19:56from the opening,
0:19:56 > 0:20:00so collaborations are very much in your life at the moment?
0:20:00 > 0:20:02Yeah, I like feeling out of my depth.
0:20:02 > 0:20:04LAUGHTER
0:20:04 > 0:20:07- Put it that way.- And YOU are never out of your depth.
0:20:07 > 0:20:10And you've got a new collection - how fantastic is that to hear.
0:20:10 > 0:20:15- A new collection coming out soon. - In June.- In June.
0:20:15 > 0:20:19My 11th collection. And it's called Angel Hill.
0:20:19 > 0:20:25Which is a Neolithic little hill above my daughter's cottage
0:20:25 > 0:20:29in Lochalsh in the Western Highlands.
0:20:29 > 0:20:33And...needless to say, it's my best book so far.
0:20:33 > 0:20:35LAUGHTER
0:20:35 > 0:20:39- Yeah.- We will be the judge of it, I think. There are many, many fans of
0:20:39 > 0:20:43yours here. Thank you both so much and don't feel out of your depth...
0:20:43 > 0:20:46- I think...- That's a good thing. I mean it as a good thing.
0:20:46 > 0:20:49A lot of people will be rooting for you for this to work.
0:20:49 > 0:20:51Please put your hands together for Duke Special
0:20:51 > 0:20:53and Michael Longley.
0:21:00 > 0:21:03Well, I've heard stories of how people become artists
0:21:03 > 0:21:06but turning to ceramics after a rugby injury is a whole new one
0:21:06 > 0:21:11for me. Patrick Colhoun, the muck of the ruck was replaced by...
0:21:11 > 0:21:15- latex, pigskin, hosiery? - It was, indeed, yes.
0:21:15 > 0:21:18You're self-taught?
0:21:18 > 0:21:20Pretty much, yep, started for me
0:21:20 > 0:21:22at night school after I couldn't play rugby any more
0:21:22 > 0:21:24and I was just looking for the next thing to do
0:21:24 > 0:21:27and it turned out to be basic pottery.
0:21:27 > 0:21:28- Really?- Yep. So...
0:21:28 > 0:21:30And had you any idea before that?
0:21:30 > 0:21:33Cos you'd been working in construction, hadn't you,
0:21:33 > 0:21:36- for 20 years?- I'd... I had no real art background,
0:21:36 > 0:21:40no art school, no... even art at school...
0:21:40 > 0:21:43I made bits of wood and stuff with my father when he,
0:21:43 > 0:21:45when he had a workshop...
0:21:45 > 0:21:48But I picked up a prospectus and saw pottery
0:21:48 > 0:21:53and was drawn to it and learnt to throw on a wheel and, er...
0:21:53 > 0:21:56- sort of went from there. - And talk to me about the materials
0:21:56 > 0:21:59that you use for this, cos they're quite provocative,
0:21:59 > 0:22:02- aren't they? - Erm, it's basic clay, you know,
0:22:02 > 0:22:06it started as quite abstract forms into the local craft scene.
0:22:06 > 0:22:10When it came to developing it a wee bit, a couple of years later,
0:22:10 > 0:22:13- I started introducing other materials.- It's a bit
0:22:13 > 0:22:15Fifty Shades Of Grey, isn't it?
0:22:15 > 0:22:17HE LAUGHS
0:22:17 > 0:22:21- With the old latex and the hosiery. - It was primarily to, erm...
0:22:21 > 0:22:24take it away from it being craft to more of a contemporary art
0:22:24 > 0:22:28and I was aiming, at that stage, at maybe the London market
0:22:28 > 0:22:30and had a few successes where I was selected for some
0:22:30 > 0:22:33good shows over there, which built my confidence
0:22:33 > 0:22:36and I just sort of went further and further.
0:22:36 > 0:22:39And was there a bit of a snobbery about the fact that
0:22:39 > 0:22:42you were self-taught and that you didn't go to art school?
0:22:42 > 0:22:45- I didn't think about it too much...- Right.
0:22:45 > 0:22:47Because I was enjoying what I was doing, I was
0:22:47 > 0:22:52getting, I suppose, the return from it. I was enjoying it so much.
0:22:52 > 0:22:57And I think, you know, gaining these sort of tiny steps of...
0:22:57 > 0:23:00little bits of success along the way just built confidence
0:23:00 > 0:23:02and the more confidence I got,
0:23:02 > 0:23:05the more I sort of, you know, changed things around
0:23:05 > 0:23:07and...and took the next step.
0:23:07 > 0:23:11Well, I'm sorry for the injury but we got a sculptor out of it.
0:23:11 > 0:23:14- Patrick Colhoun, thank you so much, thank you.- Thank you.
0:23:19 > 0:23:21Patrick Colhoun, thank you. And thank you to all of
0:23:21 > 0:23:24the performers and guests here this evening.
0:23:24 > 0:23:27You can keep in touch with us online and on radio as well.
0:23:27 > 0:23:30You can't get away from us, you know.
0:23:30 > 0:23:32Now, we end with bold, collaborative spirit.
0:23:32 > 0:23:36The idea of Duke Special and Ulaid teaming up together
0:23:36 > 0:23:39was dreamt up over a pint in a local pub.
0:23:39 > 0:23:43They've now produced a brand-new suite of music called
0:23:43 > 0:23:45the Belfast Suite. Please put your hands together
0:23:45 > 0:23:48for Ulaid and Duke Special. Goodnight!
0:24:23 > 0:24:26# Int en bec
0:24:27 > 0:24:30# Ro lec feit
0:24:31 > 0:24:35# Do rinn guip
0:24:36 > 0:24:38# Glanbuidi
0:24:39 > 0:24:44# Fo-ceird faid
0:24:44 > 0:24:46# Os Loch Laig
0:24:47 > 0:24:48# Lon do chraib
0:24:51 > 0:24:53# Charnbuidi
0:24:55 > 0:24:57# The little bird
0:24:58 > 0:25:00# That whistled shrill
0:25:02 > 0:25:07# From the nib of its yellow bill
0:25:09 > 0:25:13# A note let go
0:25:13 > 0:25:17# O'er Belfast Lough
0:25:17 > 0:25:21# A blackbird from
0:25:21 > 0:25:24# A yellow whin
0:25:55 > 0:25:57# The little bird
0:25:58 > 0:26:01# That whistled shrill
0:26:03 > 0:26:05# From the nib
0:26:06 > 0:26:08# Of its yellow bill
0:26:10 > 0:26:12# A note let go
0:26:14 > 0:26:17# O'er Belfast Lough
0:26:17 > 0:26:20# A blackbird from
0:26:21 > 0:26:23# A yellow whin
0:27:49 > 0:27:52# Int en bec
0:27:53 > 0:27:55# Ro lec feit
0:27:57 > 0:28:00# Do rinn guip
0:28:01 > 0:28:03# Glanbuidi
0:28:05 > 0:28:08# Fo-ceird faid
0:28:09 > 0:28:11# Os Loch Laig
0:28:12 > 0:28:15# Lon do chraib
0:28:16 > 0:28:19# Charnbuidi. #
0:28:52 > 0:28:54CHEERING