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One, two, three, four... | 0:00:02 | 0:00:03 | |
Ladies and gentlemen, | 0:00:10 | 0:00:11 | |
please welcome one of Ireland's greatest ever pipers, | 0:00:11 | 0:00:13 | |
originally from Ballygowan in County Down, | 0:00:13 | 0:00:16 | |
now living in Pittsburgh, USA. Put your hands together for | 0:00:16 | 0:00:19 | |
Mr Andrew Carlisle! | 0:00:19 | 0:00:21 | |
CHEERING AND APPLAUSE | 0:00:21 | 0:00:22 | |
CHEERING AND APPLAUSE | 0:01:18 | 0:01:20 | |
Welcome to Lurgan Castle in County Armagh | 0:01:25 | 0:01:28 | |
where, for two days, a group of local musicians | 0:01:28 | 0:01:30 | |
have been playing host to performers who have travelled from Scotland, | 0:01:30 | 0:01:33 | |
Canada and the USA. | 0:01:33 | 0:01:35 | |
Their purpose? To rehearse and present | 0:01:35 | 0:01:37 | |
a feast of Ulster Scots music. | 0:01:37 | 0:01:39 | |
The result? A show I know you are thoroughly going to enjoy. | 0:01:41 | 0:01:44 | |
Welcome to The Castle Session. | 0:01:46 | 0:01:48 | |
APPLAUSE | 0:01:48 | 0:01:50 | |
CHEERING AND APPLAUSE | 0:03:55 | 0:03:57 | |
Lisa and Brenley, you are from Nova Scotia. | 0:04:06 | 0:04:09 | |
It's great to have you here in Northern Ireland, especially at | 0:04:09 | 0:04:11 | |
Lurgan Castle in the town in which I was born, so welcome to my | 0:04:11 | 0:04:14 | |
part of the world. | 0:04:14 | 0:04:16 | |
And we're playing in a castle, so it's kind of cool. | 0:04:16 | 0:04:18 | |
So, a real castle and you're excited about playing with a | 0:04:18 | 0:04:20 | |
lot of the musicians that have been around. How have you found that? | 0:04:20 | 0:04:23 | |
-Well, they're all monster players, I'll tell you that. -HE LAUGHS | 0:04:23 | 0:04:26 | |
-It's nice to walk in... -Is that a good or bad thing, Lisa? | 0:04:26 | 0:04:28 | |
-A good thing. -That's a good thing. -Yeah, | 0:04:28 | 0:04:30 | |
that's a very good thing. When you're a monster player, | 0:04:30 | 0:04:33 | |
it's like... You just go like this, you bow down. | 0:04:33 | 0:04:35 | |
Being from Canada, you're from Nova Scotia... | 0:04:35 | 0:04:38 | |
What type of music is your music, what's your roots? | 0:04:38 | 0:04:41 | |
We've got Scottish roots. I mean, Lisa being from Cape Breton | 0:04:41 | 0:04:44 | |
and my father from Cape Breton, we both grew up listening to | 0:04:44 | 0:04:47 | |
tons of, of Scottish Irish tunes. And I think | 0:04:47 | 0:04:51 | |
it just kind of made its way into our melodies | 0:04:51 | 0:04:54 | |
and what we write today. | 0:04:54 | 0:04:56 | |
It's like it's coming right through us. It's just there, | 0:04:56 | 0:04:59 | |
you can't ignore it. You wouldn't want to ignore it. | 0:04:59 | 0:05:01 | |
Why would you want to? | 0:05:01 | 0:05:03 | |
CHEERING AND APPLAUSE | 0:05:03 | 0:05:05 | |
# No poetry | 0:05:23 | 0:05:25 | |
# No fire | 0:05:28 | 0:05:30 | |
# No telling you're tired | 0:05:33 | 0:05:35 | |
# No litter | 0:05:39 | 0:05:41 | |
# No gold | 0:05:44 | 0:05:46 | |
# No growing old | 0:05:49 | 0:05:51 | |
# It's not a bad world, brother | 0:05:54 | 0:05:57 | |
# It's not a bad world | 0:05:59 | 0:06:05 | |
# Crying your eyes out | 0:06:06 | 0:06:08 | |
# It's all about crying your eyes out | 0:06:10 | 0:06:13 | |
# So cry on me now | 0:06:15 | 0:06:18 | |
# Cry on me now | 0:06:20 | 0:06:24 | |
# No shepherd | 0:06:26 | 0:06:28 | |
# No shame | 0:06:32 | 0:06:33 | |
# No pictures to frame | 0:06:36 | 0:06:38 | |
# No fix | 0:06:42 | 0:06:43 | |
# No glory | 0:06:48 | 0:06:49 | |
# No telling your story | 0:06:52 | 0:06:55 | |
# It's not a bad world, brother | 0:06:57 | 0:07:01 | |
# It's not a bad world | 0:07:02 | 0:07:08 | |
# Crying your eyes out | 0:07:09 | 0:07:12 | |
# It's all about crying your eyes out | 0:07:13 | 0:07:17 | |
# So cry on me now | 0:07:18 | 0:07:22 | |
# Cry on me now | 0:07:24 | 0:07:27 | |
# Now that you're gone | 0:07:52 | 0:07:54 | |
# I hope you get a chance | 0:07:54 | 0:07:57 | |
# To sit down with God | 0:07:57 | 0:08:00 | |
# I hope you get a chance to question the man in cloth | 0:08:00 | 0:08:06 | |
# Cos it's not a bad world, brother | 0:08:06 | 0:08:10 | |
# It's not a bad world, brother | 0:08:11 | 0:08:15 | |
# It's not a bad world, brother | 0:08:16 | 0:08:20 | |
# It's not a bad world | 0:08:22 | 0:08:27 | |
# Crying your eyes out | 0:08:28 | 0:08:32 | |
# It's all about crying your eyes out | 0:08:32 | 0:08:36 | |
# So cry on me now | 0:08:38 | 0:08:41 | |
# Cry on me | 0:08:43 | 0:08:45 | |
# Crying your eyes out | 0:08:45 | 0:08:47 | |
# It's all about crying your eyes out | 0:08:48 | 0:08:52 | |
# So cry on me now | 0:08:54 | 0:08:57 | |
# Cry on me now. # | 0:08:59 | 0:09:04 | |
CHEERING AND APPLAUSE | 0:09:04 | 0:09:06 | |
So, Diane and Emma, it's great to have international musicians here | 0:09:09 | 0:09:13 | |
from both sides of the Atlantic, | 0:09:13 | 0:09:15 | |
but for me, it's fantastic to have two local girls, | 0:09:15 | 0:09:18 | |
so, where are you from, what is local? | 0:09:18 | 0:09:20 | |
Ballymena, both from Ballymena - born and bred. | 0:09:20 | 0:09:23 | |
We've been playing together since we were in primary school | 0:09:23 | 0:09:26 | |
and all through secondary school and university. | 0:09:26 | 0:09:28 | |
And then I moved away, I was in Liverpool for three years, | 0:09:28 | 0:09:31 | |
so I did my teaching degree. I'm just home there in July, | 0:09:31 | 0:09:34 | |
so we are basically just reunited. | 0:09:34 | 0:09:35 | |
SHE CHUCKLES | 0:09:35 | 0:09:37 | |
Reunited... A bit of a reunion, coming back together | 0:09:37 | 0:09:39 | |
-just for us here on The Castle Sessions. -Yep. | 0:09:39 | 0:09:42 | |
Auch, you're so good, so good! LAUGHTER | 0:09:42 | 0:09:44 | |
I, personally, know that there was a lot of good fiddle players | 0:09:44 | 0:09:47 | |
in County Antrim, but not so much of the young generation | 0:09:47 | 0:09:50 | |
seem to be coming through playing fiddle, how did you get | 0:09:50 | 0:09:52 | |
into playing traditional fiddle? | 0:09:52 | 0:09:54 | |
I think it kind of came from... When we learnt the fiddle, | 0:09:54 | 0:09:57 | |
my dad would be an accordion player. So, he would have played... | 0:09:57 | 0:10:00 | |
You know, in low-key things like Arthur Cottage | 0:10:00 | 0:10:02 | |
-in Cullybackey, things like that there would... -Church halls. -Church halls and... | 0:10:02 | 0:10:05 | |
We would have went up with him and played... | 0:10:05 | 0:10:08 | |
More so old-time music like Grandfather's Clock | 0:10:08 | 0:10:10 | |
and all those kind of... | 0:10:10 | 0:10:11 | |
-Maggie and all those... -Old favourites. | 0:10:11 | 0:10:13 | |
And then from that, we just kind of developed a love of folk music | 0:10:13 | 0:10:15 | |
and traditional music... | 0:10:15 | 0:10:17 | |
We play loads of Scottish tunes. We love Scottish tunes. | 0:10:17 | 0:10:20 | |
The set that you're playing - it actually starts with | 0:10:20 | 0:10:22 | |
the 2/4 march Stella's Trip To Kamloops. | 0:10:22 | 0:10:25 | |
It's a little bit different, how did you come across that tune? | 0:10:25 | 0:10:27 | |
Well, we actually picked that one up when we were looking, | 0:10:27 | 0:10:30 | |
researching for music for uni, when we were doing performance. | 0:10:30 | 0:10:33 | |
We heard that one on a John McCusker CD. | 0:10:33 | 0:10:35 | |
And we picked it and started to arrange... | 0:10:35 | 0:10:38 | |
With a couple of different sets and... | 0:10:38 | 0:10:40 | |
-Put your own stamp on it? -Yeah. -Yeah. | 0:10:40 | 0:10:42 | |
APPLAUSE | 0:10:42 | 0:10:43 | |
CHEERING | 0:12:40 | 0:12:42 | |
CHEERING AND APPLAUSE | 0:14:10 | 0:14:12 | |
We Banjo 3 - you're four lads from Galway. | 0:14:21 | 0:14:23 | |
I suppose, with banjo...the clue is maybe in the title, | 0:14:23 | 0:14:26 | |
but what else are you using? | 0:14:26 | 0:14:28 | |
We Banjo 3 is a four-piece band with two banjo players, | 0:14:28 | 0:14:31 | |
Fergal plays the fiddle and I play guitar as well. | 0:14:31 | 0:14:33 | |
-So, it makes perfect sense. -We focus a lot on having fun with the music | 0:14:33 | 0:14:36 | |
and I suppose we pick tunes that are fun and we... | 0:14:36 | 0:14:40 | |
We just enjoy it. The banjo is kind of a fun instrument. | 0:14:40 | 0:14:43 | |
And the fiddle is there to make the banjo sound nice, I suppose. | 0:14:43 | 0:14:46 | |
LAUGHTER | 0:14:46 | 0:14:48 | |
So, you make these guys sound good, is that what you're saying, then? | 0:14:48 | 0:14:51 | |
No, not sound good. They're good. I just make them sound nice. | 0:14:51 | 0:14:53 | |
LAUGHTER | 0:14:53 | 0:14:55 | |
We like to have fun with it and we really enjoy ourselves on stage. | 0:14:55 | 0:14:58 | |
And when we're having fun on stage, then the audience has no choice but | 0:14:58 | 0:15:01 | |
to come with us and have fun too. | 0:15:01 | 0:15:03 | |
You know, we love the tones and the atmosphere of, you know, | 0:15:03 | 0:15:07 | |
old-time music and bluegrass music. | 0:15:07 | 0:15:10 | |
And obviously there's, you know, those long connections between | 0:15:10 | 0:15:12 | |
Irish musicians and American musicians and the travelling Irish, | 0:15:12 | 0:15:15 | |
the travelling Scots. And you know, each one influencing the | 0:15:15 | 0:15:19 | |
other musical traditions. | 0:15:19 | 0:15:21 | |
APPLAUSE | 0:15:21 | 0:15:22 | |
# Oh, the fox went out on a chilly night | 0:16:20 | 0:16:22 | |
# And he prayed that the moon would give him light | 0:16:22 | 0:16:25 | |
# For he had many miles to go that night | 0:16:25 | 0:16:27 | |
# Before he reached the town-o | 0:16:27 | 0:16:28 | |
# The town-o, the town-o | 0:16:28 | 0:16:30 | |
# Many a mile to go that night before he reached the town-o | 0:16:30 | 0:16:35 | |
# He went till he came to the farmer's den | 0:16:35 | 0:16:38 | |
# And the ducks and the geese were kept therein | 0:16:38 | 0:16:40 | |
# He said, "A couple o' you are gonna grease my chin | 0:16:40 | 0:16:43 | |
# "Before I leave this town-o" | 0:16:43 | 0:16:45 | |
# Town-o, town-o | 0:16:45 | 0:16:46 | |
# A couple o' you are gonna grease my chin before I leave this town-o | 0:16:46 | 0:16:50 | |
# He grabbed the grey goose by the neck | 0:17:04 | 0:17:06 | |
# And he threw a duck across his back | 0:17:06 | 0:17:09 | |
# And he didn't mind the quack, quack, quack | 0:17:09 | 0:17:11 | |
# And the legs all danglin' down-o, down-o, down-o | 0:17:11 | 0:17:15 | |
# And he didn't mind the quack, quack, quack | 0:17:15 | 0:17:17 | |
# And the legs all danglin' down-o | 0:17:17 | 0:17:19 | |
# Oh, the old grey mother she jumped out at him | 0:17:19 | 0:17:21 | |
# Out of the window she popped her head | 0:17:21 | 0:17:24 | |
# Cryin, "John, John, the grey goose is gone and the fox is on the town-o" | 0:17:24 | 0:17:27 | |
# Town-o, town-o | 0:17:27 | 0:17:29 | |
# John, John, the grey goose is gone and the fox is on the town-o | 0:17:29 | 0:17:33 | |
# Oh, went back down to the den where the little ones there | 0:17:49 | 0:17:52 | |
# 8, 9, 10 saying, "Daddy, Daddy better go back again | 0:17:52 | 0:17:55 | |
# "It must be a mighty fine town-o, town-o, town-o" | 0:17:55 | 0:17:59 | |
# Daddy, Daddy better go back again, it must be a mighty fine town-o | 0:17:59 | 0:18:03 | |
# Oh, the fox and his wife without any strife | 0:18:03 | 0:18:05 | |
# They cut up the goose with a fork and knife and they never had | 0:18:05 | 0:18:08 | |
# Such a supper in their life | 0:18:08 | 0:18:10 | |
# And the little ones chewed on the bones-o, bones-o, bones-o | 0:18:10 | 0:18:13 | |
# They never had such a supper in their life | 0:18:13 | 0:18:16 | |
# And the little ones chewed on the bones-o... # | 0:18:16 | 0:18:18 | |
Ha! | 0:18:18 | 0:18:20 | |
Hup! | 0:18:31 | 0:18:33 | |
Ha! | 0:19:13 | 0:19:14 | |
CHEERING AND APPLAUSE | 0:19:36 | 0:19:37 | |
Andrew Carlisle, you've won all sorts of championships and solos | 0:19:42 | 0:19:45 | |
all over the world. Played with the ten-times world champions | 0:19:45 | 0:19:48 | |
Field Marshal Montgomery Pipe Band - | 0:19:48 | 0:19:50 | |
but what you're doing here is very different to that. | 0:19:50 | 0:19:52 | |
Yeah, it's great. | 0:19:52 | 0:19:54 | |
And I really enjoy getting to play with other musicians | 0:19:54 | 0:19:57 | |
that you wouldn't get the opportunity to do Highland pipes, | 0:19:57 | 0:20:00 | |
but I'm glad, as well, that we're able to show what the | 0:20:00 | 0:20:02 | |
Highland Pipes can do, you know. | 0:20:02 | 0:20:04 | |
The Field Marshal Montgomery band under the control | 0:20:04 | 0:20:06 | |
-of Pipe Major Richard Parkes. -Yeah, it's great having him in the show, | 0:20:06 | 0:20:09 | |
you know, he's been a huge influence in my career, you know, | 0:20:09 | 0:20:12 | |
and he used to teach me, actually, at the | 0:20:12 | 0:20:15 | |
Northern Ireland Piping and Drumming School and... | 0:20:15 | 0:20:18 | |
Yeah, he's actually related to me as well... | 0:20:18 | 0:20:20 | |
HE CHUCKLES | 0:20:20 | 0:20:21 | |
-So, it's in the genes already, is that what you're saying? -Well... -APPLAUSE | 0:20:21 | 0:20:25 | |
CHEERING AND APPLAUSE | 0:23:04 | 0:23:06 | |
Rachel McLeister, you're a girl I know from the pipe band world, | 0:23:11 | 0:23:15 | |
-that's how I know you. -Uh-hm. | 0:23:15 | 0:23:17 | |
Erm, yeah, well, I'm from Cullybackey, that's where I've | 0:23:17 | 0:23:20 | |
lived all my life. And erm, a few years back... | 0:23:20 | 0:23:23 | |
It would be five years now... I joined the pipe band | 0:23:23 | 0:23:26 | |
because my brother was in it and he loved it. | 0:23:26 | 0:23:28 | |
I play as a tenor drummer, my brother he's a snare drummer. | 0:23:28 | 0:23:31 | |
I perform with the pipe band at competitions and other things. | 0:23:31 | 0:23:34 | |
I was in Switzerland playing at a tattoo - a military tattoo | 0:23:34 | 0:23:38 | |
alongside other musicians from across the world, | 0:23:38 | 0:23:41 | |
other pipe bands with me. Whenever I was asked to sing, you know, | 0:23:41 | 0:23:45 | |
a folk song in a castle it was different for me. | 0:23:45 | 0:23:48 | |
# When midnight comes and people homeward tread | 0:23:55 | 0:24:04 | |
# Seek now your blanket and your feather bed | 0:24:04 | 0:24:12 | |
# Home is a rover | 0:24:12 | 0:24:16 | |
# His journey's over | 0:24:16 | 0:24:22 | |
# And yield up the night-time to old John O'Dreams | 0:24:22 | 0:24:30 | |
# Yield up the night-time to old John O'Dreams | 0:24:30 | 0:24:38 | |
# Across the hill the sun has gone astray | 0:24:41 | 0:24:49 | |
# Tomorrow's cares are many dreams away | 0:24:49 | 0:24:58 | |
# The stars are flying your candle is dying | 0:24:58 | 0:25:06 | |
# And yield up the darkness to old John O'Dreams | 0:25:08 | 0:25:16 | |
# Yield up the darkness to old John O'Dreams | 0:25:17 | 0:25:25 | |
# Both man and master in the night are one | 0:25:34 | 0:25:41 | |
# All things are equal when the day is done | 0:25:42 | 0:25:51 | |
# The prince and the ploughman the slave and the free man | 0:25:51 | 0:25:59 | |
# All find their comfort in old John O'Dreams | 0:26:00 | 0:26:09 | |
# All find their comfort in old John O'Dreams | 0:26:09 | 0:26:17 | |
# When sleep it comes the dreams come running clear | 0:26:44 | 0:26:52 | |
# The hawks of morning cannot reach you here | 0:26:52 | 0:27:00 | |
# Sleep is a river, flow on forever | 0:27:00 | 0:27:08 | |
# And for your boatman choose old John O'Dreams | 0:27:08 | 0:27:16 | |
# And for your boatman choose old John O'Dreams. # | 0:27:16 | 0:27:24 | |
CHEERING AND APPLAUSE | 0:27:28 | 0:27:32 | |
Ailie Robertson, you've come over from Scotland, you're | 0:27:35 | 0:27:38 | |
one of our guests from across the seas, but just a little bit | 0:27:38 | 0:27:40 | |
of sea between here and Scotland, where are you from? | 0:27:40 | 0:27:43 | |
-I'm from Edinburgh, originally. -From Edinburgh and now living in London, | 0:27:43 | 0:27:46 | |
but touring all round the world playing...your harp. | 0:27:46 | 0:27:49 | |
Yeah, half the year I'm on tour with a band called The Outside Track, | 0:27:49 | 0:27:52 | |
and then the rest of the time I'm between London and Scotland. | 0:27:52 | 0:27:54 | |
Ailie, people would associate the harp with Irish music, as a symbol of Irish music, | 0:27:54 | 0:27:58 | |
but it's important in Scottish musical history, too. | 0:27:58 | 0:28:00 | |
That's right, the harp is Scotland's oldest traditional instrument, | 0:28:00 | 0:28:03 | |
it predates the bagpipes or any of the other instruments, | 0:28:03 | 0:28:06 | |
and so it's been a huge part of our musical heritage | 0:28:06 | 0:28:08 | |
and our musical history. | 0:28:08 | 0:28:09 | |
And the music of Scotland and Ireland has gone back | 0:28:09 | 0:28:12 | |
and forth many times, and the harp tradition is a big part of that. | 0:28:12 | 0:28:14 | |
And, Ailie, you're going to play for us a set of dance tunes. Tell us a little bit about that set. | 0:28:14 | 0:28:18 | |
That's right, I'm going to play a set that's two jigs and then a slip jig. | 0:28:18 | 0:28:22 | |
So the first tune is called The Exploding Bow. | 0:28:22 | 0:28:24 | |
The second is Lisnagun and then the third tune is a tune | 0:28:24 | 0:28:27 | |
that I wrote - called Swerving For Bunnies, | 0:28:27 | 0:28:29 | |
which I wrote for my band after I totalled our car trying to | 0:28:29 | 0:28:32 | |
avoid some rabbits on the road! | 0:28:32 | 0:28:34 | |
CHEERING | 0:28:34 | 0:28:36 | |
CHEERING | 0:31:21 | 0:31:22 | |
Andy, you're now Professor of Music at Carnegie Mellon University | 0:31:25 | 0:31:29 | |
in America. The university itself has Ulster Scots' connections. | 0:31:29 | 0:31:33 | |
It does indeed, yeah. | 0:31:33 | 0:31:34 | |
Well, Andrew Carnegie was from Dunfermline in Scotland, | 0:31:34 | 0:31:38 | |
but the Mellon family - Thomas Mellon, they were from | 0:31:38 | 0:31:42 | |
the Omagh area. So, yeah, we've got a lot of traditional ties with, | 0:31:42 | 0:31:45 | |
with Northern Ireland and with Scotland, of course, you know, | 0:31:45 | 0:31:48 | |
with Andrew Carnegie and, you know, I guess that's one of the reasons | 0:31:48 | 0:31:52 | |
why the university has a pipe band and I get to teach | 0:31:52 | 0:31:56 | |
a lot of these American students a little bit about the, | 0:31:56 | 0:31:59 | |
the traditions that we have here in the province of Ulster. | 0:31:59 | 0:32:02 | |
CHEERING AND APPLAUSE | 0:35:07 | 0:35:09 | |
It's great to play music with Andy, great piper and... | 0:35:14 | 0:35:18 | |
It's just a lot of energy and a lot of craic and it's good fun. | 0:35:18 | 0:35:21 | |
It's always good to play music, all sorts of music. | 0:35:21 | 0:35:24 | |
And as well as playing, you're singing a song for us. | 0:35:24 | 0:35:27 | |
I didn't really know you were a singer, Gino, | 0:35:27 | 0:35:29 | |
but a man of many, many hidden talents. | 0:35:29 | 0:35:31 | |
HE CHUCKLES | 0:35:31 | 0:35:32 | |
The song I'm singing has a lot of influences from the Ulster Scots | 0:35:32 | 0:35:35 | |
in America - Turn Me Loose, Doc Pomus song. | 0:35:35 | 0:35:38 | |
Bluegrass, sort of country swing to it. | 0:35:38 | 0:35:40 | |
So it will be fun. | 0:35:40 | 0:35:41 | |
CHEERING | 0:35:41 | 0:35:43 | |
# Turn me loose, turn me loose, I say | 0:35:49 | 0:35:53 | |
# Today, Jack, is gonna be the day I want you all to understand | 0:35:53 | 0:35:58 | |
# That I'm your man, so turn me loose | 0:35:58 | 0:36:02 | |
# Oh, turn me loose, turn me loose, I say | 0:36:03 | 0:36:08 | |
# Gonna rock and roll as long as this band is gonna play | 0:36:08 | 0:36:11 | |
# I'm gonna holler I'm gonna shout knock myself right out | 0:36:11 | 0:36:15 | |
# Turn me loose | 0:36:15 | 0:36:16 | |
# I got change in my pocket | 0:36:18 | 0:36:20 | |
# I'm ready to go, I'm gonna take my baby to a movie show | 0:36:21 | 0:36:26 | |
# And when I take her home I'm gonna kiss her goodnight | 0:36:26 | 0:36:29 | |
# Turn me loose, turn me loose, turn me loose and let me go | 0:36:29 | 0:36:33 | |
# Turn me loose | 0:36:33 | 0:36:35 | |
# Turn me loose, I say | 0:36:35 | 0:36:38 | |
# Today, Jack, is gonna be the day | 0:36:38 | 0:36:41 | |
# I want you all to understand, yeah | 0:36:41 | 0:36:43 | |
# That I'm your man... # | 0:36:43 | 0:36:45 | |
Some piano, Brian, some piano! Thank you very much! | 0:36:45 | 0:36:48 | |
# I got change in my pocket, I'm ready to go | 0:37:02 | 0:37:07 | |
# Gonna take my baby to a movie show, yeah | 0:37:07 | 0:37:10 | |
# And when I take her home I'm gonna kiss her goodnight | 0:37:10 | 0:37:14 | |
# Turn me loose, turn me loose, turn me loose and let me go | 0:37:14 | 0:37:17 | |
# Turn me loose | 0:37:17 | 0:37:19 | |
# Oh, turn me loose, I say | 0:37:19 | 0:37:21 | |
# Today, Jack, is gonna be the day | 0:37:21 | 0:37:25 | |
# I want you all to understand, yeah | 0:37:25 | 0:37:27 | |
# That I'm your man, so turn me loose... # | 0:37:27 | 0:37:29 | |
Some pipes, Mr Monaghan, some pipes, please! | 0:37:29 | 0:37:31 | |
# I got change in my pocket | 0:37:47 | 0:37:50 | |
# I'm ready to go | 0:37:50 | 0:37:51 | |
# Gonna take my baby to a movie show | 0:37:51 | 0:37:54 | |
# And when I take her home I'm gonna kiss her goodnight | 0:37:54 | 0:37:58 | |
# Turn me loose, turn me loose, turn me loose, oh let me go | 0:37:58 | 0:38:02 | |
# Turn me loose | 0:38:02 | 0:38:04 | |
# Turn me loose, I say | 0:38:04 | 0:38:06 | |
# Today, Jack, is gonna be the day | 0:38:06 | 0:38:10 | |
# I want you all to understand, yeah, that I'm your man | 0:38:10 | 0:38:13 | |
# So turn me loose... # | 0:38:13 | 0:38:14 | |
Sell me one, Frank, sell me one! | 0:38:14 | 0:38:16 | |
# I got change in my pocket | 0:38:31 | 0:38:34 | |
# I'm ready to go | 0:38:34 | 0:38:36 | |
# Gonna take my baby to a movie show | 0:38:36 | 0:38:39 | |
# And when I get her home I'm gonna kiss her goodnight | 0:38:39 | 0:38:43 | |
# Turn me loose, turn me loose, turn me loose, oh let me go | 0:38:43 | 0:38:46 | |
# Turn me loose | 0:38:46 | 0:38:48 | |
# Turn me loose, I say | 0:38:48 | 0:38:50 | |
# Gonna rock and roll as long as this band is gonna play | 0:38:50 | 0:38:54 | |
# Gonna holler, gonna shout, gonna knock myself right out | 0:38:54 | 0:38:57 | |
# So turn me loose | 0:38:57 | 0:38:59 | |
# I'm gonna holler, gonna shout | 0:39:01 | 0:39:03 | |
# Knock myself right out, so turn me loose | 0:39:03 | 0:39:06 | |
# I'm gonna holler, gonna shout | 0:39:08 | 0:39:10 | |
# And knock myself right out | 0:39:10 | 0:39:12 | |
# So turn me loose | 0:39:16 | 0:39:21 | |
# Oooo! # | 0:39:21 | 0:39:27 | |
CHEERING AND APPLAUSE | 0:39:31 | 0:39:33 | |
Andy, you play a lot more than the Highland pipes, | 0:39:36 | 0:39:39 | |
especially in a scenario like this, | 0:39:39 | 0:39:42 | |
where you've to accompany so many other musicians and... | 0:39:42 | 0:39:44 | |
I mean, you've whistles and you've Lowland pipes, | 0:39:44 | 0:39:47 | |
-you've all sorts of stuff going on. -Yeah, well, I mean... | 0:39:47 | 0:39:50 | |
The Highland pipes have some disadvantages in that, one, | 0:39:50 | 0:39:54 | |
they are very loud and two, they're in kind of awkward keys for a lot | 0:39:54 | 0:39:58 | |
of other instruments, you know, B-flat, E-flat, C-minor, F-minor. | 0:39:58 | 0:40:03 | |
Um...and the Lowland pipes lend themselves a lot easier to be | 0:40:03 | 0:40:06 | |
accompanied, because they're quieter. | 0:40:06 | 0:40:09 | |
CHEERING | 0:43:04 | 0:43:05 | |
You said about roots music and a lot of that kind of bluegrass | 0:43:07 | 0:43:10 | |
and roots music is very prevalent down through | 0:43:10 | 0:43:13 | |
the Appalachian Mountains in the United States. | 0:43:13 | 0:43:15 | |
Their music is so deeply intertwined with ours, | 0:43:15 | 0:43:17 | |
in that, you know, it was the Irish immigrants when they met, | 0:43:17 | 0:43:20 | |
and the Scottish immigrants when they met and all these people, | 0:43:20 | 0:43:23 | |
and they fused that beautiful music up in the mountains | 0:43:23 | 0:43:25 | |
and then out of that came bluegrass and the modern American music. | 0:43:25 | 0:43:29 | |
So, with that in mind, I think everyone kind of gets a... | 0:43:29 | 0:43:32 | |
feeling of connectivity from the music that we play. | 0:43:32 | 0:43:35 | |
CHEERING | 0:43:35 | 0:43:37 | |
# Don't you hear the train coming? | 0:43:57 | 0:43:59 | |
# Coming down the track | 0:43:59 | 0:44:01 | |
# On a one-way journey | 0:44:01 | 0:44:03 | |
# Ain't coming back | 0:44:03 | 0:44:05 | |
# I'm talking about the love train | 0:44:05 | 0:44:07 | |
# Coming round the bend | 0:44:09 | 0:44:13 | |
# Tell your mother and your brother | 0:44:13 | 0:44:15 | |
# Tell your sister's brother's children, tell your friends | 0:44:15 | 0:44:19 | |
# Stop whatever you're doing cos the train won't wait | 0:44:20 | 0:44:24 | |
# I gotta get on board before it's too late | 0:44:24 | 0:44:28 | |
# I'm talking about a love train | 0:44:28 | 0:44:31 | |
# Coming round the bend | 0:44:31 | 0:44:34 | |
# Oh, there's room for everybody whether you're rich or poor | 0:44:35 | 0:44:38 | |
# Weak or strong | 0:44:38 | 0:44:44 | |
# Open the door, open the door, open the door, get on board | 0:44:44 | 0:44:48 | |
# Oh, oh, oh open the door | 0:44:49 | 0:44:52 | |
# Open the door, open the door | 0:44:52 | 0:44:54 | |
# Get on board | 0:44:54 | 0:44:56 | |
# Stop whatever you're doing | 0:45:20 | 0:45:22 | |
# Cos the train won't wait | 0:45:22 | 0:45:24 | |
# I'm gonna get on board before it's too late | 0:45:24 | 0:45:27 | |
# I'm talking about a love train | 0:45:27 | 0:45:30 | |
# Coming round the bend | 0:45:31 | 0:45:33 | |
# Oh, there's room for everybody, whether you're rich or poor | 0:45:35 | 0:45:39 | |
# Weak or strong | 0:45:39 | 0:45:42 | |
# Open the door, open the door, open the door | 0:45:44 | 0:45:46 | |
# Get on board | 0:45:46 | 0:45:48 | |
# Whoa, open the door, open the door, open the door | 0:45:49 | 0:45:53 | |
# Open the door! Get on board | 0:45:53 | 0:45:55 | |
# Oh | 0:46:18 | 0:46:20 | |
# This train is bound by a land of milk and honey | 0:46:20 | 0:46:24 | |
# Don't you wanna go? Don't you wanna go? | 0:46:24 | 0:46:28 | |
# You can get on board | 0:46:28 | 0:46:29 | |
# Don't need no money | 0:46:29 | 0:46:31 | |
# Need a whole lot of love | 0:46:31 | 0:46:34 | |
# Don't you hear the train coming? | 0:46:40 | 0:46:42 | |
# Coming down the track | 0:46:42 | 0:46:44 | |
# On a one-way journey | 0:46:44 | 0:46:46 | |
# Ain't coming back | 0:46:46 | 0:46:48 | |
# I'm talking about a love train | 0:46:48 | 0:46:51 | |
# Coming round the bend | 0:46:51 | 0:46:55 | |
# Oh, tell your mother and your brother | 0:46:55 | 0:46:57 | |
# Tell your sister's brother's children, tell your friends! | 0:46:57 | 0:47:02 | |
# Open the door, open the door | 0:47:04 | 0:47:06 | |
# Open the door | 0:47:06 | 0:47:07 | |
# Get on board | 0:47:07 | 0:47:09 | |
# Oh, open the door, open the door, open the door | 0:47:10 | 0:47:15 | |
# Open the door, open the door, open the door | 0:47:15 | 0:47:18 | |
# Open the door, open the door, open the door | 0:47:18 | 0:47:22 | |
# Get on board | 0:47:22 | 0:47:24 | |
# Get on board | 0:47:24 | 0:47:26 | |
# Get on board, oh, get on board. # | 0:47:26 | 0:47:28 | |
CHEERING | 0:47:28 | 0:47:31 | |
The way trad players accompany fiddle tunes over here | 0:47:36 | 0:47:38 | |
-is different than they do at home, back in Cape Breton. -What's that difference, Brenley? | 0:47:38 | 0:47:42 | |
The push is somewhere else, it's not like... | 0:47:42 | 0:47:45 | |
It's like a different kind of a... It almost comes earlier. | 0:47:45 | 0:47:48 | |
I'm not sure what it is, but I love it! | 0:47:48 | 0:47:50 | |
Is it a little more driven, in style? | 0:47:50 | 0:47:52 | |
-It is, it's so... -Yeah. -And it moves and it really makes it... | 0:47:52 | 0:47:55 | |
Rather than going like... Ta-con-tika-du... | 0:47:55 | 0:47:57 | |
It's like do-tika-tika-pa, du-du-du! | 0:47:57 | 0:48:00 | |
-Yeah! -And it's really... It really... | 0:48:00 | 0:48:02 | |
It's exciting. | 0:48:02 | 0:48:03 | |
One of the songs you're doing is Small Of My Heart, | 0:48:03 | 0:48:06 | |
tell us a little bit about that song. | 0:48:06 | 0:48:08 | |
Well, my... The town that I grew up in is called Kincardine, | 0:48:08 | 0:48:11 | |
which is a little Scottish town on the shores of Lake Huron. | 0:48:11 | 0:48:14 | |
And we were in Australia on tour, and there were... | 0:48:14 | 0:48:19 | |
They had got a call, basically, to say that... | 0:48:19 | 0:48:21 | |
asking us to write a song about... | 0:48:21 | 0:48:23 | |
about Kincardine, because we were celebrating our bicentennial. | 0:48:23 | 0:48:27 | |
So, we wrote this tune and it really kind of comes from | 0:48:27 | 0:48:31 | |
the little changes that have happened on the town. | 0:48:31 | 0:48:33 | |
The bus station has moved from one street to the other. | 0:48:33 | 0:48:36 | |
There's a Saturday parade that comes through town, a... | 0:48:36 | 0:48:39 | |
-Like a band. -It's a parade of pipers... -Yeah. | 0:48:39 | 0:48:42 | |
So, basically, the whole community gets together downtown. | 0:48:42 | 0:48:46 | |
And... And it's about two-blocks long, the whole downtown. | 0:48:46 | 0:48:49 | |
And everybody gets behind, lines up the street | 0:48:49 | 0:48:52 | |
and gets behind the pipers and they pipe down and everybody walks. | 0:48:52 | 0:48:55 | |
And then they sort of get munched up a little bit | 0:48:55 | 0:48:57 | |
and then they turn around and everybody follows them back to the other end of town. | 0:48:57 | 0:49:01 | |
There's a place in Fife in Scotland called Kincardine, as well. | 0:49:01 | 0:49:04 | |
There is, I believe it's named after... | 0:49:04 | 0:49:05 | |
I remember seeing Kincardine Bridge the first time we were in Scotland. And then I saw... | 0:49:05 | 0:49:10 | |
I was, like, "Well, there comes the name - Kincardine!" | 0:49:10 | 0:49:13 | |
APPLAUSE | 0:49:13 | 0:49:16 | |
# Whenever I'm away I keep you in the small of my heart | 0:49:30 | 0:49:34 | |
# The small of my heart | 0:49:36 | 0:49:38 | |
# Whenever I'm away I keep you in the small of my heart | 0:49:43 | 0:49:47 | |
# The small of my heart | 0:49:49 | 0:49:52 | |
# Well, the bus don't stop on Harbour Street from now on | 0:49:55 | 0:49:59 | |
# The lake is low | 0:50:02 | 0:50:03 | |
# The robins' song have all been sung | 0:50:03 | 0:50:07 | |
# Still I'm looking out for traffic just to drive slow | 0:50:08 | 0:50:13 | |
# Cos when I leave It's hard to let you go | 0:50:16 | 0:50:19 | |
# Whenever I'm away I keep you in the small of my heart | 0:50:23 | 0:50:27 | |
# The small of my heart | 0:50:29 | 0:50:30 | |
# Whenever I'm away I keep you in the small of my heart | 0:50:36 | 0:50:40 | |
# The small of my heart | 0:50:42 | 0:50:44 | |
# I haven't been up number nine for months | 0:50:48 | 0:50:52 | |
# But the sign says "You're a stranger only once" | 0:50:55 | 0:50:59 | |
# I've been practising the front crawl | 0:51:01 | 0:51:05 | |
# To swim out to the breakwall | 0:51:05 | 0:51:09 | |
# Whenever I'm away I keep you in the small of my heart | 0:51:16 | 0:51:20 | |
# The small of my heart | 0:51:22 | 0:51:24 | |
# Whenever I'm away I keep you in the small of my heart | 0:51:29 | 0:51:33 | |
# The small of my heart | 0:51:35 | 0:51:37 | |
# Ooh, ooh, ooh | 0:51:42 | 0:51:46 | |
# Ooh, ooh-ooh-ooh, ooh | 0:51:49 | 0:51:53 | |
# Ooh, ooh, ooh | 0:51:55 | 0:51:59 | |
# Ooh, ooh-ooh-ooh, ooh | 0:52:01 | 0:52:06 | |
# Saturday parade sure gonna bring out the crowds | 0:52:09 | 0:52:13 | |
# And we'll march towards the light behind the clouds | 0:52:15 | 0:52:18 | |
# No, I've never seen the sun come down | 0:52:21 | 0:52:26 | |
# Quite like the way it does in my home town | 0:52:27 | 0:52:32 | |
# Whenever I'm away I keep you in the small of my heart | 0:52:36 | 0:52:40 | |
# The small of my heart | 0:52:42 | 0:52:44 | |
# Whenever I'm away I keep you in the small of my heart | 0:52:50 | 0:52:54 | |
# The small of my heart. # | 0:52:55 | 0:52:58 | |
CHEERING AND APPLAUSE | 0:53:03 | 0:53:06 | |
'You mentioned about the pipers parading in Kincardine, but today,' | 0:53:06 | 0:53:10 | |
you are having to play with pipers in B Flat and E Flat. | 0:53:10 | 0:53:12 | |
That is usually a little bit different from most trad players. | 0:53:12 | 0:53:15 | |
I have a capo, so that solves all problems! Doesn't matter! | 0:53:15 | 0:53:18 | |
-And for you, Lisa? -I have a set of hands! | 0:53:18 | 0:53:20 | |
ALL LAUGH | 0:53:20 | 0:53:22 | |
'It is always good fun to have everybody' | 0:53:23 | 0:53:25 | |
driving away at the end. So, looking forward to that. | 0:53:25 | 0:53:28 | |
I'll be ramping away on the chords! | 0:53:28 | 0:53:30 | |
There is some great piping going on. so we are pretty excited to play | 0:53:32 | 0:53:35 | |
some Scottish music. | 0:53:35 | 0:53:37 | |
Andy, great to have you back home again. | 0:53:39 | 0:53:41 | |
I love coming back here and really enjoy getting to play with the other | 0:53:41 | 0:53:45 | |
musicians that we have here. | 0:53:45 | 0:53:47 | |
'Ladies and gentlemen, I hope you have enjoyed the music and song' | 0:55:58 | 0:56:02 | |
you have heard this evening. | 0:56:02 | 0:56:03 | |
Safe home and please put your hands together, one more time, | 0:56:03 | 0:56:06 | |
for all the fabulous musicians from both sides of the Atlantic. | 0:56:06 | 0:56:10 | |
CHEERING AND APPLAUSE | 0:56:10 | 0:56:14 | |
CHEERING AND APPLAUSE | 0:58:17 | 0:58:22 |