TIR NA NOG

A short three years later and I am playing it, and then comparing it back to their debut from 1971. They may have mellowed slightly, and have a warmer sound, but there is no doubting that this is a direct continuation from their earlier works. They were rightly seen as one of the most important bands coming out of the folk scene, alongside contemporaries Incredible String Band and Fairport Convention, and here show that they have lost none of their desire for experimentation as they happily sit between folk and prog folk, and fans of either genre would find this to be indispensable. Throwaway numbers such as the whimsical "I Pick Up Birds At Funerals" sit happily alongside the more forceful "Ricochet", resulting in the important question of "Why haven't you been releasing more albums in the last forty plus years??!!" They may have taken far too long to get back into the studio, but they have come back with something which is an absolute delight that is guaranteed to put a smile on the face of listeners.

A new studio album by Tir Na Nog is an event. Perhaps first and foremost for those with an interest in folk music and progressive folk music, but any band with a certain status '70s that release an album after a 42-year long pause from releasing new material will cause an interest from this as an event in itself. In this case it is a successful album as I regard it, with one half catering for those with an interest in the more advanced material of the band and one half with a stronger focus on the more purebred folk material, both sides coming across as well worked out and with a sustainable quality to boot. An album well worth checking out by those with an interest in the folk music-oriented part of the progressive rock universe.

Ricochet comes across as quite the compelling composition, and not at all one you would expect from the minds of two guys that are looking retirement age in the eye. This is a menacing, brooding affair, passionate and fiery as well, revolving around a dual set of acoustic guitars, with plucked solo sequences, energetic percussion backing and a haunting, almost drone-like violin as backing instrument, and fairly intense vocals giving the song and the lyrics an ominous sheen. Clearly folk and folk-based music, most certainly with an Irish tinge, but about as far removed from anything you'd normally associate with Ireland and Irish folk music in terms of mood and atmosphere.

The live rendition of Tir Na Nog on the B side of this 7 inch vinyl production isn't quite as haunting, but also this one has a mystical, almost otherworldly mood by way of a dark instrument presence of some kind, with occasional percussion details supplementing the plucked, echoing and more distinctly psychedelic tinged folk inspired music. More relaxed in nature though, without the ominous intensity that makes the title track of this single such a convincing affair. A strong track, but lacking those passionate details of the haunting, ominous mood of the A side track.

If you need an introduction to the charms of Tir Na Nog, this single comes across as an excellent choice. One truly strong track from their new album, backed by a live version of one of their classics. Otherwise this is a production that in general should be of interest to those with an affection for a band that blend psychedelic and progressive rock details into a folk music context, arguably with a stronger emphasis on the psychedelic than the progressive aspects, although to what extent is very much a subject open to debate.

This 4 track EP opens with a cover version of Silver Apples' I Have Known Love, the literal title track of this production, and to me this was a slightly underwhelming affair. A pleasant enough blend of acoustic guitar, violin and playful percussion, nice and easy to hum along to but not much else.

But when Tir Na Nog gets going on their own material I understand the attraction of this band. You in Yellow somehow manage to add a subtle undercurrent of tension to the acoustic guitar, violin and lead vocals construction that I found highly compelling, and the following The Angelus adds a darker tone to the construction and a vocal detail in the chorus that really elevates this composition to something else. Concluding track I Pick up Birds is a less impressive feature again however, at least as far as my taste in music goes, but it's nice to hear this duo switch to a more psychedelic expression on this song due to the use of rougher electric guitars. Those who got the promo version of this EP have been treated to a fifth composition as well, Andria, an acoustic guitars and vocals affair that have a subtle jazz-tinged touch to it, with brief visits from the violin. A very nice song, and one that existing fans of this Irish duo hopefully will find of an album of some kind in the foreseeable future.

Presumably existing fans of Tir Na Nog will know their visiting time as far as this limited edition vinyl production is concerned. There's a few hundred copies available and when they are gone those late to the party won't get a second chance. Apart from that fans of low key, gentle acoustic folk music have an EP at hand here they should enjoy, where the best material holds a very high standard as far as my impression goes at least.

Tir Na Nog is probably best known in these parts for having toured together with Jethro Tull. A Tear And A Smile is their second album and my introduction to this Irish Folk duo. This is an album filled with pleasant and cute Folk and Folk Pop songs with only very slight Rock aspects like some drums and the occasional and discrete keyboards. The style and quality varies a bit over the course of the album. Bluebottle Stew for example is a real throwaway and totally silly, while the drowsy Down Day and particularly the gorgeous love song So Freely are just excellent.

While I find enjoyment in many of these songs, I fail to find anything particularly progressive about any of these tunes. Surely, Tir Na Nog are closer to Prog Folk than, say, Simon & Garfunkel are, but actually not very much. I think that Magna Carta and maybe Lindisfarne are good reference points. If you enjoy those bands (which I do) then you might like A Tear And A Smile also. It is clear from listening to this album that these guys have talent and are good at what they do.

Overall, this is good and pleasant music, but by no means essential for Prog fans in general or even for Prog Folk fans

Predictably the majority of tracks here are from the band’s third and final album, which makes sense considering the sessions, and particularly the BBC ones, would have been intended to showcase the band to record-buying radio audiences; and that record was in the midst of being finalized and released around the time most of these sessions were conducted. So from a ‘spotlight’ standpoint the album delivers as advertised; but as a solidly representative compilation of the band’s music things could have been a bit better.

Most notably there is only one song from the band’s debut, the relatively low-key “Piccadilly”. For whatever reason neither Peel nor the BBC felt the need to include the band’s debut single, their namesake track off the first album, or even the very mellow but enchanting “Dante”. Too bad, and quite short-sided at the time.

The songs that are here are all solid enough, and like most everything else I’ve ever heard from the band the execution is impeccable. “Come and See the Show” is a quintessential Brit folk revival tune and excellent period piece, as is its bookend “The Same Thing Happening”. On the other end of their musical spectrum the Dylan cover "It Takes A Lot To Laugh, It Takes A Train To Cry” is a delight that is livened up considerably thanks to the addition of bouncing keyboards.

The other cover comes from Nick Drake (“Free Ride”), which also appeared on the band’s third album in 1973. While ‘It Takes…’ really captures Dylan’s musical spirit, “Free Ride” almost comes off as an attempt at a radio-friendly tune, and in that respect I could have done without its inclusion.

Otherwise this is a very solid offering, albeit one that comes well beyond the twilight of the band’s career. Tír na nÓg still lack a truly comprehensive anthology release, and at this point in time one isn’t likely to come. So fans may want to reach out and grab this instead; its accessible, well-produced and covers enough of their career to make for an enjoyable listening experience. Not great, but pretty good – three stars and recommended to fans of the band as well as modern and progressive folk in general.

peace

TNN was obviously in top form that night, dispensing much energy and enthusiasm that even if the crowd was won from the start, it wouldn't have resisted past the opening track?. Most of the group's best tracks were played that night and some even played under a new light. Among the standouts that night was Someone To Dance With, the anthemic So Freely and the head-spinning Driving is simply excellent (O'Kelly's violin is under-rated). But I'll retain the excellent (and new I believe) Venezuela and its Spanish influence. The lengthy Down In The City is also another highlight, in a night that held many. Again so far it's too bad they never had a heydays live album, but then again this one can aptly fill the job if you're not picky. And even should you be, you wouldn't find much to lay your opprobe upon this interesting release.

TNN's third album Strong In The Sun is produced by Procol's Matthew Fisher (he adds some organs as well) and it's little wonder we'll find a much rockier ambiance, while the front cover picture was taken by ex-Crimson member Ian McDonald. Released in 73, there was little to indicate this would be the last of their Chrysalis studio effort.

Some of their tracks are now full-blown rock tracks like the poignant Whitestone Bridge or the enthralling and contagious Cinema and its fantastic hookline. No less interesting is the haunting Love Lost with the duo's wordless painful chorus, plus the slight sitar-induced strumming, Most Magical is indeed almost that: magical. A gentle rocker with plenty of folk, but with full instrumentation, including electric piano. The Nick Drake cover of Free Ride is not as good as the original, but it's probably the only cover of his recorded while he was alive. On the quieter folkier side Teeside and the Celtic-tinged Wind Was High are both interesting.

With no further explanation, the duo would disappear off the radar, with no further album (studio, live or compilation) for at least two decades. And there appears no valid reasons either, for SITS was their stronger album to date, even if the duo was slowly losing its pure folk edge in favour of a rockier flavour ( ;o)), but it was still the album from which TNN should be approached if you're coming from the rock realm

Second album from this Irish duo, but this time, they added a few guest, including Latino drummer/percussionist Barry deSouza, who would come on as the invisible third member (he gets some songwriting credits if memory serves). But on the cover of their second album Tear & Smile (released in 72), the pictures shows the duo still a perfect a acoustic pair, even if Condell gives up the percussions and O'Kelly the bass playing.

Some of the tracks are sooooo perfect that you can't help but wondering how these guys never made it big: When I Come Down or the spine-tingling So Freely or the violin-enhanced Lady Ocean are all winners, installing happy hippie atmosphere, while other tracks like Something Happening or Goodbye My Love are more poignant and dramatic. The rest of the album is a bit more-of-the-same, but maybe not as successful either, but one never tires of hearing this album as a whole.

The logical follow-up to their self-titled debut Tear & Smile is a stronger album, one where their association is now fully mature and shining confidence.

This debut album is relatively low key, but holds two of the most important tracks in TNN's discography, the eponymous Jansch-like small epic about their legendary name's origins, which means Land Of Youth, sung with much solemnity and drama; and the fantastically positive Looking Up where the two guitars intertwine over a simple bongo. The rest of the album has a problem living up to these two marvels, but by all means, it's not that it's weak, it's mostly that the afore-mentioned two are so strong, they can't help but overshadow the rest. Out of the pack, if I had to pick two more tracks, I'd probably go for Dance Of Years and Live A Day.

A good debut album, but maybe the weaker of their three historical studio efforts, TNN is well worth owning, but just misses the essential epithet, but it's definitely a good prog folk album. One of the sad thing is that BGO re-issued the album omitting the preceeding single, which would've added much appreciated bonus tracks.