Clannad at Meteor Awards

Clannad are an Irish musical group, from Gaoth Dobhair, County Donegal. Their music has been variously described as bordering on folk and folk rock, Irish, Celtic and New Age, often incorporating elements of an even broader spectrum of smooth jazz and Gregorian chant. They are known for performing in various languages, including English, Latin, Scottish Gaelic, Mohican and most of all in their native tongue, Irish. They have won several notable awards throughout their career, including a Grammy, a BAFTA, an Ivor Novello and a Billboard Music Award.

Clannad comprises siblings Moya Brennan (Irish: Máire Ní Bhraonáin), Ciarán Brennan (Irish: Ciarán Ó Braonáin), Pól Brennan (Irish: Pól Ó Braonáin, who left in 1990 and rejoined in 2011) and their twin uncles Noel Duggan (Irish: Noel Ó Dúgáin) and Pádraig Duggan (Irish: Pádraig Ó Dúgáin). Sibling Enya (Irish: Eithne Ní Bhraonáin) left the group in 1981 to pursue a solo career.

Clannad first made their mark in the folk and traditional scene in the 1970s in Ireland and mainland Europe. They subsequently went on to bridge the gap between traditional Celtic music and pop music in the 1980s and 1990s with albums such as Macalla and Anam. During their career they toured the world extensively and gained fans in every major territory. Lead singer Moya Brennan and her sisterEnya have also enjoyed significant success as solo artists. The band won a Grammy Award in 1999 for Best New Age Album, and their record sales exceed the 15 million mark. They are also widely regarded as the band which, for the first time, put Irish traditional music and the Irish language on the world stage and paved the way for many other Irish artists.

Ten years after “taking a break“, the five original members of Clannad reunited on stage at the Celtic Connections Festival in February 2007 in Glasgow, Scotland. Moya, Ciarán, Noel and Pádraig embarked on their first UK tour in over 10 years in March 2008, starting in Gateshead. In 2009, the band’s Pádraig Duggan announced that the band were recording a new album.

Click here to view the video on YouTube.

Musical upbringing

Siblings Ciarán, Pól, and Máire Uí Bhraonáin (Brennan) and their two twin uncles Noel and Pádraig Ó Dúgáin (Duggan) grew up in Gaoth Dobhair, a rural village in County Donegal, in the northwest corner of Ireland. The village is in the Gaeltacht and they were an Irish-speaking and Roman Catholic family. The Brennans’ mother, Baba, was a music teacher, and their father, Leo, was a former member of a cabaret band. Leo was travelling extensively in the early family years. Later, they bought a pub with a stage called Leo’s Tavern (Tábhairne Leo). The children would occasionally do cover versions ofBeatles, Beach Boys and Joni Mitchell songs at home and in their family pub.

The children were performing late at night in the pub (the story was recounted by Máire, TG4, 17 March 2007, Clann as Dobhar & Clannad Beo) when the local police sergeant walked in. They feared a summons, but instead the policemen had a form to enter a local music competition. They didn’t have a name at the time, but had to find one for the competition. Someone suggested Clann As Dobhar (Irish for “the family from Dore”), which was provisionally blended into Clannad in 1973.

The young Brennans’ and Duggans’ passion for the traditional music of Ireland soon expanded beyond their native Gweedore. They would later visit such outlying communities as Tory Island off Donegal’s coast. Armed with some 500 Gaelic songs, they would later begin to arrange these songs for a full band.

Traditional years

The first album was recorded in 1973, simply called Clannad, and it showed a band aware of contemporary Irish music of the day. There were hints of modern influences, most notablyPentangle’s, in songs such as “The Pretty Maid” and “Morning Dew”, but it was the Irish songs, particular an early arrangement of “Níl Sé Ina Lá”, a drinking song they found on one of their Tory Island expeditions, that really showed the band’s ability to form contemporary, jazz-influenced versions of traditional material. This album was also released under the name The Pretty Maid. One of the tracks, “An Pháirc”, was performed by Clannad in the 1973 Irish heat of the Eurovision Song Contest. The second album followed in 1975 on Gael-Linn records and was titled Clannad 2. Produced by Planxty and Bothy Band founderDónal Lunny, it showed a tremendously more mature band that was quite committed to singing mainly in Irish. Their arrangements were still experimental for the times, but their increasing skill in the use of traditional acoustic instruments kept the music well within the boundaries of folk music. Clannad 2 featured some ground-breaking traditional music, including Máire’s harp playing on the O’Carolan song “Eleanor Plunkett” and ensemble work on songs like “Rince Briotánach” and “Teidhir Abhaile Riú”, an Irish matchmaking song.Clannad entered a local folk festival in Letterkenny, County Donegal, and won first prize, a record contract with the Irish arm of Phillips, when they were still in college and school. They did not make the record until 1973 because the record company did not like the idea of them doing half the album in Irish, as it was not heard of to sing Irish in mainstream music.

The following year they produced Dúlamán. The title track was a song about two dúlamán, or seaweed merchants, one of whom is trying to win the hand of the other’s beautiful daughter. It has been a favourite of Clannad’s live shows for a very long time and is still performed in a rock version which captures the flavour of the original recorded acoustic version.

The band in 1976 still consisted of Máire on lead vocals and harp, Ciarán on double bass, electric piano and vocals, Pól on flutes, guitars and bongos, Noel on guitar, vocals and Pádraig on mandolin, guitar and vocals. They still kept the Gaelic spelling of their surnames of Ó Braonáin for the brothers, Ní Bhraonáin for Máire and Ó Dúgáin for Pádraig and Noel. During their first tour of Europe in 1976 a standing ovation after an eight-minute version of “Níl Sé Ina Lá” convinced them to become full time professionals. The band’s next album was Crann Úll (Irish for apple tree) released in 1978 on Tara Records. It featured a stronger emphasis on Máire’s harp-playing. “Ar a Ghabháil ‘n a ‘Chuain Domh” featured a particularly full band arrangement reflective of their live jams at the time. “Lá Cuimhthíoch Fán dTuath” (“A Strange Day in the Countryside”) showed the first hints of the more atmospheric side of the band’s arrangements. On “Gathering Mushrooms” they included their sister Eithne Ní Bhraonáin (now known as Enya) on supporting vocals.

Clannad in Concert was released in 1979, featuring excerpts from their 1978 Swiss tour and a now world-famous version of “Down by the Sally Gardens” and a 10-minute version of “Níl Sé Ina Lá”. It served as a base for various solos by the individual members. The year 1979 also saw a 36-concert North American tour — the most extensive ever undertaken by an Irish group to date. In 1981 with the album Fuaim (pronounced foom, meaning sound), recorded in Dublin’s famed Windmill Studios, Clannad began to experiment with a more lush and electric sound. Enya became, for a short time, a full member of the band, adding keyboards and harmony vocals as well as lead vocals on two songs, “An tÚll” and “Buaireadh an Phósta”. This album marked Clannad’s first experiments with synthesiser. It also had guest Neil Buckley on clarinet and saxophones plus a percussionist and electric piano. The following year Enya left to pursue her solo career and the band was about to record the album which would forever change their career as well as their sound, Magical Ring which appeared in 1982.

Click here to view the video on YouTube.

Musical Style

When Clannad first started out in the early 1970s their music and sound stemmed solely from their traditional background. Despite this they managed to popularise such old songs as “Dúlamán”, “Teidhir Abhaile Riú” and “Coinleach Glas An Fhómhair”, and these songs have remained popular numbers at their concerts. On the departure from their folk and traditional background in 1982, they created a new sound that would define the meaning of New Age and Celtic music forever. When “Theme from Harry’s Game” and “Newgrange” were first heard, radio stations all over the world became fascinated by the earthly and spiritual sound that they had never encountered before. One critic said “the tunes were seeped in the old ways, but the production and the arrangement was fresh and inventive”. This transition in Clannad’s career is often seen as the birth of Celtic music, and to this day they are regarded as the pioneers of that genre. They are also noted for their melodiousharmonies, which have been at the heart of their music since their first album. Legend (1984) was based on English folklore. With later albums, Clannad delved further into the realms of electronica and even pop. Due to this, many of their singles entered pop charts all over the world, and widened their fan base once again. Despite their success with this genre of music, the group managed to maintain a link with their Gaelic roots throughout their career, giving traditional Irish songs such as “Tráthnóna Beag Aréir” and “Buachaill Ón Éirne” the Clannad treatment.

Even though the rock-infused Sirius and the pop-inclined Macalla have become huge successes for Clannad, it was their breakthrough style that they created themselves that has left the greatest legacy. One of the places where Clannad’s influence can be seen is in the film Titanic, where James Horner admitted to basing the soundtrack on Clannad’s style. The soundtrack was so like Clannad’s work that it has been incorrectly credited to them for many years. Clannad’s ‘Celtic mysticism’ is a recurring theme in the film Intermission. The “otherworldly” and “ethereal” Clannad sound comes from the ancient hills and glens that surround Gweedore, according to lead singer Moya Brennan. Also, when asked to describe the group’s style, Ciarán said, “There’s a feeling in all our music an ambience that stems directly from where we were brought up and to have to define our sound I always say that if they were to visit Gweedore they wouldn’t need to ask.” Traces of Clannad’s legacy can be heard in the music of many artists, including Enya, Altan, Capercaillie, The Corrs, Loreena McKennitt, Anúna, Riverdance, Órla Fallon and U2.

Source: Wikipedia.org

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January 30th marks an anniversary in recent Irish history that most people living outside of Ireland and the Northern Provinces recognize only through a famous U2 song, Sunday Bloody Sunday. Unfortunately, the song is still misinterpreted as a “rebel song.” Nothing could be further from the truth. The band was aware of the controversial nature of Sunday Bloody Sunday, that its lyrics might be misinterpreted as sectarian, and possibly jeopardize their personal lives. Some of The Edge’s original lyrics explicitly spoke out against violent rebels, but were omitted in order to protect the group. The result is a song with virtually null relevance – other than its title – to the events of Bloody Sunday, and, in all consequence, U2 should have taken the efforts to find a different title for an otherwise extraordinary anti-violence song.

What happened in Londonderry on January 30th, 1972 went far beyond violence, and the song does not recognize the real issue at hand, the oppression of the Catholic minority living in Northern Ireland. Carmen de Monteflores once said, “Oppression can only survive through silence,” and while I applaud U2‘s campaign for anti-violence in Northern Ireland, I fail to see how the oppression would have ended without the war that followed after Bloody Sunday. On that day, members of the 1st Battalion of the British Parachute Regiment shot twenty-six demonstrators. Thirteen people, six of whom were just seventeen years old, died at the scene, with five of those wounded shot in the back. To this day there is no evidence that any of the demonstrators were armed.

Northern Ireland, during 1950s, 1960s 1970s, and beyond, was a place at odds with the rest of the civilized Western world. The pride of defeating Nazi Germany was still remarkably alive in the United Kingdom and fighting Communism had become the prime directive. However, in contrast to the self-proclaimed image of defender of the free world, their halo paled as they turned a blind eye on the oppression of the Catholic population in Northern Ireland. Northern Ireland was a place where the treatment of the Catholic minority came with the foul stench of Kristallnacht, the night when the Nazis coordinated an attack on the Jewish community in Germany as part of Hitler’s anti-Semitic policy. Most certainly, in the history of mankind there has been no greater crime against humanity than the Holocaust, but the question is, has Kristallnacht ended with the defeat of Nazi Germany? Did the world get a false sense of security?

The British occupation of the Irish island began as early as the late twelfth century, and attempts to annihilate the Irish identity fill the history of English rule. Some of these attempts carry a striking resemblance to Hitler’s henchmen trying to eliminate the Jewish population in Germany, although not quite as methodical. History is also filled with constant acts of Irish resistance, and no ruling king or parliament was ever able to solve the problem. The saying is that the nineteenth century Prime Minister William Edward Gladstone tried to deal with the Irish question, but never found the answer as the Irish continued to change the question.

December 1921 saw the signing of the Articles of Agreement for a Treaty between Great Britain and Ireland, which established a free Irish republic with jurisdiction over twenty-six of the thirty-two counties. It also created the separate province of Northern Ireland that remained under British rule. It consists of the six northeastern counties of the predominantly Protestant Ulster region.

The terms, as negotiated by the founder of the IRA, Michael Collins, did not find the approval of the entire Irish population and, even though the Republic of Ireland was officially established, the battle for Irish reunification began. The importance of the IRA, though, endured a slow, but steady decline until the late 1960s, which saw increased confrontations between the Civil Rights movement in Northern Ireland and British officials, especially the Royal Ulster Constabulary (RUC).

The Civil Rights movement’s demand was, just to name one particular issue, for equal voting rights. The current system allowed only house owners to vote in local elections, and they were predominantly Protestants supporting British rule in Northern Ireland. The Protestant majority defended their superiority by engaging their own militias against Catholics, and they were actively supported by the predominantly Protestant RUC.

By the summer of 1969, these disputes reached the dimensions of an outright Civil War, and in August of 1969 the British government deployed troops to Northern Ireland with the intent to restore public order. “Operation Banner” ended at midnight on July 31, 2007, thirty-eight years later, instead of the planned “few months,” and it represents the longest deployment in the history of the British Army. The death toll included more than 3500 civilians and 763 soldiers.

In 2008, General Michael Jackson, the British Army Chief, called Operation Banner a successful combat. Nothing could be further from the truth. The English army became part of the problem very quickly, and they turned out to be another player in the conflict, not a referee.

Initially, the Catholic population welcomed the presence of the army in the hope they would serve as a neutral force and protect them against the RUC and Loyalist forces. However, their hopes were shattered in July 1970 during a British operation called “Falls Curfew,” which resulted in three days of rioting and battles between the British Army and Irish Republican paramilitaries. In the final tally, five people were killed, and three hundred were arrested.

The streets of Londonderry endured a long line of events filled with violence and the rage among the Catholic population turned not only into increased support for the IRA. They expressed their anger in a series of protest marches. One of these marches took place in Londonderry on January 30, 1972. That day was seared into the memories of the Irish people as Bloody Sunday.

The Civil Rights Organization of Northern Ireland had contacted the RUC’s Chief Superintendent, Frank Lagan, to inform him of their intention to hold a non-violent demonstration and to protest against internment without charge or trial. The internment, officially named “Operation Demetrius,” allowed the RUC and the British Army to detain suspects without justification. Lagan, in turn, notified the British Army and requested they keep away any military interference, a wise recommendation and, if followed, could have prevented the bloody events. The army, however, turned down before, was eager to prove that their well-rehearsed plan would put an end to the riots in Northern Ireland.

Just a week before Bloody Sunday, at an anti-internment march held at Magilligan Strand, British soldiers beat a number of protesters with such an intensity that their own officers had to physically restrain them. An attack on the patrol car of two RUC officers resulted in their deaths the Thursday before Bloody Sunday at Creggan Road. Nevertheless, the organizers of the Sunday march, the Northern Ireland Civil Rights Association, had called for a peaceful march. They tried everything to prevent a repeat of the events at Magilligan Strand.

The march started almost an hour late from Central Drive in the Creggan Estate and proceeded toward the Bogside area of Derry. The official report, produced only a few weeks later by the Widgery tribunal, tried to downplay the magnitude of the march and gave an estimated number of somewhere between 3,000 and 5,000, while organizers claimed a number as high as 20,000. The correct figure was likely somewhere in between.

The organizers had intended to direct the march toward the town’s guildhall and hold a meeting there, but British military units had erected a number of barriers at strategic spots to seal the demonstration in the Bogside area away from the guildhall. They had also positioned a large number of snipers at strategic points around the perimeter of the Bogside area.

The barriers, the snipers, the stone throwing that followed, and the verbal abuse – all this was as familiar territory for the demonstrators as it was for the soldiers, who were very well protected in their anti-riot gear. The marchers did not suspect that the army’s reaction would be somewhere out of the ordinary. Maybe they would see some rubber bullets fired at them, maybe some gas, and then they would proceed to their meeting with the feeling they had fought well for their cause.

The exact details of the British Army’s reasoning for their attack are still, more than 30 years after the fact, under investigation. The fact is that the British Army engaged into a massive combat operation. Armored cars raced through the streets at a speed of forty miles per hour, thrashing through a horrified crowd. This was not a spontaneous response to a violent provocation, this was a well-rehearsed military operation. The soldiers that jumped out of the armored cars were paratroopers not wearing the usual anti-riot gear. Instead, they were wearing full combat gear. They took their strategic positions quickly and precisely and then they started shooting, using their fire-and-movement tactic as if they were fighting another army.

The only possible explanation for the army’s savage attack is that they believed they had effectively provoked an encounter with IRA forces. That was evidently not the case. Regardless of whether or not the attack was initiated on grounds of an erroneous interpretation of the circumstances or a more sinister plan, they were not able to recall their forces. Once a bloodhound smells blood, he is impossible to stop.

At the end of the riots, members of the 1st Battalion of the British Parachute Regiment had shot twenty-six civil rights protesters. Thirteen people, six of whom were just seventeen years old, died at the scene. Five of those wounded were shot in the back. After the shooting ended the army continued with collecting the dead and wounded, lining up demonstrators against walls, searching, and abusing them.

The Army Headquarters in Northern Ireland dealt with the following media inquiries particularly badly and defensively. The British Army Chief, Major General Robert Ford, just as useless as his fellow officers seeking to explain the firings, claimed his soldiers had only fired at IRA snipers and grenade-throwers, which turned out to be a blatant fabrication.

The question is, what was so different, so significant about Bloody Sunday? There had been rioting before, and people were killed. While that is true, the events of Bloody Sunday manifested a magnitude that was beyond anything that had happened before in Londonderry. Until Bloody Sunday, there was only a struggle for civil rights. There were riots, but the killing of people was a disturbing exception. After Bloody Sunday, it was outright war.

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