Dave Rooney is working on a new album called Entertainer. I own two of his albums and listening to each is always a great musical experience. He is a fine musician who is rooted in the folk and Irish tradition but never losing that pop sensibility. If you like The Waterboys, Wet Wet Wet and Luka Bloom, then I don’t see why ou won’t pick up releases from this talented artist. Here’s our little conversation:
What’s the title of the new album?
The new album is called the Entertainer. I’ve folkafied and re-recorded previous tracks and written 6 new ones for this one I’m really happy with it, sounding very contemporary Irish. All the songs are woven in to the the story line, looking forward to getting on the road. What can listeners expect from this album?
It’s pretty much a life work for me. Introspective,and a big story line based on a character I met in Temple Bar.That’s where I got the idea for the musical. So a few of the songs are about him,with all the songs based on his life.
Are you working with the same guys whom you worked with in your previous album?
Same studio, Sharon Hussey fiddle player, {this is my home} new drummer, accordion player, pipe player ,double bass player,so on…I’m going back to the acoustic more contemporary out of Ireland sound
That sounds amazing! How do you maintain your amazing singing style and how to you keep being up to your toes during tours.
A lot of people ask me that, how do you find time what with a family and all.
The singing comes naturally, simply because I gig 10-12 shows a week, So I’m singing in my sleep. With regards to tours, I love traveling, gigging in different places and I think once your doing what you love it creates and energy and a zest that gives you the ability to stay on top of it.
Thank you Dave. I will be posting this little interview soon and I hope to get a preview of at least one of the songs to let it build anticipation.
As soon as I have a mastered copy, you’ll have it.
thanks a mill Baxter!!!
Dave Rooney performs his new single ‘She’s Not Here’ Live at the Candlelight Sessions in Buskers Bar, Temple Bar, Dublin. 05/04/11
Listening to Mickey Coleman. I am in the mood for ballads. Songs of longing, missed soul mates, loss, nostalgia and hope. I think these themes are close to my heart than anything else. But Mickey’s songs are also a variation of those and fast tunes. I also heard funny ones. The thing that carries his tunes is his style of singing-part choir tenor and part brew that brings smoke into your eyes. Highlands of Belfast and Coaisland Girl make you sit down and really listen. Somewhere Else Instead became my song today. I urge you to come and join me. It’s the right time and the right mood.
I heard Manran’s single “Latha Math” a few weeks ago and I have to admit it it has become addicting that my day isn’t complete without hearing it. Catchy vocals with driving beat and fresh arrangement you’d think that this has been carefully engineered. But it’s all about 6 friends reuniting together to create the most beautiful and exciting Scottish music around since Capercaillie.
A friend sent me a youtube link to Skerryvore’s Hold Me Tonight taken from the album of the same title. The heartfelt lyrics and beautiful arrangement combine a mood that’s comforting, poignant and reflective. But aside from this wonderful ballad, they play an exciting blend of traditional Scottish music and Rock. Everything about this group is pristine, beautiful and blazing like the golden sunset! Beautiful music to take with you, a soundtrack to your journey. This song is dedicated to my piper friend Tim who stumbled upon the band and introduced the music to us.
SKERRYVORE ARE:
Daniel Gillespie: Accordion
Martin Gillespie: Highland Bagpipes. Scottish Small Pipes, Accordion
Alec Dalglish: Guitar, Vocals
Craig Espie: Fiddle
Fraser West: Percussion
Barry Caulfield: Bass
Additional Members:
Chris Pugh: Trombone, Piano
Douglas West: Trumpet, Guitar
Konrad Wiszniewski: Saxophone
Duncan J Nicholson: Bagpipes & Whistles
I made the decision to not use any other instrumentation at the beginning. There is a sound you can only get when you play solo and this is what I was after. In the past, especially when I worked as an electronic music producer, I was using arrangements full of different layers with various instruments but for this album I wanted to work with only guitar and voice.
Robert Doyle’s guitar takes a bigger shape in “Life in Shadows’ making it seems like you are inside its body. You can feel this when you listen using headsets. This recording is able to capture every nuance in the tracks making it an intimate and almost a spiritual experience. His mellow voice is the perfect partner to his solo guitar – spare, minimalist approach-no other instruments, just the two. The cover also expresses that simplicity being black and white, uncluttered by other designs. Taking this recording home is like taking a friend with you for a quiet night over coffee talking about life’s realizations and woes.
I suggest you listen to this in different situations and settings until you find that atmosphere that works. I found mine in the workplace during break at 5 AM(since I work at night) with hushed voices and a big table in front. Next time I will bring this recording while riding home or by the beach. I might get another ‘flavour’ out of it. In the bedroom all alone, I find it speaking to me in ways I have never known before. Every recording takes a different character depending on the situations you are exposed to while listening to it.
Life in Shadows is elegance and honesty in one. Robert’s way of playing is getting to be addictive.He adds depth to his vocals. He has a way of expression, going from a breathy crooning state one moment to a passionate rendition but never losing that nice warm baritone. Here he opens up to CMF about this albums and all things musical.
How long did it take you to record Life in Shadows?
The album was recorded over seven months. There were five recording sessions in JMR Studios and three in the D1 Recordings studio here in Dublin. The sessions were usually quite short, around four hours each, and I spent about a month getting ready for each of them. I worked with an engineer on the sessions in JMR and recorded the D1 sessions myself. In general I prefer to work with an engineer but for some of the sessions I wanted to work alone.
The album was mixed and mastered over two days in Suite Studios and Summit Studios in Dublin
I love how this record combines spare arrangement, good acoustics and a balanced emphasis on vocal and instrumental music. One can simply close his eyes and imagine you playing in this white room because of its amazing clarity.Was this intentional?
Before starting to record I did spend a lot of time deciding on the recording techniques that would be used. This was my first time recording with the Frank Tate guitar which I’ve been playing for two years now. I wanted to try to capture the unique acoustics of that instrument in so far as possible. Also, since recording the Trasna na Slí EP in 2008 I’ve been working on my voice and hopefully that lends to the clarity on the album too.
I made the decision to not use any other instrumentation at the beginning. There is a sound you can only get when you play solo and this is what I was after. In the past, especially when I worked as an electronic music producer, I was using arrangements full of different layers with various instruments but for this album I wanted to work with only guitar and voice.
Fingerstyle guitar, others have played it but you gave it a name and recognition in this release. Tell me more about you French-Algerian teacher Pierre Bensusan.
Fingerstyle is a very general definition for an approach to playing the guitar. There are many variations to the style but broadly speaking it is a mix of classical and flamenco technique. I’ve been influenced by many fingerstyle players over the years – Robert Johnson, James Taylor, Djelimady Tounkara and many more. Pierre Bensusan is one of the all time greatest exponents of the style and he has pushed steel-string acoustic fingerstyle guitar further musically than anyone else in the last thirty years. I’ve been lucky enough to spend time as a student of his and also worked as road manager for two of his recent Irish tours.
I think it is important though to not get too caught up in the style of guitar playing. Hopefully it’s the music which people will be listening for.
This album has been getting good reviews from all around. I believe that music and the how the album has been artfully crafted go hand in hand.I see this combination in Life in Shadows. We can give credit to your being a music producer in the past. What have you learned so far in terms of music production? Can you give us a glimpse to this world that is seldom seen but is the biggest influence in how music is made?
When I was producing music in the past I was working solely with electronic sounds and making dancefloor records. A lot of what I learnt then wasn’t transferable to working with this style of music and I reluctantly took on the role of producer on this album.
As a producer you need to be able to stand back and listen to the music very objectively. When you’re writing, arranging and performing the music you become very close to it and it can be difficult to get that objective viewpoint from yourself. Of course if you’re a musical genius like Stevie Wonder then you can do everything yourself! For me it was more difficult.
What is the process of creating music? Do you get inspired by a particular season…the time of the day? Or the muse just comes unexpectedly?
The inspiration is from everywhere and is always there. After the initial idea the process of writing and arranging can be long and drawn out and often you might end up with something completely different to what you started with. That is definitely true for some of the music on this album. I had been working on some of it for years and then other pieces came together over a few days. The arrangements are continually changing and some of what I recorded on the album I’ve already changed.
What’s your next goal musically?
There is some music I was working on that I didn’t get finished. This was partly because I ran out of time and then also because my technique wasn’t good enough to play some of the arrangements I had written. So I have to spend some time working on technique so I’ll be ready to play this music.
I’m also looking to start work on the writing and arranging for the second album. I know this will take a long time, probably two or three years, but I’m looking forward to getting into it.
How do you see yourself 10 years from now?
I want to still be playing the music!
What’s on your tour schedule before this year ends?
The next concerts will be in Scotland next Spring and then hopefully there’ll be some European shows next summer. All the dates will be announced soon on www.robertdoyle.net.
Looking back, tell me about that moment where you had this epiphany that music’s gonna be a big part of your life?
There wasn’t one moment. When I was very young there was always music being played in my house and especially a lot of reggae. Bands like Steel Pulse, Black Uhuru and of course Bob Marley & The Wailers. Hearing this music made me want to get involved and I started to play guitar when I was about 8 or 9 years old. I kept going and have never wanted to stop since.
Are there artists you wish to collaborate in future projects? And who are they?
There are traditional and jazz players here in Dublin that I want to begin to work with. Hopefully some of these collaborations will make it on to the next album.
Last: message to your listeners and how are they going to get their copies of Life in Shadows?
The CD is being distributed by Claddagh Records and is available on their website and from shops all over Ireland. The album is also available to download from iTunes, Amazon and eMusic. I want to thank everyone out there who has been supporting me and this music and hopefully they’ll be able to come to see one of the next shows.
Traditional Irish Musician on Whistle/Flute/Keyboard from the heart of Ireland talks to CMF!
Passion affects people around you. When you love what you do, everyone will feel it. This awareness creates enthusiasm. And therefore in your own way, you affect the universe. It’s like magic: The ability to make people hope..and even dream…
There are artists who make you feel a certain way about how they play music. You don’t even have to understand what the music is about to appreciate it. Sometimes there are tunes that don’t need words to express that feeling. You just listen and then you connect. Just like that. This transcends everything. Today, a musician is going to make that example.
Enda Seery from Streamstown, Co. Westmeath, Ireland sets the standard for the tin whistle. His album The Winding Clock (Traditional, Folk, Celtic)has 13 tracks that will serenade your ears with wistful and cheerful tunes. The sound of this instrument has never been sweeter or softer. When not involved with music, he is teaching Irish language . This passion in preserving tradition is reflected in his style of playing. His original compositions made there way, along with the traditional tunes in The Winding Clock. Between gigs and and working on a second album, I was able to squeeze the time for him to be our guest!
Hi Enda, you have been getting a lot of positive reviews regarding your playing style. I can tell that you are an instrumentalist who gives more emphasis on the beauty of playing rather than the speed . There is richness and grace in every note. How long did it take you to perfect this style of playing?
Thanks a lot for your kind comments. In my opinion too many trad players today try to place too much emphasis on speed rather than respecting the tune(s) they are playing. I like to keep the tune pure. Just last week at a show I noticed some young players trying to do too much with a tune, basically trying to be too fancy. Tradition shouldn’t be tampered with! I have perfected my style over a number of years by listening to all types of players, not just Whistlers. I always try to play for a few hours a day to keep perfecting my style and repertoire of tunes.
You play traditional tunes and you also compose. What are the challenges you undertake doing both?
To be honest I don’t see it as a challenge. Composing is something that I take for granted now. I love to mix and match old traditional tunes with my own compositions. I make sure though to keep my compositions in the traditional idiom. I was delighted to hear some reviewers and experts alike say that my compositions on ‘The Winding Clock’ album integrated well with the other traditional tunes.
‘The Winding Clock’ has received positive reviews. You are also recording your second album “High and Low”. What will listeners expect to hear in this second album?
I suppose the dreaded second album can be tricky after the first but I had a lot of material, especially new compositions left over after the recording of ‘The Winding Clock’. I am going to take my time recording the second album ‘High and Low'(a reference to my use of high and low Whistles). I am about to start a Masters in Trad Music Performance at the Irish World Academy, University Limerick so I won’t have a lot of time for recording. Listeners though can expect to hear a lot of new compositions between reels, jigs, hornpipes, polkas, airs and instrumentals. I am also going to record a few tracks on the Trad Flute and Low Whistle.
You will play whistles, low whistle, flute and keyboards in this new album. Are there other musicians you will be working in this project?
Yes, John Byrne will again hopefully work with me on this album. Myself and John have started to do a number of gigs and performances as a duo recently. He is a gifted Guitar player as well as a talented Banjo player. I will provide a lot more Keyboard backing on this album too. I will be recording again at Black Rose Studio, Kilcock, Co. Kildare with Rob Laird as Sound Engineer. There might one or two other guest musicians in the pipeline too.
Tell us about your involvement in Comhaltas ‘Seisiun’ show .
The Comhaltas run ‘Seisiun’ show is a series of shows that runs throughout July and August in venues all over Ireland. This year I am playing but also producing in the show at Aras an Mhuilinn, Mullingar, Co. Westmeath. I would hope that I have put my own personality on the show in Mullingar. I have added in Sean Nos Dancing and and new compositions to the show. Producing and arranging is something that I would like to do a lot more of in the future. I am lucky to be working with some great people in the resident group of Aras an Mhuilinn: ‘Ceoltoiri an Mhuilinn’. Audience attendances have been good so far. Aras an Mhuilinn is a beautiful venue in a prime location in Mullingar, a venue that is there to be used by Comhaltas branches of Counties Westmeath, Offaly, Laois and Longford.
So what are the plans you have later this year musically
I’m starting a Masters in Trad Music Performance at the Irish World Academy of Music Limerick in September. Really looking forward to working with some fantastic people there. I hope to fit in a few recording sessions for the High and Low album too at Black Rose Studio. Also I am due to play on the main stage with a number of my friends at the new Green Village Festival at Castletown Geoghegan Co Westmeath on Sat September 24th.
What are the best traditional albums you’d recommend to our readers?
Danny O Mahony’s new album ‘In Retrospect’. Liz Carroll and John Doyle ‘Double Play’. Steph Geremia ‘Open Road’ and of course ‘The Winding Clock’!
And lastly: what’s your message to our readers?
Traditional Irish Music has never been stronger so get out and buy or download the music. The music is part of what makes us Irish. It can raise the spirits of a nation. Finally for whistle players remember that it can become your main instrument and as we say in Irish cleachtadh a dhéanann máistreacht!(practice makes perfect).
Additional info: ‘The Winding Clock’ was released in November 2010. Recorded at Black Rose Studio, Kilcock, Co. Kildare. Accompanient on album provided by John Byrne on Guitar from Mullingar, Co. Westmeath and Colin Hogg on Bodhran from Castletown Geoghegan, Co. Westmeath. Ciarán Seery(Button Accordion), Siobhán Seery(Flute) and Pádraig Seery(Fiddle) all from Streamstown also feature on the album.
Currently recording… 
Celtic Music Fan 