CD Welcome Here Again [Digipak] (CD 1148414),
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Welcome Here Again [Digipak]

  • 1. Clare Reel, The
    2. High Jig, The
    3. Lane to the Glen/Fahy's [Reels]: Lane To the Glen / Fahy's
    4. Dear Irish Boy [Slow Air], The
    5. Night Poor Larry Was Stretched [Slip Jig], The
    6. P. Joe's Reel
    7. Rogaire Dubh [Jig], An
    8. Jenny's Welcome to Charlie [Reel]
    9. Girl That Broke My Heart [Reel], The
    10. Wind Swept Hill of Tulla [Slow Air], The
    11. Galtee Hunt [Set Dance], The
    12. John Naughton's Green Mountain/Welcome Here Again [Reels]: John Naughton's Green Mountain / Welcome Here Again
    13. Mulqueen's [Reel]
    14. Booley House Jig [Slip Jig], The
    15. O'Reilly's Greyhound/Palmer's Gate [Reels]: O'Reilly's Greyhound / Palmer's Gate
    16. Coleman's March
    17. The New Post Office/The Pigeon on the Gate/The New Custom House [Reels]: The New Post Office / The Pigeon On the Gate
    18. Frank Kean's [Reel]
  • Additional Info
    Manufacturer Part Number (MPN): GLCD-GLCD123

  • Credits
    ProducerDennis Cahill; Martin Hayes
    EngineerDennis Cahill; Martin Hayes; Charlie Johnson

    Personnel: Dennis Cahill (guitar, mandolin, bass instrument); Martin Hayes (fiddle, viola).
    Working together for the first time in a decade, Irish folk musicians Martin Hayes and Dennis Cahill immediately fall back into a strong working relationship on the joyous WELCOME HERE AGAIN. A solid collection of originals and traditional tunes incorporating ballads, dance tunes, and vivid story songs, WELCOME HERE AGAIN is traditionally-minded Irish folk that isn't afraid to bring fresh influences and sounds into the mix. Highlights include the energetic "The Clare Reel" and "The Night Poor Larry Was Stretched."

  • Critic Reviews
    Dirty Linen (p.45) - "For WELCOME HERE AGAIN, they've kept the clear, reflective look at the music but returned to playing music in song- and tune-length stretches. It all flows together..."
    Global Rhythm (Publication) (p.47) - "[T]he two masters are at their best when they work through the slower material, offering magical streams of expression that are more like conversation than music performance."
    Paste (magazine) (p.77) - "There's no ego, no grandstanding with instrumental technique, just the absolute soul conviction of Hayes' scraping bow, at its most emotionally devastating on 'The Dear Irish Boy.'"
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