The Medusa Fora

I've read through all 8 pages but no one mentions 'Fairytale' borrowing a melody from the musical score of the movie "Once upon a time in America"

conorryan8 wrote:I've read through all 8 pages but no one mentions 'Fairytale' borrowing a melody from the musical score of the movie "Once upon a time in America"

It doesn't actually borrow an entire melody, it borrows the first five note phrase and then nods to the overall atmosphere of Morricone's score in that slow section.

How about the intro to 'Body of an American' borrowing from Sean O'Riada's 'Mise Eire' score...

conorryan8 wrote:How about the intro to 'Body of an American' borrowing from Sean O'Riada's 'Mise Eire' score...

Um yes, although of course O'Riada nicked it from the traditional "Róisín Dubh"

philipchevron wrote:

conorryan8 wrote:How about the intro to 'Body of an American' borrowing from Sean O'Riada's 'Mise Eire' score...

Um yes, although of course O'Riada nicked it from the traditional "Róisín Dubh"

Didle I dilda i Did I die .

Graek wrote:and MacGowan songs

B&I Ferry:
Dingle Regatta?

Joey´s in America:
Wild Cats Kilkenny (intro) ?

More Pricks than Kicks
Parts of Broad Majestic Shannon ?

London you're a lady borrowing the vocal melody from The Holy Ground? I heard major similarities listening to The Atlantic Pirates playing it in Galway last night.

conorryan8 wrote:London you're a lady borrowing the vocal melody from The Holy Ground? I heard major similarities listening to The Atlantic Pirates playing it in Galway last night.

I think you've just decided that all our derivations are from O'Riada Junior and the Clancy Brothers when it is much more likely (even allowing for O'Riada senior's having worked with the Clancy's) that they're derived from O'Riada Senior and Carolan. Although it could be now, when I think about it, that LYaL tune might have been that bit of paper the Great O'Reedy (Senior) snuck into me blazer when he was marking up the O'Connell Boy's Choir in one of those 60s Feis Ceoils he understandably had to do to earn a living wage in the Ireland of that decade that scorned him as theatre composer and jazz composer only marginally more than it considered him a sham-Irish ceapadóir, a line of thought that led me to to briefly consider the rather shameful idea, one I easily dismissed, that it might have been the price of a pint, a bribe, no less, from a gratefully-employed state-appointed juror to a red-haired Irish eleven-year old with the look of musical divilment about him.

And now, in my more leavened senses, I understand it must have been a biteen of an ould tune he wanted me to have, realising even then that the future of Irish music was far from secure in his powerful and creative but, it must be reasonably agreed, slippery ould hands, but that he liked to think he could at least tell a kindred spirit in the eyes of a fellow-traveler. He would have just as curse-the-luck with his hands but, on the other lamh, he might manage to find a bigger audience than he had, even if only marginally, and even if only via the Atlantic Pirates in the middle of fucken Galway on a Sunday night.

Ach! If only I hadn't thrown the ten bob note back at him, I might not have hastened the crushing of his great spirit but come across instead, the Great Tune That Would Save Irish Music. But wait, you didn't know I had photographic memory, did you?

philipchevron wrote:

conorryan8 wrote:London you're a lady borrowing the vocal melody from The Holy Ground? I heard major similarities listening to The Atlantic Pirates playing it in Galway last night.

I think you've just decided that all our derivations are from O'Riada Junior and the Clancy Brothers when it is much more likely (even allowing for O'Riada senior's having worked with the Clancy's) that they're derived from O'Riada Senior and Carolan. Although it could be now, when I think about it, that LYaL tune might have been that bit of paper the Great O'Reedy (Senior) snuck into me blazer when he was marking up the O'Connell Boy's Choir in one of those 60s Feis Ceoils he understandably had to do to earn a living wage in the Ireland of that decade that scorned him as theatre composer and jazz composer only marginally more than it considered him a sham-Irish ceapadóir, a line of thought that led me to to briefly consider the rather shameful idea, one I easily dismissed, that it might have been the price of a pint, a bribe, no less, from a gratefully-employed state-appointed juror to a red-haired Irish eleven-year old with the look of musical divilment about him.

And now, in my more leavened senses, I understand it must have been a biteen of an ould tune he wanted me to have, realising even then that the future of Irish music was far from secure in his powerful and creative but, it must be reasonably agreed, slippery ould hands, but that he liked to think he could at least tell a kindred spirit in the eyes of a fellow-traveler. He would have just as curse-the-luck with his hands but, on the other lamh, he might manage to find a bigger audience than he had, even if only marginally, and even if only via the Atlantic Pirates in the middle of fucken Galway on a Sunday night.

Ach! If only I hadn't thrown the ten bob note back at him, I might not have hastened the crushing of his great spirit but come across instead, the Great Tune That Would Save Irish Music. But wait, you didn't know I had photographic memory, did you?

Fucken(sic) hell, Philip

Maybe Connor thought the title of the thread was Sounds A Bit Similar (in a very small part)

i.e. "You're the girl i do adore" sounds like "Your builders sane but drunk".

Fr. McGreer wrote:

philipchevron wrote:

conorryan8 wrote:London you're a lady borrowing the vocal melody from The Holy Ground? I heard major similarities listening to The Atlantic Pirates playing it in Galway last night.

I think you've just decided that all our derivations are from O'Riada Junior and the Clancy Brothers when it is much more likely (even allowing for O'Riada senior's having worked with the Clancy's) that they're derived from O'Riada Senior and Carolan. Although it could be now, when I think about it, that LYaL tune might have been that bit of paper the Great O'Reedy (Senior) snuck into me blazer when he was marking up the O'Connell Boy's Choir in one of those 60s Feis Ceoils he understandably had to do to earn a living wage in the Ireland of that decade that scorned him as theatre composer and jazz composer only marginally more than it considered him a sham-Irish ceapadóir, a line of thought that led me to to briefly consider the rather shameful idea, one I easily dismissed, that it might have been the price of a pint, a bribe, no less, from a gratefully-employed state-appointed juror to a red-haired Irish eleven-year old with the look of musical divilment about him.

And now, in my more leavened senses, I understand it must have been a biteen of an ould tune he wanted me to have, realising even then that the future of Irish music was far from secure in his powerful and creative but, it must be reasonably agreed, slippery ould hands, but that he liked to think he could at least tell a kindred spirit in the eyes of a fellow-traveler. He would have just as curse-the-luck with his hands but, on the other lamh, he might manage to find a bigger audience than he had, even if only marginally, and even if only via the Atlantic Pirates in the middle of fucken Galway on a Sunday night.

Ach! If only I hadn't thrown the ten bob note back at him, I might not have hastened the crushing of his great spirit but come across instead, the Great Tune That Would Save Irish Music. But wait, you didn't know I had photographic memory, did you?

Fucken(sic) hell, Philip

Maybe Connor thought the title of the thread was Sounds A Bit Similar (in a very small part)

i.e. "You're the girl i do adore" sounds like "Your builders sane but drunk".

Yes, I know that very well, thought it would not have salved, much less saved, my need for vengeance on a topic whose rigure has long since exhausted its natural life. I mean, ask a question why dontcha? I don't mind in the least. Besides, everything else in that story is true except the ten bob note, and recalling it gave me an opportunity to a) tell it in way that was not a merely in the manner of gargly anecdotal dreariness, and b) in a manner which in the story tells something more fucked up, the real story of the item - that people like John Reidy/Sean O'Riada do actually do go to face deaths insufficiently rewarded in their short their lives, something that just dogs me about generations of Irish mucians.

The lyrics "Your're the girl I do adore" arrive in a place of dramatic impact which purpose is to evoke a former lyric in the context of another, which is often called "Irony" or lyrical/verbal interconnectivity or other big words all called up by people who feel the need to explain pefectly rational matters - "I liked the song", say, "and wanted to call attention to it here". "It amused me to see how so affective a piece of Old Skool Irish mythology by the passage of time. Those particular words (of The Holy Ground were previously used in this manner by the Radiators in 1979 and in more direct "cover" version of the Clancy's song, in 1983 by the Pogues.

I can see where you're coming from and yes, it must be frustrating to see your bands' music being accused of plagiarising an ould c'mall ya. The thing that shocked me was just the depth and intricasy of your reply. Very interesting though

To be honest, after reading your response to my post approx 10 times, i still cannot understand the second paragraph (except for the the very last sentence). It's just waaaaayyyyyy over my head Sorry Philip