Dubliners + Ronnie Drew

[Woody]

http://www.youtube.com/watch?v=DVLFDpih ... re=related

Here is a wedding video with Ronnie Drew.He tells a story about The Pogues.R I P Ronnie

[MacRua]

A handful of pics I took at the recent Dubliners gig me and MacRua had the chance to visit:

ver three hours of fantastic atmosphere and sheer musical pleasure.

Those are lovely, Miss Z. Nice one. Go raibh maith agat! You had a great position to get the 'from-behind' POV shots. Cool.

I know what is the best place to watch a gig from, Z knows what is the best company to watch a gig with
Perfect combination resulted in great photos..

Penguin is to publish Ronnie Drew's (auto)biography next month. Although begun by Drew himself, it's understood the manuscript was completed by his children..


Full Title: Ronnie
Pages: 224
Format : Hardback
ISBN: 978-1844881987
Published : 26 Nov 2008
Publisher : Penguin Ireland

£20.00

[CraigBatty]

Cheers, Mac.

[Nemanjic]

A post after a long idle period. Bet none missed me
Ok it's Ciaran Bourke final performance, not complete video but definatelly worth it.
http://www.youtube.com/watch?v=SgoCwCyhh-Q

[Zuzana]

Ronnie voted Greatest Dubliner of All Time

By Melanie Finn
Friday November 07 2008
Herald.ie
Full URL

Late music legend Ronnie Drew has topped a poll of the Greatest Dubliner of All Time.

The raspy voiced musician, who died last August, has emerged as the capital's favourite citizen.

A spokesman for The Dubliner magazine, who conducted the poll, said that Drew won by a considerable margin.

"We told his son Phelim about the honour bestowed on his father posthumously and I'm sure it means a lot to Ronnie's family," he explained.

"There was something about Ronnie that made Dublin people take him to their hearts and his death was definitely the end of an era. He is dearly missed and this new poll shows how much of an impact he left on the capital city."

The singer passed away last summer after a lengthy battle with cancer and was laid to rest after a funeral ceremony in Greystones that was packed full of familiar faces from the world of Irish music and entertainment.

Plans to erect a city monument in his honour are now under way.

The Dublin Docklands Development Authority is working on a statue of fellow Dubliner star Luke Kelly and it is possible that a similar tribute to Ronnie could be erected nearby.

Alternatively, Dublin City Council could name one of the new bridges across the Liffey after the Dun Laoghaire native.

Meanwhile, coming in at second place in the Dubliner Mag poll was literary giant Oscar Wilde, followed by Arthur Guinness, James Joyce and Thin Lizzy frontman Phil Lynott.

Superstar Bono claimed the sixth position, followed by Padraig Pearse, physicist William Rowan Hamilton, Hollywood hunk Colin Farrell and playwright Sean O'Casey.

Among the more unusual suggestions put forward were Eurovision flop Dustin the Turkey, Pat the Baker and even Jimmy from Fair City.

------------------
© Herald.ie 2008

[Low D]

Meanwhile, coming in at second place in the Dubliner Mag poll was literary giant Oscar Wilde, followed by Arthur Guinness, James Joyce and Thin Lizzy frontman Phil Lynott. Superstar Bono claimed the sixth position, followed by Padraig Pearse, physicist William Rowan Hamilton, Hollywood hunk Colin Farrell and playwright Sean O'Casey.

Impressive list, but i'm horrified that Bono came in above Pearse!

[MacRua]

Ronnie Drew: The Last Session - A Fond Farewell £12.99
Due for release on 24/11/2008

Track List
1.Nobody Know's You When You're Down And Out
2.September Song
3.Rainy Night In Soho (Duet With Damien Dempsey)
4.For Ronnie (Guitar Solo Hugh Buckley)
5.The Last Wave
6.We Had It All (Duet With Mary Coughlan)
7.The Auld Triangle
8.Molly Malone
9.Loves Own Sweet Song (Duet With Emmanuel Lawler)
10.Inspiration For The Bards - 'Until Spring' (Poem)


A Fond Farewell to Ronnie Drew:

A New Style, An Old Love

The collection on this album is no more, nor no less, than Ronnie Drew’s musical epitaph, the music he wanted the public to hear after a lifetime of playing and recording in the world-renowned style of The Dubliners and their associates.

This album is different, the musicians backing Ronnie are jazz players , the duets are with some of our leading singers in a diversity of styles, including classical, and Hugh Buckley’s inspired arrangements place Ronnie in a setting he has never had before. It is also something of great historical importance – Ronnie Drew’s last record, made between November, 2007, and May, 2008, three months before he died of cancer.

The idea was born from an interview Aengus Fanning did with Ronnie for the Sunday Independent in August, 2007, not along after his wife Deirdre’s death, also from cancer, a few months earlier.Ronnie had over the years been a frequent caller to jazz gigs at JJ Smyth’s in Dublin where he sat in with Hugh and Richie Buckley, and Myles Drennan. Around the same time, he frequently came to the late Peter O’Brien’s gigs and did shows with him in the National Concert Hall in jazz style.

He loved the idiom and on more than one occasion he lamented the fact that he had spent most of his life playing what he called ‘diddly aye’ music. After that heartbreaking interview in Dali’s restaurant, Aengus suggested to Ronnie that, if he could get sponsorship, they might enlist Hugh Buckley’s musical genius and get a record done in that style. Michael Fingleton of the Irish Nationwide Building came up with E25,000 and the show which became ‘The Last Wave’ was on the road.

On a cold morning in November, 2007, Aengus picked Ronnie up at his Greystones home to drive to Gavin Ralston’s studio in Newtownmountkennnedy. ‘I’m fucked’, said Ronnie as he sat into the car. ‘In the long run, we-re all fucked,’ said Aengus. An hour later, Ronnie was as happy Larry in Gavin’s studio, surrounded by his friends Hugh, Myles, and Dave Fleming, working with dedication, love and fun on Kurt Weill’s ‘September Song.’

Over the following seven months, there were eight sessions in all with the initial band being joined by Richie, Paul Sweeney, and Ciaran Wilde, and singers as contrasting as Damien Dempsey, Mary Coughlan and Emmanuel Lawlor. Hugh recalled the unique atmosphere in the intimate studio during the sessions. ‘We were all friends and there was a great vibe of mutual respect in the air.

‘Each day in the studio was full of that wonderful feeling that something special was happening.’

The Session's 'Dream Team'

Hugh Buckley, an oftentimes unsung hero of the Irish jazz scene, is one of the many people that worked with Ronnie on this last album. His input has been invaluable; he had a great grasp of how important it was to make this special, and to ensure that the magic encompassed in this album carried through from the first to the last note.

Here's his take:

"Ronnie and I had spoken over a number of years about the idea of doing an album of songs with jazz style accompaniment. In selecting the musicians for the session, I was looking for accomplished players who could play arrangements in that style but were also spontaneous and creative in the studio. In Myles Drennan and Dave Fleming I most definitely achieved this goal. Special guest soloists Richie Buckley, Paul Sweeney and Ciaran Wilde also most definitely fell into this category. It also helped that we all knew Ronnie and had worked with him on previous occasions. The addition of Gavin Ralston as engineer and Stephen Fanning was the finalisation of this "dream team".

Although Ronnie`s voice, through illness, lacked the strength of former years, it was his mastery with a lyric and his depth of expression which touched me most during these recordings."

[Noel Kenny]

Also worth a noting, is the fact that, the above mentioned Ritchie Buckley is the saxaphone player with the Sharon/Shane/Mundy band . He also played sax in the church at Ronnie's funeral and (I think) at the graveside.

[Zuzana]

Last session pays tribute to folk legend Drew

Thursday, November 13, 2008, 21:21
PAMELA NEWENHAM
Irishtimes.com

Full URL

Tribute was paid to the late folk legend Ronnie Drew at the launch of his final musical ambition “The Last session: A Fond Farewell” tonight.

Speaking at the event in O’Donoghues bar on Dublin’s Merrion Row, Dave Kavanagh, chairman of Celtic Collections, said: "The fact we had to turn people away is an amazing reflection of the impact Ronnie had on so many peoples lives."

The album is a great record and a great musical epitaph to a great man, he added.

Ronnie’s son Phelim Drew said: “Dad revelled in the affirmation of applause and having a large audience, I don’t think he would have been disappointed with tonight."

Speaking to The Irish Times , songwriter and broadcaster Shay Healy, a close friend of Drew’s for 40 years, recounted memories of Drew in O’Donoghues bar.

“The Dubliners once set out from this pub on their way to a gig in Galway, with Ronnie making a rule as they left: 'no stopping before Chapelizod'."

Mr Healy described Drew as not just a great writer of folk songs, but a comedian and an actor, a man with great taste who could engage with anyone.

Recalling Drew’s kindness, Mr Healy said: “When I got married in 1967, Ronnie gave me 2/6d for the wedding. At his wake, I slipped the money into his coffin in case he needed to buy a pint on his way to heaven."

The Dubliners’ John Sheahan also recalled some funny memories of fellow band member.

“We were ready to go on stage at a gig in the Gleneagle in Killarney, but there was no sign of Ronnie. Suddenly an American tourist popped through the door saying ‘I’m here to deliver your leader’. Ronnie had picked up the hitchhiker earlier in the day on the condition that the hitchhiker drive as Ronnie had had a few jars”.

The album, made hust three months before Drew died of cancer, goes on sale tomorrow and features duets with well-known musicians Damien Dempsey, Mary Couglan and Emmanuel Lawlor.


-----------------------
© 2008 irishtimes.com

[Zuzana]

Remembering Ronnie

Ireland lost a legend when Ronnie Drew lost his battle with cancer earlier this year. But the gravel-voiced Dubliner will never be forgotten. Last week, this newspaper launched Ronnie's last album and his posthumous autobiography is out on Wednesday. Now Phelim and Cliodhna Drew reflect on their extraordinary father with Aengus Fanning

By Donal Lynch
Sunday Independent
Sunday November 23 2008
Full URL

OLD father, old artificer. When Ronnie Drew died last August, he orphaned more than his children Cliodhna and Phelim. A whole nation grieved the loss of a musical father.

Aengus Fanning didn't feel particularly filial towards Ronnie, yet during the seven months -- seven months of terminal illness -- that it took to record his last album, he found himself taking on the role of an errant son, working as driver, dogsbody and amanuensis.

"Ronnie was a romantic, but he was acerbic too. He was well able to give you a bollicking. Even when we were doing the album and I'd drive him to the studio. I'd take considerable criticism over my driving. You'd almost think I'd tried to kill him a few times."

"A real case of the pot calling the kettle black," says Phelim.

Ronnie's bollickings were always delivered with gentle good humour, however. He had a way of tartly putting someone in their place without ever being malicious. Stopping in a pub, he was asked by the only other patron if he hadn't gone off the drink. "I have," he replied in that gravelly basso profundo. "But I like a gin and tonic every now and again. I find it helps me to mind my own business. Would you like one?"

These are the anecdotes that capture the playfulness and devilment of the man far better than a mere tribute. As Phelim and Cliodhna look back on the life and times of the man, they spoke of how, as the children of a star, it became necessary for both of them to accept that his every excursion took on the quality of an "appearance".

"He loved the fact that he was known by ordinary people," recalls Phelim. "He was so used to it that part of his daily life, you know. Dad could be in Kilkenny or Sligo or Grafton Street, or even walking down the street in any town in England ... it was just a way of life."

Ronnie never demanded preferment based on his celebrity or pulled rank, but he became accustomed to being offered the best table at a restaurant. The emergence of the New Ireland, of Polish newspapers and Asian markets, was somewhat bewildering in that regard.

"At times, when he got older he found it disconcerting if he went into a restaurant and there was a waitress, say, from Eastern Europe who wouldn't know him. He found that very strange in latter years because he had been known by everyone everywhere he went," says Phelim.

Aengus got to know Ronnie really well back "when he and Peter O'Brien were playing and they'd get these Concert Hall ideas where Peter would dream up a title, and they'd put together a show, and he did stuff for us in the Birr Music Festival, and he was unique. You know, 'unique'."

Ronnie had been (mostly) dry for many years at that point, but some of his friends still viewed this a little sceptically. A few years ago, he was struck by an attack of vertigo while driving and pulled into the side of the road feeling nauseous. He thought he was having a heart attack. His friend, Muiris Mac Conghail, happened to be driving past and pulled over. Muiris drove him to the Montrose Hotel and rang Ronnie's wife, Deirdre.

"But Muiris wouldn't give Dad the keys of his car," says Phelim. "He insisted on giving them to the concierge and said: 'You are not to give these to anybody except Deirdre Drew, his wife', because he was convinced that Dad had been drinking, whereas he hadn't had a drink for about 12 years at this stage!

"It was hilarious because Muiris and Dad would have soldiered together years ago, but the assumption was that he was gargled and Dad was saying to him: 'No, Muiris, I'm not drunk.'"

It would have been a weary, bemused denial, for in his heyday, Ronnie had, in the words of writer Colin Irwin, "come to define the archetypal image of the raffish, hard-drinking, carousing Irishman of popular myth".

Leading the Dubliners' bawdy choruses and searing ballads, he helped explode a complacent folk scene in Sixties Dublin and would go on to imbue the music with elements of the raunchiness of rock, winning international renown in the process.

Behind this public image, though, there was a quieter, introspective man. "More than anything else, he loved conversation and he loved the whole social aspect of being Irish, everything that that entails sitting with somebody at a fair or at a festival -- an older man, maybe, or an older woman -- exchanging stories, talking about rural life of 50 years ago. He was very interested in social history," says Phelim.

The social history he himself helped write is well known. After stints working menial jobs in London and Spain, he returned to Dublin and struck up friendships with guitar player Barney McKenna and another man who would become a legend of the Irish folk scene -- Luke Kelly. At a time when live music was rarely heard in pubs in Dublin, the three friends got together with Ciaran Bourke, who played the tin whistle. The group, along with fiddle player John Sheehan, began playing around Dublin, initially billing themselves as The Ronnie Drew Group, but then changing it to The Dubliners after the James Joyce book, which Ronnie was reading at the time.

At that point, the Irish music scene was dominated by the Clancy Brothers and Tommy Makem, who, with their Aran sweaters and sensible arrangements, contributed to the perception of Irish music as being somewhat staid and polite.

The Dubliners looked and sounded like The Clancy Brothers' wild city cousins; they were rougher, coarser and altogether more fun. Unlike the folk artists that came before him, Ronnie sang with ragged soul, but also had an edge of cool. Bono said that even the hardest rock bands would look like "a bunch of girls" playing beside the Dubliners.

Deirdre was a steadying influence on Ronnie, providing a ballast for him and an emotional refuge from the constant touring. Cliodhna says of her mother, "Like Dad, she'd a huge social conscience as well. She kept everything on the straight and narrow."

"I don't think she was ever confrontational," says Phelim. "If she disagreed with you, she'd keep her counsel. She didn't speak badly about people and didn't tell you if you were doing something wrong or badly. She was always very gentle. She had her moments; we all have bad days. She was very switched on and clued in, and she'd very good instincts about people."

The Dubliners recorded their debut record in London in 1963, but they really exploded into the wider public consciousness in 1967 with the release of Seven Drunken Nights, which they had learned from Connemara sean nos singer, Joe Heaney.

The record was a hit in England -- but, despite the fact that Heaney's Irish language version was still freely available, the Dubliners found their version was banned in Ireland, even after Ronnie made a direct appeal to the then Taoiseach Jack Lynch, who was not for turning on the matter.

No matter: the Dubliners came up with another hit, this one acceptable to the Irish censors. Black Velvet Band became a worldwide hit and confirmed that The Dubliners were no longer merely niche folk artists. Ronnie's earthy delivery made the band's sound instantly recognisable and would influence a generation of vocalists.

If Ronnie welcomed the success, it was only because it allowed him to lead the only type of lifestyle he could truly imagine. "The reason Dad became a ballad singer and enjoyed the whole process of performing was because of the social side of it as well," says Phelim. "He loved that sort of an environment. He said to me once, 'I have nothing in common with straight people.' He really only felt completely comfortable in the company of people who lived the way he lived."

Of the band's musical success, Ronnie would say that they "had a party which started in 1962 and ended around 1970". Thereafter, The Dubliners were jostling for popularity with new, more modern bands who had a different take on the folk tradition: Planxty, the Bothy Band and Moving Hearts.

The high-octane lifestyle also began to take its toll. Ciaran Bourke had a brain haemorrhage in 1974. Luke Kelly collapsed on stage with a brain tumour in 1980. But Ronnie continued making music, releasing a couple of solo albums during the mid-to-late Seventies.

Phelim recalls that Ronnie had "zero musical snobbery" and always kept an ear out for the latest artists and sounds. It was an attitude that would serve him well, as in the late Eighties, the Pogues, who owed a huge musical debt to Ronnie and the Dubliners, brought the older band back into favour. This culminated in 1987 when the two bands collaborated on a version of The Irish Rover and Ronnie's distinctive wit and gravelly voice were introduced to a whole new generation of fans.

In 1995, exhausted by the touring, he quit the band and retreated to a quieter lifestyle in Greystones, Co Wicklow, where he revelled in what Yeats calls "the little round of deeds and days".

"There was a man from Greystones called Eddie Evans, who was into horses," says Phelim, by way of example. "One time, Ned [Kelleher -- a jarvey friend of Ronnie's from Tralee] came up to Dublin and my parents persuaded him to come back to the house.

"In the morning, Ned made his excuses and rambled down the road and two hours later we walked down to see where he was and he was in the pub. Of course, he'd found Eddie Evans and the two of them were ensconced in the corner like they'd found each other out of the whole planet. Dad had a huge affection for people like that."

He would still come into Dublin, though, reserving it for those little "event" outings, where he saw and was seen.

"One of the clear images of Ronnie in my mind is walking up Grafton Street on a sunny morning in the middle of the week. You'd meet Ronnie striding down the middle of the street, immaculately dressed, colourful scarf, coat and a hat," recalls Aengus.

In October 2006, Ronnie was diagnosed with throat and lung cancer -- a particularly cruel condition for a man renowned for his voice. Soon after that, Deirdre fell ill. Seven weeks later, cancer claimed her. "She had a lump and that was removed. Dad was just home after treatment and he'd got good word that he'd responded well and that he should go home and rest up," says Cliodhna.

"Two years prior to that she had had a tumour removed and it was an encapsulated tumour, so she just had half her lung removed and it required no further treatment," adds Phelim. "They had told her that such tumours can reappear, but she had got the all-clear the previous August, before Dad was diagnosed. Because she got the all-clear, we were all convinced that, whatever it was, it couldn't be serious."

Her death came as a huge blow to Ronnie and the entire Drew family. In his grief, he found some solace in the music. "When the recording of the new album came, as far as he was concerned it was a reason to get up and out," adds Phelim. "While he would be reluctant to say that he was passionate about something, he would definitely be enthusiastic. He hated going out, but he always came back in good form. He loved working with good musicians, he loved the craic, he loved the music he made -- he loved everything about it, so it brought him back to some form of normality."

There was an overwhelming reaction among ordinary people to Ronnie's death and the new book is to be a tribute to that resilience of spirit, a look back at Ronnie's life in his own words.

"There was a body of work there that Dad had done himself in preparation for a book and it would be a shame to leave that sitting in a drawer somewhere," says Phelim. "Really, it was Patricia's (Deevey, of Penguin) professionalism in that area that has brought the book to where it is now. It's a wonderful celebration of stories of his own life, of photographs, of background information in terms of his upbringing that people will be interested in."

When someone has died there is the danger of sentimentality creeping in, but the new book will feature Ronnie's characteristically clear-eyed tell-it-like-it-is wit.

"He takes quite an objective look on the way he was brought up and it's quite an amusing look at it," says Cliodhna. "There was no sort of self-pity," she adds. "It was just 'this is the way it was and here are the stories'."

'Ronnie' by Ronnie Drew is published by Penguin Ireland, priced €25, available from Wednesday.

- Donal Lynch

-----------------
©Independent.ie

[MacRua]

Reflections on a legend's musical epitaph
by Donal Lynch
Sunday Independent
November 23 2008
Full URL

THE collection on this album is no more, nor no less, than Ronnie Drew's musical epitaph, the music he wanted the public to hear after a lifetime of playing and recording in the world-renowned style of the Dubliners and their associates. This album is different. The musicians backing Ronnie are jazz players, the duets are with some of our leading singers in a diversity of styles, including classical, and Hugh Buckley's inspired arrangements place Ronnie in a setting he has never had before.

It is also something of great historical importance -- Ronnie Drew's last record, made between November 2007, and May 2008, three months before he died. The idea was born from an interview Aengus Fanning did with Ronnie for the Sunday Independent in August 2007, not long after his wife Deirdre's death, also from cancer, a few months earlier.

Ronnie had over the years been a frequent caller to jazz gigs at JJ Smyth's in Dublin where he sat in with Hugh and Richie Buckley, and Myles Drennan. Around the same time, he frequently came to the late Peter O'Brien's gigs and did shows with him at the NCH in jazz style.

He loved the idiom and on more than one occasion he lamented the fact that he had spent most of his life playing what he called "diddly aye" music.

After that heart-breaking interview, Aengus suggested to Ronnie that, if he could get sponsorship, they might enlist Hugh Buckley's musical genius and get a record done in that style. Michael Fingleton of the Irish Nationwide Building Society came up with €25,000 and the show which became The Last Session was on the road.

On a cold morning in November, 2007, Aengus picked Ronnie up at his Greystones home to drive to Gavin Ralston's studio in Newtownmountkennnedy.

"I'm f***ed," said Ronnie as he sat into the car. "In the long run, we're all f***ed," said Aengus.

An hour later, Ronnie was as happy as Larry in Gavin's studio, surrounded by his friends Hugh, Myles, and Dave Fleming, working with dedication, love and fun on Kurt Weill's September Song.

Over the following seven months, there were eight sessions in all with the initial band being joined by Richie, Paul Sweeney, and Ciaran Wilde, and singers as contrasting as Damien Dempsey, Mary Coughlan and Emmanuel Lawlor.

Hugh recalled the unique atmosphere in the intimate studio during the sessions. "We were all friends and there was a great vibe of mutual respect in the air.

"Each day in the studio was full of that wonderful feeling that something special was happening."

All the guest singers loved the project and were honoured to record with Ronnie.

Damien said, "Now I've finally made it. I've recorded with Ronnie Drew." Emmanuel said afterwards, "This was one of the very best days of my life." Mary said, "It was a once in a lifetime thrill."

The choice of songs was Ronnie's. September Song, the great jazz standard Nobody Knows You When You're Down and Out, Shane MacGowan's A Rainy Night in Soho, Mikey Hanrahan's The Best of Times, The Auld Triangle, Love's Old Sweet Song, The Last Wave and Molly Malone.

Hugh Buckley's brilliant and sensitive arrangements breathe new life into even the best-known of these songs, and the musicianship of Richie Buckley, Myles Drennan, Dave Fleming, Hugh Buckley, Paul Sweeney and Ciaran Wilde imbues the album with a unique quality, a quality that Ronnie loved when he heard the playbacks.

Gavin Ralston's technical genius in the studio and his feel for the project as a fine musician himself are evident in the superb engineering that ensured state-of-the-art quality.

For Ronnie and Deirdre's children, Phelim and Cliodhna, it was heartbreaking to lose both parents within such a short time.

Phelim Drew says, "Making this album meant a lot to Dad. He was very ill but he was determined to do it. And what we have on record as a result is a real treasure. Among the best things he has ever done."

Cliodhna Drew adds, "I was in the house on those Thursday mornings when Aengus called for Dad to make the short journey from Greystones to Newtownmountkennedy. As always, he dressed immaculately and, after a cup of coffee at home, set out in good spirits for the work and camaraderie of the studio. For Dad, it was a very happy enterprise."

'The Last Session: A Fond Farewell' on the Celtic Collections label (€15) is in record stores now, including Extravision and Tesco, and on download from iTunes. The Cancer research Programme at St Vincent's Hospital will benefit from sales of the CD

©Independent.ie

[IrishRover]

heres a great cloip of Ronnie doin' Doirty OIld Toiwn,
http://www.youtube.com/watch?v=x6tEEUMXUG8

[James]

You know how Luke Kelly was King Herod in Jesus Christ Superstar?

Is there any soundtrack album with him on it? I heard a bit of it on a documentary and, surprise surprise, he actually made that song sound brilliant.

[philipchevron]

You know how Luke Kelly was King Herod in Jesus Christ Superstar?

Is there any soundtrack album with him on it? I heard a bit of it on a documentary and, surprise surprise, he actually made that song sound brilliant.

No, I'm afraid no Cast Album was made of the Dublin production, though an album was made of Joseph and his Technicoloured Dreamcoat by Noel Pearson's RAM label in 1974, feauring Jim McCann, Tony Kenny, Brendan Grace, Cahir O'Doherty, Alan Dee and various other beat group/showband/folk revival stopouts.

[James]

You know how Luke Kelly was King Herod in Jesus Christ Superstar?

Is there any soundtrack album with him on it? I heard a bit of it on a documentary and, surprise surprise, he actually made that song sound brilliant.

No, I'm afraid no Cast Album was made of the Dublin production, though an album was made of Joseph and his Technicoloured Dreamcoat by Noel Pearson's RAM label in 1974, feauring Jim McCann, Tony Kenny, Brendan Grace, Cahir O'Doherty, Alan Dee and various other beat group/showband/folk revival stopouts.

Thanks for the info.

That's a real shame about the album.

Did you ever meet Luke, or have any dealings with him, Phil?