How do Irish bands, both the big guns and the lesser known bands, record in the studio? Do they typically try to get the band playing together, basically "live" in the studio? Or is there more of a track-at-a time kind of approach that is more common in rock and other music styles.
I know that sometimes overdubs are necessary, particularly with vocals and additional instruments, but it seems to me that the very nature of the music would require as many people as possible to be playing together to capture the feel that makes Irish so special.
In rock recordings they usually start with just the rhythm section, but I've always understood that in Irish the rhythm instuments (when they exist) should *follow* the melody, not lead it. How does that work out in a studio setting?
Good question! I've been having just that discussion with recording studios. Recording engineers' rock music training tells them to start with the bodhran, which of course doesn't work.
One possibility is to accoustically isolate the individual musicians as much as possible while they still all play at the same time, hearing each other through headphones. That way, the live energy is captured, while still having seperate tracks for mixing.
Of couse being able to afford renting a studio with plexiglass booths is another matter...
You can do a basic guide track with guitar or whatever, then record the vocals / instruments one by one while listening to the guide track. The guide track isn't, of course, used in the mix. A click track is usually laid down first, to keep people in time.
However.... and it's a big however.... despite having recorded like this with a band, I think the "live" performance, where you all play at the same time, is a lot better way of getting the spirit and energy of the music. Playing to a click track is incredibly tedious, as anyone who's played to a metronome might understand. I guess you could argue that a CD needs to be free of mistakes and by laying down tracks separately you can get the music and the mix technically a lot nearer "perfect" - it's basically a commercial product which has to be as good as possible. Whether it's musical is another argument!
Anyway that's how we did ours but I'd be interested how others did theirs...
I also worked for many years in BBC radio, and there, for classical performers at least, we'd record in stereo rather than multitrack things, and if there was a mistake we'd simply ask the performers to repeat any dodgy passages. Then again, with classical music that's easier in a way as they're adhering to written scores.
When I recorded the music for my CD, it was all done as individual tracks. We laid down a click track for each song/tune, and then I did the guitar work for the songs. The only real "tune" was when we played "Drowsy Maggie" at the end of "Star of the County Down", and I wanted to get a real "session" feel for it, with melody instruments and bodhran, as well as bass and guitar. The fiddle and the uilleann pipes were actually tracked months apart, but when it was put together, everything sounded pretty darn good.
I hate click tracks. The recordings I've been involved in have all avoided them all together. Our MO has been to isolate ourselves accoustically and stay connected with headphones so we can hear ourselves and each other. Then we count it in and let it rip. If someone fecked it up anywhere during the tune we could easily 'pucnh in' over it by having the person play along while the engineer captures just enough to cover the boo boo. The result is a live sound with a natural sounding rhythm and an interplay between musicians.
The one professionally engineered recording of Irish dance music I was associated with involved three musicians, only two of which were in the studio together during each session. Five instruments ended up on the tracks since the fiddler also overdubbed his own guitar and banjo. We used headphones and were sitting within three feet of each other during the recording. I never met the bodhran player (who was really good) until after the cd was completed.
I read an interview involving various members of Dervish who described that on their first CD, they all recorded seperately, laying down individual tracks. They said that they've never really been happy with the way that first disk turned out, so from that point onwards, they've recorded together in the studio. This interview goes back a few years and a few CDs, so I can't say what they've been doing since.
I asked this very question to Benny McCarthy of Danu who is a good friend and neighbour of mine and he told me that all of the Danu CD's were recorded more or less live with the odd overdub.
Good luck
Mike
Oh the pain of it. I remember everyone playing live in the studio but only the drums being recorded. Then two excruciating days of replacing all the drums with samples and "moving" the "off time" ones. Then each of us going in and recording tracks/multitracks one after the other. The strength of it was the subtlety of what you can tweak and how you can change your mind from the big picture right down to the minutiae. If you can keep your concentration and energy up for the duration, it is possible to keep it all fresh and innovative, but it's bloody hard work.
But acoustic music is an entirely different kettle of fish. Forget your multi tracks. Forget your perspex isolation screens. Forget your (sucked) dry rooms and digital reverbs. Forget your overdubs and perfection. Forget your recording studio.
Instead, spend your entire budget on hiring a very good stereo recording machine and just two very very good microphones. Set them up in a room with lovely natural acoustics and press "record" for how ever long it takes. If you end up with a sh*te sound at the end of it, then the only reason can be that you are sh*te.
If I'm not mistaken, Tommy Peoples' 'High Part Of The Road' alone, the fiddle was recorded alone and Paul Brady overdubbed the guitar later. Whilst I cannot fault the backing - it follows the fiddle playing very closely, complementing all of Peoples' variations - there seems to me to be a lack of direct communication between the musicians. It sounds very much as if Brady has listened to the fiddle track many times through and worked out what to play. While this may be a preferable way to work in a larger group (allowing more opportunity for refining the arrangment), in a duo recording such as this, it robs the music of its spontaneity.
Acoustically isolating the musicians clearly has its advanatges, in that it allows each instrumental track to be edited separately and cleanly. But even this inhibits the kind of communication that occurs between two musicians sitting beside one another in a session. Come to that, so do the 'dry' acoustics of the studio.
spoon writes: "But even this inhibits the kind of communication that occurs between two musicians sitting beside one another in a session. Come to that, so do the 'dry' acoustics of the studio."
We would temper the sound in our headphones until it was the most like we were sitting around in a kitchen somewhere. We only had barriers between us so there was a little, but minimal, bleed. Of course it was slightly awkward compared to not having headphones and barriers, but it allowed us to proceed in a way that resulted with the best recording of us playing live that could still be polished here and there where errors occurred.
but, and I'm sure we've had this one out before, the errors are the best bits.
What I'm advocating is, to record it how it is. The best recordings are the ones where you are not feared by making mistakes, but are inspired to push it.
Does anyone know if Tommy Peoples' "Fiddler's Fancy" CD (done nearly 20 years ago) comes into that category? Some tracks have a guitar backing which is acoustically completely isolated from the fiddle (one on the left channel, the other on the right). It sounds to me very much as if the guitar was dubbed on later. With this particular CD if you want to use it to learn a tune I'd recommend that you turn off the guitar tracks, because my experience is that the harmonic structure put out by the guitar can be too distracting when you're trying to learn the tune.
By "that category" I was referring to Spoon's post where he was referring to the Tommy Peoples and Paul Brady recording. I don't know who was the guitarist on the "Fiddler's Fancy" CD.
Quote >>> ...Tommy Peoples' "Fiddler's Fancy" CD... With this particular CD if you want to use it to learn a tune I'd recommend that you turn off the guitar tracks, because
<<<
And I'd recommend that you turn off the guitar tracks if you just want to listen to it, as well.
Yes, I've already done that. I've made a version on my computer where the guitar channel is replaced by the fiddle from the other channel. Sounds far better.
I've found that Irish music groups do best when the technologies are the least intrusive. Our band plays best on stage with the least volume in the monitors and the mics well out of the way. It is quite an exercise to train live sound folks and studio folks that this AIN'T rock'n'roll. Dammit.
We recorded live in the studio. We tried to do it all in the same room and the sound that resulted (even with quite a bit of tech experimentation) wasn't what we wanted. So we were in different rooms with clear and easy 'sight lines' to one another, and that worked out very well. It let us get the whole sounds of the instruments and allowed us to play together like we do. It was different, but not difficult.
I have recorded some stuff that was overdubbed, but mainly because the players just couldn't all be in the same place at once (or sometimes, at all...) and it's been fine. It's a different sound and feel, but no less good music, I think.
It's a real good challenge for a recordist to do a good job with an ensemble all playing in the room at once, but that is the way recording began, and I find it useful to forget a lot of the modern techniques and innovations in the recording art, just to get to listening to what is to be captured. We suffer from a luxury of technology sometimes... <GG>
There are now a zillion ways to record music, so there's got to be a way to please anyone somehow, somewhere on the planet. Knowing what is appropriate the first time out is a challenge, but a good recording engineer should be ready to LISTEN and to improvise and figure out what's right for any music that comes at him/her.
I've been enjoying using a little Edirol R-09 chip recorder to capture moments of music just as they happen. I've been listening back to the recordings in my studio and I'm learning where to put the Ed' to get the best recordings, and I'm finding that if I do that (the old method, putting the microphone in the right place is a huge portion of getting it right...), the recordings really tell the truth. It's really getting to be great fun!
I've used click tracks, but never for "folk" musics, always for pop music in which folks -expected- the editing process to be as important as the playing. For the great majority of the folk and original musics I've been doing (for the past ten years), a bit of elasticity in the time is part of the expression of the music. I've had some artists ask me to take it out, to edit to a time grid so that the tempo is perfect and they have (as have I) always hated the results.
It's 'de rigeur' in pop or R&B music to work a groove over perfect tempo, and I really like to do that, but for folk and traditional musics, it's not worked that way for me, nor for the artists I've worked with.
Having said that, there have been the moments when an artist or group has listened to their playback and decided to go home and play that set a few times more til they can play it without the big slow sag in the second B part, or say, without rushing to the change to the third tune... <GGG> when those parts were really awful.
Zan McLeod told me that Liz Carroll's "Lost In The Loop" was done with most of the musicians playing at once, but had some overdubs done later. That might have been some of the percussion and some of Seamus Egan's bits...
I'd love to hear more stories about how the Big Kids make their recordings... A few things come to mind...
Kitty Hayes and Peter Laban's recent one was recorded in her kitchen...
I would expect that Teada's last two CDs were put together with a good number of overdubs, those brilliant arrangements seem to be done that way...
I believe that James Kelly and Zan McLeod played together for the recording of "The Ring Sessions" and then added some overdubs.
I was just listening to Dervish's "Spirit" CD and it sounds as tho the core group all played and then there were overdubs, but there are a couple of big pieces on there that could only have been done with overdubbing.
I think Ged Foley told me that the recent Patrick Street recordings were done all together, but they may have used isolation rooms, too.
Thanks for this thread, I hope to learn a lot more from you all!
We recorded with the melody instruments all in the same room, and the piano isolated. This allowed the piano to play away without regard to volume, and also to be able to fix chords that he didn't like later. The room we played in was pretty nice, so we wanted the room sound in the mix. Also, we were looking for a blend, a band sound, not a group of individuals. For that reason, bleed-over between instruments was good, not bad.
The first CD I recorded was done this way too, with everyone in the same room. That was done in a beautiful studio, and the sound was tremendous.
Having had success with these recordings, I don't think I would do it any other way, at least for "my own" recordings. I recorded with a rock band one time in the isolation, one-at-a-time mode, and I thought it sucked. It didn't help that the sound engineer did not like fiddle.
One "techie" thing that some people did in the studio was to put headphones on with only one ear covered. So, you could hear the mix in one ear and the room in the other.
Good points all. On my project, we used a melody and beat "scratch track" and put down the other instruments one at a time from that.
We weren't really going for a warm, session-like feel and it would probably be difficult to achieve such with this method. It's difficult to do effective overdubbing without track isolation, but it's the price you pay for that sesh vibe.
"Bleed" is good. It's what makes musicians playing together 'more than the sum of their parts'. But because of the physics of the recording tech we've enjoyed for the last 80 years, working with and 'tuning' that bleed can be very tough to do well. The techniques for doing that used to be one of the first principles of learning to record music, now it's very unusual that it's taught to recordists-in-training.
The older I get the more I feel that a single stereo microphone placed well near a group of folks playing is the very best way to capture this wonderful music... But there are enough ways to do recording for every player there is to have their own way... <GG>
Recording Irish music in a studio
Recording Irish music in a studio
How do Irish bands, both the big guns and the lesser known bands, record in the studio? Do they typically try to get the band playing together, basically "live" in the studio? Or is there more of a track-at-a time kind of approach that is more common in rock and other music styles.
I know that sometimes overdubs are necessary, particularly with vocals and additional instruments, but it seems to me that the very nature of the music would require as many people as possible to be playing together to capture the feel that makes Irish so special.
In rock recordings they usually start with just the rhythm section, but I've always understood that in Irish the rhythm instuments (when they exist) should *follow* the melody, not lead it. How does that work out in a studio setting?
# Posted on October 2nd 2006 by Craymcla
Re: Recording Irish music in a studio
Good question! I've been having just that discussion with recording studios. Recording engineers' rock music training tells them to start with the bodhran, which of course doesn't work.
One possibility is to accoustically isolate the individual musicians as much as possible while they still all play at the same time, hearing each other through headphones. That way, the live energy is captured, while still having seperate tracks for mixing.
Of couse being able to afford renting a studio with plexiglass booths is another matter...
# Posted on October 2nd 2006 by treecipitation
Re: Recording Irish music in a studio
You can do a basic guide track with guitar or whatever, then record the vocals / instruments one by one while listening to the guide track. The guide track isn't, of course, used in the mix. A click track is usually laid down first, to keep people in time.
However.... and it's a big however.... despite having recorded like this with a band, I think the "live" performance, where you all play at the same time, is a lot better way of getting the spirit and energy of the music. Playing to a click track is incredibly tedious, as anyone who's played to a metronome might understand. I guess you could argue that a CD needs to be free of mistakes and by laying down tracks separately you can get the music and the mix technically a lot nearer "perfect" - it's basically a commercial product which has to be as good as possible. Whether it's musical is another argument!
Anyway that's how we did ours but I'd be interested how others did theirs...
I also worked for many years in BBC radio, and there, for classical performers at least, we'd record in stereo rather than multitrack things, and if there was a mistake we'd simply ask the performers to repeat any dodgy passages. Then again, with classical music that's easier in a way as they're adhering to written scores.
# Posted on October 2nd 2006 by Mark Harmer
Re: Recording Irish music in a studio
When I recorded the music for my CD, it was all done as individual tracks. We laid down a click track for each song/tune, and then I did the guitar work for the songs. The only real "tune" was when we played "Drowsy Maggie" at the end of "Star of the County Down", and I wanted to get a real "session" feel for it, with melody instruments and bodhran, as well as bass and guitar. The fiddle and the uilleann pipes were actually tracked months apart, but when it was put together, everything sounded pretty darn good.
http://www.jameswestmusic.com
# Posted on October 2nd 2006 by IrishJim
Re: Recording Irish music in a studio
I hate click tracks. The recordings I've been involved in have all avoided them all together. Our MO has been to isolate ourselves accoustically and stay connected with headphones so we can hear ourselves and each other. Then we count it in and let it rip. If someone fecked it up anywhere during the tune we could easily 'pucnh in' over it by having the person play along while the engineer captures just enough to cover the boo boo. The result is a live sound with a natural sounding rhythm and an interplay between musicians.
# Posted on October 2nd 2006 by Phantom Button
Re: Recording Irish music in a studio
The one professionally engineered recording of Irish dance music I was associated with involved three musicians, only two of which were in the studio together during each session. Five instruments ended up on the tracks since the fiddler also overdubbed his own guitar and banjo. We used headphones and were sitting within three feet of each other during the recording. I never met the bodhran player (who was really good) until after the cd was completed.
# Posted on October 2nd 2006 by vonnieestes
Re: Recording Irish music in a studio
I read an interview involving various members of Dervish who described that on their first CD, they all recorded seperately, laying down individual tracks. They said that they've never really been happy with the way that first disk turned out, so from that point onwards, they've recorded together in the studio. This interview goes back a few years and a few CDs, so I can't say what they've been doing since.
# Posted on October 2nd 2006 by pbassnote
Re: Recording Irish music in a studio
I asked this very question to Benny McCarthy of Danu who is a good friend and neighbour of mine and he told me that all of the Danu CD's were recorded more or less live with the odd overdub.
Good luck
Mike
# Posted on October 2nd 2006 by Mikea
Re: Recording Irish music in a studio
Oh the pain of it. I remember everyone playing live in the studio but only the drums being recorded. Then two excruciating days of replacing all the drums with samples and "moving" the "off time" ones. Then each of us going in and recording tracks/multitracks one after the other. The strength of it was the subtlety of what you can tweak and how you can change your mind from the big picture right down to the minutiae. If you can keep your concentration and energy up for the duration, it is possible to keep it all fresh and innovative, but it's bloody hard work.
But acoustic music is an entirely different kettle of fish. Forget your multi tracks. Forget your perspex isolation screens. Forget your (sucked) dry rooms and digital reverbs. Forget your overdubs and perfection. Forget your recording studio.
Instead, spend your entire budget on hiring a very good stereo recording machine and just two very very good microphones. Set them up in a room with lovely natural acoustics and press "record" for how ever long it takes. If you end up with a sh*te sound at the end of it, then the only reason can be that you are sh*te.
# Posted on October 2nd 2006 by llig leahcim
Re: Recording Irish music in a studio
If I'm not mistaken, Tommy Peoples' 'High Part Of The Road' alone, the fiddle was recorded alone and Paul Brady overdubbed the guitar later. Whilst I cannot fault the backing - it follows the fiddle playing very closely, complementing all of Peoples' variations - there seems to me to be a lack of direct communication between the musicians. It sounds very much as if Brady has listened to the fiddle track many times through and worked out what to play. While this may be a preferable way to work in a larger group (allowing more opportunity for refining the arrangment), in a duo recording such as this, it robs the music of its spontaneity.
Acoustically isolating the musicians clearly has its advanatges, in that it allows each instrumental track to be edited separately and cleanly. But even this inhibits the kind of communication that occurs between two musicians sitting beside one another in a session. Come to that, so do the 'dry' acoustics of the studio.
# Posted on October 2nd 2006 by ragaman
Re: Recording Irish music in a studio
spoon writes: "But even this inhibits the kind of communication that occurs between two musicians sitting beside one another in a session. Come to that, so do the 'dry' acoustics of the studio."
We would temper the sound in our headphones until it was the most like we were sitting around in a kitchen somewhere. We only had barriers between us so there was a little, but minimal, bleed. Of course it was slightly awkward compared to not having headphones and barriers, but it allowed us to proceed in a way that resulted with the best recording of us playing live that could still be polished here and there where errors occurred.
# Posted on October 3rd 2006 by Phantom Button
Re: Recording Irish music in a studio
but, and I'm sure we've had this one out before, the errors are the best bits.
What I'm advocating is, to record it how it is. The best recordings are the ones where you are not feared by making mistakes, but are inspired to push it.
# Posted on October 3rd 2006 by llig leahcim
Re: Recording Irish music in a studio
Does anyone know if Tommy Peoples' "Fiddler's Fancy" CD (done nearly 20 years ago) comes into that category? Some tracks have a guitar backing which is acoustically completely isolated from the fiddle (one on the left channel, the other on the right). It sounds to me very much as if the guitar was dubbed on later. With this particular CD if you want to use it to learn a tune I'd recommend that you turn off the guitar tracks, because my experience is that the harmonic structure put out by the guitar can be too distracting when you're trying to learn the tune.
# Posted on October 3rd 2006 by lazyhound
Re: Recording Irish music in a studio
By "that category" I was referring to Spoon's post where he was referring to the Tommy Peoples and Paul Brady recording. I don't know who was the guitarist on the "Fiddler's Fancy" CD.
# Posted on October 3rd 2006 by lazyhound
Re: Recording Irish music in a studio
Quote >>> ...Tommy Peoples' "Fiddler's Fancy" CD... With this particular CD if you want to use it to learn a tune I'd recommend that you turn off the guitar tracks, because
<<<
And I'd recommend that you turn off the guitar tracks if you just want to listen to it, as well.
# Posted on October 3rd 2006 by DaveL35
Re: Recording Irish music in a studio
Yes, I've already done that. I've made a version on my computer where the guitar channel is replaced by the fiddle from the other channel. Sounds far better.
# Posted on October 3rd 2006 by lazyhound
Re: Recording Irish music in a studio
I've found that Irish music groups do best when the technologies are the least intrusive. Our band plays best on stage with the least volume in the monitors and the mics well out of the way. It is quite an exercise to train live sound folks and studio folks that this AIN'T rock'n'roll. Dammit.
We recorded live in the studio. We tried to do it all in the same room and the sound that resulted (even with quite a bit of tech experimentation) wasn't what we wanted. So we were in different rooms with clear and easy 'sight lines' to one another, and that worked out very well. It let us get the whole sounds of the instruments and allowed us to play together like we do. It was different, but not difficult.
I have recorded some stuff that was overdubbed, but mainly because the players just couldn't all be in the same place at once (or sometimes, at all...) and it's been fine. It's a different sound and feel, but no less good music, I think.
It's a real good challenge for a recordist to do a good job with an ensemble all playing in the room at once, but that is the way recording began, and I find it useful to forget a lot of the modern techniques and innovations in the recording art, just to get to listening to what is to be captured. We suffer from a luxury of technology sometimes... <GG>
There are now a zillion ways to record music, so there's got to be a way to please anyone somehow, somewhere on the planet. Knowing what is appropriate the first time out is a challenge, but a good recording engineer should be ready to LISTEN and to improvise and figure out what's right for any music that comes at him/her.
I've been enjoying using a little Edirol R-09 chip recorder to capture moments of music just as they happen. I've been listening back to the recordings in my studio and I'm learning where to put the Ed' to get the best recordings, and I'm finding that if I do that (the old method, putting the microphone in the right place is a huge portion of getting it right...), the recordings really tell the truth. It's really getting to be great fun!
I've used click tracks, but never for "folk" musics, always for pop music in which folks -expected- the editing process to be as important as the playing. For the great majority of the folk and original musics I've been doing (for the past ten years), a bit of elasticity in the time is part of the expression of the music. I've had some artists ask me to take it out, to edit to a time grid so that the tempo is perfect and they have (as have I) always hated the results.
It's 'de rigeur' in pop or R&B music to work a groove over perfect tempo, and I really like to do that, but for folk and traditional musics, it's not worked that way for me, nor for the artists I've worked with.
Having said that, there have been the moments when an artist or group has listened to their playback and decided to go home and play that set a few times more til they can play it without the big slow sag in the second B part, or say, without rushing to the change to the third tune... <GGG> when those parts were really awful.
Zan McLeod told me that Liz Carroll's "Lost In The Loop" was done with most of the musicians playing at once, but had some overdubs done later. That might have been some of the percussion and some of Seamus Egan's bits...
I'd love to hear more stories about how the Big Kids make their recordings... A few things come to mind...
Kitty Hayes and Peter Laban's recent one was recorded in her kitchen...
I would expect that Teada's last two CDs were put together with a good number of overdubs, those brilliant arrangements seem to be done that way...
I believe that James Kelly and Zan McLeod played together for the recording of "The Ring Sessions" and then added some overdubs.
I was just listening to Dervish's "Spirit" CD and it sounds as tho the core group all played and then there were overdubs, but there are a couple of big pieces on there that could only have been done with overdubbing.
I think Ged Foley told me that the recent Patrick Street recordings were done all together, but they may have used isolation rooms, too.
Thanks for this thread, I hope to learn a lot more from you all!
stv
http://cdbaby.com/Culchies
# Posted on October 3rd 2006 by stv culchie
Re: Recording Irish music in a studio
We recorded with the melody instruments all in the same room, and the piano isolated. This allowed the piano to play away without regard to volume, and also to be able to fix chords that he didn't like later. The room we played in was pretty nice, so we wanted the room sound in the mix. Also, we were looking for a blend, a band sound, not a group of individuals. For that reason, bleed-over between instruments was good, not bad.
The first CD I recorded was done this way too, with everyone in the same room. That was done in a beautiful studio, and the sound was tremendous.
Having had success with these recordings, I don't think I would do it any other way, at least for "my own" recordings. I recorded with a rock band one time in the isolation, one-at-a-time mode, and I thought it sucked. It didn't help that the sound engineer did not like fiddle.
One "techie" thing that some people did in the studio was to put headphones on with only one ear covered. So, you could hear the mix in one ear and the room in the other.
# Posted on October 3rd 2006 by Jode
Re: Recording Irish music in a studio
Good points all. On my project, we used a melody and beat "scratch track" and put down the other instruments one at a time from that.
We weren't really going for a warm, session-like feel and it would probably be difficult to achieve such with this method. It's difficult to do effective overdubbing without track isolation, but it's the price you pay for that sesh vibe.
# Posted on October 3rd 2006 by KC Gross
Re: Recording Irish music in a studio
"Bleed" is good. It's what makes musicians playing together 'more than the sum of their parts'. But because of the physics of the recording tech we've enjoyed for the last 80 years, working with and 'tuning' that bleed can be very tough to do well. The techniques for doing that used to be one of the first principles of learning to record music, now it's very unusual that it's taught to recordists-in-training.
The older I get the more I feel that a single stereo microphone placed well near a group of folks playing is the very best way to capture this wonderful music... But there are enough ways to do recording for every player there is to have their own way... <GG>
stv
http://cdbaby.com/Culchies
# Posted on October 3rd 2006 by stv culchie
Re: Recording Irish music in a studio
I think your wrong there Spoon about High Part Of The Road
see http://www.thesession.org/discussions/display/7235/comments#comment155748
I think the People's album that had accompaniment added to it was "Traditional Irish Music Played On The Fiddle"
# Posted on October 3rd 2006 by BegF