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The chorus is then played a half-key lower for the remaining thirty seconds. Now Roy has produced his final oh yes!! Rock Band actually visualizes the nightmare by blacking out your TV just as the song ends.

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The music continues repetitively, but is interrupted - twice - by some frankly demented carnival music. But, if pushed, I'd recommend first the stirring opening set of Irish slides that lights my candle every time, not least due to the extra buzz generated by McGoldrick's uilleann pipes.

The key lies naturally in the CD's title - Tomorrow - which is shorthand for that all-important message for his own, and indeed all, grandchildren: Never could be any other way! The first children's album Roy made was Oats And Beans And Kangaroos, back in the mids, and as recently as nine years ago, the birth of his eldest granddaughter Jessica provided the impetus for the lovely Up The Wooden Hill collection.

Elsewhere, perhaps, it can be all too easy to get the feeling that Glyn is deliberately setting out to make an Impact capital "I"! On the third interruption, the carnival music mixes with the "normal" music and slowly overwhelms it before grinding to a halt at which point the band members can be heard chuckling and admitting that "That wasn't too good.

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So I guess a further release was inevitable! And creepy laughing, which seems to be a theme in love. This is a cannily sequenced minute collection that's pretty comprehensive in its own right and works well as an independent listening programme, but on the other hand it can't help but leave me with that niggling feeling of incompleteness.

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After that, it ends normally with an echo. Apart, that is, from an empathic take on A Song For Ireland itself and a particularly thoughtfully-turned version of Picollator online dating Ould Triangle these, more than any other tracks, make it clear that this project is rather a labour of love for Michael and Anthony, who are companionably accompanied on their worthy mission by guest musicians Paul Gurney, Noel Carberry, Aoife Kelly and Johnny Duffy on piano, bass, accordion, fiddle, banjo, uilleann pipes and whistles in straightforward and unfussy arrangements.

These are affectionate, genial, commendably polished and admirably conservative though not especially sedate renditions which make a virtue out of their intrinsic Irish character and its lovable honesty. Follow the link you were provided with and check out the site.

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As does the accompanying CD, which contains 16 full-length music tracks from the film's featured artists 9 of the cuts also involve Bain himself.

Every track is both memorable and relevant, a further demonstration of Roy's total integrity, and the whole set forms both a cause for celebration of half-a-century of bringing folk music to a wide audience and yet another high point in Roy's illustrious career.

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Here Roy also brings us a contrasted pair of fine songs by David Ferrard: After about half a minute of this, there is suddenly an explosion, and then in the silence a childlike voice says "Bye-bye!

Everything after "Intermission" has a swinging cabaret feel. The fiddle-led set of wedding reels track 8 packs a hefty drive yet with a lightness of touch, while there's an irresistible authentic ceilidh-band feel to the bouncy pipe-marches of the final track that won't fail to get your feet tapping.

However, after the lyrics end comes a Last Note Nightmare that spans a quarter of the song.