The Horslips Tribute Band at Bar Mono, Letterkenny in August
"Letterkenny's the place where they say
'Hey baby, take a walk on the wild side."
Archives of Horslips musical news.
The idea of a tribute band to the Celtic Rock supergroup, Horslips, first surfaced in late 2004. Organ player Michael Rafferty, after listening to numerous records by the group, formed the idea of bringing together a group of musicians for one performance in tribute to the band. As the idea began to gather realistic potential, Ryan O’Sullivan was approached and soon recruited as the group’s guitar player. As word spread about the possibility of a tribute band forming, it became apparent that a number of other musicians, who cited Horslips as a main influence, were interested. The group soon recruited John Kelly on vocals, Conor McAloon on lead guitar, Daniel McCormack on bass guitar, and Damien Maguire on drums and percussion. The traditional side of the group consisted of Michael Kielty on flute, Patrick Bogues on fiddle, and Niall Moore on trumpet.
The first Horslips Tribute gig was performed in the CBS Grammar School in Omagh, the school which all of the members of the band attended. With Barry Devlin, bass player of the Horslips, in attendance, it proved to be an extremely successful night as the band performed the entire ‘Book Of Invasions’ album. With this first gig proving a great experience for the band, it was agreed that the group should continue to perform under the Horslips Tribute banner, in homage to the band who inspired the idea in the first place.
"An excellent and thorough analysis of the development of Irish rock music over the past four decades. It is astute and erudite in its assessment of the many different strands Irish music has taken during that period, economic and concise in its delivery, and intelligently leavens its more theoretical meditations with witty, humourous and insightful flourishes."
hotpress.com can reveal that Bono is the Script Editor on a film called The Virgin Of Las Vegas that’s been written long-time U2 collaborator and Horslips man Barry Devlin.
“It’s slightly early, but the thing will have more legs at the end of August when Bono can concentrate his attentions fully on it,” Devlin tells us. “It’s about the last days of a showband in Las Vegas, and it’s also a father-and-son movie. It’s really a two-hander.”
Asked to tease out the storyline, he proffers: “Basically, it’s a piece about a guy whose father ran out on him when he was seven, and now he’s 21 and wants to see what his dad was like. And the cause for the son’s arrival in Las Vegas is the death of one of the band while playing onstage – a true pro, he played till the end of the number before going to his eternal reward.
I quit my job as a dancer
At the Lido des Girls
Dealing blackjack until one or two
Such a muddly line between
The things you want
And the things you have to do
...Bourbon Street largely escaped the floods that hit after New Orleans levees were breached. And in the first days, a few stranded tourists also wandered in to sample the warm beer that became the drink of the day after the power went off and the refrigerators stopped working.
"Whatcha need, darling, you're all right?" the gruff bartender called out to a sweaty customer as he squeezed into her line of sight.
"Something cool, like bourbon," he answered.
Johnny White's has been an island of normalcy in a city shattered by hurricane anarchy and the stench of death.
The tiny joint sits squarely on the corner of Bourbon and Orleans where alcoholics and derelicts mix with a steady stream of yuppies and tourists who play at slumming it.
The doors are wide open.
Nearly a week after the disaster there are not many people walking by to notice. Those that do have stories to tell.
Lisa Smith, 41, is slumped on a bar stool, nursing a rum and coke -- and a huge gash on her side.
"I was floating on a couch drinking Budweiser," she told a friend who walked in as she began to tell the tale of how she escaped the floodwaters and made it back to her home away from home in the French Quarter.
Smith's story was interrupted by cheers which broke out when a man walked in with a cooler of ice.
"Don't get too excited, I'm hoarding this for myself," Sprinkel joked as she lit another cigarette and leaned on a stool behind the bar...
Fine-tuning the ad man's message: it's a jingle out there
IN the old days, life was so much simpler for marketers: Guinness was 'good for you', Bank of Ireland was 'a friend for life', Smithwicks was 'going for a pint', Irish Permanent was 'the sure, safe way' to invest, Carroll's was a cool relaxing smoke and Silvikrin needed only to ask 'are you the girl with the shining hair?' Procter & Gamble could run 'fighting brands' against each other on the basis that one was 'biological', while the other 'washes whiter'.
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It's the nature of music that it's associated with memories and emotions of the time you first heard it or listened to it most frequently. This makes it hard to listen to old music with a fresh ear but can trigger a more youthful and naive mood among older, more cynical consumers. Matrons might be targeted with Abba or Bay City Rollers if you want to appeal to their teenage naivety, or Fleetwood Mac if you want to appeal to their pre-maternal freedom.
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Hardened retail procurement officers are lads again when they hear Thin Lizzy or Horslips. If you are targeting a specific age group, you can be highly focused: Van Morrison has enjoyed a cult following since the 1960s but each vintage appeals to different age groups; his 1968 'Astral Weeks' is remembered by golden years consumers who were young when it was released...