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Horslips in Irish Musical and Literary Culture

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Horslips in Irish Musical and Literary Culture Estudios Irlandeses , Number 3, 2008, pp. 132-142 __________________________________________________________________________________________ AEDEI Horslips in Irish Musical and Literary Culture John L. Murphy DeVry University Copyright (c) 2008 by John L. Murphy. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. This essay examines the literary impact of a musical electric-folk band. Horslips combined psychedelic, and hard rock with Irish traditional motifs and Celtic narrative themes. Spanning the decade from 1970 to 1980, their success and decline followed the trajectory of the countercultural movement, which came late to Ireland. The band’s revival of mythic characters and historical events drawn from the Irish past attracted fans from all over the island, as well as the diaspora; many young people gained an appreciation of their Irish heritage for the first time, as Horslips became the first electric folk-rock band to fuse disparate genres, and to succeed as an Irish-based independent collective who controlled the graphics, marketing, distribution, and promotion of their music. They inspired the likes of U2 and the Irish punk and new-wave rock musicians who followed them, and without the pioneering efforts of Horslips, Irish music and culture today may never have reached its current success, three decades later. Keywords. Horslips, Irish popular music, Irish traditional music, Cheryl Herr, John Kelly, Patrick McCabe, Paul Muldoon, Gerry Smyth. Resumen: En este trabajo se examina el impacto literario de un grupo musical de folk eléctrico. Horslips combinaba rock duro y psicodélico con motivos tradicionales irlandeses y temas de la narrativa celta. Su éxito, que abarca de 1970 a 1980, y su declive siguieron la trayectoria del movimiento contracultural que llegó a Irlanda tardíamente. Al llevar a cabo un renacimiento de los caracteres míticos y los sucesos históricos del pasado irlandés, el grupo atrajo seguidores de todas partes de la isla, así como de la diáspora; muchos jóvenes llegaron a apreciar su herencia irlandesa por primera vez. Horslips se convirtió en el primer grupo de rock folk eléctrico que fusionó géneros muy dispares, que alcanzó el éxito como un colectivo independiente asentado en Irlanda y que consiguió controlar los gráficos, el marketing, la distribución y la promoción de su música. Fueron la inspiración y los predecesores de, entre otros, U2, el ‘punk’ irlandés y los músicos del rock ‘new-wave’. Sin el trabajo pionero de Horslips la música irlandesa y su cultura no habrían alcanzado, tres décadas más tarde, el éxito del que gozan en la actualidad. Palabras clave: Horslips, música irlandesa popular, música irlandesa tradicional, Cheryl Herr, John Kelly, Patrick McCabe, Paul Muldoon, Gerry Smyth. Horslips joined literary craft and cultural in Ireland. Abroad, they hit the charts and heritage with musical fusion. Playing toured widely. These five Irishmen formed a traditionally inspired tunes on amplified home-grown, counter-corporate and counter- instruments, they combined harder, cultural collective, influenced by the Beats and commercial rock with Irish themes. Beginning the Beatles, Máirtín Ó Direáin and Elvis. what U2 advanced, Horslips became the first Horslips controlled their stage presentation, successful rock act based for their entire career graphic design, record pressing, and concert ____________________________________ ISSN 1699-311X 133 promotion. They composed music for The 1960s and 70s. Two novels feature the band in Abbey Theatre which exp anded into a concept a cameo role: John Kelly's Sophisticated album, “The Táin”. They worked with Paul Boom-Boom (2003), and Patrick McCabe's The Muldoon and have been featured in novels by Dead School (1995). Paul Muldoon, John Kelly and Patrick McCabe. contributing to an 2007 anthology of writers Their albums in the 1970s adapted legendary recalling their favorite concerts, chooses the and historic texts, as they interpreted the Book band's penultimate Belfast gig at Whitla Hall in of Invasions, Turlough O’Carolan, the Famine, April 1980 to muse upon on his fan worship and emigration. and eventual friendship with the band. I will This essay will explore the band's musical examine how Kelly, McCabe, and Muldoon's legacy through their appropriation of Irish incorporate Horslips into their own motifs. Horslips blended the energy of the interpretation of Irish identities as transformed hippie movement with the glitz of glam-rock. by the musical and cultural changes of the later They mixed progressive arrangements with twentieth century. Taken as a harbinger of Irish traditional tunes. They issued concept albums cultural change, Horslips pioneered today's that explained the Irish past to an international Celtic Revival within the realms of the media audience eager for amplified narratives that and entertainment. Without the band's example took forty minutes to hear rather than four as a creative force who controlled their image, weeks of class to memorize. For many young managed their promotion, and collaborated people in the 1970s, Horslips energized Irish with other Irish writers and artists, the rocky identity. In the words of bassist Barry Devlin: road to success within and beyond Dublin "There was something about Horslips that Irish would have proven even more jolting for kids recognised as being theirs. We get recent Irish performers. lambasted regularly for loads of stuff-- and Horslips began in hippie Dublin. One rightly so for much of it-- but the one thing that traveling revue, Tara Telephone, connected the is undeniable is that we really did change for potential of Irish heritage with the power of ever [sic] how people felt about their own liberation movements. Schooled in the Beats, culture. And the place where people really fresh from the Liverpool poetry scene, Éamon went bat-shit was the North" (Kelly 2004: 43). Carr worked with Peter Fallon on a 1969 This quote from an factual interview by Irish magazine, Capella. Allen Ginsberg, T. Rex's rock radio personality John Kelly comes from Marc Bolan, King Crimson's Pete Sinfield, and his fictional take on growing up in Fermanagh, Horslips bassist Barry Devlin's sister Marie’s during the height of the Troubles. This was a husband, Seamus Heaney, contributed. (Harper band that challenged territorial limitations of and Hodgett 2005: 215-6) The project that who, what, or where could be considered Irish. became the band Horslips coalesced around Horslips drew its members from Ireland and Fallon and Carr's experimentation. Jim beyond, as it represented an Irish identity Fitzpatrick illustrated a broadsheet, “Book of transcending political boundaries. Devlin Invasions”, in 1969. As drummer and lyricist hailed from Tyrone; keyboardist Jim Lockhart for Tara Telephone and then Horslips, Carr came from Dublin. Percussionist Éamon Carr played a pivotal role in merging media. was born in Kells in Co. Meath, guitarist Carr explains that the success of The Clancy Johnny Fean grew up near Shannon, and Brothers and The Dubliners had not brought to fiddler Charles O'Connor emigrated to Dublin younger Irish in the later 1960s a sense of from Middlesbrough in the North of England. cultural pride. He felt betrayed and believed Three of the band earned master's degrees, four that "it was important to express oneself in a worked in public relations and advertising, and way that helped establish an identity". they began playing only after posing as (Cunningham 1999: 192) Carr grew up around musicians for a beer commercial. Kells. In Newgrange's shadow, he pored over From these eclectic backgrounds, Ireland's 1950s American comic books. He merged Stan first homegrown success became not only a Lee's superheroes with Irish myth. Carr related rock band but a cultural force. Horslips also during the band's later tours of America how upstaged and satirized rock and folk traditions. he chatted with rock radio d.j.'s about Cú This send-up led, in turn, to three literary Chulainn as if he was a fullback for the Meath treatments by writers who came of age in the minors hurling squad. Carr mixed Celtic with 134 countercultural. He elaborates: "The merging if not frequent hostility, towards what the of the two cultures was the kind of stuff you Republic manufactured as an Irish image used to see in Oz and it only took a simple leap meant for tourists more than natives. Horslips, of the imagination to visualise how these like their fellow artists who established such legendary tales might be placed into a musical efforts as the Dolmen and Gallery Presses, format. The parallel was there between Celtic determined to reclaim Celtic stories and Irish and Marvel comic heroes. But it wasn't a glib images for a restless younger audience. The thing and you couldn't treat it lightly", he band also vowed not to move to London. This cautions (Cunningham 1999: 192). "It had to "grassroots capitalism", thanks to the decision be approached properly and fittingly. I had by Horslips to remain in Ireland to control studied Old Irish at college, so it was a case of their music, catalyzed their mid-1970s revival delving back into these subjects and doing a lot of folk themes played with rock energy. Jim of research, like preparing a thesis. Getting Lockhart emphasizes that Horslips never deeper into the story behind The Tain, I began meant to be a "hippie novelty act”. 1972's to discover things that they never taught us at debut LP presented "tunes that had been passed school. There had been elements of Eastern down through the generations". Lockhart philosophy infiltrating into rock 'n' roll, distinguishes novelty from innovation. "No one possibly through George Harrison's interest in had ever given Irish music this treatment – we the Maharishi, but now I was examining wanted to take the melodies that were Western mystery traditions and it was taking inherently Irish or Celtic, put them in a Horslips on a new journey".
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