5 – I Feel I Should Be Calling You
12 – Trying To Get To St. Nazaire
15 – Happy as a baby in your arms
—————————————————
Verse 1.
Lured by the rocking horse, sweets, and bualadh bos, sixty wild boys
to a room
Sing lámh lámh eile, the dish ran away with the spoon
Black shoes and stockings for those who say ‘don’t’
Blue is the colour outside
God made the world the snake tempted Eve and we died
Wild Christian Brothers sharpening their leathers
Learn it by heart that’s the rule
All I remember is dreading September and school.
Chorus.
But they made me for better or worse the fool that I am or the wise
man I’ll be
And they gave me their blessings or curse, it wasn’t their fault
that I’m me
Not the one that you see.
Verse 2.
The priest in confession condemns my obsession with thoughts that I
sometimes invite
I mumble and stutter he bangs home the shutter good night
Stainless as steel you know how I feel, shoot me while I’m still in
the clear
I don’t think I’ll last but my promise no doubt was sincere
Arch Confraternity men to the fight raise up you’re banners on high
Searching for grace in the holy rat race securing my place when I
die.
Chorus.
Verse 3.
Ballrooms of romance in Salthill and Mallow I stood like John Wayne
by the wall
Lined up like cattle we wait to do battle and fall
You can’t wine and dine her in an old Morris Minor but ask her
before it’s too late
I danced on their toes accepted their ‘no’s’ as my fate
Drink was my saviour it made me much braver
But I couldn’t hold it too well
I slept though the dance I blew my last chance when I fell.
Musicians: Mick Hanly Vocals and guitar. Drums: Paul MacAteer. Bass:
Garvan Gallagher. Organ: John Ryan. Bouzouki: Donal Lunny. Acoustic
Guitar: Des Moore
Electric Guitar: Peter Condell. Percussion: Noel Bridgeman. Backing
Vocals: Janet Sheerin, Danny Sheerin. Vermi-oars: Jessica Hanly,
Gayle Kendellen, Jenny Mitchell.
Producer: Donal Lunny
Engineer: Pearse Dunne
This was one of the first songs that I wrote, which alluded to the brutality in the Christian Brothers day schools, which I had the
misfortune to attend as a boy. I was inexperienced as a songwriter at the time of writing, so I ended up trying to write my life story
in three verses! I think that I nailed it finally in Track 2, which I wrote twenty years later, and for this reason, I’ve put them side
by side. Beware of anyone bleating “sure the odd hiding didn’t do us any harm”. They’re very likely rationalising their own penchant for chastisement….also ask yourself “what education system produced the grey yahoos who are presently in charge of the leaking ship”???
Verse 1.
Why would a clever boy
Leave school with a star
And walk out through the gates
Feeling worthless
Put the pennies that he saved
On a cheap sunburst guitar
Work his fingers to the bone
To be noticed.
Verse 2.
Why would a clever boy
Take his schoolbooks and abscond
With his fear around his neck
Like a damaged halo
Be hounded out the gate
‘Cause he couldn’t get beyond
The first line of
‘tháinig long ó Valparaiso’
Chorus.
Look at me, look at me
I can play, I can play
Look at me, look at me
Am I not worth lovin’
Look at me, look at me
I can play, I can play
The forty shades of green
And some Slim Whitman
Verse 3.
Why would a clever boy
When all is said and done
Turn to every bauble stick
Become addicted
Tongue-tied, sad and blue
Forever on the run
Like a poor beast in the rain
Too blind to fix it.
Verse 4.
We were damaged by the score
The clever and the dumb
With our scars we shunted into
Every siding
For the voiceless there are tears
And a million more to come
Will you tell me where in Christ
Was Jesus hiding.
Chorus.
Verse 5.
Here’s a postscript to make you smile
You know my Valparaiso friend
For years I wondered how he wore
That halo
He was apprenticed did his time
Climbed the ladder in the end
Then one day he pulled a ticket
In the Lotto.
Chorus.
Musicians: Mick: Vocals and Guitar. Recorded live in the Cherry
Tree, Walkinstown 13th March 2009. Sound engineer: Mark Dennehy.
Verse 1.
There’s someone here who wants to see you
Says he knows you fairly well
I must admit he looks familiar
Those broken teeth ring a bell
Says he has a message for you
For your ears and yours alone
Wants to talk to you in person
Guess I’d better show him in
Ask him where he’s goin’or been
Add some poison to his gin, and make him feel at home.
Verse 2.
Suddenly you’re bright and shining
Like you were for me in France
If I was out of town I’ll bet you
He’d ask you here and now to dance
Well I don’t find him interesting
But I’ll stay here just the same
Later on you’ll be suggesting
That if I want to act the pig
I should find a hole to dig
Crawl in while you smoke your cigarettes with what’s his name.
Bridge.
What his name has all the news takes my chair removes his shoes
Cleans me out of food and wine drinks my final keg
Asks me how the gigs are going then starts talking ‘bout his own
Says “you need a lot a luck”, I say “break a leg”.
Verse 3.
Can’t get you to dance or tiptoe
Not for me or anyone
Guess I’m not the hat that fits you
Heaven knows i should be gone
(Don’t know why we keep pretending
I’m your dude and you’re my moll
With the arrows you’ve been sending
I feel just like a voodoo doll)
I so loved your independence
Now I’m struggling with my own
Thought we’d be like Butch and Sundance
But we’re more like Joan and Jim
Pink for her and blue for him
Chances of survival slim someone take me home.
Musicians: Arty McGlynn: Electric and Acoustic Guitar. Eoghan
O’Neill: Bass. Kenny Craddock: Hammond Organ, Piano. Fran Breen:
Drums.
Verse 1.
I can walk in and out this door, that’s no problem
I can take your hardest punch and more, I absorb them
I can listen to you when you launch your next tirade
I can give back twice as much leave you in the shade
I can get the sleep I need when the bed’s not even made
There’s only one thing sends me off the rails
Chorus.
That’s the silence, silence…………..
Verse 2.
I’ve got nothing hidden up my sleeve, makes me uneasy
I could never set out to deceive I blush too easy
If you hide your volcano I’ll know your smile’s a sham
I’d much prefer the china break or door go slam
Keep it in the open so I’ll know where I am
All you get from talking to a clam.
Chorus.
Verse 3.
We still share the same bed every night but its not creaking
You’re the outside left I’m outside right when we’re not speaking
We can dream a different dream in the cold light of dawn
Still take in a party, smile like Joan and Sean
You can do your Blue Bayou, I sing The Rocks’A’Bawn
In the taxi home the knives are drawn.
Chorus.
Musicians: Drums: Davy Whyte. Bass: Pat Carey. Fiddle: Paul
Kelly. Electric Guitar: Peter Condell.
From the repertoire of the short-lived Rusty Old Halo. You can date the song by the use of the terms outside right and outside left.
Sweepers, lay-offs, and Managers were still confined to factory floors…not the football field.
Track 5 – I Feel I Should Be Calling You
Verse 1.
It’s one whole year now since you left
And still the feeling of bereft
Hits me hard out of the blue
And I feel I should be calling you
With all this good news on my plate
Seems it came a year too late
It brought a smile surprised me too
And I feel I should be calling you.
Verse 2.
The baby came and I was there
She has all her limbs but not a hair
Excuse me while I doff my hat
But I think I had a hand in that
On Mondays she’s got her mother’s eyes
On Tuesdays it’s a compromise
On Wednesdays she’s like you know who
And I feel I should be calling you.
Bridge
I feel I should be calling you, sometimes the telephone is in my
hand
Then I realise anew that there’s no-one there at all, no footstep in
the hall
It’s a silence that’s so hard to understand
Verse 3.
The song went racing up the charts
Now that would have gladdened both your hearts
Up the Long Can, Garvey’s Range
Something concrete for a change
So we threw a party and we hit the juice
You know the form the least excuse
It’s sitting now at number two
And I feel I should be calling you.
Addend.
I meet your friends on Mulgrave Street
They move along on weary feet
They knew you so they know me too
And I feel I should be calling you.
Musicians: Arty McGlynn: Acoustic and Electric Guitars. Eoghan
O’Neill: Bass Guitar.
Kenny Craddock: Hammond Organ, Piano.
This track is the original recording from the Warts and All album 1991. I was unhappy with the chorus lyric, so I re-wrote and
re-recorded it again for Wish Me Well in 2004. I think that the lyric changes for the 2004 are a success, but my vocal performance
doesn’t come up to the 1991 version, so I’ve run with the better vocal performance. Don’t ask me why I didn’t deliver in 2004….it
certainly wasn’t for the lack of industry and encouragement on Declan’s part.
Track 6 – Battle of New Orleans
Verse 1.
In 1814 we took a little trip
Along with Colonel Jackson down the mighty Mississip.
We took a little bacon and we took a little beans
And we caught the bloomin’ British in the town of New Orleans.
Chorus:
We fired our guns and the British kept a’comin.
There wasn’t nigh as many as there was a while ago.
We fired once more then they started runnin
Down the Mississippi to the Gulf of Mexico.
Verse 2
We looked down the river and we saw the British come.
And there must have been a hundred of’ em beatin’ on the drum.
They stepped so high and they made the bugles ring.
We stood by our cotton bales and didn’t say a thing.
Chorus
Verse 3.
Old Hickory said we could take ’em by surprise
If we didn’t use our muskets ’til we looked ’em in the eye
We held our fire ’til we saw their faces well.
Opened up with squirrel guns and really gave ’em hell
Chorus
Verse 4
Yeah, they ran through the briars and they ran through the
brambles
And they ran through the bushes where a rabbit couldn’t go.
They ran so fast that the hounds couldn’t catch ’em
Down the Mississippi to the Gulf of Mexico.
Verse 5.
We fired our cannon ’til the barrel melted down.
So we grabbed an alligator and we fought another round.
We filled his head with cannon balls, and powdered his behind
And when we lit the fuse the gator lost his mind.
Chorus
Words and Music: Jimmy Driftwood.
Recorded in The Cherrytree, Walkinstown 13th March 2009 Engineer
Mark Dennehy.
Have really enjoyed doing this song live and for verse 5. alone, Jimmy Driftwood deserves a room of his own in the tower of song.
Verse 1.
On vocals and guitar in the back of Johnny’s car
Driving to a town out in the west
With all the windows down his jester and his clown
Singing all the songs that he liked best
I never thought he’d take me I only dreamed he would
Then on day I asked him and he said “sure I could”
He knew all the answers what sex was all about
He could keep on talking with a fag still in his mouth
The hero and the boy following his star
Hoping to get lucky on vocals and guitar.
Verse 2.
Rose and Sally May trying to get away
Deciding it was time to flee the nest
Join the entourage travelling sans baggage
Putting last night’s promise to the test
Rosie did the talking while Sally looked away
I played Sergeant Pepper from Athlone to Galway Bay
Johnny he was coasting but I was losing ground
When Sally said that gadget has a really awful sound
Where to turn to now with my mouth ajar
Trying to impress on vocals and guitar.
Verse 3.
The tent was far too small but Johnny had a ball
Clowning while we tried to get it pitched
I tried to be the same tried to play that game
But I was only wishing they’d be ditched
My jester’s role was stolen a dancer took my place
She gathered his attention like a spider making lace
And Sally wrapped up well in the sleeping bag I lent
I shivered with a blanket in the north side of the tent
I crept out later on with one more bleeding scar
Sat and watched the sunrise on vocals and guitar.
Musicians: Arty McGlynn: Electric and Acoustic Guitars. Eoghan O’Neill: Bass.
Kenny Craddock: Hammond Organ and Piano. Fran Breen: Drums. Acoustic Guitar: Mick Hanly.
Track 8 -My Love Is In America
Verse 1.
My love is in America
And I miss him tonight
So much so, I feel like taking the money we’ve saved
And catching a flight, catching a flight
Verse 2.
The children are asleep in bed
And I’m on my own
Even though, I’ve read his letters again and again
I’m all alone, I’m all alone.
Response.
And the money I send home is barely enough
There’s an ocean that keeps us apart
I’ve been aching for home but I mustn’t give up
Question.
What about this aching heart
Johnny come home, I miss you tonight, I miss you tonight.
Verse 3.
My love is in America
And it’s hard to go out
Just because, certain assumptions are made when your man’s
Not about, when your man’s not about.
Verse 4.
My love is in America
And I’m not so sure
Maybe I’d rather him here in my arms and us
To be poor, and us to be poor.
Musicians: Vocals: Dolores Keane, Mick Hanly. Drums: Paul Moran. Bass: Tony Molloy. Bouzouki: Donal Lunny. Keyboards: James Delaney. Electric Guitar: Anto Drennan. Electric Guitar: Peter Condell. Acoustic Guitar: Mick Hanly.
I was really blessed when Dolores came on board to do this. She nailed in two takes and it wears the years well.
Track 9 -One More From The Daddy
Verse 1.
My father was simple my mother was kind
They worked night and day and when they’d unwind
My father sang song and my mother would darn
All of us felt safe protected and warm
The touch of a razor produced the first note
And while he got all cleaned up the the songs would float
From bathroom to bedroom from kitchen to hall
His songs were so sweet they pierced every wall.
Chorus.
Let’s have one more from the daddy
Became a family refrain
I’ll tell you how it came about later
Still we have a laugh, when we hear it again
Let’s have one more from the daddy
While still the days of innocence surround
These children in the afterglow of Christmas
As yet not outward bound.
Verse 2.
Christmas 1958 he brought home a treat
A magic machine that he’d hirec out for the week
A Phillips reel-to-reel with a green and a red light
He blew and he tested t’was magic alright
He called for a concert and gave us our head
But if we were slow he’d sing one instead
We were only kids we had no songs at all
But dad he had a hundred and boy he sang ’em all.
Chorus.
Verse 3.
He sang Tobermoray and Creeshlaw the Day
I forgot the words of Living Doll and he couldn’t wait to say
‘Let’s have one more from the daddy while we wait
He sang As I Sit Here and Dear Old Thomondgate
We did our bits and pieces it didn’t take too long
He held the centre stage with song after song
Now as I remember its easier to see
The one that I’m remembering behaved just like me.
Musicians: Philip Donnelly: Acoustic Guitar Mick: Acoustic Guitar.
See track 13.
Verse 1.
These days things are moving much better than they used to move
Maybe I’ve finally let myself say that there’s much less to prove
I used to go running round crazy trying to be more than a man
But I’m doing a lot more lately doing the best that I can.
Verse 2.
These days I get less angry when things don’t combine
Laughing at how I behave sometimes is more in my line
Whenever that man in the mirror starts to look troubled or blue
I take him aside for a moment and tell him we’re just passing
through.
Middle.
These days I’m a lot calmer when the wind runs away with my hat
It might be that I’m a lot saner but I’m not so sure about that
These days I’m a lot weaker when my baby says she’s got a plan
I guess I’m more eager to please her ‘cause I’m just her loving ‘ol
man.
Verse 3.
These days I got a feeling for home like I never had
It must be the warmth of the woman I love that keeps me in bed
It’s only taken a lifetime to get round to changing my ways
But I’m having more fun, getting more done,
Taking it easy these days.
Musicians: Arty McGlynn: Electric and Acoustic Guitars. Eoghan
O’Neill: Bass. Kenny Craddock: Hammond Organ, Piano. Fran Breen:
Drums. Percy Robinson: Steel Guitar.
When I wrote and recorded this song, I was a long way from the sentiments expressed….in fact my head was a good way up my own arse. Things have moved on since then, and I’d like to think that the sentiments expressed are more relevant now? Have started to gig it lately with a little more conviction.
Verse 1.
I never asked a body this, went for momentary bliss
Deflecting partners with a kiss whenever it was broached
All too soon I’d leave the bed turn my thoughts to food instead
Let’s feed the naked and the dead, fried eggs beans and toast
But Rosie says ‘hang on a while now, baby’
And back into her loving arms I crawl
In her heat she makes me bask ‘till I’m warm enough to ask
Love me, baby will you warts and all.
Verse 2.
My dad was cross and I’m the same, but I wont hand him all the
blame
I know from where his anger came and it all seems to fit
The patience that he never had used to make us all so mad
But here am I like Jack-the-lad chomping at the bit
And Rosie says ‘hang on a while now, baby’
And back into her loving arms I crawl
She keeps handing me the flask ‘till I’m warm enough to ask
Love me baby will you warts and all.
Middle.
Now sometimes I can see myself screaming at some empty shelf
Where I left my keys the night before
someone moved them overnight the children crawl away in fright
Me, I want a hand to bite and close the goddamn door.
Verse 3.
But Rosie she’s not frightened by threats to kill or threats to
fly
She can look me in the eye and say I must be mad
Tells me where to take my cloud down the pub for crying out loud
Lay it on that arty crowd ‘cause they’re all just as bad
I say ‘well hang on a while now, baby
And back into her loving arms I crawl
She keeps kissing ‘till my mask falls so far I have to ask
Love me baby will you warts and all.
Bridge.
I must dig into my reserves when Rosie she gets on my nerves
Just by being happy all the time
I wish sometimes she’d lose the cool
Fling a tantrum throw a stool
Drown the youngest in the pool now that would be sublime
Addend.
But Rosie she’s too cute for that to her I have to lift my hat
Not an eyelid does she bat though Jericho might fall
Fills me up with Baked Alaska ‘till I’m BIG enough to ask her
Love me baby will you, warts and all.
Musicians: Arty McGlynn: Electric and Acoustic Guitars. Eoghan O’Neill: Bass.
Kenny Craddock: Hammond Organ, Piano. Fran Breen: Drums.
Track 12 -Trying To Get To St. Nazaire
Verse 1.
I ask myself why is that carraige leaving at precisely the same time
As my next connection’s due
I’m on the wrong side of the tracks; it’s too much of a coincidence
Because it’s leaving right on cue
I know the consequences if I’ve blown one more arrival
There won’t be a welcoming party there,
I’m in St Nicolas-de-Redon, trying to get to St Nazaire.
Verse 2.
I make some enquiries in the best French that I can muster
Mais elle dit “je ne comprend pas”
I guess she smells the alcohol, thinks I’m English, shuts the hatch
C’est le Dimanche, eh bah.
She disappears but I think I understand enough to catch the phrase
Je reviens a toute a l’heure,
In St. Nicolas-de-Redon, trying to get to St. Nazaire.
Verse 3.
Have you ever spent a Sunday afternoon in France, in a station
That’s barely made it onto the map
I can tell you that you’ll have time enough to write the novel
Write the second, and the third and do the first redraft
The natives disappear into the ether, with their grannies and their
children
For an afternoons’ fruit-de mer.
In St. Nicolas-de-Redon, trying to get to St. Nazaire.
Verse.4
I’m two hours into a four-hour wait, half my stash is gone, there’s
A crackling on the gravel and a saint appears
She reads the ‘ferme’sign, turns around to look at me, with a smile
That says she’s not as wet as me around the ears
She’s Catherine from Scandinavia, and she’s on her way to see an
Irish guy in
Concert, elle dit “ce’st en plein air”,
I tell her I’m her man, and I’m trying to get to St. Nazaire.
Verse 5.
It’s rarely that I get drunk enough to miss the boat or as in this
case
Miss the second train, but I’m about to do just that
I’ve sunken into the eyes of Catherine, her broken English and
everything
Beneath her brown felt hat
I ask her to be my manager, my mistress, tell her not to worry
Swear hand on heart that I’ll get her there
In St Nicolas de Redon, trying to get to St. Nazaire.
Verse 6
There’s a moment when you realise, that something that once was
Within your grasp has suddenly passed you by
And in alcohol, it’s compounded by the fact that you’re reduced to
Working with the aid of just one good eye
I take my guitar from my case try to break a leg or two
While the natives look elsewhere
In St. Nicholas-de-Redon, trying to get to St Nazaire.
Verse 7.
She gets me to the gig somehow, what a manager, what a stroke
But I’m not the only one that’s having one
Il’s sont fou les Irlandais, quest que on fait, there’s
consternation
So they put me in a caravan
When I wake up I realise that my body has arrived but my mind is
Still way back there
In St.Nicholas-de-Redon, trying to get to St. Nazaire.
Verse 8.
I’ll spare you the rest of the gory details, but t’was Catherine who
took the
Bullets, while I got out alive
We had a relationship of sorts; we shared sardines from a can, some
Broken bread, but it failed to thrive
Today I check the map just to see how many miles it is from a
semblance of hope to blank despair
It’s forty miles, maybe less,
From St Nicholas-de-Redon,
But it might as well be a million when you’re in your cups
And you’re trying to get to St. Nazaire.
Musicians: Declan Sinnott plays everything.
I don’t know if there is a train station in St. Nicholas-de-Redon, but it’s a great sounding name…up there with Hackballscross and
Grangemockler….so don’t let this revelation interfere with your enjoyment.
Track 13 -Past The Point Of Rescue
Verse 1.
Last night I dreamed you were back again
Larger than life again, holding me tight again
Placing those same kisses on my brow
Sweeter than ever now, lord I remember how
Couldn’t get enough of kissin’
Do you know how much you’re missin’
No you don’t, but I do.
Verse 2.
Days like a slow train trickle by
Even the words that I write, refuse to fly
All that I can hear is your song haunting me
Can’t get the melody, out of my head you see
Distractions I’ve been usin’,
Do you know how much you’re losin’
No you don’t, but I do.
Chorus.
But I do, and I wonder if I’m past the point of rescue
Is no word from you at all the best that you can do
Never meant to push or shove you
Do you know how much I love you
No you don’t, but I do.
Verse 3.
Swore that I’d never fall like this again
Fools like me never win, came to my knees again
Can’t close the door on the likelihood
That things might be just as good
Always believed they would
Got to let your love invite me
Baby do you think they might be
No you don’t, but I do.
Musicians: Philip Donnely: Acoustic Guitar. The Meeting Place Choral
Society: Backing Vocals.
This was recorded live in Tony Moore’s wonderful Meeting Place Bar in Midleton, Co. Cork. Tony ran a great gig at this venue for many years and it was one of those gigs that every musician I know looked forward to playing. I did a live album there with the help of Philip Donnelly and the enthusiastic participation of the Midletonians over two nights. This track and One More From the Daddy are from those sessions.
Verse 1
Take a look at the stars for a moment
If you have a moment to spare
I know life is short and it’s so hard to squeeze in
A moment somewhere
You might be the one at the window
Or the soul in the desert wide-eyed
Believe me you’re not all alone
Or the first to be beautifully mystified.
Verse 2.
Lend an ear to the sound of the ocean
If you want to hear more than the sea
Stay, there’s nothing to fear
At the door to eternity
Draw back the curtains forever
Take a ride on a hand full of dust
If you still think the good books the answer
Go back to bed with that book if you must
Chorus.
But please let me find my own way,
My own way to sleep
I’m helpless, I’m helpless, so helpless
Sometimes that I weep
Please let me find my own way,
My own way to cry
I know we’re the dust in the storm
But I think I’ll get by.
Verse 3.
I can still see the new rose aglow
And the dandelion ball in the grass
Tonight it might leave on the wind
But I’ve got no problem with that
Tomorrow we’ll find a survivor
And blow the clock, one o’clock, two o’clock, three,
I pray that my children remember
The hours we spent smiling carefree.
Verse 4.
I know that I’m preaching and not really
Practicing that which I preach
But I’m weary of certainties knowing
Tomorrow’s not easy to reach
I saw the great fire in the distance
Saw the great lie in the dust
If you still think the good book’s the answer
Go back to bed with that book if you must.
Chorus.
Musicians: Declan Sinnott plays everything
Track 15 –
Happy as a baby in your arms
Verse 1.
You’re all the nice things in my life rolled into one
All the pastimes I enjoy, you’re all my fun
The miracle that cures my every pain
The doctor that I trust when I’m insane
No matter what I do or say you understand
And when I stray you haul me back onto dry land
I’m so hopelessly a victim of your charms
I’m happy as a baby in your arms.
Verse 2.
You’re every day of sunshine I can recall
Every warm familiar picture on my wall
The secret to the turn in every tune
The word I use instead of moon or June
If I was told to wait a year outside your gate
I’d take my tent and sleeping bag accept my fate
I’m so hopelessly a victim of your charms
I’m happy as a baby in your arms.
Middle.
I’m happy as a baby, rocking in a tree
Knowing that you’re underneath, what better guarantee.
Addend.
I’ve found the piece that makes this jigsaw here complete
When you’re beside me I don’t contemplate defeat
‘Cause you’re the bulwark in the face of all my storms
And there’s no one can take your place so don’t be alarmed
If I’m mentally a case for all your charms
‘cause I’m happy as a baby, so rockabye this baby, in your arms.
This song has been recorded by Dolores Keane and the late Ronnie Drew, but I never got round to putting it down myself. It cries out
for strings…..in fact it should be strung up…. but this it in all its nakedness.
Doghouse Songs Ltd., Station Road, Thomastown, County
Kilkenny, Republic of Ireland. Email: hanlymick@eircom.net
mickhanly.com 