Peter Baron

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Track Listing:  1. In Another Life (Bell/Baron 5.45) 2. Earthbound (Crowell 4.18)

3. Baby Come Home (Askew/Gould 3.42) 4. You Get What You Pay For (Bell/Baron 3.42)

5. Heaven (Wilson/Sun/Smith 4.28)  6. Halfway Down (Russell/Lauderdale 3.27) 7. Merry Go Round (Bell/Baron 3.59)

8. I Don’t Understand (Bell/Baron 3.34) 9. Little Things (Kennerly/Stuart 3.08) 10. Homefire (Bell/Baron 5.11)

11. Country Club Cousins (Travis/Tager 5.25)12. Friends To Burn (Webb 4.59) 13.The Ghost Is Laid (Hodges 4.18)

14. Take Me Where The River Flows (Bell/Baron 4.40)


Session Musicians Taking Part

Musicians: Peter Baron (Lead Vocal, Drums)  Phil Cranham (Bass Guitar) Dave Bishop (Tenor Saxophone)

Mike Bell + Gavin Povey (Piano and Keyboards) Kevin Healy (Electric Guitar, Acoustic Guitar) Pete Beachill (Trombone)

Helen York, Peter Baron, Derek Holt, Jimmy Johnston,   Lucy Baron de Moresco, James Baron,  Grace Healy, Karen Healy  (Backing Vocals)

Albert Lee (Electric Guitar) Shanks Putwain, Mike “Ozzie” Osborn (Percussion)  Chris Palmer, Andy Pask, (Bass Guitar) Dave Bishop - Tenor Saxophone

Bob McKay (Alto Saxophone) John Thirkell (Trumpet) Anna De Bruin, Vaughan Jones (Violin) Reiad Chibah (Viola) Julia Graham (Cello)

Paul Morgan (Double Bass) Steve Pearce  (Bass Guitar) Andy Findon (Flute) Phil Hopkins (Harmonica) Jerry Douglas (Dobro Guitar)

Produced, Arranged & Recorded by Kevin Healy at GraceNotes Studio. Design & Artwork by Adam McCarthy

Label: Heroic Records -- Cat No. HEROIC0 011 External link opens in new tab or --  UPC 5051565221510  ℗ & © 2022 -- Release Date 29th April -- Distribution Cadiz Digital Ltd



About Peter Baron

Peter Baron started playing the drums in the early sixties and since then he has gone on to play many styles and types of music.


In 1972 he became a member of Marty Wilde’s band where he first met Brian Hodgson (RIP). This band went on to become Fatso, and with the arrival of Gerry Hogan they

became Hogan’s Heroes.


During the seventies Peter was also working extensively in the recording industry as a professional session man playing for radio, television, films and also with various bands.

He made regular appearances on BBC Children’s Television during the seventies and eighties, but eventually made the decision to give this up in favour of live playing.


As a result of his varied live and studio work he has been fortunate to play with many bands, orchestras and artistes, in styles of music as diverse as Charles Aznavour,

Marvin Hamlish, Spike Milligan, Neil Innes, Ray Ellington, The BBC Radio and Concert Orchestras, Geno Washington, B.A.Robertson, Leo Sayer, Dave Edmunds,

Joe Brown, Sam Brown, Lulu, The Three Degrees, The Nolan Sisters, Kit Hain, Elaine Page, Salena Jones, Cleo Laine and John Dankworth, The Bay City Rollers,

David Allan Coe, Marty Stuart and Lonnie Donegan. He was a member of the Elkie Brooks Band in the late seventies.


In 1979 he joined American based band Night which featured Chris Thompson, Robbie McIntosh and the late Nicky Hopkins. They toured in the U.S.A. during that year as the opening act on the Doobie Brothers “Minute By Minute” tour and enjoyed Billboard 100 chart success with the single “Hot Summer Nights”. This was followed by a spell with the English Classical Rock band Renaissance with whom he recorded two albums and toured both Europe and the USA. Both Night and Renaissance enjoyed a lot of success in the USA.


He was a regular performer at Gerry Hogan’s annual festival of pedal steel guitar. As a result of the meeting with Gerry Hogan he soon started to play with Albert Lee, in the band that became Albert Lee & Hogan’s Heroes. This gave Peter more chance to exercise his vocal skills and although he is known primarily as a drummer, singing too, has always been a passion. Albert Lee & Hogans Heroes recorded many CDs and DVDs during the nearly thirty years they were together Peter was featured vocally on both these recordings and also the extensive tours the band undertook.


About 'Another Life' by Peter Baron  

Another life is what I got in 2016, when after nearly thirty years Albert Lee & Hogan’s Heroes decided to call it a day. It had been a great time in a fine band. We toured and recorded relentlessly during that period.


For many years it had been my intention to record a solo album, but I had never before been able to afford the necessary time. Following a fortuitous meeting with my old friend,

guitarist and producer Kevin Healy it was decided we would work together on this project. In addition to contributing some great playing, Kevin engineered, arranged and

produced Another Life at his GraceNotes Studio.


The album contains fourteen tracks, six of which I wrote with former Albert Lee & Hogan’s Heroes’ keyboard player Mike Bell. We are both thrilled that they have finally seen the light of day. The other tracks are either covers of lesser known, or previously unreleased songs by friends, colleagues and musicians who have been very dear to my heart.


When making this album, I was privileged to have the company of and play with some of the finest musicians in the world. Many I had played with over the years, but eventually circumstances had taken us in different directions. I am proud to have shared their company again.  They have played with the likes of Alison Krauss, Lisa Stansfield,

Robbie Williams, Boyzone, Climax Blues Band, Sting, James Taylor, Eric Clapton, Sir Paul McCartney and many more…


About the Songs

‘In Another Life’ is the opening track and was written with Mike Bell. It describes an evening spent watching a great gig by a fine performer, songwriter and friend who will remain nameless.


Rodney Crowell’sEarthbound’ follows and although he is Texas hayseed and I am not, I feel I am just as down to earth as he…I am a big fan.


‘Baby Come Home’ was written by two old friends of mine, Roger Askew and Steve Gould. Some may remember Roger from the band Arbre and Steve from Rare Bird. They are both excellent songwriters indeed and I had always intended to record this song one day, when Roger originally played it to me some thirty years ago.


I wrote ‘You Get What You Pay For’ with Mike Bell some twenty five years ago. It is merely something my dad would always say to me and I would often say to my son, who appears on a couple of tracks on this album…which reminds me, I don’t think I have paid him yet.


I am a huge Beach Boys fan and ‘Heaven’ is a lesser known song written by Carl Wilson. It appeared on  his first solo album in 1981.


Those who have never heard Jim Lauderdale, should check him out. Jim is a superbly talented singer songwriter. ‘Halfway Down’ is one of his songs and although his version is more Cajun in its feel, Kevin and I decided to give it a slightly different treatment by using a horn section. Albert Lee plays the outstanding guitar solo.


‘Merry Go Round’ is another song I wrote with Mike. It describes the ups, downs, ins and outs of life as a musician, but life in general is a merry go round, so it could apply to all of us.


‘I Don’t Understand’ is another self-penned effort. It is something my son often used to say to me when he was in his teens…he was probably right.


‘Little Things’ is a straight ahead rockabilly number written by Paul Kennerly and Marty Stuart…these two have quite a pedigree. Marty recorded the original of this song. Both my daughter, Lucy and Kevin’s daughter Grace, can be heard on backing vocals.


I wrote the lyrics for ‘Homefire’ during a pretty dull period in my career, when there were many times I felt like quitting. I am glad I stuck it out. Jerry Douglas graces this track, with some superb Dobro playing.


I played on a Decca recording session In 1977 for the chap who wrote and originally recorded ‘Country Club Cousins.’ His name is Paul Travis.Paul sadly left the music industry some years ago, but for me he has great talent and having kept a copy of those recordings all these years, I tracked him down to tell him I would be recording his song. He seemed delighted…I surely am.


Jimmy Webb is in my view, one of the greatest songwriters of all time, ‘Friends To Burn’ is one of his from the early nineties. I certainly wanted to cover one of his songs and I feel this really fits the bill. One James Baron can be heard toward the end with his self-written rap.


I first saw Chas Hodges playing bass with Cliff Bennet and The Rebel Rousers in the mid-sixties. He went on to be one half of Chas and Dave. I later got to know them both through Albert Lee, who was their good friend. ‘The Ghost Is Laid’ is from a solo album by Chas, which is full of great songs. He played some piano on it, but I am so sad that he did not live to hear the completed version. I am sure he would forgive me for not singing with a cockney accent. You are sorely missed Chas, but not forgotten.


In the nineties I spent a little time in Luxembourg recording an album with a band called The Rebelizers. It was there that ‘Take Me Where The River Flows’ was conceived and it was inspired by some things said by my good friend Tommy Talton, when we would spend our spare time together in an area of the city called The Grund. It is there that we sat and watched the world pass by. Tommy played guitar with Greg Allman, before going to Luxembourg for a few years. He is a great slide player who is now back in the U.S.A., but we keep in touch and yes, our “hearts still speed across the ocean, faster than the sun”.



Anna Grindle

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The Turning

 Reflective songs for uncertain times, The Turning offers a timely pause between memory and prospect.


Track Listing: 1. A Memory That Comes To Mind  2. Decide  3. People (with Zenon Joel Otim)

4. Ask Yourself  5. Recognise 6. Skimming Like Stones  7. Meet Me  8. More Than I Deserve

9. Hold On 10. Tears Fall  11. At The End Of The Day 12. When I Am Free 13. This Could Be


ALL Songs written by Anna Grindle Anna Grindle Music ℗ & ©

Additional lyrics and vocals on ‘People’ by Zenon Joel Otim (Uganda)


Musicians: Anna Grindle (vocals, guitar, keyboard, saxophone, whistles) 

Zenon Joel Otim (vocal) - Maurice Dickson (percussion, guitar)

Release Date: Available Now 2022  Label: Own Label / Anna Grindle Music ℗ & ©  

Genre: Folk, Ambient, Mellow  Cat. No: AG MUSIC002  UPC: 5 060051334573

                                                                                                                                Album recorded & produced by Maurice Dickson at Warren Studios, Lisburn

                                                                                                                                Album mastered by Cormac O’Kane at RedBox Recording Studios, Belfast

                                                                                                                          Additional recording on ‘People’ by Nathan Mukisa at Nathanet Studios, Jinja, Uganda

                                                                                                                        ‘This Could Be’ recorded and mastered by Cormac O’ Kane at RedBox Recording Studios, Belfast

The Turning

At different times, travelling, creativity, active pursuits, or aligning myself strongly to my work, have formed my priorities. About 2016, I was trying to find a sense of place for myself musically and had begun frequenting informal music gatherings - mainly migrating long-dormant woodwind skills towards learning traditional Irish flute. I also had a more settled routine and was dividing my time between Belfast and the Inishowen Peninsula in Co. Donegal.


I remember sitting for an hour one cold January afternoon after work in a coffee shop in Derry, writing thoughts in streams-of-consciousness, and later realised it was almost poetic in places. Within a couple of days, a song had emerged, and I found that after that, more songs just came. One thing leads to another. I thought about recording a couple of songs, and then met Maurice Dickson through a friend for who’s album I was recording some whistle and saxophone. I began recording my own music while still writing mainly for guitar, but after listening to early recordings and a helpful conversation and advice about what was emerging, I somehow transitioned to write mostly for keyboard.


The intent to write songs has always been there. When I returned to the UK in 2008 after a few years abroad, my piano had long been out of tune, and my guitar had become the subject of an insurance claim. I picked up a new guitar, and soon after when I moved to Scotland, a keyboard. I almost had to learn how to live with them again, as for the previous number of years travel and study had been a priority. I bought a spiral bound A4 notebook in a small independent stationary shop on Hyndland in Glasgow’s West End. A couple of songs on The TurningSkimming like Stones and Ask Yourself – were moulded around that time. That notebook has always sat on the stand of my keyboard. Ten years later, when it got soaked during one of the last days of recording The Turning, I comforted myself in the thought it has served its purpose. The notebook was full, it’s content had found embodiment on the recording.

Song-writing, I think, is a way of coming back to myself. Every song is the reconciliation of layers of thought, feeling and questions. Some songs are observations, some just arrived, some I knew were there, but I had to find. The Turning is unhurried - it was recorded over a year and a half, a couple of the songs included were written when I was well into recording. Definitely an evolving project, the result is I think more mature and rounded than the initial concept.


Anna Grindle comes from Belfast, Northern Ireland. She is an educator, coffee-drinker, cyclist and traveller. Anna began in music as a woodwind player, spending summers busking in Belfast as part of a saxophone quartet. Anna has written songs ​intermittently over the ​years, mainly for guitar and more recently keyboard. Anna’s first album Journey (2004) was in service to a cause, being self-released in support of fundraising before several years of voluntary work in Uganda. A prolific journal writer, life observed and reflected is intrinsic to Anna, and is core to all her song-writing. Recent years have brought what Anna has described as a ‘flurry of song-writing’, and The Turning, is the result. Begun as a purely creative endeavour, friends in the music world persuaded Anna that it deserved to be heard widely. It is consequently her first ‘properly available’ (physically and digitally) body of work.

Essentially a solitary project, the song-writing on The Turning is an open, searching and honest interrogation of lived experiences and observations. Songs bear witness to questions, loss, process, memory and hope. The focus is on the lyrics, set against a mellow harmonic backdrop, and the words breathe on a simple and uncomplicated canvas.

  Simon Mayor & Hilary James

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When Summer Comes Again


English folk, settings of English poetry and original instrumentals,

songs and poetry, spiced with a little Tchaikovsky and JC Bach.


Track Listing: 1 ‘We wouldn’t be here’ 0'29"  2 Sumer Is Icumen In (trad arr Mayor/James) 3'37"

3 When Summer Comes Again (Mayor/James) 2'30"

4 The Buttermere Waltz (Mayor/James) 4'00"  5 The Stick / The Middlesmoor Waltz (Mayor/James) 2'25"

6 Jockey to the Fair (trad arr Mayor/James) 3'12"  7 Jerry and Tom (Mayor/James) 2'55"

8 Lovely Joan (trad arr Mayor/James) 3'01" 9 Barcarole (P Tchaikovsky arr Mayor/James) 5'24"

10 Al Mio Bene (J C Bach arr Mayor/James) 4'10"  11 The Kissing Gate & The Strawberry Tree (Mayor/James) 3'48"

12 Linden Lea (Words: Wm Barnes, Music: Mayor/James) 2'56" 13 BONUS TRACK: The Buttermere Waltz (Mayor/James) 3'58" (live recording on mandolin and guitar)


Musicians: Simon Mayor: voice, violin, guitar, mandolin, mandola, mandocello, whistle   Hilary James: voice, guitar, mandobass, double bass, bass guitar

With guests Janet Giraudo: harmony vocals Florence Petit: ’cello


Release Date: Available Now -  Label: Acoustics Records ℗ & ©  

Genre: Folk, Classical, English Pastoral & Poetry.  Cat. No: CDACS 081   UPC:  5 020737 000819

Produced by Simon Mayor & Hilary James at Acoustics Studios Illustrations by Hilary James

YouTube  Sumer Is Icumen In External link opens in new tab or window  Tour Dates 20 22: External link opens in new tab or window


About The Album: When Summer Comes Again is an album of both reflection and optimistic anticipation.


Lockdown might have been a time of few physical journeys, but for Simon Mayor & Hilary James, free of concert commitments, it was a chance to journey back to their roots and revisit favourite songs and tunes, as well as to write new material.


For Simon, it was a time to rosin up the bow with a passion. His treasured 1740 violin (yes, it’s that old!) had long played, err... second fiddle (sorry!) to his international reputation as a mandolinist, but, as a diversion from his Russian studies, he’d been inspired to teach himself both instruments (the two don’t look related but they're tuned identically) in his late teenage years. Here, the violin is heard on intricate arrangements of the traditional songs Sumer Is Icumen In and Lovely Joan, on his own swing-tinged composition Jerry & Tom, but perhaps most strikingly on The Buttermere Waltz, a frequently requested mandolin piece on gigs, now heard on violin for the first time.


But there’s no shortage of mandolin too, or its big sisters the mandola and mandocello. All three feature on the starkly beautiful arrangement of Tchaikovsky’s Barcarole, and on the original tunes The Kissing Gate & The Strawberry Tree, written for the Classical Mandolin Society of America’s annual convention 2020 held ‘in the clouds'.


For Hilary, revisiting the title track When Summer Comes Again, a song she wrote and recorded some thirty years ago, seemed an appropriately optimistic way to hail the emergence from lockdown. It’s re-recorded here with her sister Janet Giraudo's harmony vocals arriving from France courtesy of cyberspace!

For all her reputation as a singer, it’s a little ironic that Hilary’s unusual taste in bass instruments attracts as much attention. Her mandobass (bass mandolin) was made by luthier Robin Greenwood in Bournemouth; she found it selling second-hand quite by chance just a week before the duo started their mandolin quartet The Mandolinquents. It’s become something of a calling card ever since, although she plays double bass on the album too.


No surprise that traditional songs, Hilary’s first passion, feature too. There’s also an excursion into Italianate opera in JC Bach’s Al Mio Bene, and a live recording of the duo’s own setting of William Barnes’ beautiful poem Linden Lea.

Oh, and on the subject of poetry, Simon makes his spoken word debut with his own The Stick (possibly the only poem about a stick).


And Did Those Feet


Track 1 What It All Was Worth – Featuring Ina Williams

 Track 2. What It All Was Worth - Instrumental version

The new single from And Did Those Feet -- Featuring the voice of Ina Williams

Written by Richard Ellin -- String arrangements by Harvey Summers

Recorded at Red Kite Studio -- Engineered by Martin Levan

Available Now --  Label RnR RecordsCat No RnR DL01  --  Barcode 5016700141023  --  ISRC GBEXX 21 000001


YouTube External link opens in new tab or windowWhat It All Was Worth


From the forthcoming album ‘ I Am God of Einstein’ release date Autumn 2022


Richard Ellin – What It All Was Worth

“I always thought that ‘The Bonny Bonny Broom’ was a Scottish tune but after digging around it seems it could be English. I don’t think we will ever know for certain.

A reference to the song first appears in Burton’s Anatomy of Melancholy in 1538 and the first notation of the tune appears in 1651 in Playford’s Dance Master , London. It is reckoned that the gipsy singer Alice Boyce sang it for Queen Elizabeth 1st.


The first appearance in a Scottish collection was seventy five years after Playford. I have always doubted that many people could follow the meaning of the original words . A heavy dialect shot through with melancholia had lost some relevance, the melody was perfect for the voice of Ina Williams and I felt it could use a new text………

Weary from the days of callousness in the dance to the tune of make it pay.

What would I give for a moment in time to make these troubles go away


Yet this fool compelled to work this land, a victim of circumstance and birth

Will come to know at the end of his days precisely what it all was worth


So I dream of times that are to be where no one is prisoner to this fate

And all will know that the soul of the world is held within a newborn state

About And Did Those Feet:

And Did Those Feet were formed in 1995 as a vehicle for the songs of Richard Ellin which are esoteric and spiritual in nature. Since its formation there have been six albums and several singles with a few live concerts on the BBC and various cd launch events. They are currently working on their seventh album to be called ‘I AM God of Einstein.’


The last four releases have featured Ina Williams as principal singer with Harvey Summers taking more responsibility in the arranger role. Tracks have been licensed by Time Warner and Readers Digest Europe with videos played on Classic FM TV.


The name of the band is taken from the Blake/Parry song ‘Jerusalem’ and reflects aspects of the unseen and sometimes difficult to fathom side of the English and British nature. Ellin was envious that Woody Guthrie had ‘This Machine Kills Fascists’ written on his guitar so he had a young girl photographed with a guitar that said ‘ This machine goes one way but not the other’ and was the cover of their 5th album called ‘We are Just Beginning.’ One reviewer noted that the key to this band is Dreaming, not in the way of fantasising but in the Albion equivalent of aboriginal dream time. And Did Those Feet walks that very thin line between the two.  


About Ina Williams:

Ina Williams is a Welsh singer trained in Carmarthen and highly popular within the Welsh speaking communities of West and North Wales where her performances are in great demand. Rightly regarded by many as one of the great Welsh voices of our time she has won several Blue Ribbons at Eisteddfod over the years and recorded her first Welsh language album for Fflach in 2001. Her work with ‘And Did Those Feet’ represents her first recording in English and she has been featured on the last four releases. A couple of Ellin’s songs have been translated into Welsh specifically for her to perform.   


About Harvey Summers: 

Harvey Summers is an English composer, producer and sound engineer with over thirty years experience. As a composer he is known for his ambient/world/new-age albums which have sold over two million copies and his most recent work, "Moon" has seen him compared to the likes of Vangelis and Hans Zimmer. As a producer and engineer he has worked with countless artists across a wide variety of genres. Based in East Sussex, he has been operating from his Broadoak Studios facility for the last twenty years."

Ben Reel

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Ben Reel Band Live @ JJ Smyth's Dublin


Track Listing: 1. Darkness & The Light 2. River of Time 3. What Is Done 4. Feel Alive 5. Heart Just Wont Heal

6. Before Your Time 7. Could’ve Been 8. One Of These Days 9. Our Fathers Sins 10. Who You Are

11. A Hard Days Night 12. All Souls Alive13. The Times They Are A Changin 14. Sweet Victory

15. Cosmic Shifting 16. This Is The Movie


Release Date: Available Now

All songs written by Ben Reel (IMRO) except - A Hard Days Night (Lennon & McCartney),

 The Times They Are A Changin (Bob Dylan),

Heart Just Won't Heal by Ben Reel & Irene Kelley (BMI),  Our Fathers Sins by Ben Reel & Tony McLoughlin (IMRO)

Cat No:  CAT552864 --  UPC Code: 0750122649990


Foreword by Ben Reel

I'm delighted that I finally got to release Live @JJ Smyths in Dublin and share it with you. This recording was made on Nov 30th 2013. It captures The Ben Reel Band at a moment in time, in full flow with all engines purring after the release of my Darkness & The Light album (2013).

Listen and you will hear the great musicians I have had the pleasure to play with down through the years, all in fine form at this gig.


My wife and soul mate Julieanne Black Reel on backing vocals and longstanding soul brothers Michael Black on drums, Ronnie O'Flynn on bass, Mick McCarney on electric guitar & John McCullough on piano & organ. This is my A team and we always loved to appear at JJ Smyths in Dublin. It was one of our favourite places to play and to me it was the Ronnie Scott’s of Dublin. I have dedicated the album to the memory of Brian Smyth.


Now sadly JJ's has closed its doors forever and this event was shortly followed by the tragic death of Brian Smyth who passed away before his time at the age of forty seven in 2017.  Brian who ran the family venue built up JJ Smyths to be one of the most prestigious and respected Jazz & Blues venues in the world. The Ben Reel Band were one of the only original bands to play there as Brian was a fan of our music even though we leaned to the more roots rock side of the spectrum. I’m guessing there was enough shades of the blues there to keep Brian and the JJ's audience happy. I am forever grateful that Brian gave us the opportunity to play there to showcase my songs in front of a musically intellectual audience who knew a good band when they saw one. RIP Brian Smyth & JJ Smyths venue.


More About Ben Reel

Live @JJ Smyths:  A concert that was recorded in 2013 in the legendary, iconic but sadly now closed Dublin jazz & blues venue. Ben mixed the album during Covid lockdown when he had plenty of time on his hands. This album might never have seen the light of day during normal times with Ben’s usual busy touring schedule. The live album features mostly songs from that period, his 2013 album Darkness & The Light & some of his finest songs from the previous five albums. It also includes two great cover versions,

Bob Dylan’s, The Times They are a Changin’ & The Beatles, A Hard Days Night. It is now available on CD and all digital platforms.


This follows on the heels of ‘The Nashville Calling` the title of the 9th studio album which was released at the start of the pandemic on the 27th March 2020. Produced by Will Kimbrough and Tommy Womack and featuring Garry W Tallent on bass from the legendary E Street Band. Recorded in Nashville the album was done and dusted in just three days with all live takes with a rootsy rock, live band feel. Work has also commenced on a 10th studio album.


Since his debut album `This Is the Movie’ back in 1999, Ben has reinvented himself from album to album, influenced by different styles of music over the years. As one critic said,  " He's not afraid to throw in some in folk, soul, reggae vibes, which in turn call to mind John Hiatt at his best". Another describes him as “somewhere in the middle ground between rock and jazz or a sound that is sometimes reminiscent of Dylan and the Band”.

In a solo career which now spans over twenty years, Ben has received worldwide critical acclaim with numerous high profile TV/Radio appearances like BBC, RTE and Dutch NPO Radio.

Supporting the likes of Jools Holland, & The Cranberries and he has collaborated musically with such names as Hal Ketchum & The Blockheads. He has co written and performed live with his fellow countryman Tony McLoughlin and some of Nashville's finest such as David Olney, Nanci Griffith & Irene Kelley.


In the past Ben was selected to play an official showcase at Folk Alliance in Memphis TN and has toured as double bill with Tommy Womack (Nashville) in the U.S & UK and also with legendary American folk singer/songwriter Eric Andersen in the UK & NL. While in Nashville he was invited to play the famous Bluebird Cafe on a number of occasions, most recently Sept 2018. Ben continued to stay in touch with his fans during Covid lockdown by playing fifty online streamed gigs on Facebook live every Friday night for one year.

Over the last ten years Ben has enjoyed successful tours in Ireland, UK, Europe & U.S.A, receiving rave reviews and attracting a growing loyal fan base. He has graced big festivals such as Jamming@Hippie Jacks (USA), Musiktan festival in Bilbao, (ESP). Haarlem Jazz & Huntenpop (NL), Robin Hood folk festival (UK), Kilkenny Rhythm & Roots, Cork Jazz & Electric Picnic.

Anna Grindle

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Track 1. People - Anna Grindle with Zenon Joel Otim (A Grindle & Z J Otim) Track 2. Hold On -- Anna Grindle (A Grindle)



‘People’ is the first single from The Turning, the forthcoming, and first studio album from Belfast-based Anna Grindle.

People is a call to be mindful of how we relate and connect to people in our lives, our world and ultimately, ourselves.

In a sense the song cuts across time, while the lyrics reflect an arc of shaping beliefs, justice, and notions of personal and

collective agency, the song’s core message remains as relevant today as when first written.


Musicians: Anna Grindle (Guitar & vocals) + Zenon Joel Otim aka ‘Otim’ (Vocals) + Maurice Dickson (Percussion)


Lyrics and music by Anna Grindle + Additional lyrics by Zenon Joel Otim

Production and recording by Maurice Dickson + Mixed by Maurice Dickson at Warren Studios, Lisburn

Mastered by Cormac O’Kane + Artwork by Mark Case

Label: Anna Grindle Music - Cat. No: AG Music 002 People (IERQW2000003) - Hold On (IERQW2000009) - Release Date: Available Now - Genre: Folk Ambient Mellow

                                ℗ & © 2021 Anna Grindle Music -- All rights reserved.


About People:

“I wrote People in my late 20s”, says Anna. “It’s an expression, at a time of decision-making, of putting action to things that had a formative impact on me.” The only song to be reprised from Anna’s first self-released album Journey (2004). People was re-recorded in 2019 to include the addition of a new verse and a long-standing collaboration with Zenon Joel Otim, a Ugandan rapper, who wrote additional lyrics for the song in 2006.


“I got to know Zenon early in the time I lived in Uganda, although I am sure I heard him perform before I met him properly. There was a great group of mutual friends around, I can remember the Pure Souls arriving at a New Year’s Eve party and giving an impromptu performance. I had given Zenon a copy of my first album Journey, and several weeks later he called round, I played a couple of the tracks, and then with some notes he’d jotted on paper he was just rapping along to a couple of the tracks, including People, breathing new lyrics into the song”.


“When someone really listens and connects to something you created and feels led to build their own creativity into it, that is such a gift. A few weeks later we spent the afternoon with a friend, Mukisa Douglas, who at that time had a recording studio in Kampala. The ‘lost recordings’ from that afternoon are on a file somewhere, but it was, in essence, a commitment to something, someday”.  


About Anna Grindle:

Anna comes from Belfast, Northern Ireland. She is an educator, coffee-drinker, cyclist and traveller. Anna began in music as a woodwind player, spending summers busking in Belfast as part of a saxophone quartet. Anna has written songs ​intermittently over the ​years, mainly for guitar and more recently keyboard. Anna’s first album Journey (2004) was in service to a cause, being self-released in support of fundraising before several years of voluntary work in Uganda. A prolific journal writer, life observed and reflected is intrinsic to Anna, and is core to all her song-writing. Recent years have brought what Anna has described as a ‘flurry of song-writing’, and Anna’s forthcoming album, The Turning, is the result. Begun as a purely creative endeavour, friends in the music world persuaded Anna that it deserved to be heard widely. It is consequently her first ‘properly available’ (physically and digitally) body of work.


About Zenon Joel Otim:

Zenon comes from Uganda, East Africa. In 2003, a group of friends Julius, Zenon, Simon and Trophimus were determined to present the gospel of Christ through a style of music commonly known as ‘Holy Hip Hop’. The four came together and formed the rap group Pure Souls.

They recorded two albums, Doxology (2004) and Cross Reference (2006) and performed throughout Uganda, and in Kenya, Rwanda and Tanzania. Although the members of Pure Souls are now based in different countries, they remain great friends, and at times hint over social media about regrouping

for a future project. Zenon Joel Otim is married to Suzan and together they have five children. Zenon and Suzan manage a charity called External link opens in new tab or windowHome Sweet Home Uganda based in Jinja, Uganda.

Sarah McQuaid

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The St Buryan Sessions

YouTube The Making Of The St Buryan Sessions External link opens in new tab or window


Release Date: Available Now Label: Shovel And A Spade Records

Genre: Folk/World/Acoustic/Singer-Songwriter Cat. No: SAASCD002 UPC: 5060853700767


Born out of the pandemic, The St Buryan Sessions is the sixth solo album by award-winning multi-instrumentalist and singer/songwriter Sarah McQuaid, and is her most powerful and emotive offering yet.


The album had its genesis in the spring of 2020, when Sarah’s gigs and tours were cancelled due to COVID-19. Thanks to a successful crowdfunding campaign, she was able to finance a live solo recording (sans audience) in the lovely medieval church of St Buryan, not far from her home in rural West Cornwall.


Sensitively captured by her longtime sound engineer and manager, Martin Stansbury, with the aid of ambient microphones placed throughout the church, the sound of Sarah’s voice and music soars through the stunning acoustic space as she moves between acoustic guitar, piano, electric guitar and floor tom drum, performing songs that span her 24-year career – from “Charlie’s Gone Home”, originally recorded on her 1997 debut album When Two Lovers Meet, to electric guitar based pieces from her most recent studio album If We Dig Any Deeper It Could Get Dangerous — plus a pair of previously unrecorded covers.


The album opens, as do many of her live shows, with the a cappella “Sweetness and Pain”, an ode to the weakness of personal will when confronted by tempting albeit hurtful circumstance, which sets the tone for the album as Sarah’s voice reverberates around the empty sanctuary. In a rare concession to the solo format, the rocky “If We Dig Any Deeper It Could Get Dangerous” features the live looping by Martin that many fans are familiar with from her concerts over the years. On “The Silence Above Us”, a hauntingly appropriate metaphor for these times of doubt and fear, Sarah makes use of the beautiful grand piano that resides in the church, while her vintage floor tom drum comes into play on “One Sparrow Down”, a percussive, upbeat homily on the folly of attacking an imagined enemy.


She also tackles some new (for her) material: the classic jazz standard “Autumn Leaves”, on which she demonstrates the full dynamic range of her lush, distinctive voice, and a cover of “Rabbit Hills”, written by her dear friend (and past producer), the late Michael Chapman. This second piece was commissioned by Michael’s wife as a gift for his 80th birthday and sees Sarah once again at the piano, her compelling, heartfelt delivery revealing her immersion in the rich imagery of Chapman’s evocative lyrics.


Conceived as a concert set and including such fan favourites as “In Derby Cathedral”, “The Sun Goes On Rising” and “Yellowstone”, the album is a journey not only through a wide range of instrumentation and styles, but also through the spectrum of emotions that Sarah evokes in her performance and invokes in the listener. This is never more evident than on the album closer “Last Song”, a poignant tribute to her late mother that expresses deep sadness mingled with joy in the way the spirits of our loved ones travel with us – and proves the depths of feeling to which a songwriter can move an audience.


The recording was filmed by Cornish filmmaker and director Mawgan Lewis of Purple Knif with the aid of Eden Sessions veteran camera operator John Crooks, and the album release will be accompanied by a full concert video. In the meantime, Sarah has been releasing a series of videos of individual songs to her YouTube channel, where Lewis’ short documentary “The Making Of The St Buryan Sessions”, featuring interviews and song snippets, can also be viewed.


The St Buryan Sessions will be released Friday, October 15 on CD and limited-edition double LP. Selected tracks: Track 10: Autumn Leaves (6:36) Track 14: Rabbit Hills (4:10) Track 13: The Tug Of The Moon (4:30) Track 15: Last Song (6:13)

Full biog available at External link opens in new tab or window High-resolution images available for download from External link opens in new tab or window


Catalogue -- Available on request to accredited media world wide

The St Buryan Sessions

If We Dig Any Deeper It Could Get Dangerous

Walking Into White

The Plum Tree & The Rose

I Won’t Go Home ‘Til Morning

When Two Lovers Meet

Crow Coyote Buffalo (As the duo Mama - Zoë Pollock & Sarah McQuaid)



Chris Flegg

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New Album - Twenty's Plenty

"This album is a collection of twenty of my compositions for solo acoustic guitar, some of which have been previously released on various albums and here given a

fresh interpretation, and some of which are presented for the first time. All tracks were recorded in standard tuning using a Martin OMC-41 Richie Sambora Signature Model guitar."


Chris Flegg - Twenty's Plenty

Track Listing: 1. Market Street Rag (2:36)  2. Gazing At The Stars All Night (4:22)  3.Her Favourite Flower (2:11)

4. Chasing Cuckoos (2:58)  5.The Day That We Planted The Apple Tree (2:49)  6. Special July Delivery (3:16)

7. Just An Idea Away (2:16)  8. Mary’s Tune (3:02)  9. All You Need Is Time (3:02) 

10. Don’t Leave Until The Party’s Over (1:56) 11. Now That The Day Is Done (2:10) 12. Waiting for Michael (3:01) 

13. Beach Holiday 2020 (2:35)  14. I’m Going Home (3:07) 15. Slow Train (4:03)  16.Waltzing In The Rain (3:09) 

17. Old Soldiers (2:16)  18. Cat House (2:05)  19. Not One Of Buddy’s Habits (2:58)  20. Twenty’s Plenty (1:51)


All tracks are solo guitar pieces written and performed by Chris Flegg ℗ ©

Catalogue number FLEGGCD011 Release Date -- Available Now


Recorded by Chris Flegg at Mellowtone Studios, St Albans.

Mastered by Wes Maebe and production by


About Chris Flegg:  

Chris Flegg is a guitarist, singer and composer based in External link opens in new tab or windowSt Albans, UK who has produced eleven albums in a range of styles from folk to jazz. Chris has six albums of original songs to date, the latest being The Road To The Rainbow's End.

As a jazz performer, his most recent jazz recording is External link opens in new tab or windowHer Favourite Flower, an album recorded with bassist John Rees-Jones. Previous jazz recordings include Moving On, an album of original pieces for jazz quartet, in which John Rees-Jones also features on bass.


Chris mainly performs locally in St Albans, either solo with his repertoire of original songs, with sax and bass in a jazz context or solo as a singer guitarist playing a mix of covers from the 60's to 80's. He also performs as Mellow Guitar, with solo guitar instrumental arrangements of covers and original material.


Originally from Eastleigh in Hampshire, Chris moved to London to study at Imperial College and later settled in Hertfordshire. His musical background is that he is self-taught, in the early days learning from watching the many great players he met while resident at the Troubadour Folk Club and notably Diz Disley who inspired him to gain an appreciation of jazz. In a musical journey spanning 50 years, he has worked in everything from pop and folk bands to jazz bands, trios and duos.

His recorded work has received airplay worldwide, including both jazz and folk programs on mainstream BBC channels. As incidental music, Radio 4 recently used his track A Hill So High as a backdrop to their program, Open Country in an episode titled One Tree Hill.


External link opens in new tab or windowThe Origins Of The Album:  

Chris Flegg’s eleventh album "Twenty’s Plenty” was conceived in the UK lockdown of 2020 when gigs were being cancelled and most opportunities for performing just vanished. The idea was to turn a bad situation into a creative opportunity, to put together an album of new recordings of solo guitar pieces based on Chris’ back catalogue and include some which were newly written. The result is an album of twenty compositions covering influences from contemporary folk to rag time and jazz. Tunes previously only available in multi-instrumental recordings are here arranged for solo guitar, and previously recorded solo pieces are given fresh interpretation and variations.


The Technical Bits:

All tracks were recorded using the same acoustic guitar, a Martin OMC-41 Richie Sambora, one of a limited edition of less than 200 and signed by both Richie Sambora and C F Martin IV himself. For simplicity, the recording setup was to use just the output of the onboard Fishman preamp in contrast to previous albums where the guitar was close miked.


The Tunes: Chris uses standard guitar tuning throughout and, while pitching some tunes in E and A (tracks 2, 5, 7, 8, 11) to let open strings ring through phrases, he also favours E♭ and F in tracks for tunes where chord work is more important

(tracks 1, 6, 9, 12, 15, 16, 17, 18), a fondness for these “♭” keys coming from years of working with brass players. Placing the album in a single genre is not easy; you might hear the country/ rag time influences of the finger picking style of players like Chet Atkins or Stefan Grossman in tracks 1, 4, 7, and 10 or perhaps the jazz influence of Django Reinhardt or Joe Pass in the chord work of tracks 3, 6, 9, 14, and 20 but Chris likes to think these compositions stand apart and generate a style and feel of their own. You could find the album under “easy listening”, great for background or incidental music, but each track is also worthy of close listening and guitarists especially will appreciate the easy sounding rendition of some tricky chord work such as in the title track, Twenty’s Plenty, where the main theme has a different chord for every melody note.

Video: Chris Flegg's song French Row (Celebrating French Row whilst busking in St Albans) 


Catalogue: via External link opens in new tab or


FLEGGCD011               Twenty's Plenty                                                2020

FLEGGCD 010              The Road To The Rainbow’s End             2016

FLEGGCD 009              Gazing At The Stars All Night                   2013

FLEGGCD 008              Time Precious Time                                       2011

FLEGGCD 006              My Green Guitar                                            2010

FLEGGCD 007              Her Favourite Flower                                  2009

FLEGGCD 005              The Sound Of Life                                         2008

FLEGGCD 004              Through The Window                                2006

FLEGGCD 003              My Sweet Lady                                               2005

FLEGGCD 002              Solo                                                                      2004

MTCFFCD 001              Moving On                                                      2000



  Ben Reel

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The Nashville Calling

 Track Listing: 1. All In Good Time (4.07) 2. Tough People (4.31) 3. Safe And Sound (4.50) 4. Like A Breeze (3.55)

5. Round The Next Bend (4.14) 6. Imagination (3.07) 7. Up There In The Sky (3.17) 8. Fine Wine (4.40)

9. New Jerusalem (3.34) 10. Broken (3.31) 11. Borrowed Time (3.34)

All compositions Ben Reel IMRO ℗ & © 2020 CD Cat No. BRBCDA 017 Rel: Available Now


Musicians: Ben Reel - vocals, acoustic guitar, harmonica  Will Kimbrough - electric guitars, keys, melotrone, mandolin, backing vocals , dobro, percussion

Tommy Womack - additional electric guitar, backing vocals Evan Hutchings - drums & percussion Garry W Tallent bass Julieanne Reel  backing vocals

Recorded @ Skinny Elephant Studio, Nashville. Mixed by: Dylan Alldredge @ Skinny Eelephant Studio, Nashville. Mastered by: Jim DeMain, Yes Mastering Studio, Nashville


 ‘The Nashville Calling` is the title of the ninth studio album by Irish artist Ben Reel. Produced by Will Kimbrough and Tommy Womack and featuring Garry W Tallent on bass from the legendary E Street Band. The album contains eleven new tracks all written by Ben Reel.

It was recorded at Skinny Elephant Studios in Nashville. This album was done and dusted in just three days with all live takes. Following Ben's critically acclaimed experimental slow burner `Land of Escape’ from 2018, this new record has a more Americana, rootsy rock, live band feel.


Since his debut album `This Is the Movie’ back in 1999, Ben has reinvented himself from album to album, influenced by different styles of music over the years.

As one critic said,” He’s not afraid to throw in some folk, soul, reggae vibes, which in turn call to mind John Hiatt at his best". Another describes him as “somewhere in the middle ground between rock and jazz or a sound that is sometimes reminiscent of Dylan and the Band”.

In a solo career which now spans over twenty years, Ben has received worldwide critical acclaim with numerous high profile TV/Radio appearances like BBC, RTE and Dutch NPO Radio. Supporting Jools Holland, Alabama 3 & The Cranberries and he has collaborated musically with such names as Hal Ketchum & The Blockheads. He has co written and performed live with his fellow countryman Tony McLoughlin and some of Nashville's finest such as David Olney & Irene Kelley.


In the past Ben was selected to play an official showcase at Folk Alliance in Memphis TN and has toured as double bill with Tommy Womack (Nashville) in the U.S & UK and also with legendary American folk singer/songwriter Eric Andersen in the UK & NL. While in Nashville he was invited to play the famous Bluebird cafe on a number of occasions, most recently Sept 2018.


Over the last ten years Ben has enjoyed successful tours in Ireland, UK, Europe & U.S.A, receiving rave reviews and attracting a growing loyal fan base. He has graced big festivals such as Jamming@Hippie Jacks (USA), Musiktan festival in Bilbao, (ESP). Haarlem Jazz & Huntenpop (NL), Robin Hood folk festival (UK), Kilkenny rhythm & roots, Cork jazz & Electric Picnic (EIRE).


About Ben Reel:

 Ben Reel is a native of Silverbridge, South Armagh.  Soon after high school at the age of 17 he started his musical career in 1989 performing & songwriting with local band “Trim The Velvet”’ before going solo in the late nineties.


Against the backdrop of the troubles in Northern Ireland, music became Ben’s way out. He first picked up the guitar when he was fifteen years old, inspired by the realness of the likes of Bruce Springsteen, Van Morrison & Neil Young whose music struck a chord that resonated deep into Reel's psyche. This is still reflected in Ben's heart on the sleeve approach to performing and writing.


Today Ben Reel performs occasionally as solo or duo with his wife Julieanne or with his Dutch band `The Haarlem Boys’ but mainly he performs with his fantastic Irish band `Ben Reel Band’. He divides his time between touring Europe and the USA and producing music for himself and other musicians.

Ben Reel Band:  Irish band

Ben Reel: vocals acoustic guitar, harmonica.

Michael Black: drums.

Ronnie O’Flynn: bass.

Micky McCarney: Guitar

Gerry Black Jnr: Guitar

Julieanne Black: backing vocals and percussion, 


    The Legends of Tomorrow

'Don’t Go to Nashville’ EP

Track Listing:  1. Don’t Go to Nashville (4.23. C Harper/IMRO) 

2. When it’s Gone (4.10 C Harper/IMRO) 3. Liberation (2.56 C Harper/IMRO) 

4. People on the Highway (4.55 Bert Jansch) 5. Greta Thunberg at the End of Time (3.20 C Harper/IMRO)

Digital release: Available now - ℗ & ©  Colin Harper -- The EP is self-released on iTunes, Amazon, etc.

Author/music creator External link opens in new tab or windowColin Harper has wheeled out the ‘Legends of Tomorrow’ as a periodic moniker for recordings gathering many musical friends together since 1995. This EP comprises two new songs, two from 2007/08 and one from 2000 – the oldies hitherto digitally unreleased. All are newly mastered by occasional ‘Legend’ Cormac O’Kane at RedBox Belfast and showcase five of Northern Ireland’s finest pop, rock, Celtic soul and bluegrass vocalists: Mickey Rafferty (The Minnows), Ciaran Gribbin (Leya/INXS/solo artist), Paul Casey (solo artist), Janet Henry (solo artist) and

Lyndsay Crothers (Wookalily).

The title track was inspired by the current obsession among songwriters, particularly in Belfast, with the idea of ‘Nashville’ and with the scourge of ‘co-writing’ – a Nashville practice that, in Harper’s view, is more about chasing a market with formulas than it is about genuine artistic expression or innovation.

Harper: ‘Nashville has become a bore. People go there to co-write with people they haven’t met before or worse, people from the place they’ve just come from! Stay at home and let your music-making imagination run free, unshackled by the rigid templates and conventions of a place on someone else’s continent.’

‘Don’t Go to Nashville’ is free of formula – it starts with a bass solo, it namechecks Ralph McTell, it changes tempo, it brings together renowned jazz pianist Scott Flanigan (cunningly disguised as Flatts Conigan) with punk legend Petesy Burns (The Outcasts) on drums, it has a false ending, it has an eight-bar drum fill and it ends with a joyous instrumental coda. None of this would pass a ‘Nashville co-writing’ exam, and it’s all the better for it.

Two of the other songs – ‘When it’s Gone’ (written 2007) and ‘Greta Thunberg at the End of Time’ (written 2019) – reflect environmental issues:

Harper: ‘I don’t want to preach about it. Others can do that better. These songs are observations and, to a great extent, self-reflective pieces of writing. I’m responding to a slow-motion tragedy and asking myself what I can do about these things as much as anyone else.’

‘People on the Highway’ is a Legends recording of a Bert Jansch song, reflecting Harper’s interests as an author, his first of six books to date being Dazzling Stranger (2000), a biography of the British folk guitar icon. Notably, it features Irish trad wizard Martin Hayes on violin.

Harper: ‘This one was originally released on a 2CD Jansch tribute album I curated for Peter Muir’s Market Square label in 2000. It was the first of several projects with the label – including my two physical-release albums Sunset Cavaliers (2016) and Titanium Flag (2017). This EP was due to be the last (as a download-only release), as Peter is, like many other small label operators, facing the inevitable: that the music market is so heavily contracting via streaming, digital taxes, the collapse of physical distribution that viable business is impossible. Simply, people no longer see music as a transactional commodity. Which, in a way, brings me back to part of the ‘Don’t Go to Nashville’ message – if you want to make music, do it for the artistry. And do something else for income. I believe the ‘music industry’ as we’ve known it will come to be seen as an essentially 20th Century phenomenon.’

YouTube  Don’t Go to Nashville



Tommy Sands

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New Album

Fair Play To You All

Track Listing  1. Answer Not Blowing In the Wind 2. Clanrye Side 3. Ballyholland 4. Refugees

5. What's Going On In Jerusalem 6. American Dreams 7. Who Killed JFK

8. Caoineadh Mhacha (With Padraigin Ni' Uallachain) 9. Ode To Europe 10. Paddy And The Judge

11. Every County On The Island 12. Gathering Of The Clans (With Field Marshall Montgomery Pipe Band)

Produced by Steve Cooney -- All songs composed by Tommy Sands ©Elm Grove Music 

 Spring Records  SCD1066 & BC 019213106324 

A new album release from Tommy Sands is always a special event but “Fair Play To You All” on Spring Records is perhaps one of his most special offerings of all.

One glance at the cover or a single listen to the music will immediately delight of course but there is so much behind the cover and between the lines that you will find yourself slowly feasting on the contents for a long time to come. The title itself is an oft used throwaway line in Ireland but in the pen-hand of Tommy Sands it becomes much more profound and an overture to the album itself.


" Tommy Sands is one of the most productive and prolific performers in the history of Irish music and indeed one of the truly great songwriters in global music.

His songs have become part of a long and venerable tradition that now reaches all over the world. He continues to be a veritable powerhouse of creativity in world music and writes new songs that touch the nerve of all those concerned with social justice and enduring peace between people of all creeds and ethnicities.

He is a true humanist gifted with a unique ability to reach across ethnic divides particularly in his homeland, a territory that has been racked by divisions for literally hundreds of years.

This remarkable recording with the extraordinary musician Steve Cooney is sure to be an enduring contribution to Irish and world music. "

                                                                                                                                                                                                     Professor Michael (Mick) Moloney, New York University.


Tommy Sands, Co Down's singer, songwriter and social activist has achieved something akin to legendary status in his own lifetime. From the pioneering days with the highly influential Sands Family, bringing Irish Music from New York's Carnegie Hall to Moscow's Olympic Stadium, he has developed into one of the most powerful songwriters and enchanting solo performers in Ireland today.


His song writing, which draws the admiration of Nobel Poet Laureate Seamus Heaney and father of folk music Pete Seeger, prompts respected US magazine "Sing Out" to regard him as "the most powerful songwriter in Ireland, if not the rest of the world".


His songs, like There were Roses, and Daughters and Sons, which have been recorded by Joan Baez, Kathy Matthea, Dolores Keane, Sean Keane, Frank Patterson, Dick Gaughan, The Dubliners and many others have been translated into many languages and are currently included in the English language syllabus in German secondary schools.


Although constantly performing on stages all around the world he prides in taking his music down from the lights and into the darker corners of society. One of his current projects, teaching underprivileged prisoners in Reno, Nevada to write their own song with which to defend themselves in court is currently creating a wide spread stir in the world of community art in the United States. Back home in Northern Ireland he has just completed a CD written with Protestant and Catholic schoolchildren about their own areas, in towns and villages around Northern Ireland.During the Good Friday Agreement Talks, his impromptu performance with a group of children and Lambeg drummers was described by Northern Ireland Deputy First Minister Seamus Mallon as "a defining moment in the Peace Process".


Mary McAleese, who was cast in a romantic role with Tommy in a local play just before she became President of the Irish Republic has kept up the friendship and periodically calls upon him for advice on cultural events. "It would take a mean bastard to dislike him", according to Eamon McCann in Hot Press, Sands has a way with words to charm and disarm and coax a chorus out of the tightest jawed audience.


In May 2002 Tommy Sands received an honorary doctorate of Letters from The University of Nevada for his outstanding work as musician and ambassador for peace and understanding and, May 18th was pronounced "Tommy Sands Day in Reno".


In December 2002 although the Northern Ireland Assembly had been stood down, Sands managed to persuade the Members to return for a special Christmas musical party together.

As one political after another joined him on stage for a song, Loyalist leader David Ervine was heard to remark, "Tommy Sands is the only man, without a private army, who can intimidate me." The concert which was recorded for the Sands weekly radio programme, later received a special award at the "World Festival of TV and Radio" in New York.


The song "Music of Healing" co-written with Pete Seeger in 1994 has inspired and given title to an annual seminar to create a "Higher Quality of Disagreement" between opposing Political and Religious leaders of Northern Ireland continues at Rostrevor’s Fiddlers Green Festival to this day.


In 2009 his performance at Pete Seeger’s 90th birthday in Madison Square Garden was among the best in a steller line up which included Bruce Springsteen and Joan Baez In 2019 he wrote the music and performed in the verbatim play “Blood Red Lines” featuring victims and those bereaved in the “Troubles”.

His much-awaited new CD “Fair Play To You” has finally arrived and is now available world wide.



 YOU TUBE See below video of American Dreams, track 6 on the album




Trio Dhoore

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New Album


The group Trio Dhoore features three brothers from Flanders in Belgium


Ward Dhoore – Acoustic Guitar & Mandolin + Hartwin Dhoore – Diatonic Accordion

 Koen Dhoore – Electro Acoustic Hurdy Gurdy


New CD "August" for Nov 1st  

Track Listing: 1. August (4.05 Trio Dhoore) 2. Heuvelland (5.02 Trio Dhoore) 3. Haven (4.20 Trio Dhoore)

4. Poldervuur (4.18 Trio Dhoore) 5. Innsbruck (3.27 Trio Dhoore) 6. Rednak (3.24 Trio Dhoore)

7. S.Trad (2.59 Trio Dhoore) 8. Noord (4.29 Trio Dhoore) 9. Speelhuis (3.26 Trio Dhoore) 


Label: Trad Records (Cat No TRAD004 Bar Code 7442923097034) Recorded, mixed & mastered by Jeroen Geerinck @ Studio Trad

Produced by Jeroen Geerinck @ Studio Trad Layout by Ward Dhoore @ Studio Trad Artwork by Lander Cardon


 Their new album “August” consists of nine instrumental chapters inspired by the story of a Flemish fisherman called August who survived over thirty three dangerous journeys between Flanders and Iceland in the 18th century in order to feed his family back home.A man who never gave up and in doing so became an inspiration to many.

August is a purified collection of self-written tunes by the Dhoore-brothers; the result of making music together for almost ten years. Diatonic accordion, hurdy gurdy, guitar, and electronic effects complement each other seamlessly in the musical soundscape that this album is set.


About Trio Dhoore

Trio Dhoore are a young and talented band of musical brothers from Flanders in Belgium; they formed their trio in 2010. Their extensive repertoire of traditional Flemish tunes is punctuated by song and many of their own compositions.

This mix all goes to provide their audiences -- Classical, World, Folk -- with a soundscape where traditional and contemporary music, melancholy melodies and intuitive interplay merge to unique effect. The brothers Dhoore, Koen, Hartwin & Ward present their instrumental music in a very dynamic way - writing and playing many of their own compositions - whilst at the same time they breathe life and energy into traditional Flemish music with a skill that belies their ages.


Through the years the brothers have created their own musical identity that has attracted many listeners from far beyond the Flemish borders. Highlights such as Festival Dranouter (Belgium), Rudolstadt (Germany), Shetland FMF (Scotland), Sidmouth Folk Week (England), Féte de la Vielle (France),

Körro FMF (Sweden) and Kaustinen FMF (Finland) are only a few examples of their many successful festival appearances. The brothers have just been nominated for the European Folk Music Award ‘Eiserner Eversteiner’ (the final takes place in December 2019).



August 2019

Momentum 2016

Parachute 2015

Modus Operandi 2013

 YOU TUBE Promo for Trio Dhoore's new CD August


Niall Mc Guigan

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New Album

 Spiritual Anarchy

Tracks:  1. Simple Message (4.17)  2. Don't Let The Music Die (3.35)

3. Spiritual Anarchy (4.00) 4. It Hurts But It Heals (5.42) 5. Butterfly (4.19)

6. I See (3.27) 7. Talisman (4.37) 8. Saoirse (4.02) 9. Whom Are You? (5.16)

10. Mother Father (3.37)

All Songs by Niall McGuigan Publisher IMRO (except track 10 Copyright Control)

Produced by Ben Reel & Niall Mc Guigan

Bar Code 5060362462668


Musicians: Niall is joined on the album by Paul Mc Cabe (Bass), Clare Foley (Backing vocals), Rafal Szydlowski (Violin), Paul Mc Elroy (Guitar) & Karl Cosgrove (Drums)


 Following the successful release of Niall's debut album "Awareness" (2017), and his live album Niall Mc Guigan & Friends live at St. Ann's Church Dublin with the SUSO Gospel Choir (2019) Niall releases his new studio album "Spiritual Anarchy" for August 2019. Recorded with Ben Reel at Drumill Lane Studio's in South Armagh Ireland, the album is a continuation on the theme of his first album, describing the process of self-inquiry, awareness, and self-discovery.


The title "Spiritual Anarchy" describes the resulting breakdown of our psychological belief systems, mental concepts, religious, social and political dogma when we begin to deeply question and see through our illusions, aligning constantly with truth and integrity. The musical style is a return to Niall's rock roots, in keeping with the eclectic world music feel of his first album mixing Mongolian throat singing, folk, and alternative rock.

 About Niall McGuigan

Niall Mc Guigan is a musician and practicing music therapist from Castleblayney, Co. Monaghan, Ireland. Specializing in medical ethnomusicology, Niall has researched the topic of music & healing within shamanic & neo-shamanic traditions and also the development of therapeutic presence as a music therapist.


As a musician he has performed in a variety of bands ranging from metal, grunge, rock, traditional Irish music, funk & reggae and also at festivals such as Electric Picnic, Glastonbury, Earth Garden & The Bubble festival (Malta).

Niall is currently touring Ireland & Europe with his experiential concert "Discovering stillness through music & self-enquiry". This is an experiential music concert which offers participants the opportunity to recognize our natural state,  a state of "being" through music, dialogue, and group voice work.​


The interactive nature of the concert and introspective focus unlocks our ability to observe and question the psychological mind using awareness and the natural curiosity of self-discovery. ​Music is an incredible tool which helps us to access a deeper connection with the heart as it is through the heart that we deepen our sense of "being". Through this connection, self-inquiry can begin to uncover our true nature, the heart of reality and an ever-present stillness within.



Awareness (May 2017)

 YOU TUBE See below video of the current Single from the album. Track 3. Spiritual Anarchy


Eamon Friel

Colum Friel, Eamon's son issued this message via Facebook about his late father Eamon on the 21st June, Father's Day 2020

Eamon Friel RIP June 2019

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External link opens in new tab or windowColum Friel

June 21 at 9:50 AM



On this date last year at this exact time 9:50am I lost my father after a brief but swift illness.

It’s incredible to think that exactly 12 hours before he died he was about to go live on air on External link opens in new tab or windowBBC Radio Ulster to do what would turn out to be his final Songbook radio programme at 10pm.

The sepsis he had which we knew nothing about at this stage was moving through him very rapidly - he just about got through his radio show as he became weaker and weaker.

7 hours later he ended up in resuscitation in Altnagelvin - they couldn’t figure out what was wrong with him. But we knew it wasn’t good when 3 doctors asked us to sit down.

The devastating news was given to us, that he was going to die and that he hadn’t very long left - in a state of disbelief we asked what was causing this? The word Sepsis was mentioned for the first time.

We went and sat by his side, held his hand and cried uncontrollably - while we watched his heart rate slowly drop as we waited for him to peacefully pass away. I then began to play his music from YouTube to try and comfort him and us, then his heart rate began to rise again. He could hear us. They say the hearing in the human body is the last thing to stop working.

I played a few of his songs, but I then stopped because it seemed like that was only prolonging his agony and ours - we had to let him go - the last thing he heard before he passed away was his own track - “Waltz of the years.”

Father Paddy O’Kane gave a great eulogy at his funeral mass. Then at the end of the mass Father Paddy asked the congregation to do something I’d never seen before -

“Whenever I do the funeral of somebody who has entertained us and brought such joy into our lives, just as at the end of a performance whenever they appear on stage, I invite you to show you’re appreciation to what Eamon meant to you and all that he has done to brighten up you’re life by making a round of applause to Eamon for all he has done for us.”

My oul boy got a round of applause at his funeral, at a moment of such profound sadness - I also felt really proud.

5 year’s ago External link opens in new tab or windowMark Patterson interviewed my Da and he asked him, “Eamon how would you like to be remembered? How would you like to be thought of after you’re time?”

My Da replied - “For me the most important thing I do Mark is the songs, and I would like a few of them to be sung 50-100 years from now, I’d like some people sitting around a fireside to sing a song and say, who wrote that? External link opens in new tab or windowEamon Friel, aw I’ve heard of him, I would like that.”

External link opens in new tab or windowPat Tynan my fathers publicist emails me on a regular basis with people looking to buy my Da’s albums.

So I decided to get a new website set up in his memory so we can keep my Da’s musical legacy going so that people can listen to or purchase his music easily.

I hope this may mean people might just remember some of his songs in 50-100 years time.

I think he would be really happy about this.

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Eamon Friel

New Album 

 Atlantic Light

(Original PR issued prior to Eamon's passing)

I meet an old friend who still sings the old songs.

Me and my beloved, we go walking in the wind and the rain. The ocean light overpowers me.

First love, that summer in London. I am a child again singing hymns in the old church.

 It's the same old tune. What good is love held in reserve. I'm walking on the street of song.

 Leaving in the twilight, returning in the dawn.

There still are dark satanic mills. Let me go home if I can -- Eamon Friel

Track Listing: 1. The Old Songs 2. Wind And Rain 3. Atlantic Light 4. Takeaway

5. Benediction 6. Under The Sun 7. Unspoken Love 8. Street Of Song

9. Between The Day & Night 10. The Hammer 11. Cnoc An Chénaí

All songs written and composed by Eamon Friel (Copyright Control)


Thran Records THR CD 1013 BC689232112202  -- Available Now


Musicians: Eddie O'Donnell (guitar) Marie Clarke (accordion) Eilidh Patterson (backing vocals)

Philo Sandeen (guitar) Rory Donaghy (whistle) Liam Bradley (drums and percussion)

Ciaran O'Donnell (bass) Frank Robinson Jr. (saxophone) Tracey McRory (fiddle)

 Paul Cutliffe (uilleann pipes, whistles)


About Eamon Friel: Broadcaster, Singer/Songwriter

Eamon Friel is the son of a Mayo mother and Derry father. He writes about his life, experiences and his observations of the ever changing world that he sees around him.


Friel’s writing is mystical painting pictures with his word play which could be compared with that of the landscape artist; each word carefully chosen and lovingly placed upon the page.

Mountains and hills become people in a place where animals talk and the soul and being are more important than time itself. The landscape of Ireland its churches, rivers and towns entwined with the effect it has had on a troubled people; it’s all there in the songs.


Born in London’s Stockwell with childhood summers spent in Ireland, the family left Stockwell and returned to his father’s troubled hometown of Derry, Londonderry, Stroke City call it what you will.  It was the youthful experience of cultural change and upheaval that left a lasting impression on the mind of a young man that would later emerge in songs penned in W.B Yeats like mystical imagery from a place in time and a time in place.


If proof of his ability as a songwriter were ever needed we need look no further than recent song covers by Sean Donnelly, The Fureys, Johnny Coppin, Pete & Jan, Bill Jones, Sean Tyrrell and the Japanese band Brahman.


Eamon broadcast’s on BBC Radio Ulster via his much lauded and very popular programme ‘Songbook’ where he celebrates some of the world’s best songs past and present, taking in the popular, the influential and even the esoteric. The show is a labour of love with each song hand picked, fully researched and weaved into a running order that is a piece of broadcasting excellence.


Friel is one of the few artists around that can say he was actually paid by radio to write topical, comic and satirical songs to order. He was at one time commissioned to write songs for BBC Radio Ulster’s “Talkback” the lunch time inter-active news programme. A task he often had to carry out at the drop of a hat to meet the changing political and social demands of the day.


Eamon Friel’s Album Catalogue - Thran Records

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Atlantic Light (2019) THRCD 1013

In My Time (2016) THRCD 1011

Smarter (2009) Thran THRCD 1006

Here Is The River (2006) Thran THRCD 1004

Waltz of The Years (2003) Thran THRCD 1003

Word of Spring (2000) Thran Records THRCD 1001

Stepping Stones (1993) Spring Records SCD 1028

Logrhythms (1985) Spring Records   


Simon Mayor

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The Book

Of Death And A Banana Skin

The first anthology of poems and anecdotes by Simon Mayor, illustrated by Hilary James

Augmented Reality animations, readings, music and other media

Some pages within 'Of Death And A Banana Skin' feature Augmented Reality.

Many of the pages in this book can be brought to life by scanning them with a tablet computer or smartphone.

This will access animations, readings, music and other media. External link opens in new tab or windowSee demo

YouTube External link opens in new tab or window'Of Death And A Banana Skin' (A Film About The Book)  +  YouTube External link opens in new tab or window'The Stick' (Music, 'The Middlesmoor Waltz' )

A familiar name in the rarified atmosphere of planet mandolin, maestro Mayor swaps plectrum for pen in this first anthology of words. In verse and prose, and with wit, warmth, poignancy and intelligence, Mayor offers down-to-earth observations of his native and adopted haunts, laced with preposterous accounts of the haps and mishaps of his musical profession. The sticks and stones of the Yorkshire Dales, the delights of Reading, the quirks of Hay-on-Wye, the castles of Cleethorpes (sandy ones), noisy nights and country kissing all covered with perspicacity and humour!


 “It was Hilary James who first persuaded me to read a poem during a concert. I chose The Stick, and people seemed to like it. For years we had performed together on stage, she singing (mostly), me playing (mostly), but we both did both. This was usually as a duo, but also with our mandolin quartet The Mandolinquents and in other occasional configurations. Perhaps I’ll be more specific about my poems and her means of persuasion. She got me in an armlock, twisted it violently up my back before threatening to push it that extra inch to tear the tendons, thus preventing me from playing the mandolin ever again. SAS training is so rigorous it becomes instinctive. The thought of not playing the mandolin was unthinkable, but after thinking about it, I thought it best to succumb, and just a few years later we published Of Death And A Banana Skin.”

Please explore this website to External link opens in new tab or windowread and hear some of the poems, see some External link opens in new tab or windowdouble page spreads, and watch animated renderings of Hilary James’ External link opens in new tab or windowdigital artwork. Here’s a taste of some anecdotes from External link opens in new tab or windowOf Death And A Banana Skin Read journalist Molly Flatt’s interview with Simon Mayor & Hilary James in External link opens in new tab or windowThe Bookseller.