I just love this tune. Unfortunately, when I go the sessions, only the seasoned players know that tune. It is such an underrated tune. I like to play the jigset: Gallagher’s Frolics/Mist Covered Mountains/ Cliffs of Moher. Those can quickly become a pub favorite and really get a lot of enthusiasm from the people. I was just letting people know in case they have never heard of this jig.
But anyone else feel the same way about it being underrated, or is it a common tune at your session?
Questions, questions.
I think it’s about as well known as the other two you propose to play with it.
I used to play one of Paddy Carty’s with it. The one Donncha O Briain called ‘The Soup of Good Drink’, incorrectly, but I don’t have a better name for it.
But then times changed and the tune became hooked up with two others but that’s over now too. Life is cruel that way.
We play it in Raleigh sessions quite a bit.
Most people here seem familiar with it.
You should drive up sometime 
Out of curiosity, where do you play, WC?
Almost well known enough to be avoided.
We’ll have to ask ourselves if a good tune is tainted by numerous poor renditions. Or does a good tune remain a good tune that thrives in the hands of a good player.
Ofcourse each of us will have to look in his own heart and decide if we are going to add to the former or are capable of the nurturing that makes a tune thrive.
That is gettin pretty deep there.
The depths of the Internet Irish Music Discussions, aren’t they sometimes taking us to dark and beautiful places. Scary too at times they are, to me, for what it’s worth. The creatures you meet..
But after plumbing the depths, how do you propose we call dismissing a tune out of hand just because a lot of people play it?
Around here, it is almost never played because for a time it was played too much. But that will change, because the old warhorses don’t die, they just nap in the stable from time to time…
I love nearly all the old warhorses and never demur from playing 'em. They’re warhorses because they’re good. I once heard a radio commentator call Dvorak’s New World symphony a warhorse. 
Even the Kesh is a seriously-misunderstood tune. I’m still struggling with Drowsy Maggie, which seems to have a death-wish at the end of the second part, and why anyone ever wants to play Fanny Power…words fail me!
I saw the National Symphony Orchestra play Dvořák nr 9 on a windy winter’s night in a church near the western edge of the civilised world a few years ago. The roar of waves pounding rocks in the background. It was great. Mind you, they played The Breandan Voyage after it, with Bill Óg on the pipes. It made a good set. If overplayed.
It’s weird, because when the meat-and-potatoes chunes are trotted out at our sessions, the one or two who sigh and roll their eyes usually have their own advanced-ish or obscure sets they’ve been playing for years that have become very predictable in their own right.
I have no idea how Drowsie Maggie is the most popular tune on thesessions. I have never heard it at a sessions before unless I was the one who started the tune. And that was only two or three times.
Yes, that’s one of my favourite jigs as well. One of the first I ever learned for that reason. Sadly, to date every time I’ve ever played that tune it was a “one-time through” solo. 
Oh well. Maybe I’ll try it again at tonight’s session and see what happens.
I seem to remember it going well with The Rollicking Boys Around Tandaragee.
You know, if you want people to learn a tune sometimes you just gotta doggedly keep bringing it out despite the discomfort of soloing. And give it at least a twice-thru if it seems right. I know I like - want, actually - to hear new tunes more than just once.
As they’ve told me before, “We can’t learn it if you don’t play it.”
What’s made it a little easier for me is to stick the unknown tune in the middle of two known ones for a set. Until the new one gets learned, you have the whole bunch on the first tune, a solo on the next, and then everybody joins in on the third. Instant supergroup-sounding arrangement!
Hey, there, Bloo.
It’s a standard here. Nice followed by The Hag’s Purse (remember that one, Nano?).
Ditto on your arrangement thing. Several of us like to throw obscure/new tunes in the middle to give listeners a rest too – texture is good! – and it’s also a good way to reset a runaway tempo or enliven a dragging one. Et voila! Instant Lunasa (minus the talent 
)!
Not a standard here, but it gets trotted out occasionally. All of our standards are low, now that I think of it…
Yes I do, and it’s an evergreen favorite of mine. Oddly enough I don’t play it that much…oh yeah, I know why: sessions. My version and everyone else’s version. I’m left to save it for when the moment is all about me.
Talent, shmalent. A ceoltóir can dream.
Hi, Bloomie. Making an appearance on Bloomsday. I detect a semiotic pattern of Da Vinci Code proportions …
I’m one of only two people at my session who knows Gallagher’s Frolics and sometimes she and I play it together later in the evening.
We play Drowsy Maggie after Cooley’s and then into Swinging on a Gate. It’s a nice little set.