I submit for your consideration these two tracks from the Country Ducats. As you may have already guessed, they were a country band from Newfoundland. Both of these songs are from the album, “You Can’t Take The Country From The Man” (1972). The Ducats have existed in different incarnations over the years, including being known as the Du-cats and The Ducats Showband.
Added below is a little extra bonus. It’s a video slide show of pictures from Newfoundland while the Country Ducats play “Every Fool Has A Rainbow” in the background. I didn’t make this video, I simply found it on YouTube while I was searching around the Interwebs.
Posted above are three songs from the album “Poster Girl” by Gord Tracey and the Constellations. I have also posted the recommendation that was found on the back cover. It describes the band as playing “rock n’roll from the late 50s”. The date listed on the back cover leads me to believe that this recording was made in the late 1960s.
I found this record in Fred’s Records, a music store in St. John’s. Until I picked it up, I wasn’t aware of the artist. I really don’t know much more about her now. The back of the record explains that Pardy was born in Bonavista and began singing in her brothers’ band. I did a cursory search of her on the Internet but it didn’t yield any further details.
Whatever its exact history may be, this album is a great example of a particular Newfoundland phenomenon: the combination of the country aesthetic with the Newfoundland perspective. The songs I have linked above have a very straight country music backing. “Twenty One Years” shows this especially. It’s a traditional song that has been sung by country singers like Marty Robbins. Pardy’s version gives no indication that it was made by a Newfoundland. Even the lead acoustic guitar suggests south-western United States, if anything. Just compare it to Robbins’ El Paso. For an example of how this songs sounds with other influences at play, check out the Ryan’s Fancy version here.
“I’m Going Home To Mom In Newfoundland” is different. It maintains the strict country backing, but leaves no doubt as to its origins. It uses a common theme of leaving and then missing home. These are ideas that repeat themselves over and over again in music from the island. This is a great example because it is so explicitly about Newfoundland and because it has a popular theme.
Then again, there are a lot of country songs that are about those types of themes. The classic country song, “Streets of Baltimore” is one example that comes to mind. It’s hard to say what part of Pardy’s song is truly different from the rest of country music, other than its location.
I stumbled upon this video a few months ago when I was trying to find information about Ryan’s Fancy. More accurately I stumbled upon this song within the video itself. From what appears to have been a television show they had with Tommy Makem, this video begins with performance from Ryan’s Fancy. Then, about midway (2:00), there is a performance by Tríona Ní Dhomhnaill. It’s fantastic.
Initially, it reminded me of “Golden Brown” by the Stranglers. In the bracing and jaunty way the piano is played.
The song she is playing is “Butterfly” by Tomnmy Potts. The song itself is very famous and has been played in a number of ways and on a number of instruments. But I would rate this version as easily my favourite. Some of the other versions I have heard are a little dreary and languid. I can’t blame them, it appears to be a very difficult song. But this one is bright, sharp and energetic, and it makes all the difference.
From wikipedia, here is some background information.
About Ryan’s Fancy:
Ryan’s Fancy was a musical group active from the 1960s until the 1980s, all three of whose members were Irish immigrants to Canada.
and
The trio relocated to St. John’s, Newfoundland in 1971 to attend Memorial University of Newfoundland. Making a splash in the local music scene, the group landed the first of several television series. Produced by Jack Kellum on CBC, the show involved the trio travelling and playing across Atlantic Canada. Ryan’s Fancy had their own syndicated series called Ryan’s Fancy (January 1972 to April 1972) and the pub-styled Tommy Makem and Ryan’s Fancy (July to September 1974).
About Tríona Ní Dhomhnaill:
Tríona Ní Dhomhnaill is an Irish traditional musician and singer from Kells, County Meath, whose paternal grandparents moved there from the Rann na Feirste Gaeltacht of Donegal in the 1930s. She is famed for her work with traditional Irish groups such as Skara Brae, Relativity, Touchstone, Nightnoise and The Bothy Band.
About Tommy Potts:
Tommy Potts (1912–1988) was a remarkable and innovative Irish fiddle player from Dublin. Although only one commercial recording of his playing was ever made, ‘The Liffey Banks’ in 1972, he has gained iconic status in traditional Irish music circles for his virtuoso musicianship and highly individual take on the Irish music tradition.
