The overtones tuning G–G–D–G–B–D was used by Joni Mitchell for “Electricity”, “For the Roses”, and “Hunter (The Good Samaritan)”. Truncating this tuning to G-D-G-B-D for his five-string guitar, Keith Richards plays this overtones-tuning on The Rolling Stones’ “Honky Tonk Women”, “Brown Sugar” and “Start Me Up”. American rock band Eagles of Death Metal, uses this tuning for the majority of their songs.An open-G tuning allows a G-major chord to be strummed on all six strings with neither fretting of the left hand nor a capo. Like other open tunings, it allows the eleven major chords besides G major each to be strummed by barring at most one finger on exactly one fret.
Five-string banjo’s standard tuning is also an Open G: g–D–G–B–D, where the lower case “g” denotes the highest-pitched “drone string”, physically located next to (above) the lowest-pitched string, the first upper case “D”.
Mark Knopfler, of Dire Straits, used the open G tuning on “Walkin’ In The Wild West End” and “Romeo and Juliet”, though, in both songs, the open chord was the IV (subdominant,) chord, not the home (tonic) chord of the song. On “Romeo and Juliet”, a capo was placed on the third fret.Dobros use a full six-string tuning with a bottom G: G–B–D–G–B–D, low to high. The two lowest strings are, accordingly, tuned three semitones higher for the lowest string (from E up to G) and two semitones higher for the second-lowest string (from A up to B) while the highest string is tuned two semitones lower (from E down to D), relative to standard tuning.
Open G tuning allows for open strings and single-fret bar chords to be played in key which make techniques such as slide and steel guitar viable. Open G tuning is common in blues and folk music (along with other open tunings).Open G tuning particularly common in guitar music of Hawaiian origin including guitar styles such as slack-key guitar and steel guitar. In the context of slack-key music, open G is often referred to “Taro Patch” tuning (the term stems from taro, a traditional staple cuisine of Polynesian Hawaii). However, guitar is not a traditional Polynesian instrument; it was introduced to Hawaii by vaqueros hired by King Kamehameha III to assist with the nascent Hawaiian ranching industry in the mid 19th century.Among alternative tunings for the guitar, an open G tuning is an open tuning that features the G-major chord; its open notes are selected from the notes of a G-major chord, such as the G-major triad (G,B,D). For example, a popular open-G tuning isNic talks about writing his own songs, he always is, though never actually gets round to doing it. He really is an idle so and so, but then he always was. Nic can be quite loquacious, but ask him to write some sleeve notes for one of his recordings, for example, and you are lucky to get a dozen words. So, I suggested he write poems. I’m into that myself these days, and I tell him that many of the best ones are very short. “Behind the Odeon”, he says. There you are Nic your first poem, and it’s in print. You are now a published poet!Imperceptibly Nic developed the style for which he is best known and which is widely imitated to this day. Towards the end of his career he used open tunings in C and G (see below) and a variety of rhythmic patterns that characteristically had a missing, damped beat. This took the place of the off-beat drum, endemic in modern popular music. He played with a plastic thumb pick and the nails of his right hand were bitten to the quick; like lutenists, he plucked the strings with the flesh only. To get volume without nails one has to pluck very hard. This leads to the strings frequently being lifted up and slapped down on the fingerboard. (Carthy, of course, plays with his nails, as do Classical players).He did not recognise people, even his own mother, and went though a period when he thought every visitor was “out to get him”. The only memories he has today are of the time they came to remove the plaster from his right leg – he thought they were going to cut his leg off – and of the nurses. Not the blonde ones, just the dark-haired nurses. He often mentions these today, as much to tease Julia as anything. But when pushed he admits that his memory of them is mostly really from what others have told about his infatuation. “Anyway”, I said, “it didn’t affect your libido then? “Oh no!” he laughs, “I was a dirty young man then and I’m a dirty old man now”.Nic spent many hours in the sound archives at Cecil Sharp house and was knowledgeable about traditional styles of both singing and fiddle playing. However, he also liked modern popular music, especially that of the American West Coast, such as the Eagles. This accounts for his “singing behind the beat”, his characteristic easy listening sound, and also the modern chords and syncopation’s that he often used at unexpected moments. This blending of the old and the new was done with taste and restraint; it was delicious.
Nigel Patterson, a school friend of Nic’s, was in a group called The Halliard. This consisted of Nigel, Dave Moran and guitarist Geoff Harris. Nigel and Dave wanted to go professional but Geoff did not, so he left and Nic replaced him. The Halliard were a popular band and played all over the country. I was in the Black Country Three at the time and we used to swop clubs with The Halliard. Nic ran a club in Brentford, Dave Moran had one in Chelmsford, and they had another at Braintree.
Nic was a quick worker, both in making arrangements and in recording. If a song hadn’t worked after three takes he abandoned it. His recordings were always “honest”. That is, he sang and played as live. He did not multi-track – putting the guitar part down and then singing after, on another track – which many of his contemporaries were doing. The only time he did this was to add a fiddle part, and that it is quite permissible.With the demise of The Halliard, Nic went solo and carved for himself a glittering career. He met and married Julia and lived in Chelmsford. They lived there until 1974 when they moved to Doddington, near March, in Cambridgeshire. Nic cut a striking figure. He was tall, athletically lean and handsome with bushy eyebrows and for a time he sported a Mexican style moustache. I once did a concert with Nic in Stafford and we had a drink in the pub beforehand. I also had a Mexican moustache and I remember thinking then that we looked a right pair of renegades out on the town and looking for trouble.
Julia works for a charity called York Homestart, a group of volunteers who support families going through a rough patch. She and Nic have two children: Joe who plays the guitar, sings and writes songs and who has just left to live in Newcastle; and Helen, who has just started at the University of Leeds. Then there is Harry, an adorable silver-grey bearded collie whom they rescued from a dog’s home, and three cats, Theo (Theopoulos P. Wilderbeest), Freda and Barney.
Another point of interest is that Nic sometimes uses his index finger to pluck the on-beat bass note, not his thumb which then played with less volume on a lower, off-beat, bass note. I have heard it said that Nic got this from banjo frailing, where the thumb plays an open string drone. But he refutes this, even though, I must admit, there are distinct similarities. I have heard a five string banjo player make a guitar sound more like Nic that Nic himself! Incidentally, Nic still has his old Fylde Oberon guitar. It was damaged in the accident, but was repaired and sounds fine.
The Halliard lasted for about three years. It broke up in 1968 when the members started to develop different interests – Dave Moran wanted to do social work, for example. They had made two recordings for Saga: “The Irish in Me”, which they hated but which got high in the Spanish charts; and one of their broadside songs, which was never released, ostensibly because they would not sign away their publishing rights. Some of their club songs were recorded by my father in the lounge of our house in Wolverhampton. These “field recordings” were put on to an LP, The Halliard : Jon Raven, which they sold on their farewell tour.Canadee-i-o, Wanton Seed, Gordon, Ten Thousand Miles and Wanton Glove are all in C modal; Crockery Ware and Indian Lass are in G major; Isle de France is in G modal; and Miles Weatherhill is in C minor. He did, of course, sometimes use a capo to alter the pitch.
Anyway, Nic did not like public schools in general, and his in particular. At the age of about 17 he left and did a variety of jobs – petrol pump attendant, insurance office clerk and lifeguard at the local swimming pool. He had taught himself to play the guitar and learned to read music.His early guitar styles are very English, and some were quite lute-like. He used the standard tuning, and adaptations of it. His accompaniments are a varied and imaginative bunch – a tune played in counterpoint to the song melody, the tune followed in fourths below with a tremolo drone, a rock riff, a moving bass line, etc. Seven of these songs and their accompaniments are transcribed note for note by Nic and myself in my English Folk Guitar (1976). These are: “Annan Water”, “The Butcher and the Tailor’s Wife”, “Dance to Your Daddy”, “Don’t You be Foolish Pray”, “Lord Marlborough”, and “Sir Patrick Spens”. Nic was then influenced by Martin Carthy’s Blues derived “monotonic bass, tune in the treble” technique and gravitated to open tunings. He admired Carthy and acknowledges the debt that we all owe to him. Equally, Carthy is quick to show admiration for Nic’s work, especially these early pieces.
How to play guitar like Johnny Cash?
So we take this e major chord and we’re going to hit the open e string as that first down. And then a down up with the strum.
It should be noted that today Nic only plays in the standard tuning, as do most of the younger folk players I see these days, especially the singer-songwriters. Personally I welcome this trend. The character of a stringed instrument is very much linked to its tuning. What is more, most of the melancholic, harp-like major 2nd, minor 7th and suspended 4th chords that are typically used in open and modal tunings are equally easily made in the standard guitar tuning). I know, EADGBE is a compromise to make playing in many keys possible. But it is an extremely good compromise, and one that has proved its worth over many centuries to millions of players of all kinds of music.
Nic was born at Orpington, in Kent, on the 9th of January, 1947. His father owned newsagents shop. When Nic was two years of age the family moved to Brentwood, Essex and ran newsagents shops first at Gidea Park and then at Chelmsford. Later, Nic attended Sir Anthony Brown’s School for Boys at Brentwood. This was a public school. A year below Nic was Noel Edmonds, the disc jockey and TV presenter. Another old boy was Jack Straw, who had yet to develop his taste for denying old age pensioners the right to keep pets in council houses. (Do you remember that London borough scandal, when hundreds of cats and dogs were put down?)
What tuning is Whiskey in the Jar in?
Artist: Metallica – Whiskey in a Jar – DGCFAD.
In the late 1970s, at the height of the revival, Nic Jones was probably the most sought after solo performer on the British folk scene. He had an armoury of guitar techniques, a lyrical style of singing, and a varied choice of mostly traditional material that he made modern and relevant to today by his arrangements.Today, Nic lives the life of a kept man in a pleasant suburb of York near the university. About Julia he says: “She has really looked after me. Most women would have left me by now. She’s amazing. She’s a great girl. I find it difficult to say how magnificent she has been. Its crazy, I get all embarrassed at saying how wonderful she has been. She’s a solid person”.
Nic did some radio work, including the John Peel show, and was also in demand as a session musician. My brother, Jon, used him on several LPs – “Songs of a Changing World”, on which he also sang solo, albeit when he was in his over-ornamented Delaney’s Donkey braying phase; “English Sporting Ballads”, accompanying Martin Wyndham Read, and “Andy’s Gone”, on which he again accompanied Martin. He also provided guitar accompaniments for Jon on an LP called English Country Songs, but the master tape was accidentally erased at the studio before the record was made. Others he worked with included Maddy Prior and June Tabor (on the Silly Sisters LP), and Barbara Dickson; and he has fond memories of doing a TV soup advert with Peter Bellamy in Norwich.
Now Nic only wants to play better for himself, not so that he can go out playing live again. He enjoys his present, easy life. The fiddle has been dropped altogether. He had a nice, light touch, but he no longer has the flexibility in his wrists to be able to play satisfactorily.
Nic walks Harry a lot, reads a lot, and goes to the Railway Institute to play snooker and chess two evenings a week. He drinks endless cups of tea, has porridge for breakfast every morning and Weetabix for supper every evening. He loves curries, which he cooks himself using recipes from Indian Cooking by Savitri Chowdhary. (His spice mixture is Garam Masala). His memory of events before his accident is as good as it ever was, which was not all that clever anyway – he got his wedding date wrong on Joe’s birth certificate!
I asked him what kind of music he would perform if all was well and he was on the road again. His answer was that he would only do things that really meant something to him, that he could sing with conviction, that had a relevance to both him and the audience. Folksongs as such are of little interest. It is the individual piece that matters. He is very disparaging about many of the songs he used to sing, “because they are not relevant to today”. This is something of a hobby-horse. Julia thinks that this dismissal of traditional material is partly because subconsciously it has a painful association. It belonged to another life and that is done and gone with now.
Technically, everything he did was quite easy, and Nic freely admits that. He was, after all, primarily a singer, not a solo guitarist. Today he talks about himself as being “a crap guitarist”. Baloney! This is a mixture of false modesty and the fact that what he did was natural and easy to him and therefore needed little effort on his part. Unless one has to work hard at something one often undervalues one’s achievements. Nic rarely used great barre and the left hand led the life of Riley. Most of his “sound” came from the right hand. Nic executed his chop, his missing beat, by striking down with his middle and ring fingers together. They struck the strings, mostly in the bass area, and then stayed there for a moment to damp the sound. The result was a subdued click. I have heard many people imitate this but almost all do it too viciously. The result is an unmusical clang, especially when amplified through a P.A. What many do not realise is that Nic executed this “damped click” by striking the strings very close to, and often actually on, the bridge.
How do you play Whiskey in the Jar on guitar?
One. Then we go back to g like the intro and this is over the words whiskey in the jar. Let me go. We do the intro. Again so the second half of the verse sounds like this a one two three.
This “spitting” sound combined with damped bass strings (muffled by placing the thumb palm on the strings close to the bridge) was an important part of his very percussive, rhythmical sound. He dropped the idea of playing the tune as an accompaniment, which was, and still is, the essence of Carthy’s technique, and reverted to playing chords, albeit with considerable skill and imagination. His classic Canadee-i-o accompaniment, for example, incorporated a scale phrase in tenths and some very tasteful “bends”.By 1982 Nic was in his prime. Then, in February of that year he was driving home having played at Glossop Folk Club. He was tired and, on a bend in the road between Peterborough and March, he ran into a fully loaded lorry which had pulled out of the Wittlesea Brickworks. He was taken to hospital and stayed there for eight months, being released in September of that year. On a number of occasions I had conversations with Nic about guitar techniques. He admired the skills involved in playing Classical and Flamenco and incorporated some of them into his own style. I remember him asking if it was fitting to use vibrato in folk guitar music. I said that I thought it was, if used with discretion, and subsequently Nic used this to good effect – listen to Canadee-io. The tremolo is another technique he flirted with. I also remember mentioning the use of “light and shade”, playing louder and quieter, a basic musical effect used by almost all musicians except folk artistes. Nic also used this on occasion – hark to Canadee-i-o again. From his fiddle playing came the “dips and raises”, the slight accents and spaces that give the lilt so perfected by the top Irish fiddlers, which he incorporated into his singing style. It was these subtleties that lifted Nic above the pack. He absorbed and integrated all these and more so that they never sound contrived or unnatural. (It is noticeable that many world-class musicians play very stiffly at times, especially in the way they labour to make every note of an ornament equal and as strong as the main melody note, and their mundane, somewhat heavy, treatment of rhythm).Nic is aware that with modern studio techniques he could multi-track and “fake it”, but he is not interested in such malarkey. I told him of the lengths some groups and solo artistes go to these days – sending tapes by post to other musicians for them to make their contribution at leisure, often slowing the tape down and other tricks. He was horrified. At being told that it was common for people like David Bowie and UB40 to mime at live concerts he was aghast. Julia jumps in: “There you are Nic, that’s what we’ll do. Put you on at Cambridge. I’ll be round the back pulling the strings. Nobody would ever know!”
Today, fifteen years on, Nic is very philosophical about the whole thing. “If I hadn’t hit that lorry I might have gone a mile down the road and had an even worse accident; I could have been killed”. He just feels lucky to be alive. There is no bitterness, and except for a list to starboard you would not think anything was physically amiss. He won’t be running any marathons, but mentally he is a better adjusted man than most of us, and if we were all as easy-going and grinned as much as he does the world would be a better place. The only real cloud in his sunny sky is his frustration at not being able to play the guitar as well as he used to. This is primarily because of a co-ordination problem in the right hand. He practises a lot and still gets much pleasure out of playing, but will probably never perform in public again.
Nic was always very professional in his work. He never drank alcohol whilst performing and had given up smoking at about the age of 20, when he married Julia. He has always had strong opinions and did not suffer fools gladly. Once, up north somewhere, he had a noisy audience, so he turned his back to them and played to the wall until the chattering subsided.
Nic did short tours, with a few days at home in between, and tried to avoid one-off bookings. He was a young man, in good health and “it was a good life”. He made four solo LPs for Bill and Helen Leader’s Trailer label, “Ballads and Songs”, “Nic Jones”, “Noah’s Ark Trap”, and “From a Devil to a Stranger”; and one for Topic, namely “Penguin Eggs”. Nic was also in the very short-lived Bandoggs (“wild dogs”), which consisted of Nic, Tony Rose, and Pete and Chris Coe. In 1978 they made one LP for Trailer, did a two week tour and disbanded.
He was in a very bad way indeed. Both legs, both arms and both jaws were broken, his brain was badly damaged and his right side co-ordination was gone. For weeks on end he had his head in a cage, a tube down his throat, and was covered in plaster. He could not move anything and was unable to speak. Julia kept all but a few very close friends away, and these were subjected to watching him trying to wrench off the cage which had been screwed into his skull. One poor chap almost went into hysterics when Nic suddenly pulled out his own tracheotomy tube. Of his contemporaries Nic particularly liked the guitar playing of Bert Jansch and the singing of Shirley Collins. He thought Shirley was the bee’s knees, “because she really felt what she was singing about”. However he has always been receptive to all kinds of music, from Ry Cooder (a particular favourite to this day) and Lou Reed to African traditional. “And Ray Charles”, he adds; “I learned a lot from Ray Charles”. He liked Archie Fisher and greatly admired Alex Campbell. “He was superb. He always did a good night for us at the club”. Nic has written some nine songs but has only recorded three of them. The others he threw away. Um unsere hochwertigen PDF-Tabulaturen herunterzuladen und auszudrucken, wird ein Abonnement vom Guitar Tab Archiv benötigt. Das Monatsabonnement ermöglicht das Drucken und Herunterladen von unbegrenzten Tabulaturen und kann jederzeit wieder gekündigt werden. Nach der Bezahlung ist das Einloggen mit der E-Mail-Adresse in der Fußleiste des PDF sofort verfügbar.The most widely requested whisky cocktails are the Old Fashioned and Manhattan, according to several sources, including Greene. “Everyone loves an Old Fashioned,” he told T+L, “It’s by far the best seller here.” Both classic cocktails highlight the whisky with minimal additional ingredients.
What tuning does Mark Knopfler use?
open G tuning Mark Knopfler, of Dire Straits, used the open G tuning on “Walkin’ In The Wild West End” and “Romeo and Juliet”, though, in both songs, the open chord was the IV (subdominant,) chord, not the home (tonic) chord of the song.
Travel + Leisure spoke to an expert on the topic of a growing interest in whisky, bar supervisor and tobacconist (“barkeep” is fine with him too) Russell Greene at Castle Hot Springs in Morristown, Arizona, who brings years of experience to his role at the resort’s Bar 1896.Whisky drinking has been on the upswing. Data from the Distilled Spirits Council of the United States (DISCUS) shows that revenues from the production and sale of bourbon — “America’s native spirit,” as they refer to it — have grown substantially over the past few years. Rye, Irish whiskey, and Scotch have also been getting more attention.
Fans claim that cigars and whiskey are a perfect match, consumed together slowly along with a picturesque outdoor view and friendly company. Pairings are based on the flavors and intensities of both, and planning can be as thoughtful as matching the perfect wine with each dinner course. At some restaurants and resorts, a tobacconist like Greene is there to offer suggestions.
From there, whisky can be enjoyed “neat,” which is without any mixer or ice. Neat whisky is usually a two-ounce serving at room temperature in a lowball glass. Many aficionados will add a few drops of water which enhances the aromas and softens the finish.Drinking whisky “on the rocks” means with ice, of course, and frozen water is having its day. Large, clear ice cubes or hefty spheres are appearing in whisky glasses, appreciated for their looks as well as their slower melting, and less diluting, qualities. While a bit of flavor on the palate might be sacrificed when whisky is cold, the chill takes away some of the harsh edge. Either way, sipping slowly is the way to enjoy whisky, which is a spirit made from grain which has been mashed, fermented, distilled, and usually aged.
Of course, if you have the ingredients and the equipment, whisky can be made anywhere in the world, but there are specific types of whisky that must adhere to a few rules, and even legalities, to earn a certain definition. On top of these definitions, geography also plays in a role in the way you spell the word — as you may have already noticed.
Along with the interest in sipping whisky (and whiskey), distillery travel has grown in popularity. Vacationers are visiting the places where their favorite brands are produced and taking tours to see how it’s done — with post-tour tastings, of course. The distillery atmosphere and equipment are fascinating, whether it’s a modern new facility or a vintage distillery in Scotland or Ireland.
Who is the female singer in Whiskey in the Jar?
Maria McAveety with Whiskey in the Jar.
“I thought it was going to die out after a few years, but our culture has truly embraced whisky and brought it back to its original home,” he said. “Now I have people of all ages eyeing the whisky shelves, and distilleries are popping up all over the place.”
Imagine a trip to the Scottish Highlands inspired by a “wee dram” of Scotch whisky or a vacation along the Kentucky Bourbon Trail that features not only distilleries, but also camping, bike paths, golf courses, restaurants, and natural wonders. The renaissance of Irish whiskey has led to a number of new distilleries around Ireland, another lovely tour-and-sip destination.
Greene also shared his advice for enjoying whisky at home, telling us that glassware makes a difference, as it does with wine, champagne, and cocktails. “For whisky neat, I have always loved the Riedel Single Malt glass — super fine crystal, clean lip, noses properly,” Greene said. “For on the rocks, a large tumbler is my go-to, something sturdy and heavy, with a nice lip.”
As it is with food, wine, fashion, and anything where personal taste is involved, there is more than one method of imbibing. With a variety of ways to enjoy distilled spirits, your tastes and preferences may evolve, or you might choose your whisky drinking style based on the occasion.
When you visit the site, Dotdash Meredith and its partners may store or retrieve information on your browser, mostly in the form of cookies. Cookies collect information about your preferences and your devices and are used to make the site work as you expect it to, to understand how you interact with the site, and to show advertisements that are targeted to your interests. You can find out more about our use, change your default settings, and withdraw your consent at any time with effect for the future by visiting Cookies Settings, which can also be found in the footer of the site.We spoke about how he usually serves whisky and any trends he’s noticing. “Younger drinkers request cocktails more often than not, and the 40 and up crowd tend towards whisky neat or on the rocks,” Greene said. “Plenty of younger guests will get whiskies, but I feel there are fewer due to the time it takes to develop an appreciative palate for whisky and spirits in general.”
Bourbon must contain at least 51% corn, and it’s made in the United States (mostly Kentucky) and aged in charred oak barrels. Tennessee whiskey is bourbon filtered through charcoal. Irish whiskey must be made in Ireland, Scotch whisky must be made in Scotland, and single malt Scotch must be made from 100% malted barley. And Canadian whisky must contain barley, corn, wheat, and rye and be aged in separate barrels. Japanese whisky production is based on the Scottish model, with both blended and single malt options, and is a relative newcomer to the world. The development of the industry only began in the 1920s, but it has since earned a reputation for its high standards for quality.
“Whiskey in the Jar” (Roud 533) is an Irish traditional song set in the southern mountains of Ireland, often with specific mention of counties Cork and Kerry. The song, about a rapparee (highwayman) who is betrayed by his wife or lover, is one of the most widely performed traditional Irish songs and has been recorded by numerous artists since the 1950s.At some point, the song came to the United States and was a favourite in Colonial America because of its irreverent attitude toward British officials. The American versions are sometimes set in America and deal with American characters. One such version, from Massachusetts, is about Alan McCollister, an Irish-American soldier who is sentenced to death by hanging for robbing British officials.
There is also a song about Irish troops in the American Civil War called “We’ll Fight for Uncle Sam”, which is sung in the same tune of “Whiskey in the Jar”.
The song has also been recorded by singers and folk groups such as Roger Whittaker, The Irish Rovers, Seven Nations, Off Kilter, King Creosote, Brobdingnagian Bards, Charlie Zahm, and Christy Moore. Icelandic folk band Þrjú á palli (Three On The Podium) recorded it in 1971 as “Lífið Er Lotterí (Life Is A Lottery)” with lyrics by Jónas Árnason. Lillebjørn Nilsen adapted it to Norwegian, as “Svikefulle Mari (Fraudulent Mari)”, on his 1971 album Tilbake (Back). Finnish band Eläkeläiset (The Retired) recorded a humppa version as the title track of their 1997 album Humppamaratooni (Jump Marathon). In 2007 the Lars Lilholt Band made a Danish version, “Gi (Give)’ Mig Whiskey in the Jar”, for the album Smukkere Med Tiden (More Beautiful With Time). Estonian band Poisikõsõ recorded “Hans’a Õuhkaga” on the album Tii Päält Iist in 2007. Thin Lizzy’s 1972 single (bonus track on Vagabonds of the Western World [1991 edition]) stayed at the top of the Irish charts for 17 weeks, and the British release stayed in the top 30 for 12 weeks, peaking at No. 6, in 1973. This version has since been covered by U2, Pulp (first released on a 1996 various artist compilation album Childline and later on deluxe edition of Different Class in 2006), Smokie, Metallica (Garage Inc. 1998, which won a Grammy), Belle and Sebastian (The Blues Are Still Blue EP 2006), Gary Moore (2006), Nicky Moore (Top Musicians Play Thin Lizzy 2008), Simple Minds (Searching for the Lost Boys 2009), and Israeli musician Izhar Ashdot. The song is also on the Grateful Dead live compilation So Many Roads disc five. In 1966, the Yarkon Bridge Trio, an Israeli singing group, recorded a song named “Siman Sheata Tsair” (“It Is a Sign That You Are Young”) set to the melody of “Whiskey in the Jar”; the song became a hit and was later covered by various artists, notably by Gidi Gov. The song also appears under the title “There’s Whiskey in the Jar” in the Joyce collection, but that only includes the melody line without any lyrics. Versions of the song were collected in the 1920s in Northern Ireland by song collector Sam Henry. It is Roud Folk Song Index no. 533.
The song collector Colm Ó Lochlainn, in his book Irish Street Ballads, described how his mother learnt “Whiskey in the Jar” in Limerick in 1870 from a man called Buckley who came from Cork. When Ó Lochlainn included the song in Irish Street Ballads, he wrote down the lyrics from memory as he had learnt them from his mother. He called the song “There’s Whiskey in the Jar”, and the lyrics are virtually identical to the version that was used by Irish bands in the 1960s such as the Dubliners. The Ó Lochlainn version refers to the “far fam’d Kerry mountain” rather than the Cork and Kerry mountains, as appears in some versions.
What tuning did Nic Jones use?
Nic was then influenced by Martin Carthy’s Blues derived “monotonic bass, tune in the treble” technique and gravitated to open tunings.
On the bluegrass scene, Jerry Garcia and David Grisman recorded a version for the album Shady Grove. It has also been performed by the Scarecrows bluegrass band and the Dutch band Blue Grass Boogiemen.”Whiskey in the Jar” is sung with many variants on locations and names, including a version by Jerry Garcia of the Grateful Dead with mandolinist David Grisman; a version by The Dubliners (which is often sung in Irish traditional music sessions around the world); a rock version sung by Thin Lizzy; and a heavy metal version (inspired by Thin Lizzy’s performance of the song) by Metallica.
“Whiskey in the Jar” is the tale of a highwayman or footpad who, after robbing a military or government official, is betrayed by a woman; whether she is his wife or sweetheart is not made clear. Various versions of the song take place in Kerry, Kilmoganny, Cork, Sligo Town, and other locations throughout Ireland. It is also sometimes placed in the American South, in various places among the Ozarks or Appalachians, possibly due to Irish settlement in these places. Names in the song change, and the official can be a Captain or a Colonel, called Farrell or Pepper among other names. The protagonist’s wife or lover is sometimes called Molly, Jenny, Emzy, or Ginny among various other names. The details of the betrayal are also different, being either betraying him to the person he robbed and replacing his ammunition with sand or water, or not, resulting in his killing the person.
Liam Clancy recorded the song with his son and nephew on Clancy, O’Connell & Clancy in 1997, and Tommy Makem recorded it on The Song Tradition in 1998. The High Kings, featuring Bobby Clancy’s son Finbarr, released a version in February 2011.
Why do people sip whiskey?
While a bit of flavor on the palate might be sacrificed when whisky is cold, the chill takes away some of the harsh edge. Either way, sipping slowly is the way to enjoy whisky, which is a spirit made from grain which has been mashed, fermented, distilled, and usually aged.
The song’s exact origins are unknown. A number of its lines and the general plot resemble those of a contemporary broadside ballad “Patrick Fleming” (also called “Patrick Flemmen he was a Valiant Soldier”) about Irish highwayman Patrick Fleming, who was executed in 1650.The song first gained wide exposure when Irish folk band The Dubliners performed it internationally as a signature song, and recorded it on three albums in the 1960s. In the U.S., the song was popularised by The Highwaymen, who recorded it on their 1962 album Encore. Irish rock band Thin Lizzy hit the Irish and British pop charts with the song in 1973. In 1990, The Dubliners re-recorded the song with The Pogues with a faster rocky version charting at No. 63 in the UK. American metal band Metallica in 1998 played a version very similar to that of Thin Lizzy’s, though with a heavier sound, winning a Grammy for the song in 2000 for Best Hard Rock Performance. In 2019, Canadian singer-songwriter Bryan Adams performed a cover of the song on his album Shine a Light.In the book The Folk Songs of North America, folk music historian Alan Lomax suggests that the song originated in the 17th century, and (based on plot similarities) that John Gay’s 1728 The Beggar’s Opera was inspired by Gay hearing an Irish ballad-monger singing “Whiskey in the Jar”. In regard to the history of the song, Lomax states, “The folk of seventeenth century Britain liked and admired their local highwaymen; and in Ireland (or Scotland) where the gentlemen of the roads robbed English landlords, they were regarded as national patriots. Such feelings inspired this rollicking ballad.”
What is the meaning of the Whiskey in the Jar?
“Whiskey in the Jar” is the tale of a highwayman or footpad who, after robbing a military or government official, is betrayed by a woman; whether she is his wife or sweetheart is not made clear. Various versions of the song take place in Kerry, Kilmoganny, Cork, Sligo Town, and other locations throughout Ireland.
Gutiar Pro Tab “Whiskey In The Jar” from Metallica band is free to download. Tablature file Metallica – Whiskey In The Jar opens by means of the Guitar PRO program. This program is available to downloading on our site.
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