Musicians From Ireland

"Amarantine... Love is."

"You know love may sometimes make you cry, so let the tears go, they will flow away, for you know love will always let you fly — how far a heart can fly away!"

"You know when love's shining in your eyes it may be the stars fallen from above. And you know love is with you when you rise, for night and day belong to love."

"Listen to the rain Here it comes again Hear it in the rain Feel the touch of tears that fall — they won't fall forever In the way the day will flow all things come, all things go."

"Late at night I drift away - I can hear you calling, and my name is in the rain, leaves on trees whispering, deep blue sea's mysteries."

"Where are you this moment? only in my dreams. You're missing, but you're always a heartbeat from me."

"Winter lies before me now you're so far away. In the darkness of my dreaming the light of you will stay"

"If I could be close beside you If I could be where you are if I could reach out and touch you and bring you back home Is there a way I can find you Is there a sign I should know Is there a road I could follow to bring you back home to me"

"Our words go beyond the moon. Our words go into the shadows. The river sings the endlessness. We write of our journey through night. We write in our aloneness. We want to know the shape of eternity. Who knows the way it is? Who knows what time will not tell us?"

"Mountains, solitude and the moon until the journey's end? The river holds the lost road of the sky; the shape of eternity?"

"Where is the beginning? Where is the end? Why did we fall into days? Why are we calling out into the endlessness? Who knows the way it is? Who knows what time will not tell us?"

"Long, long journey through the darkness, long, long way to go; but what are miles across the ocean to the heart that's coming home?"

"The poignancy of things A purple flower The blossoms of spring And the light snow of winter How they fall"

"Summer. When the day is over there's a heart a little colder; someone said goodbye, but you don't know why. Somewhere there is someone keeping all the tears they have been weeping, someone said goodbye, but you don't know why."

"Always looking for a meaning, all the time you keep believing, but I don't know why you won't say goodbye. Even when the sun is shining you don't see the silver lining, but I don't know why you won't say goodbye."

"It's only now when words are said that break my heart in two, I wonder how you can endure all I've said, all I say to you."

"A moment lost, forever gone, can never be again, so know how much it means to me; all you said, all you gave, all your love to me."

"A million feathers falling down, a million stars that touch the ground, so many secrets to be found amid the falling snow."

"The silence of a winter's night brings memories I hold inside; remembering a blue moonlight upon the fallen snow."

"From the City of Constellations to the wanderer and a Place of Rains he journeys on... ...the City of hesitation and doubt the Island of the house the colour of the sea the Plain of Mementoes he journeys on to find his love... ...the Valley of lost time the City of End and Endlessness the Isle of Revenents he journeys on..."

"in silence through the night close to the City of Realisations; it is here one finds the way... ...Mount Orison the City of Days the Tree of the lost he journeys on... ...north of his love a road through a valley of darkness the islands that are not of this world he journeys on to find his love..."

"It is a long way through darkness to the way of the eremite the eremite sings of the world and of the journey of love, which is not lost in eternity..."

"Enya left school in 1979, and we had already been a nucleus, so it was probably difficult for her. She wanted to go off and do her own thing. Tensions were created because we never answered any of the questions. If you're going to answer questions, people aren't going to believe you anyway. The proof of the pudding is that Enya is my sister, and I love her dearly, and we get on really, really well."

"She does have a life. She'd kill me if I talked about it, so I'm not going to talk about it. There's a difference between being a private person and a recluse. All this blushed and flushed stuff about her being a recluse put it to bed, for God's sake."

"Enya never writes a bad melody. That's first and foremost her secret. As she goes along, she'll start changing the dynamics, pushing here and there so that not everything is perfectly in unison. It adds a texture you can acquire only from having different voices. The variations lead to interesting quirks. It's an integral part of the Enya sound."

"Enya knew nothing about recording, about production or arrangements. Originally, we were stock-piling music and just letting her get on with it. There was no name on the music she was writing. All I knew was that hard work succeeded."

"I heard the soundtrack to The Celts TV programme, which Enya had done, and I thought "what's this magical music?", and it was such an antidote to the, sort of, the day's work, that every night I went home and played the soundtrack from The Celts. And then I met her in Ireland and she was telling me how she was signing to another record company, I went "no, no, no, no, you can't do this, you must sign with us." And I did it really just as a self-indulgence, that I thought this was beautiful music and wanted to be associated with it, there wasn't really a kind of commercial edge to it at all."

"Sometimes the company is there to make money, sometimes it's there to make music. Enya was the latter. I would have been a genius if I knew this was going to sell millions of records. I just wanted to be involved with this music."

"Enya and her team record and we stay in touch until there is something for me to listen to. I then provide an outside view. She is a genius in the studio, comparable to somebody like Brian Wilson, but she and Nicky can be their own worst enemies at striving for personal best all the time. I guess that's the price of perfectionism."

"There's something about Celtic mythology which is deep in the soul, and I just think that somehow she has tapped right into it."

"You tend to behave yourself in her company. Make even a small joke about her songs and she gets angry. And she does have a peculiar effect on men. I've watched normally sane journalists waxing metaphysical when they meet her."

"Playing in a family band has many advantages, but it can often mean that when the going gets tough you take it out on each other with a liberty that only family can tolerate. I suppose it had always been difficult for Eithne. We loved what she brought to the band, but I know it was hard for her to infiltrate our years as a tightly knit nucleus. Musically, Ciaran and Pol had always been the creative force, and Noel, Padraig and myself had then worked our own expression around them. It was a good formula that worked well. Inevitably, when Eithne joined us full time, she found it hard. She hadn't been part of the original song-collecting days and consequently didn't share our enthusiasm for the old songs. I suppose she always felt little more than a "guest musician". As sisters we had always been close and talked about everything together, so I was sorry when band business caused a strain between us. One day, just after the tour, Eithne announced that she had decided to leave Clannad. She was going to pursue a solo career with Nicky Ryan as her manager. In the long term it turned out to be a good decision. I missed her, but I'm sure the apprenticeship with Clannad helped Eithne develop her own sound and afforded her strong contacts in the music business. She is talented and ambitious and, in the years that followed, the family was delighted to watch the success that came her way."

"Over the years I have learnt to be on my guard but, as any artist will testify, you are completely powerless if a writer has a certain agenda. There have been many damaging articles that have hurt my family deeply stories about our relationships, particularly between myself and Enya. We resolved in the early days not to talk about our private lives but, especially in Enya's case, this has often led to more intrigue and false speculation. For an artist, it is the unfortunate consequence of being in the public eye, but what makes me really angry is the way the family inevitably bears the suffering."

"Eithne had been working on her album and the single, 'Orinoco Flow', was released while we were in the studio. We were so excited for her. It was already at number eleven in the charts and we felt sure it was going to go up. We'd watched her on Top of the Pops the week before, so come Sunday evening we expectantly gathered in the house near the studio to listen to the Top Forty. Our youngest brother, Bartley, was working in London and he came over to be with us to hear the news. Number one! We were all shouting and screaming and hugging each other and you couldn't have heard the record playing above the din in the room. First we spoke to Eithne on the phone. More squealing. She was so happy and we knew that sharing the moment with us, even over the telephone, was very special. Then we rang our brother Leon who was over in Donegal. He'd been driving Mammy to church and they'd been frantically trying to get the radio station on the car radio so they could hear the result. The whole family were over the moon. That evening at dinner we had a bottle of champagne and toasted Eithne's success."

"On Christmas Day the traditional Brennan Christmas continued in full swing. It was wonderful that we could all be at home together. The girls set about preparing the meal while the boys rearranged the furniture so we could all sit around the table together. Eithne had just got a video camera and was skulking from room to room trying to catch everyone at their most embarrassing. It didn't take much to get us to act accordingly and the house was full of laughter and song."

"Rock n roll stops the traffic"

"It is fair to say that we overreacted a bit. … Its not really worth defending my action, I did it in the spirit of the concert, and I thought I did it in the spirit of the artist's work, and he agreed — but, in fact he didn't own his work anymore, as most artists are prone to , he'd sold it, and the City of San Francisco owned it, and they didn't like what I did at all. … Its a really wild thing, you know, you're in Rock n Roll band — you know, I happen to sell millions of records — people therefore think that makes you a responsible citizen — this is not true. … I think this is one of the more mild actions of tour-madness. … It's the music that is magical with U2. … I don't mind being arrested for putting on a free concert, but I don't want to be arrested for being a vandal. I am a vandal and I do regret what I did. I really do regret it. It was dumb."

"What a city, what a night, what a crowd, what a bomb, what a mistake, what a wanker you have for a President."

"It's an amazing thing to think that ours is the first generation in history that really can end extreme poverty, the kind that means a child dies for lack of food in its belly. That should be seen as the most incredible, historic opportunity but instead it's become a millstone around our necks. We let our own pathetic excuses about how it's "difficult" justify our own inaction. Be honest. We have the science, the technology, and the wealth. What we don't have is the will, and that's not a reason that history will accept."

"We can be the generation that no longer accepts that an accident of latitude determines whether a child lives or dies. But will we be that generation?"

"Can you imagine your second album — the difficult second album — it's about God? Everyone is tearing their hair out and Chris Blackwell says, "It's okay. There's Bob Marley and Marvin Gaye, Bob Dylan, it's a tradition. We can get through it."

"The thing about The Dubliners is — line'em up, the hardest rock'n'roll bands in the world, AC/DC, Led Zeppelin, The Who, Oasis, Nirvana, U2 — we're all a bunch of girls next to The Dubliners."

"All That You Can't Leave Behind and How To Dismantle An Atomic Bomb are both really mad long titles. As I've just said them, I've just realised how ridiculous the titles are."

"Your president leads the world in the cause of freedom right now. ... The people in Ukraine are not just fighting for your own freedom, you are fighting for all of us who love freedom. … We pray that you will enjoy some of that peace soon."

"Well, here we are, the Irish in America. The Irish have been coming to America for years, going back to the great famine when the Irish were on the run from starvation and a British Government that couldn't care less. Right up to today, you know, there are more Irish immigrants here in America today than ever — some illegal, some legal. A lot of them are just running from high unemployment, some run from the Troubles in Northern Ireland, from the hatred of the H Blocks, torture. Others from wild acts of terrorism like we had today in a town called Enniskillen, where eleven people lie dead, and many more injured, on a Sunday Bloody Sunday."

"Let me tell you something. I've had enough of Irish Americans who haven't been back to their country in twenty or thirty years come up to me and talk about the resistance, the revolution back home; and the glory of the revolution, and the glory of dying for the revolution. Fuck the revolution! They don't talk about the glory of killing for the revolution. What's the glory of taking a man from his bed and gunning him down in front of his wife and his children? Where's the glory in that? Where's the glory of bombing a Remembrance Day parade of old-age-pensioners, their medals taken out and polished up for the day? Where's the glory in that? To leave them dying, or crippled for life, or dead, under the rubble of the revolution that the majority of the people in my country don't want. No more! Sing No more! <!-- Variant transcription: Now let me tell you something, I've had enough of Irish Americans who haven't been back to their country, in 20 or 30 odd years, come up to me and talk about the Resistance, the Revolution back home, and the glory of the Revolution, and the glory of dying for the Revolution. Fuck the Revolution! They don't talk about the glory of killing for the Revolution. What's the glory, in taking a man from his bed and gunning him down in front of his wife and his children? Where's the glory in that? Where's the glory, in bombing a Remembrance Day parade of old age pensioners, the medals taken out and polished up for the day, where's the glory in that? To leave them dying, or crippled for life, or dead, under the rubble of the Revolution — that the majority of the people in my country, don't want! Say "no more!" No more! No more! Wipe your tears away!"

""We used to say, 'They have everything, but it.' We had nothing, but it"."

"I am saying we are great. I'm not saying I'm great. There's a difference..."

"Ireland has a very different attitude to success than a lot of places, certainly than over here in the United States. In the United States, you look at the guy that lives in the mansion on the hill, and you think, you know, one day, if I work really hard, I could live in that mansion. In Ireland, people look up at the guy in the mansion on the hill and go, one day, I'm going to get that bastard. It's a different mind-set."

"Who in Ireland could have too much respect for organized religion? We've seen it tear our country in two. My mother was a Protestant. My father was a Catholic. And I learned that religion is often the enemy of God, actually."