Horslips Concert-Bound
Adam Clayton, Barry Devlin, and Cunnus
Chris Somers and Johnny Fean, Kerry
Chris Somers and Steve Travers, Kerry
Weasy (r) and friend before Horslips concert
circa early 1976
"I steal into your cities
And pity the sleepers who say
Time can't slip away.
Light streams out from your doorway Your stairway is waiting to climb
Then your sunburst's mine."
Johnny Fean and Green Gravel
Ned Natterjacks in Kerry
21 August, 2004
Steve Travers and Green Gravel
(from l to r) Adam Clayton, Barry Devlin  and Cunnus
Fort Lauderdale, March 2001
Backstage at U2's Elevation Tour
Dean and I immediately took Horslips to our hearts. Dancehall Sweethearts was the first Lips album we heard in its entirety, and we quickly found and bought the previous ones, plus the newer two or three.

Dean leaned more towards the folk tunes side of things, while I (being into the Beatles) was taken by their use of harmony and guitar riffs. We saw that this one band offered so much to both of us, and I guess that influence has stayed with us ever since then.

The release of Book of Invasions was a major milestone for us. We clung to that album like it was the Holy Grail and when we finally got to see Horslips at the Rainbow in November 1977, it was the ultimate experience for us at the time.
When I moved to Essex from London at the age of 13 in the summer of 1976, I immediately fell in with a new crowd of friends, some of whom had similar musical aspirations. One of them was Dean Hobbs who had an older brother called Peter. Both Dean and I were influenced by several of Pete's albums, mainly by Steeleye Span, Tull and this interesting Irish band, Horslips.
July 11th, 1975 :

“Moira, Shona, Jennifer McKenna, and I went to see Horslips in Borderland. They were all fantastic. They’ve all got their hair cut, except Eamon Carr the drummer, whose drumstick I have now got, signed by the all. Charles O’Connor was gorgeous. He wrote Love to Louise XX as well as his name on the stick.”
"That was the first time I ever met Johnny, I fondly remember, this is true, shaking when I was talking to him, the second time I did meet him I nearly fell off my chair. That was the best gig I was ever at, the place was literally full up to the rafters. I remember leaving feeling like nothing compared to him."
"Steve is probably the finest bassist I have ever come across, the way Johnny and his own counterpoint kick precision. But seriously, he is one of the greatest guys in music. They both have "taken me under their wing" if you will, musically, and I will always be grateful to them for what they've done for me. "
Johnny Fean, Steve Travers, and Joe Forde
(from l to r) Steve Travers, Johnny Fean
and Joe Forde
Island Music Club, Crusheen, County Clare
Someone who knows more about web design than me
"I know it's hard to emulate half a grand and upwards worth of kit but it is a convincing enough attempt at a fraction of the cost. Unless you have a contingent of sound technicians and guitar roadies at your beck and call it's a handy device. I'm not a gizmo connoisseur but can see that it could be effective for those with limited resources. In saying that, it's still worth putting in the time and effort to tweak the pre-sets to get more authenticity.....or ram raid the local music store!"

                                                                                           from the Guestbook
                                                                                                27 October 2004
Unknown Guitarist from Strabane
"Imagine Charles had used a big foot instead of a hand on the cover of 'The Tain'.  Or a big earhole on 'Book of Invasions'.
And instead of a concertina template for HTMSTP he used instead a tambourine.  Their faces superimposed onto the cymbals around the edge and the whole centre die cut out. The vinyl would fall out for one thing.

Merciful jesus!"

rom the Guestbook
18 June 2004
Click Here for More Photos from the Unknown Guitarist!
We'll try to keep these annoying Internet advertisements to a minimum!
It's when the whole becomes greater than the individual parts- each part playing off the emotions of the other and those of the audience. It's lovely when that happens and I believe that is when music becomes truly spiritual and inspirational- it's no longer about technique, theory, practice as these have come before- it's about spontaneous emotional expression and deep primeval communication- it's sexual in intensity, deeply moving and exhilerating.