BLACK 47 @ 21 PART 2

February 4, 2011


Larry, you mention two things that have been consistent in Black 47 songs – politics and historical figures.

With politics, you’ve worn your politics proudly on your sleeve and as you say you “suffered a lot for it from a financial point of view”, do you feel that being so vocal about the North or Ireland painted you as a bunch of “Fellow Travelers” in the eyes of those who control the media outlets in Ireland and basically doomed the bands chances in Ireland for success (when normally the Irish media would be falling over the hottest band in NYC)?

That whole aspect was never anything but a minor consideration. We always looked westwards rather than back at Ireland, we always felt that we were living in the city of Miles Davis, Bob Dylan, Public Enemy and Television. If we looked back at Ireland at all it was to Sean O’Riada and the traditional music people. It’s not that there wasn’t good music coming from there, we just didn’t give it a lot of thought. As regards the politics, we were what we were, and to paraphrase Yeats, Was there another Troy for us to burn? We were political, though we never belonged to or followed any party – we were our own party and felt free to comment as we felt fit. We definitely didn’t feel as if the North of Ireland should be run from London. And we felt that we could present some of the viewpoints of the nationalist population of the North of Ireland. We didn’t agree with internment or trial without jury but, never, in any of our songs did we advocate violence. Neither did we think that you should thank the British Army for occupying Irish streets and terrorizing Irish people. But we were also full square against sectarianism. We always felt that these were very important stands and if they cost you commerciality, so what? That’ what we were and still are. But, really, what would Black 47 be without the political stands? A plain looking Corrs with drinking problems?

And with Irish historical characters you’ve written about – James Connolly, Red Hugh O’Donnell, Michael Collins, Bobby Sands and Robert Kennedy to name a few – what is your thinking when you choose to write a song about someone (are you interested in the person’s life story, what they stood for, to educate, or political idea)? Who else is out there that you would like to write about (Charles J Haughey)?

The characters have to be inspiring and stand for something. They have to really move me as a writer. I don’t write those songs as any kind of intellectual exercise – and they are not characters that I’ve just discovered. Usually, their memory or example or what they’ve stood for has been burning inside me for a long time. And that’s not just in the songs – but in the plays I’ve written also. I spent years working on Mister Parnell and if you really want to get to the heart of some of the characters in the 1916 insurrection then take a read of Blood. They’re both in a collection of my plays called Mad Angels.

But as regards the songs, Bobby Sands MP took me almost 15 years to write. It would have been a breeze to write some kind of trad song and notate his history, but I found it very hard to capture the times and the ethos of the man. I had to find a way inside his head – how does a person decide to make such an ultimate sacrifice? I found that way when I remembered he had a son. That was the link I needed and the song pretty much poured out then. It was actually maybe twice as long on a first draft and I edited it down to its present form. It may be Black 47’s finest recording. Anytime I hear it, I’m instantly back on those streets of Belfast in 1980-81 during the Hunger Strike. Amazing to think that it’s 30 years ago exactly now. I was touring Ireland back then with Major Thinkers.

James Connolly may be our best song because it’s the first of its kind. I had come from a background of writing plays. I wanted to take the Irish Sean-Nos form of traditional singing and bring it into the 20th Century. Not just to recount events as the Sean Nos form did, but to use modern psychology and method acting – where you use Stanislavsky techniques to become the character you’re acting. Instead of merely recounting Connolly’s history, I basically have to become him in the song – an ex-British soldier – and get to the bottom of why he’s about to give up his life for an ideal. I’m often asked what’s the greatest moment in B47 history – people often think it’s playing some prestigious gig or eing on Letterman, Leno, O’Brien; but no, it’s the first time we ever did that song in Paddy Reilly’s in 1990 and the silence that descended on that rowdy crowd, the first time we did it. Everyone in the room knew we had done something different.

The historical songs have to mean something – Red Hugh O’Donnell from Bankers and Gangsters is one of our best songs – and I’m thrilled to say so because it’s one of our latest. He had been a hero of mine as a boy. But he’s also just a bit too removed in time to be able to interpret him from a 20/21st century psychological point of view. I had given up on him until I took an interest in Ahmed Shah Massoud, leader of the Northern Alliance in the war against the Taliban. He was assassinated by order of Osama Bin Laden on Sept. 10th, 2001. I couldn’t believe the parallels between him and Red Hugh – both nationalist, religious fundamentalists, fighting a losing war, surrounded by powerful enemies. By tacking into Massoud I felt able to channel another tragic and major figure, Red Hugh O’Donnell. I also wished to examine the paranoia of someone far from home who feels he may be poisoned by his enemies – in this case Queen Elizabeth of England. And he was right.

I won’t be writing about Charlie Haughey from a political/historical point of view. But he might fit into the Black 47 slightly rogue’s gallery. Who knows. You never know where the next song will come from. Right now, I’m trying to finish a new novel and a new play, so songwriting is on the back burner.

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