Classifieds Advertise Archive Subscriptions Family Announcements Photos Digital Editions/Apps
Connect with us

Archive News

Ana Egge creates glorious songs from dark places



Date Published: {J}

The Canadian born-US raised songwriter Ana Egge plays Kelly’s Bar, Bridge Street this Saturday, November 12 as part of an excellent double bill that also includes Dutch singer Christof Van Der Ven.

Ana has just released her seventh studio album, Bad Blood, which was produced by the legendary singer-songwriter Steve Earle.

At the time of this interview, the folk-rock singer is in the Scottish highlands, as part of her UK tour.

“It’s really beautiful – it’s not that cold!” she laughs. “I came up here a couple of years ago touring with a friend and so we got in touch with the same promoter and we came back. Tomorrow we go all the way up to the top to play in a lighthouse.”

Songwriting is not the only craft that Ana Egge is well versed in – she is also a luthier (someone who makes stringed instruments) by trade.

“Obviously, it’s all hands on,” she says about her early days as a guitar-manufacturer. “You can read about it but you don’t know what you’re doing until you mess up a few times. And there’s always so much to now. I worked with [her mentor] Don Musser in Silver City for a while and I made my guitar.

“Then I went to Austin and did inlay on guitars, a company called Precision Pearl. Then in Brooklyn I was apprenticing with this great repair man called Bob Jones, who’s definitely one of the best in the country. Now, I’m working for a company called Retro Frets.”

So, what’s the secret to making a good guitar?

“Well, I think the player makes the best guitar!” Ana says. “You can make something that’s pretty crappy sound great. But in general, a solid body, with a solid top, with good wood, that’s put together well, is your best bet.”

Bad Blood is produced by Steve Earle. He may be better known as a songwriter, but a production credit from Earle practically guarantees an album of quality.

“Well, we’ve known each other for years,” Ana says about the Texan. “I first met him because I’m friends with [Canadian singer] Ron Sexsmith and Steve produced his Blue Boy record. Since then, I’ve kept in touch. I co-produced all of my last six albums, and with this one I was just ready to give the reins over to someone else and not be in charge of the production at all.”

Earle has a reputation as a somewhat irascible and demanding taskmaster. Is this justified?

“Oh he was very involved!” laughs Ana. “At every moment! Telling the drummer, ‘don’t play that, play this’. Telling the bass player to play a different instrument. Ripping the guitar out of the guy’s hand saying ‘I don’t want you to play that, play this!’.”


Earle’s involvement aside, Bad Blood is steeped in classic Americana. The album was recorded in Woodstock, in the studio owned by Levon Helm – drummer and singer with The Band, who helped Dylan go electric and were the subject of Martin Scorcese’s The Last Waltz. The idea to record there came about when Ana and her producer were discussing the logistics of making her album.

“We were talking about the rest of what we had to figure out and I said ‘well I had a dream last night that we were recording it at Levon’s in Woodstock.’ And Steve said ‘oh, that’s a great idea, why don’t we just call Levon?’. And it was just like that!”

On Bad Blood Ana Egge addresses the thorny issue of mental illness. It’s something that has affected her family, but rather than write about specific people, Ana decided to write about the illness as a character in itself.

For more, read this week’s Connacht Tribune.

Galway in Days Gone By

The way we were – Protecting archives of our past



A photo of Galway city centre from the county council's archives

People’s living conditions less than 100 years ago were frightening. We have come a long way. We talk about water charges today, but back then the local District Councils were erecting pumps for local communities and the lovely town of Mountbellew, according to Council minutes, had open sewers,” says Galway County Council archivist Patria McWalter.

Patria believes we “need to take pride in our history, and we should take the same pride in our historical records as we do in our built heritage”. When you see the wealth of material in her care, this belief makes sense.

She is in charge of caring for the rich collection of administrative records owned by Galway County Council and says “these records are as much part of our history as the Rock of Cashel is. They document our lives and our ancestors’ lives. And nobody can plan for the future unless you learn from the past, what worked and what didn’t”.

Archivists and librarians are often unfairly regarded as being dry, academic types, but that’s certainly not true of Patria. Her enthusiasm is infectious as she turns the pages of several minute books from Galway’s Rural District Councils, all of them at least 100 years old.

Part of her role involved cataloguing all the records of the Councils – Ballinasloe, Clifden, Galway, Gort, Loughrea, Mountbellew, Portumna and Tuam. These records mostly consisted of minutes of various meetings.

When she was cataloguing them she realised their worth to local historians and researchers, so she decided to compile a guide to their content. The result is For the Record: The Archives of Galway’s Rural District Councils, which will be a valuable asset to anybody with an interest in history.

Many representatives on these Councils were local personalities and several were arrested during the political upheaval of the era, she explains.

And, ushering in a new era in history, women were allowed to sit on these Rural District Councils – at the time they were not allowed to sit on County Councils.

All of this information is included in Patria’s introductory essay to the attractively produced A4 size guide, which gives a glimpse into how these Rural Councils operated and the way political thinking changed in Ireland during a short 26-year period. In the early 1900s, these Councils supported Home Rule, but by 1920, they were calling for full independence and refusing to recognise the British administration.

“I love the tone,” says Patria of the minutes from meetings. “The language was very emotive.”

That was certainly true of the Gort Rural District Council. At a meeting in 1907, following riots in Dublin at the premiere of JM Synge’s play, The Playboy of the Western World the councillors’ response was vehement. They recorded their decision to “protest most emphatically against the libellous comedy, The Playboy of the Western World, that was belched forth during the past week in the Abbey Theatre, Dublin, under the fostering care of Lady Gregory and Mr Yeats. We congratulate the good people of Dublin in howling down the gross buffoonery and immoral suggestions that are scattered throughout this scandalous performance.


For more from the archives see this week’s Tribunes here

Continue Reading

Archive News

Galway have lot to ponder in poor show



Date Published: 23-Jan-2013




GALWAY’S first serious examination of the 2013 season rather disturbingly ended with a rating well below the 40% pass mark at the idyllic, if rather Siberian, seaside setting of Enniscrone on Sunday last.

The defeat cost Galway a place in the FBD League Final against Leitrim and also put a fair dent on their confidence shield for the bigger tests that lie ahead in February.

There was no fluke element in this success by an understrength Sligo side and by the time Leitrim referee, Frank Flynn, sounded the final whistle, there wasn’t a perished soul in the crowd of about 500 who could question the justice of the outcome.

It is only pre-season and last Sunday’s blast of dry polar winds did remind everyone that this is far from summer football, but make no mistake about it, the match did lay down some very worrying markers for Galway following a couple of victories over below par third level college teams.

Galway did start the game quite positively, leading by four points at the end of a first quarter when they missed as much more, but when Sligo stepped up the tempo of the game in the 10 minutes before half-time, the maroon resistance crumbled with frightening rapidity.

Some of the statistics of the match make for grim perusal. Over the course of the hour, Galway only scored two points from play and they went through a 52 minute period of the match, without raising a white flag – admittedly a late rally did bring them close to a draw but that would have been very rough justice on Sligo.

Sligo were backable at 9/4 coming into this match, the odds being stretched with the ‘missing list’ on Kevin Walsh’s team sheet – Adrian Marren, Stephen Coen, Tony Taylor, Ross Donovan, David Kelly, David Maye, Johnny Davey and Eamon O’Hara, were all marked absent for a variety of reasons.

Walsh has his Sligo side well schooled in the high intensity, close quarters type of football, and the harder Galway tried to go through the short game channels, the more the home side bottled them up.

Galway badly needed to find some variety in their attacking strategy and maybe there is a lot to be said for the traditional Meath style of giving long, quick ball to a full forward line with a big target man on the edge of the square – given Paul Conroy’s prowess close to goal last season, maybe it is time to ‘settle’ on a few basics.

Defensively, Galway were reasonably solid with Gary Sice at centre back probably their best player – he was one of the few men in maroon to deliver decent long ball deep into the attacking zone – while Finian Hanley, Conor Costello and Gary O’Donnell also kept things tight.

For more, read this week’s Connacht Tribune.

Continue Reading

Archive News

Real Galway flavour to intermediate club hurling battle in Birr



Date Published: 23-Jan-2013


Continue Reading