Quote: Whether the folk club purists like it or not, the commercial success of The Dubliners has given British traditional music the biggest boost it has had for years.
Robin Denselow, The Observer
THE DUBLINERS restore songs to the folk sources they came from and the authenticity of their music is assured by their everyday living of informal hooleys and sing-songs, drinking and courting. What they sing about is confirmed by personal experience — they never let their individuality be taken away by success.
Perhaps the unique atmosphere created by THE DUBLINERS is helped by the wealth of history, not only behind their songs, but also attached to the instruments they play. Apart from new tin whistles which they go through at the rate of 8 a month, and mouth organs one a month, because of a high value set on anything played by THE DUBLINERS, most of their instruments arrive from anywhere but new over the shop counter.
Barney, acknowledged as one of the world's finest banjo players, now uses a 1930 Paregon which he once had to buy back from thieves who had stolen it, along with his 1890 Stradent mandolin, from the back of a car. Before that he played a 1920 timber banjo, but owns eight mandolins, four banjos, a two hundred year-old Portuguese guitar, a fiddle and a melodeon.
Ronnie's Manuel Reyes guitar, bought from a Spaniard he met at Casa Pepe in London, he had to pay for twice because the first time the money was stolen from his pocket. There are countless other stories and ale has been spilt too many times to remember.
THE DUBLINERS are the undisputed leaders of the current folk music fervour. But commercial success does not mean in this case 'commercialised', for as their recording manager. Tommy Scott, says: These boys will NEVER need to become commercialised, in the accepted sense of the word to stay popular-they have a magic and commercialism all of their own.