Sometimes he is Supermacann. When he wears his sheepskin coat he becomes Genghis McCann. And when he is telling his stories, he is Bubbles McCann.
It's all a bit confusing really, but that's how Jim McCann really is. Somehow he is sort of stereophonic in his approach to people and music. But talk about indolence! McCann is president and founder-member of the Society of Procrastinators for South County Dublin.
This album is a miricale! It was recorded and replayed many times in the snug confines of the Barge, a pub that sits on the banks of the canal at Charlemont Bridge. I played session on it many times and wound up half-dementted in the Palmerston Road for my trouble. So when it became a psychical actuality, (I'm not dreaming, am I?) the initial shock was countered by the warm feeling that at last somebody cared about Supermacann.
Jim McCann's music is like himself, variable to say the least. On this album he covers everything from a classic ballad like "Sullivan's John right through to Love of the Common People. He attacks his music with the same enthusiasm as his favourite wine might be attacked and he eats everything as the main course.
Jim McCann is slowly becoming a legend within the business. Whats more, we all know how good he is. But it's time you get a chance.
Wherever he goes, the crack seems to revolve around Jim McCann's warm, earthy disrespect for pretension. So come on, burn your pin-stipe and learn to enjoy Supermacann's freedom. It's in his music.
Jim McCann is an entertainer and a very good one when he is on stage. On record we can only concern ourselves with his singing or rather what he sings.
That he is a vocalist with a great deal of talent and experience goes without saying really. He has been around long enough working in folk clubs, cabaret and in concert, both in his native Ireland and in Britain, to gain a reputation that deserves to be a lot bigger.
Jim McCann has closely been associated with the folk scene, and although he sings folk songs, some of the time, he is not just a folk singer.
The songs on this album will dispel any misconception about that. They embrace the various types of songs that Jim is likely to perform in a nights work, and maybe one or two that he wouldn't.
The songs range from traditional material like "Ploughboy Lads" and "Carroll Bawn" to the contemporary equivalent of these old folk songs whose creators have become anonymous with time.
The modern compositions include Ralph McTell's beautifully simple and effective "Streets Of London," now a standard in contemporary repertoire and a true folk song of today, Hoyt Axton's "Snowblind Friend," that carries a grim warning behind its gentle exterior, and Leonard Cohen's appealing "Hey, That's No Way To Say Goodbye."
Jim McCann's performances have a great understanding and sensitivity in their approach and his choice of songs on this album is uncompromising. Each one is a song of depth and quality, matched by the treatment they receive. Which is why sometimes he chooses just his own accomplished guitar accompaniment or will go for a suitable fuller sound provided by a small group. Yet he is always at ease with either.
Above all the album illustrates the scope and variety that Jim McCann has in his music and on this album he uses it to the full to give us something that will bear listening to often.