Description
Book SynopsisNo Better Boy tells the story of a master of traditional Irish music: the legendary East Clare fiddler Paddy Canny, whose haunting music was remarkable for its virtuosity and sophistication. In the 1950's, when he was in his thirties, and at the pinnacle of his career, Paddy Canny became an international radio star, played solo in Carneige Hall, toured England with the renowned Tulla Ceili Band, and made a much-loved recording. All were extraordinary achievements for a man raised on a marginal farm, where the gramophone records that inspired him were accessible only through the good grace of neighbours. In richly evocative prose, Helen O'Shea distils stories of success and adversity that Paddy Canny told to family and friends, to radio interviews and historians. These stories illuminate the rural life in mid-twentieth-century Ireland, major social and economic changes, and the decline and revival of traditional music and dancing. A compelling story told with passion and insight, this is a book for readers with an interest in Ireland's social history and for music lovers everywhere. No Better Boy includes annotated transcriptions of music played by Paddy Canny and his contemporaries, sourced from archives and personal collections as well as commercial recordings.
Trade Review‘A “must-read” for anyone who loves traditional music. Paddy Canny was a master fiddle player who was reluctant to seek attention for his craft. Helen O'Shea's portrait offers insights into his rural background, his musical influences, the peers he engaged with, and how his musical values shaped his style. The book is beautifully illustrated and the musical transcriptions will be welcomed by practitioners who appreciate the nuances in the art form. No Better Boy is a remarkable achievement.’ Liam O'Connor, Director, Irish Traditional Music Archive
‘This book is a delight. Helen O'Shea captures intimately the musical, physical and personal landscapes of East Clare as if they were her own. I found myself, my locale, and the people and the music I know and love, illuminated in new and wonderful ways.’ Paula Carroll, Broadcaster and Oral Historian
‘The playing on the recording I am hearing is nearly as ebullient and restless as [Michael] Coleman’s, but Canny could squeeze a note to make it cry at nearly the same speed, with an exquisitely tasteful glissando, and he let the subtlest decrescendo fall with a nearly imperceptible slackening of the pace to end a phrase. O’Shea has said just about all that can be said about these matters, and said it well.’ The Journal of Music
‘[This] beautifully illustrated tome goes to the heart of the man and his music.’ Fiona McGarry, Clare Champion
‘No Better Boy provides a profound and compelling picture of Canny’s life and music, accessible to non-musicians and musicians alike. O’Shea’s prose style bears a certain kinship to Canny’s music, at once lyrical and economical … this is a meticulously researched piece of writing … her diligence as an oral historian must be applauded [and her] command of narrative and imagery leaves such a profound emotional impact. One of the most interesting aspects of the book is its depiction of the series of technological and cultural revolutions that reshaped Irish traditional music in the 20th century.’ Matthew Horsley, Tinteán
‘Helen O'Shea has written a splendid and multi-layered book, blending text, image and music. The Lilliput Press have produced a very handsome book; it is most attractive to the eye and to the holding hand. Paddy Canny is most fortunate in having Helen O'Shea as his recording angel.’ Peter Beirne
'This is a tastefully-written and presented, musically-competent, expert and tender chronicle of an exceptional, pre-Revival-days player who loved his music, and was aware of the limitations living in Ireland implied. It is tremendous that Helen O’Shea now brings it into the light of day. [Her] twenty or so detailed tune transcriptions and much music analysis make tremendous sense of Paddy Canny as a stylist, his technique, and composition and arrangement ingenuity. This makes the work much more than a personal tale set in an evocative historical landscape. It is the story of a musician among his peers, in his community—with his unique music.' Fintan Valley, Companion to Irish Traditional Music
'A richly enlightening journey through the life and times of one of Ireland’s most important fiddle players.' Martin Dowling, The Journal of Music
'The book is a tremendous accomplishment, and we in the world of Irish trad are all indebted
to you.' Steve Jones, musician, Montreal
'A wonderful contribution to the social history of traditional music.' Geoff Wooff, musician and uilleann pipes maker
'The texture and tone of the prose is like softly woven tweed. Tactile. It’s so gentle and filled with utter respect for the lives lived in that musical locale.' Máire Winters, Galway
