1 	Tyrone Boys 	
2 	Folk Tale 	
3 	My Little Honda 50 	
4 	Easter Snow 	
5 	Farmer Michael Hayes 	
6 	On Morecambe Bay 	
7 	Tiles And Slabs 	
8 	Haiti 	
9 	Weekend In Amsterdam 	
10 	Ballydine 	
11 	God Woman

Accordion, Guitar, Bouzouki – Tim Edey
Backing Vocals – Vickie Keating
Banjo, Fiddle – Gerry O'Connor
Cello, Strings [Arrangements] – Tim Martin
Guitars, Dobro, Keyboards, Bass, Drums, Bouzouki, Mandolin, Backing Vocals – Declan Sinnott
Viola – Ken Rice
Violin – Niamh Crowley, Séamus McGuire
Vocals, Guitar, Bodhrán – Christy Moore

Perhaps one of his homeland's greatest interpreters of song, County Kildare's finest, Christy Moore, continues to blend the serious with the absurd on a collection of covers by undiscovered songwriters and reworkings of his own back catalog for his 21st studio album, Folk Tale. Produced by regular collaborator Declan Sinnott, the follow-up to 2009's Listen shows that the 66-year-old's unique style of storytelling remains as passionate, poetic, and potent as ever, as he addresses such weighty issues as the various troubles in Ireland ("Tyrone Boys"), the migrant cockle picker tragedy ("On Morecambe Bay"), and the recent biggest earthquake in 200 years ("Haiti"), armed with just a solitary acoustic guitar and his distinctive deep solemn tones. Continuing the rather somber mood, the strident folk of "Tiles and Slabs," written during the aftermath of a triple murder in County Clare, and the true tale of a farmer who fled to the U.S. after killing his landlord ("Farmer Michael Hayes") pack an equally powerful punch, but thankfully, there are a few lighter moments to counterbalance the album's more prevalent darker subject matter. "My Little Honda 50" is a humorous and charming guitar-twanging ditty about the impact the car in the title had on rural Ireland; "Weekend in Amsterdam" is a banjo-plucking humorous account of an X-rated trip to the Dutch capital; while the gorgeously subtle strings of "Easter Snow" help to provide a tear-inducing tribute to the legendary piper Seamus Ennis. Musically, Folk Tale could have been recorded at any point during Moore's 42-year career, but its traditional take on contemporary themes suggests that Moore's status as the Godfather of Irish Folk is likely to remain intact for some time. ---Jon O'Brien, AllMusic Review

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01. Patrick Was A Gentleman: Irvine's Polka (Christy Moore/Andy Irvine) - 3:01
02. The Sun Is Burning (Ian Campbell) - 4:02
03. Morrissey And The Russian Sailor (trad., arr.Christy Moore) - 3:24
04. The Foxy Devil ("Galway Joe" Dolan) - 3:18
05. Three Reels: The Newly Mowed Meadow/Farrell O'Gara's Reel/No Name (trad., arr.Christy Moore) - 5:14
06. Trip To Jerusalem/Mullingar Races/The Crooked Road ("Galway Joe" Dolan) - 5:11
07. Three Reels: Tommy Coen's/The Youngest Daughter/Flax In Bloom (trad., arr.Christy Moore) - 4:00
08. Patrick's Arrival (Christy Moore) - 3:37
09. Gabriel McKeon's: Cailin Deas Cruaite Na Mbo/Gilbert Clancy's (trad., arr.Christy Moore) - 6:37
10. Dunlavin Green (Christy Moore) - 5:31
11. Joe McCann (Eamon O'Doherty) - 3:19
12. John O'Dreams (trad., arr.Christy Moore) - 3:51

Personnel:
- Christy Moore - vocals, guitar, bouzouki, bodhran, producer
- Andy Irvine - mandolin, harmonica, valdolin, dulcimer, bouzouki, vocals
- Barry Moore (Luka Bloom) - guitar, vocals
- Noel Hill - concertinas
- Tony Linnane - fiddle
- Gabriel McKeon - Uileann pipes
- Jimmy Faulkner - electric, ascoustic & slide guitars
- Rosemary Flanagan - cello
- Brian Masterson – producer

Released in 1978 'The Iron Behind the Velvet' was the second solo recording from the man who went on to become a legend in Irish folk and traditional music.

Christy, a native of Co. Kildare, started in the music business in the mid-sixties, when his life as a bank clerk was interrupted by a bank strike, and he moved to England. There he became involved in the folk music scene at the time, and spent a few years playing pubs and clubs around the country.

His return to Ireland was marked by the album Prosperous, which proved to be a milestone in the rapprochement of Irish music to the popular mainstream. This album benefited from a collaboration of the leading talents of contemporary folk music, musicians such as Andy Irvine, Donal Lunny and Liam O'Flynn, and this one-off was to lead to the formation of Planxty, a band who were at the leading edge of the revival of Irish traditional music.

[Christy Moore] In addition to his work with Planxty , Christy continued to explore new ground as a solo artist. During his first period with Planxty he also managed to record his own solo albums, including The Iron Behind the Velvet and Live in Dublin.

After a short-lived Planxty revival in 1978, where they recorded two albums After the Break and The Woman I Loved So Well, they decided to call it a day and pursue their solo careers.

In the eighties Christy again teamed up with Donal Lunny to form Moving Hearts , another ambitious and innovative Irish band which sought to mix jazz into the folk-rock fusion.

Ever the wanderer, Christy was soon breaking out on his own again, and it was in the eighties that he began to establish himself as one of Ireland's leading solo artists with a string of acclaimed albums and high profile tours. In 1997 Christy decided to take a break from the music. In 2000 he made a short comeback to perform a number of Dublin concert dates but for medical reasons had to cancel after the first few shows. --- taramusic.com

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