Ùrachadh mu Dheireadh 15/08/2017
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TIOTAL
Phil Coineagan air ceòl tradaiseanta.
EXTERNAL ID
GB232_MFR_PHILCUNNINGHAM_02
LINN
1990an
CRUTHADAIR
Phil Cunningham
NEACH-FIOSRACHAIDH
Rèidio Linne Mhoireibh
AITHNEACHADH MAOINE
1760
KEYWORDS
bogsaichean-ciùil
claistinn

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'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdhill agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mu làithean òige.

Interviewer: Why did you stick with the traditional music and not move on to mainstream?

I don't really know. I mean, cos I, I dabble in, in it all but I suppose I was able to do things on the accordion which there weren't many people able to do at the time, therefore there was a demand within that scene for me to do that. So if, you know, if you've got a job that's going well there's no sense in kind of immediately leaping out and trying to change. I think at one point I was really looking to get into mainstream music because I had this idea of stardom and Rolls Royces and all that; I think every musician does have an idea that they want these kind of things at the end of the day. But I very fast realised that I was, you know, that it was never going to come, so there was no sense in kidding yourself on. And I stuck with what I did and then developed it - a kind of a writing style and a kind of arrangement style which kind of crossed over any borders you want; it could be traditional into classical, or traditional to rock an roll, which is kind of like the stuff I do with Wolfstone; it could be trad/jazz, you know, but I always use the traditional music as a base. And I think when it comes down to it, the real reason would be is that I think traditional music sounds great. I mean they're excellent tunes and you can do loads of stuff with it, and the basis of every piece of music is a good tune

Airson stiùireadh mu bhith a’ cleachdadh ìomhaighean agus susbaint eile, faicibh duilleag ‘Na Cumhaichean air Fad.’
’S e companaidh cuibhrichte fo bharantas clàraichte ann an Alba Àir. SC407011 agus carthannas clàraichte Albannach Àir. SC042593 a th’ ann an High Life na Gàidhealtachd.
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Phil Coineagan air ceòl tradaiseanta.

1990an

bogsaichean-ciùil; claistinn

Rèidio Linne Mhoireibh

MFR: Phil Cunningham

'S e fear den luchd-ciùil tradaiseanta as ainmeile ann an Alba a th' ann an Phil Coineagan MBE. Fhuair e oideachadh clasaigeach air an fhìdhill agus am bogsa-ciùil a chluich. An dèidh sin bha e fhèin agus a bhràthair nam buill dhen chòmhlan 'Silly Wizard', agus chluich iad mar sin fad deich bliadhna (1976-1986). O chionn ghoirid, chuir mòran eòlas air mar thoradh air obair còmhla ris an fhìdhlear Shealtainneach Aly Bain. Tha Phil fìor thàlantach mar stiùiriche-ciùil, mar neach a bhios a' toirt thugainn phrògraman agus mar riochdaire. Rinn e dà shreath de phìosan-ciùil airson làn-orcastra agus ionnstramaidean Ceilteach. Anns an earrainn chlaistinnich seo, a chaidh a chlàradh o thùs airson 'Moray Firth People' tràth anns na 1990an, tha Phil a' bruidhinn ri Robina Goodfellow mu làithean òige.<br /> <br /> Interviewer: Why did you stick with the traditional music and not move on to mainstream?<br /> <br /> I don't really know. I mean, cos I, I dabble in, in it all but I suppose I was able to do things on the accordion which there weren't many people able to do at the time, therefore there was a demand within that scene for me to do that. So if, you know, if you've got a job that's going well there's no sense in kind of immediately leaping out and trying to change. I think at one point I was really looking to get into mainstream music because I had this idea of stardom and Rolls Royces and all that; I think every musician does have an idea that they want these kind of things at the end of the day. But I very fast realised that I was, you know, that it was never going to come, so there was no sense in kidding yourself on. And I stuck with what I did and then developed it - a kind of a writing style and a kind of arrangement style which kind of crossed over any borders you want; it could be traditional into classical, or traditional to rock an roll, which is kind of like the stuff I do with Wolfstone; it could be trad/jazz, you know, but I always use the traditional music as a base. And I think when it comes down to it, the real reason would be is that I think traditional music sounds great. I mean they're excellent tunes and you can do loads of stuff with it, and the basis of every piece of music is a good tune