28 Sentences With "raggle taggle" | Random Sentence Generator

I hope whatever you go on to do, you'll look back at this time with this raggle-taggle group of players and think of us fondly.

Yes, the chances are that when the next general election is called (most likely in 2022), Mr. Corbyn's Labour will defeat a raggle-taggle Tory Party, decimated by Europe yet again.

"Enter all those wary of Samuel Beckett". The Australian. 11 May 2010Clements, Toby. "Cyclists as postmen with raggle-taggle dreams".

Walter Fitzwilliam Starkie CMG, CBE, Litt.D (9 August 1894 – 2 November 1976) was an Irish scholar, Hispanist, author and musician. His reputation is principally based on his popular travel writing: Raggle-Taggle (1933), Spanish Raggle-Taggle (1934) and Don Gypsy (1936). He is known as a translator of Spanish literature, and as a leading authority on the Romani people (Gypsies).

"The Raggle Taggle Gypsy" (Roud 1, Child 200), is a traditional folk song that originated as a Scottish border ballad, and has been popular throughout Britain, Ireland and North America. It concerns a rich lady who runs off to join the gypsies (or one gypsy). Common alternative names are "Gypsy Davy", "The Raggle Taggle Gypsies O", "The Gypsy Laddie(s)", "Black Jack David" (or "Davy") and "Seven Yellow Gypsies".

The Cecil Sharp sheet music version was occasionally used by jazz musicians, for example the instrumental "Raggle Taggle" by the Territory band Boots and His Buddies, and the vocal recording by Maxine Sullivan.

A live version of "The Raggle Taggle Gypsy" made up the B-side. A studio version of "The Raggle Taggle Gypsy" would appear on The Waterboys' next album Room to Roam. The single was chosen as a Radio One "Single of the Week", but failed to chart. Confusion amongst listeners about what a bang on the ear might be about prompted The Waterboys' Frequently Asked Questions page to note, more than ten years later, that it was "a term of affection".

The album opens with a medley of the traditional song "The Raggle Taggle Gipsies" and the harp tune "Tabhair dom do Lámh", which would be the opening track of Planxty's self-titled album released the following year.

"The Raggle Taggle Gypsy" is a traditional folk ballad, which, according to Nick Tosches, tells the story of a true 17th-century love affair. The song's appearance on Room to Roam popularized it, and it has since been recorded by other Irish-folk musicians, as well as by Carlos Núñez on Os Amores Libres in 1999 with Scott. The recording was also emblematic of the band's sound for Fisherman's Blues and Room to Roam, in the same fashion that the single "The Big Music" came to describe the group's sound for the first three albums. The official Waterboys website refers to The Waterboys during this period as the "Raggle Taggle band".

Cited by Roud & Bishop p 447. discovered that a tune in the Skene manuscripts and dated earlier than 1600, resembles later tunes for this song and is entitled "Lady Cassiles Lilt".Child, "Raggle-Taggle Gypsies". The inference is that a song concerning Lord and Lady Cassilis existed before the two earliest manuscripts, and was the source of both.

Their fifth album, Room to Roam was released in September 1990. One of the album's tracks was a recording of the traditional ballad "The Raggle Taggle Gypsy". Just before Room to Roam was released, Wickham left over a disagreement with Scott and Thistlethwaite regarding the future direction of the band's sound. Scott and Thistlethwaite wanted to move the band back to a more rock and roll style, and Wickham disagreed.

Walter Starkie, Raggle- Taggle: Adventures with a Fiddle in Hungary and Romania (1933), p. 3-6. While on tour in Northern Italy he met Italia Augusta Porchietti, an Italian Red Cross nurse and amateur opera singer who was singing to patients and wounded soldiers at a hospital ward in Genoa. They were married on 10 August 1921 and had a son, Landi William, and a daughter, Alma Delfina.

The Whistling Gypsy, sometimes known simply as The Gypsy Rover, is a well- known ballad composed and copyrighted by Dublin songwriter Leo Maguire in the 1950s. There are a number of similar traditional songs about a well-off woman's encounter with Gypsies, dating back at least as far as the early 19th century, known as "The Raggle Taggle Gypsy", "The Raggle Taggle Gypsies", "The Gypsy Laddie", "Nine Yellow Gypsies", "Gypsie Davie" and "Black Jack Davie" (Roud #1,1 Roud Folk Song Index Child 200). The story-line usually revolves around a woman leaving her home and her "wedded lord" to run off with one or more Gypsies, to be pursued by her husband. Dorothy Scarborough's 1937 book A Song Catcher In Southern Mountains: American Folk Songs of British Ancestry includes a lullaby called "Gypsy Davy", which Scarborough collected from two Virginia women who had learned the song from their respective grandmothers who in turn had learned it in Ireland.

Eliza Carthy has a successful solo career and performs in an occasional duo with Saul Rose. Saul performs with various ensembles including Faustus, Random, Morris Offspring and Dansaul. Martin, Norma and Eliza all occasionally perform with Blue Murder. Individually, Martin, Norma and Eliza have won or been nominated several times in the BBC Radio 2 Folk Awards and Waterson–Carthy won awards for Best Group and Best Traditional Track (Raggle Taggle Gypsy) in 2000.

The theme of the song is that of sexual infidelity and it is built around the refrain "And where, where is my gypsy wife tonight?" It implicitly references the folk-song, which exists in many versions (e.g. "The Gypsy Rover", "The Black Jack Davy", "The Raggle-Taggle Gypsy"), of the well-born bride who runs away with the gypsies. In Cohen's version, it is the gypsy himself who comes home looking for his wife and finds her gone.

Davey has been referred to as "Ireland's Björk". The comparison caused the Irish Independents Ed Power to comment in one 2009 review: "Alas, such comparisons are probably inevitable when your favourite mode of communication is an ethereal yelp and your songs are populated with a raggle-taggle of yearners, outsiders and freaks". His colleague John Meagher opined, "you won't see Björk heft a guitar half so diligently". Hot Press compared the music on Something Ilk to the works of PJ Harvey and Nina Hynes.

The last track revealed the impact of Balkan folk music on mandolinist Andy Irvine. The traditional song "The Blacksmith" concludes with Irvine playing "Blacksmithereens", a tune reflecting the influences he gathered during his travels in Eastern Europe. Although Planxty is nominally the first album by the band, all four members performed together on Christy Moore's previous album Prosperous, which opened with the same song, "Raggle Taggle Gypsy/Tabhair dom do Lámh". An earlier recording of "Sí Bheag, Sí Mhór" had been included as a b-side to Planxty's first single, "Three Drunken Maidens".

Rolling Stone describes the sound as "an impressive mixture of rock music and Celtic ruralism..., Beatles and Donovan echoes and, of course, lots of grand guitar, fiddle, mandolin, whistle, flute and accordion playing". Traditional folk songs were recorded along with those written by Scott. "The Raggle Taggle Gypsy", a British folk ballad at least two hundred years old, was recorded on Room to Roam. It became closely associated with the band, much as the song "The Big Music" did, and also gave its name to describe the band's character.

David Chamberlain of Fatea was impressed that "each track is not just a song but a piece of Musical Theatre". For him, "the standout track on Look Both Ways is Gypsy, an original composition that takes the story of the Raggle Taggle Gypsies and turns it around to give the Lady's point of view. The combination of the words, the sultry arrangement and Amy's voice all serve to convey the hope of a new life with her lover tinged with regret at leaving her former one, no matter how suffocating it eventually became".

The Waterboys have gone through three distinct phases. Their early years, or "Big Music" period was followed by a folk music period which was characterised by an emphasis on touring over album production and by a large band membership, leading to the description of the group as a "Raggle Taggle band". After a brief return to the "Big Music" for one tour and the release of a mainstream rock and roll album with Dream Harder, the band dissolved until they reunited in 2000. In the years since, they have revisited both rock and folk music, and continue to tour and release studio albums.

The recording emphasises how distinctly different the band's music had become in the five years since the last of "The Big Music" albums. After the break-up of the "Raggle Taggle band", Scott used The Waterboys' name for Dream Harder and A Rock in the Weary Land. These two albums, separated by seven years and bookending Scott's solo album releases, were both rock albums but with distinctive approaches to that genre. Dream Harder was described as "disappointingly mainstream", whereas the sound of the A Rock in the Weary Land was inspired by alternative music and was praised by critics.

The word first entered the English language as slang and was used to describe anyone who was giving a passionate performance, primarily athletes at first. It was only later that the spelling was standardized as Jazz and it became associated with a specific musical Genre. The music we call Jazz today originated in African American communities and evolved out of American Roots music and the Blues and often included instruments like Fiddle and Mandolin that are now more commonly associated with Folk or Roots music. Modern acts such as Clannad, Nightnoise, Melanie O'Reilly, and Raggle Taggle or Roland Becker (in the eighties) combine Celtic music with jazz.

At the invitation of new member Steve Wickham, Mike Scott moved to Dublin and quickly became influenced by the traditional Irish music there as well as by country and gospel. The band's line-up changed once again with Scott, Wickham and Thistlethwaite now joined by Trevor Hutchinson on bass and Peter McKinney on drums. The new band, which the official Waterboys' website refers to as the "Raggle Taggle band" line-up, spent 1986 and 1987 recording in Dublin and touring the UK, Ireland, Europe and Israel. Some of these performances were released in 1998 on The Live Adventures of the Waterboys, including a famous Glastonbury performance in 1986.

The club was based in the home of Yanni Papani who was also a waiter at the Café Royal. William Roberts remembered in his posthumously published (1990) memoirs the Harlequin's female customers "whose vocal talents turned the place at times into a sort of Café Chantant, when the dark-skinned Helene sang the 'Raggle- Taggle Gypsies, O!' or Gypsy Lang sang Casey Jones the engine-driver's lament; with the vivacious Betty May, called the Tiger Woman, together with Dolores and the Snake Charmer (so called from her habit of carrying around a small basket of snakes) joining in the chorus."Roberts, William. (1990) "The 'Twenties'" in Five Posthumous Essays and Other Writings.

The Irish Catholic Hispanist Walter Starkie visited Ezquioga during the zenith of the apparitions and spent a whole chapter of his book Spanish Raggle-Taggle on them. He concluded quite convinced that the traditionalist and right-wing groups were using the Ezquioga events politically against the irreligious republic. William A. Christian, Jr., wrote a detailed and influential study of the event, Visionaries: The Spanish Republic and the Reign of Christ, , published in 1996, and an updated second edition published in Spanish in 2011, translated by José Luis Gil Aristu, El Reino de Cristo en la Segunda República; un historia silenciada (Barcelona, Ariel), . A Spanish language film titled Visionarios, in 2001, directed and written by Manuel Gutiérrez Aragón, and starring Eduardo Noriega, Leire Ucha, and Ingrid Rubio dramatized the event.

Sent to Spain as the British cultural representative he was the founder and first director of the British Institute in Madrid (1940–1954), and went on to open branches in Barcelona, Bilbao, Seville and Valencia. The institute was backed by the British Council and through lectures and exhibitions worked to influence Spanish opinion during World War II and help maintain Spanish neutrality. Upon accepting this position he made a promise to Lord George Lloyd not to write any new books and to put the "Raggle-Taggle Gypsies" to rest for the duration of the war. However, Spain, owing to her non-belligerent status, became an asylum for refugees from all over Europe, so his promise to curtail hobnobbing with Gypsies became impractical.Walter Starkie, In Sara's Tents (1953), p.7-10.

The Summer Music Festival at Roseberry Idaho is a music festival, oriented to (but not limited to) folk music, held annually in rural Idaho north of Boise. The festival was originated by a small group of talented musical, visual and theatrical artists who settled in McCall in the mid-1970s. Drawn to the area because of its sheer natural beauty and, at that time, cheap rent. With the efforts of this unique blend of Raggle-Taggle-Hippies who loved music and family-type gatherings, the free-form nature of this event lent it a special charm that persists to this day. Calling themselves “The Music Circus”. Original members flaunted colorful names such as “Mr. Crow”, “Jazmo”, “Pretty Peggy”, “Beeboo”, “TeePee Nancy”, “Sweet Sue” and “Big Bear” to name a few. This unique congregation was the nucleus of a cultural movement at that time.

The "Woofteddies" (WFTD) also had minimal medical care, no life insurance, crash truck, or fire truck, and the ambulance was loaned from the Ellington Army Airfield, along with insufficient administrative staff, and a hodgepodge of aircraft—23 types—for training. As late as January 1943, when the third class was about to start their training, the three classes were described by Byrd Granger in On Final Approach, as "a raggle-taggle crowd in a rainbow of rumpled clothing", while they gathered for morning and evening colors. There was also a lack of equipment, such as a Link trainer, that was necessary for training. The first Houston class started with 38 women with a minimum of 200 hours. Twenty-three graduated on April 24, 1943, at the only Houston WASP graduation at Ellington Army Air Field. The second Houston class, started in December 1942 with a minimum of 100 hours, but finished their training just in time to move to Sweetwater, Texas and become the first graduating class from Avenger Field on May 28, 1943. The third class completed their advanced training at Avenger Field and graduated July 3, 1943. Half of the fourth class of 76 women started their primary training in Houston on February 15, 1943, and then transferred to Sweetwater.