1950's - In The Beginning
The basis for the showbands comes from the
"orchestras" that traveled the length and breadth of Ireland during
the whole of the 20th century, and before. In the years between the
end of World War II (know as 'The Emergency" in neutral Ireland) and
the late 1950's, names like Maurice Mulcahy, Johnny McMahon, Tony
Chambers and Brose Walsh led 10 to 18 piece orchestras in which musicians sat
behind music stands and respectfully played a wide selection of
music from big band standards to Irish folk and even Ceili
music...very dignified!
To some degree, this form of wholesome
entertainment satisfied Ireland's dancing public. There was
something for everyone. Formal attire was mandatory and most
orchestras wore Dickie bows and tuxedos. A few adventurous bands
even tried colored blazers. The key for the orchestras, to some
extent, was to be "all things to all people" and to their credit
they generally did that very well.
Many of these orchestras were actually the
resident bands in the larger ballrooms around the country. Most of
these bands were only semi professional as many of their members
worked day jobs in addition to their nightly gig. In fact, the move
to "turn pro" was often the most difficult for musicians who had
cherished their ability to play music without the rigorous grind of
being on the road.
Due to the nature of their gigs, the bands read
music and not only played the top hits of the day, but also backed
a variety of guest artists, further requiring their flexibility when
it came to musical styles.
The orchestras were a reflection of the times
in Ireland, simple and inoffensive. The clergy rained supreme over
the country to the extent that dancing was forbidden during Lent,
during which the Irish entertainment industry more or less closed
down.
The instrumentation for the orchestras was
fairly standard, two or more saxophones, two or more trumpets, a
couple of trombones, a piano, drums and a double bass. For the most
part, no guitars were to be seen, and they would become, in time,
the nemesis of the orchestra and would help hasten their downfall.
In
the North of Ireland (mainly Belfast and Derry), big bands and orchestras flourished, as did
the dancing scene before the "troubles" in the 1970's. Belfast
boasted many of the finest musicians on the island and bands like
Dave Glover's Band and the Clipper Carlton did very well, often
venturing down to Dublin where they suitably impressed the locals to
the South. Derry had Johnny Quigley, among others.
Two of these bands, in fact, were to have a
significant impact on the Irish Entertainment industry as the 1950's
came to a close. Sometime in the mid fifties, many of the orchestras
started featuring "shows," in the middle of the evening's dancing.
These shows usually took the form of comedy skits in which members
of the orchestra dressed up and mimicked the stars of the day. At
first introduced as a novelty, they soon became a staple, during
which dancers would stop and watch the band for a half hour or more.
Legend says this coined the term, "showstopper."
At the same time, punters were growing weary of
the same old thing. Rock and roll had been born in the United States
and quickly spread to Britain. Bands like Bill Haley and the Comets
were jumping around on stage and lead singers wildly gyrated to the
delight of young fans. It is the Clipper Carlton that are first
credited with kicking away their music stands in the mid 50's and
incorporating their regular feature "Jukebox Saturday Night" into
their act. Soon every band was doing the same thing.
However, it was Dave Glover who first used the
name, Showband, in the band's name and a new genre of music was
finally christened. Across the country, on both sides of the border,
bands did away with sheet music and donned colorful suits, dancing
and jiving their way through the night's programme. In the south,
the Royal Showband, along with the Dixielanders, and others began to
take their place at the top of the national scene.
The showbands had arrived.....
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