In my interview with Frankie Gavin, he talked about how he revived this song in the early 1980s.
The more I looked into the music of the twenties, the more exciting it got because it was this sort of, I suppose you would call it the Roaring Twenties, although there was Depression in America at the time as well, but the music was great, the music all, the vaudeville material had really, you know, caught my attention. I eventually talked Maura O’Connell into singing one of the the most ridiculous songs, “My Irish Molly O.” You know, I talked her into singing that song and recording it with us you know what I mean, which was a massive hit for us in Ireland […] The country went crazy […] It just caught the imagination of everyone and the place …show more content…
To me, the verses have an overall Irish feel and the chorus takes on more of an American character. Verse I and II are set in D-minor. The chorus modulates to F major and has a very distinct 2/4 …show more content…
The title is found at the top of the page in bold letters. Below that are the names of the lyrist and composer, Jack Drislane and Theodore Morse. Their portraits are included by their names. There is the publishing company’s seal at the bottom of the page stating, “F. B. Haviland Publishing Company, New Zealand BLDG, Broadway & 37 WST. New York.” The artwork focuses on three figures, an Irishman, a Native American girl, and a Native American chief. The Irishman is dressed in an entirely green-colored suit, complete with a green top hat, and green shamrocks pinned to his hat and lapel. He also appears to have a shillelagh in hand. The Native-American girl is in a dress of white, with a neckline, waist, and bottom hem bordered in green shamrocks. On her head is a feather and band. The feather is colored green, white, and orange. The third figure, the Native American chief is dressed in a green shirt-top or robe and is wearing a traditional headdress, but it has been colored green, white, and orange. There are also shamrocks decorating the headdress. His hands are raised up to the Irishman, as if he is praising or worshiping the man in green. The back drop of the three figures are pieces of tanned hide stitched together, like the fabric lining the walls of tipis or wigwams. This image mocks and makes fun of cultural
The more I looked into the music of the twenties, the more exciting it got because it was this sort of, I suppose you would call it the Roaring Twenties, although there was Depression in America at the time as well, but the music was great, the music all, the vaudeville material had really, you know, caught my attention. I eventually talked Maura O’Connell into singing one of the the most ridiculous songs, “My Irish Molly O.” You know, I talked her into singing that song and recording it with us you know what I mean, which was a massive hit for us in Ireland […] The country went crazy […] It just caught the imagination of everyone and the place …show more content…
To me, the verses have an overall Irish feel and the chorus takes on more of an American character. Verse I and II are set in D-minor. The chorus modulates to F major and has a very distinct 2/4 …show more content…
The title is found at the top of the page in bold letters. Below that are the names of the lyrist and composer, Jack Drislane and Theodore Morse. Their portraits are included by their names. There is the publishing company’s seal at the bottom of the page stating, “F. B. Haviland Publishing Company, New Zealand BLDG, Broadway & 37 WST. New York.” The artwork focuses on three figures, an Irishman, a Native American girl, and a Native American chief. The Irishman is dressed in an entirely green-colored suit, complete with a green top hat, and green shamrocks pinned to his hat and lapel. He also appears to have a shillelagh in hand. The Native-American girl is in a dress of white, with a neckline, waist, and bottom hem bordered in green shamrocks. On her head is a feather and band. The feather is colored green, white, and orange. The third figure, the Native American chief is dressed in a green shirt-top or robe and is wearing a traditional headdress, but it has been colored green, white, and orange. There are also shamrocks decorating the headdress. His hands are raised up to the Irishman, as if he is praising or worshiping the man in green. The back drop of the three figures are pieces of tanned hide stitched together, like the fabric lining the walls of tipis or wigwams. This image mocks and makes fun of cultural