Among the traditional singing fraternity, the area around the old Tunney homestead near the borders of Fermanagh and Donegal is often referred to as ‘Mountain Streams Country’. That splendid song The Mountain Streams Where The Moorcocks Crow has been sung in the Tunney family for at least six generations now and is considered by aficionados to be one of the finest songs in the entire Tunney repertoire. It thus seemed appropriate that, when compiling this anthology of the best of five generations of Tunney traditional singing, we should borrow a phrase from that song and take just slight poetic/singer’s licence to find our title: Where The Linnets Sing! The linnets do, indeed, sing in ‘Mountain Streams Country’! Generations of Tunneys, Gallaghers and Meehans have sung there too. Not just their songs but also their ways of singing have become a source of joy and wonder to lovers of genuine folksong throughout the world.

In this collection/anthology we present the songs of Paddy Tunney recorded at various times over a 40-year span (1952-1992), along with songs recorded by his mother, the late Brigid Tunney (recorded in 1952-1953), of his uncle, Michael Gallagher (recorded 1952-1953), of his aunt, Annie Meehan (recorded in 1953) and songs sung by Paddy’s six children, Paddy, Cathal, Sr. Brigid, Michael, Maura and John – these having mostly been recorded in the period 1990-1992. Included also are songs sung by two of Paddy’s sisters, Maureen Melly and Annie Lunny (both recorded in 1952), and by his two brothers, Mick (recorded 1953) and Joe (recorded 1958). Finally, there are songs from five of Paddy’s grandchildren: Maria, Brigid, Colm, Conall and Séamus (recorded 2025-2026).

Though Paddy might suggest that he could never quite emulate his mother in her interpretation of certain songs, I think it would be widely agreed that Paddy himself, with his unique and splendid style of singing, allied to his abilities as a writer, poet, lilter, raconteur, broadcaster, etc., is the focus or axis around which this whole dynasty of singers and singing flourishes. He has been variously described as ‘a walking anthology of Irish folksong’ and ‘a lover of old ways, rare songs and raving poetry’ (Seán O Boyle). His singing has elicited the comment: ‘He combines masterful use of ornamentation and embellishments with delicate shadings and variations of vocal tone’ (Mick Moloney). I have no doubt but that critics and commentators will compare and contrast the singing styles of the nineteen singers whose voices are heard on these recordings. But having listened with appreciation and wonder to them, I am inclined to let the singers and the singing speak for themselves. I rejoice in having reached the stage where sheer enjoyment of such fine singing must take precedence over any academic or critical reaction.

I leave it to Paddy Tunney, whose abilities with the pen bid fair to equal his powers as a singer of fine songs, to introduce the singing Tunneys, starting with his mother, Mrs Brigid Tunney (nee Gallagher).

Séamus MacMathúna (ed. John Tunney)