ALBUM REVIEW: DANNY DIATRIBE- ‘Tales From The Down And Outs’ (2019)

Irish rap vagabond Danny Diatribe from Derry City releases his outstanding third album just a couple of weeks before his debut London gig celebrating the 10th anniversary of the London Celtic Punks. 

Intelligent conscious shit from a drunken Irish perspective!

In the last couple of years I have seen Boston-Irish rapper Slaine play and also went to the House Of Pain’s ‘Jump Around’ 20th anniversary tour so I’m not exactly a stranger to the rap and Hip-Hop scene but at the same time I am definitely no expert! Saying that though I don’t believe you do need to know the ins and out of a music genre for it to appeal to you. For it to strike a chord and make you feel something for it. I had that feeling when I first heard Danny’s last album Elevation Illustrations. An album packed with catchy rap anthems that included a song that is still among my most played in the last three years since, the absolutely amazing ‘Paddy’s Cure’ with Manchester Irish rapper D’Lyfa Reilly.

Danny was born Danny Lynch in Derry city in the occupied north of Ireland but emigrated to Manchester as a young ‘un a few years back and it is this background that colours Danny’s work. Describing himself as ‘Hip-Hop, James Joyce style’ Tales From The Down And Outs is loosely based on Joyce’s most famous novel Dubliners. Danny may not have been the first celtic-rapper (see our article The Top Seven Celtic Hip-Hop Artists And Bands here) but he is one of only a small handful waving the tricolour here in England! He has spent the intervening years performing among the thriving Manchester music scene being a regular in Hip-Hop circles and has collaborated with some of the biggest and best names in UK and Irish Hip-Hop. Since Elevation Illustrations Danny has kept busy with a constant supply of recordings and videos (made by himself) and the ambitious plan to record this album which has taken a couple of years from beginning to end. 

Tales From The Down And Outs is a concept album detailing the lives of working class characters based in and around the places where he has lived and still lives in Manchester and Derry. All the songs were written and produced by Danny Diatribe and DJ Cutterz, from the Taste The Diff’rence crew, who collaborated with Danny on the album.

Tales From The Down And Outs begins with a short foreboding intro before the title track comes along and ‘Tales From The Down And Outs’ is accompanied by a fantastic video showing Danny moving through life. The tune is slow and unhurried and Danny’s strong accent shines through.

The most standout thing about Danny is the videos that come with the songs. On Elevation Illustrations the whole album was accompanied by professionally shot and produced videos and he’s slowly working his way through this album too. On ‘Jimmy’s Bets’ it tells of the sad tale of a loser who suffers from what my Ma use to call the ‘Irish disease’, gambling.

On ‘Maggie’ Danny tells of the harmless, except to herself, auld crazy women that inhabit the streets where we live and we pass by in the street. Danny adds story to her life giving her a soul.

“Oh Maggie Oh Maggie Oh Maggie Oh maggie, God will never take you and the devil canny stand you, she’ll go to the grave cold bitter and defiant, the flames of hell wont make her bat an eyelid.”

It’s on ‘Maggie’ that you first get a real sense of why people say rappers are the modern day equivalent of the ancient Irish seanchaí (shan-a-key) who held the key to all Irish folklore, myth, and legend. They were the traditional storytellers and the custodians of history for centuries in Ireland.

The album is packed with soundbites from the likes of Monty Python, The Three Stooges, Noam Chomsky and many more I am sure I have missed. On ‘Compliments To The Chef’ and ‘Seven Oaks’ the tone is lighter thanks in part to the soulful tunes but still the dark underbelly of society comes through. On ‘Hangover On Repeat’ Danny revisits a subject close to his, and many immigrant Irish, that of alcohol abuse but told with more than a wee Irish twinkle in the eye.

Coming up towards the end of the album and ‘Miss Robinson’ and ‘Mrs Robinson’ are two tracks with a similar feel, with the film of the same name getting sound checked throughout them. Great soulful tunes combined with his usual gritty lyricism that leads us onto the final track ‘Pressure Creates Diamonds’. The song features the amazingly beautiful voice of fellow Manc rapper El Ay and I would recommend checking out the video as well. In fact get a cup of tea and a packet of biscuits and settle down to check the whole of Danny’s You Tube channel.

There is great news for London folk, and even further afield, and that is that Danny Diatribe is coming down South to perform for the very first time. Obviously it’s the combination of rude locals, expensive pints and sunny weather that has lured him down to London (it sure aint the money that’s for sure!) to play a special show in the east end of London for the London Celtic Punks 10th anniversary. When we set out on this road a decade ago we wanted to have as diverse gigs as possible and this could just about be the most diverse gig we have ever put on as performing alongside Danny will be the northern Celtic-Punk power house band The Silk Road, who are also making their London debut, and an auld mucker of ours Comrade X who will kick things off with a set of Woody Guthrie inspired Oi! tracks. The important date for your diary is Saturday 4th May at The Beehive in Bow. Literally the epi-centre of Cockney London! You can buy tickets in advance here for just a fiver and check the Facebook event here for any fresh news as it comes out.

So what to say about Tales From The Down And Outs? Well first off I doubt it’s going to make me a bigger fan of Hip-Hop than I already am but that’s hardly the point. Some albums just stand out and it’s Danny’s re-telling of stories from his life of a gritty existence on the war torn streets of Derry city to the grim post industrial working class streets of Manchester that make this album really special. Celtic-Punk as a genre is obsessed with working class life and culture and Danny has taken the ideas behind that, the good , the bad and the ugly, and brought them forward to today. Where as the heart of Celtic-Punk is naturally tapped in the past Danny Diatribe is here and now. If you cannot make the gig then buy the album and proudly boast to your friends that you’ve got your finger on the pulse of underground Irish immigrant Hip-Hop!

(listen to Tales From The Down And Outs on the Bandcamp player below)

Buy Tales From The Down and Outs FromDannyDiatribe 

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ALBUM REVIEW: ALTERNATIVE ULSTER- ‘Craic Agus Ceol’ (2019)

Energetic Irish-American Celtic-Punk experience fuelled by Irish whiskey, Irish History and Great Highland Bagpipes!

The roots of Alternative Ulster began in March 2015 in NY State’s Catskill’s region. Since then album’s have have been released at regular intervals starting with their debut album, Rebellion. Raw punk rock with Highland bagpipes or as piper John McGovern says ‘1916 meets 1977′. A reference to both the Irish Uprising and the year Punk Rock exploded onto the streets of London. An amazing three albums last year with Pog Mo Thoin, then Boobies, Bagpipes, Banjos & Beer’ and finally the Christmas themed Merry Feckin’ Christmas kept their name in the air and so it is again with the release of Craic Agus Ceol last month which translates quite simply into Fun And Music.

The album starts off where all the other albums have left off. The guitars may not be fast but they are hard, heavy and loud and the same can be said about the pipes too! Though we are in for a shock as the singing starts and Wendy takes over the vocal duties. A strong voice that fits the music well and we not one of those sites that’s going to go mad just because its a women it is still a refreshing change. It was while recording their Christmas album the Bhoys thought it would be cool to get a female voice in for some vocals and so blown away were they that now Wendy has become a full member of the band. 

(hear Merry Feckin’ Christmas below on the Bandcamp player)

On ‘It Took A Lot Of Love (To Hate You The Way I Do)’ the band have a perfect vehicle for their sound in-between the rocking of AC/DC and the Celtic of the Dropkicks when they thrash it out. Next up is a song very close to our hearts. In fact we were the ones that suggested Alternative Ulster might cover it and cover it they have done. They took the simple acoustic folk of Pól MacAdaim’s ‘Justice For The Craigavon 2’ and have turned it into a proper punk rock anthem. Telling the story of Brendan McConville and John Paul Wootton two innocent guys who were convicted of the Murder of PSNI constable Stephen Carroll and sentenced to life imprisonment. London Celtic Punks firmly believe that the case was corrupt and the ‘evidence’ used inconclusive, contradictory and discredited. Both men found themselves victims of a system that sought to find scapegoats in the wake of the political and media backlash following the killing. We are doing our wee bit for the lads over on our Bandcamp page where every single penny raised goes direct to the #JFTC2 campaign. 

(you can hear the original version of ‘Justice For The Craigavon 2’ by Pól MacAdaim below for free and download it for a pound)

A rousing and righteous track where this time it’s Todd that spits out the angry words while on ‘Port Of New York’ Wendy returns to vocal duties and again its that heavy rock/punk sound dominates while Johnny’s pipes wail along in the background on a song that tells of the ‘welcome’ the Irish received on arriving in the States.

“We were not welcome
But you feckin got us now!”

is but one of the excellent lines in this song. A fantastic song that really gets the blood pumping and easily as good as any modern day rebel song I have heard. That love of Irish history again rears its head during ‘Battle Lines’ a slower heavy number about Irish people forced to take part in the American Civil War. To fight or starve many were signed into the army as they disembarked ships not knowing what they agreeing to.

Alternative Ulster left to right: Todd Henry- Drums, Vocals) * John McGovern- Bagpipes, Banjo * Wendy Henry- Vocals * Jay Andersen- Guitars, Recording/Mixing/Mastering * Steve Hoelter- Bass *

One of the things I loved on previous albums was Alternative Ulsters choice of unusual covers and they don’t disappoint here either with the Eurythmics ‘Sweet Dreams (Are Made Of This)’ with Wendy taking on the role of ‘Scots’ unionist Annie Lennox.

‘Drunken English Punk’ has Todd loudly reciting the angry words over a Celtic-PUNK tune while and ‘Swine Before Pearls’ also takes an different path to the rest of the album. While the rock element of the album has been self evident they take it to another level here with a slow(ish) rock ballad with Wendy’s powerful voice again dominating proceedings. Next up is ‘Punch A Nazi’ and a sentiment we can all agree with especially the band as they all had family members who fought actual Nazi’s in the 2nd World War.

“When I was a lad on grandpa’s knee
This is what he said to me
Because we live in the land of the free
It’s our duty to punch a nazi”

The only thing I would add is not to get carried away and start believing everyone you don’t like is a Nazi. Sadly a trait all too common in America and now stupid ‘identity politics’ are infesting politics over here as well. Short and sweet and to the point Alternative Ulster don’t go in for subtleties! Next up is probably the song that most divides the Irish communities around the world with it being the most popular song in North America but thought of as being among the corniest of Irish songs! Still, here ‘Danny Boy’ is given a face lift that would melt the hardest of faces with Todd and Wendy combining on vocals (something the band should experiment with a lot more as it sounds absolutely brilliant!) while Jay’s chugging guitar, Johnny’s wailing pipes making it one of the highlights of the album. Not something I ever thought i’d say about ‘Danny Boy’ ever. Alternative Ulster play music from both the heart and the head and occasionally the sleeve too as on ‘If It Ain’t Scottish It’s Crap’ which a good Catholic boy like myself cannot tell you what the song is about suffice to say its great craic and the piping here is amazing. We are nearing the end and the last of the self penned tracks ‘Drinking Tonight’ which again takes the rock road but is catchy and a with a great driving tune. All the Alternative Ulster lyrics were written by either piper Johnny or guitarist Jay and the tune put together by the band which leads us up to possibly the best known Celtic-Punk song of all time and well I couldn’t actual believe it when I saw it was a cover of a cover! I must have played and heard ‘Shipping Up To Boston’ 1000’s of times but never did i know it was written by Woody Guthrie!

“I’m sailor peg
And I’ve lost my leg
A climbing up the topsails
I’ve lost my leg”

Sadly I couldn’t find a video of Woody recording it so if you know of one please leave it in the comments. Alternative Ulster give it plenty of oompf and to be honest its as perfect a song as any written and would be impossible to play it any other way than utterly brilliantly!

They surely can’t keep up the pace of three albums a year but even one we’d be happy with! Plans are afoot to bring their raw rock’n’roll bagpipe Celtic-Punk rock over to these shores in the summer and London Celtic Punks will of course be heavily involved in helping out so keep your ear to the ground for more details of that as they come in.

(you can hear Craic Agus Ceol for *FREE* before you buy on the Bandcamp player below)

Buy Craic Agus Ceol

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Contact Alternative Ulster

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To find out more on the Craigavon 2 case please visit either jftc2.com or on Facebook here. Offers of help or donations via PayPal are welcomed at justice4thetwo@gmail.com and check out the London Celtic Punks Bandcamp page here for a list of albums available for download for free or donation to the campaign.

ALBUM REVIEW: THE TENBAGS- ‘Bags o’ Craic’ (2018)

Crusty punk troubadours from the middle of England playing Anarcho-Celtic-Punk ballads and rampaging through folk tradition!

Bags o’ Craic arrived at London Celtic Punk Towers towards the end of 2018 on a scruffy home made CDR with a basic photocopied cover and a couple of stickers that wouldn’t play on any of the CD players in my house or my laptop!! So it was with great relief that the band recently stuck it up on Bandcamp so I could finally get round to hearing it. Having checked them out on Facebook they seemed like they were a band i would be into and after a couple of listens this was confirmed!

The Tenbags a true Brummy mix of backgrounds including – Scottish, Irish, Jewish, Indian, Trinidadian, English, Italian, Roma Gypsy and Punk!! From left to right: Neil Harvey – Washboard and Guitar * Johnny (Kowalski) Noblet – GuitBanj and Voice * Niall Singh – Guitar and Voice and Poems * Benedict Davenport- Mandolin and Tenor Banjo * Sam-uendo – Fiddle.

Bags o’ Craic is twelve songs that fly past in an incredibly quick twenty-four minutes. Songs beloved by the folk snobs purists are stripped right down to basics and played without frills or flourishes which for many of these songs that is exactly how they were meant to be played when first written. The roots of The Tenbags lie in Niall and Ben’s meeting at Birmingham art school back in 2009. A shared interest in folk music thanks to Ben’s Irish background and Niall who had grown up obsessed with Bob Dylan and Woody Guthrie and The Pogues before getting into Punk. Coming from a half Scottish/half Indian background he ingested the folk music from his Mam’s record collection and the Pogues from Celtic Supporting, Celtic-Rock loving Uncles!

The album kicks off with ‘The World Turned Upside Down’ a song originally penned by folk legend Leon Rosselson which tells the story of the Diggers (English radicals seen as forerunners of anarchism) rebellion on St. Georges Hill in Surrey in 1649.

“The sin of property we do disdain
No man has any right to buy and sell the earth for private gain
By theft and murder they took the land
Now everywhere the walls spring up at their command”

It has been recorded by several artists with perhaps Billy Bragg’s 1983 version the most popular. Here it is played fast with sparse backing of acoustic guitar, fiddle and mandolin with Niall’s vocals leading. These days their is such a market for Irish music that the temptation is to perfect and polish everything so that the pub cover gigs keep rolling in. This is a long way from the roots of Celtic-Punk and Shane could never ever have been accused of trying to croon his way through things and it is to Shane’s tradition that Niall continues. This is followed by a cover of ‘The Blackleg Miner/ You Made Your Bed’, a song that has recently been covered by Ferocious Dog and regularly features in their live set. From the mid 19th-century the song is set among the Northumberland pit villages and spits vengeance against strike breakers otherwise known as scabs to the miners and their families. A subject close to Niall’s heart as his family in Scotland were from the mining community, seamlessly flowing into the original track ‘You Made Your Bed. One of the best tracks here is the cover of Tom Paxton’s ‘Johnny Got a Gun’. The heartbreaking tale of a child who is bullied at school so gets the means to defend himself that ends in utter tragedy and contains one of the best lines I’ve ever heard.

“Johnny’s mum and dad still work long hours
And knock on the unit door
They sit with Johnny in the visitor’s room
And his feet don’t reach the floor”

Niall’s voice may not be the polished article but that is far from why The Tenbags are doing this and their is more emotion in this song than many of the albums that have featured on these pages over the years. Do yourself a favour and check out the great Tom Paxton’s version as well here. Next up is a spoken word piece ‘Banned From The Tesco’ where Niall spits out the words at us in just seventy seconds leading into a couple of covers of minor classics starting with the Crass song ‘Securicor’ and followed quickly by The Exploited’s ‘Alternative’ sounding as unlike Crass and The Exploited as you will ever hear. The Tenbags take the songs and breathe a life into them I would never have thought possible. That anarchic punk rock spirit shines through in the spoken word sections. These use to popular in Punk Rock, especially on Oi! compilations, but has all but disappeared these days so the thirty second angry anti-war rant ‘Grandad’ is both a blast to the past in subject matter and its very existence. The covers chosen here sound to me to have been picked very carefully and Bob Dylan’s  ‘When The Ship Comes In’ leads us into another anti-war rant in ‘Warlords’ before the album’s highlight hits the airwaves and in ‘Bella Ciao’ Niall perhaps comes as close here to singing in tune! The Italian anti-fascist anthem dates from the rice fields of the late 19th century but it was revived by the anti- fascist movement active in Italy during the Second World War with it’s lyrics updated. The next song also harks back to Crass in the albums second original track ‘The Man Who Spoke To God’. There follows a couple of minutes of silence which may be a nod to Crass and their problems with the song ‘Reality Asylum’or could be that the final song is meant to be a hidden track! The album comes to an end with the classic Irish traditional lament ‘The Parting Glass’. It was maybe too obvious to cover something that Shane was well known for singing but The Pogues did get round to singing ‘The Parting Glass’ and here The Tenbags keep it simple an play the song as it is meant to be played, slowly.

So an album that you will either be able to get past Niall’s style of vocals or not but as I’ve said we are in a scene where we worship a man who couldn’t sing for toffee so you should never let that put you off. The music is extremely well played and the arrangements sparse with the songs chosen far beyond ‘folks greatest hits’ and with some great and unusual and unexpected punk covers thrown in to. The energy and passion here is evident on every single track and with the band having made the album available for free download you have no excuse not to get a copy. Simply click where it says Buy Digital Album and this will take you to a page where you have the option to name your price where you can simply type in £0.00 and you will receive the link for your freed download.

(listen to Bags o’ Craic for free on the Bandcamp player below)

Download Bags o’ Craic  Name Your Price Download  Contact The Tenbags  Bandcamp  Facebook

ALBUM REVIEW: BRYAN McPHERSON- ‘Kings Corner’ (2019)

Bryan McPherson, a fiery, folk-playing, a native of Boston Massachusetts was called west to Los Angeles, California back in July of 2010. Bringing blue collared incendiary working class folk music fusing Americana, folk, alternative and punk all over America and Europe.

There’s a very good reason why Bryan McPherson has featured on the pages of London Celtic Punks more than any other artist. This will be his sixth time, after three album and two singles. Kings Corner is in fact kind of old Bryan anyway in that it is a bunch of old songs from Bryan’s past that he never recorded and has only played the odd time at shows for friends so in a way it pre-dates all his previous reviews. Having recorded his last album Wedgewood in 2015 he returned to his home town of Boston, Mass. in 2018 with a plan. That plan was to polish up and record demos of all the songs I had written since Wedgewood and then launch a Kickstarter campaign to bankroll a big time studio record!

Well plans change.

The memories of home and his past kicked in and before he knew it a new completely different album was on the horizon. After tinkering with some old songs, so old in fact that Bryan didn’t even have a copy of them on their original demo!, he thought it would be good to re-record them to give them out at shows and on the internet. Early on in the project though he realised the songs needed some work and that a quick recording session was not going to be enough. Some had to be completely re-written as in Bryan’s own words

“You see most of these songs are well over 15 years old and come from the very early days of my journey into music and songwriting. They come from some of the best and worst days of my life – coming of age and plummeting into the depths of drug and alcohol addiction, while running the streets of Boston in reckless abandon and cutting my teeth as a performer in the open mic scene of Cambridge Massachusetts, a world away from my neighbourhood of Dorchester, at the time.”

Born and raised in the blue collar working-class Irish-American Catholic neighbourhood of Dorchester, in Boston, and inspired as a kid by the energy and angst of punk, as well as the lyrically driven American folk songs of the early 1960’s Bryan has continued to play and record some of the best original music we have had the pleasure to feature. On his arrival home Bryan witnessed again the shocking impact of the opioid epidemic in his hometown. Deaths from addiction have soared over the last twenty years in the Boston area with many blaming the rise on the over prescription of opioids by doctors and as one Dr. Sushrut Jangi said in the Boston Globe

“It took doctors 20 years to help create this epidemic — but if we wake up to changing how we treat pain, we can more quickly contain its toll.”

Inspired to share these songs and a piece of his story Bryan set up some modest home recording gear in his Dad’s attic and got to work. Exactly the same as he had done all those years ago when recording that original demo tape. After listening to a few mixes of the songs by the great Willie Samuels back home in California, and after they were received well by friends he decided these songs needed a proper release so a crowd-funder was organised that Bryan’s fans and supporters rallied round to.

This album is aptly titled Kings Corner, the street corner Bryan and his mates hung out on in their youth spending many a day and night. The album begins with an short intro of Bryan talking about the album to a background of distorted sounds and acoustic guitar that ends with the quizzical line “Where did everybody go?”. We, the listener, can only guess. Bryan McPherson’s music can by no means be described as Celtic-Punk in the traditional sense but does in fact fit our remit exactly. Interesting, alternative music played with a fiery passion by a son of Erin. But that is only half of it. On the real album opener ‘Where Is Jane’ it is just Bryan accompanied by acoustic guitar and the passion that his voice is most famed for spills out into the airwaves and brings you directly into his world. Sadness and grief and the tremendous sense of loss of a dear friend told in ‘Game Over’ make the hairs stand up on the back of your neck. The addition of mournful harmonica only adding to the sadness felt. The songs here, as you could expect from such an eventful life littered with both tragedy and triumph, are gritty and beautiful as on the short ‘I Know How You Feel’ as Bryan explores the ghosts from his past and the rough road to recovery. These old songs from his old neighbourhood have come to life again and on ‘Everyday’ he tells of the everyday sometimes mundane life that went on in.
(Directed and edited by Bryan. Shot by Jason Stone and Bryan. Written and performed by Bryan and filmed in Dorchester, in Boston MA.)

The first single from Kings Corner was ‘Ghost Of My Hometown’ and a superb choice of song and the video too is inspired. Shot in plain and simple black and white Bryan takes us on a journey through the streets of his childhood and the ghosts of his hometown are not just the people but the city itself as gentrification has changed Boston making him a stranger and the communities that made Boston most famous have all but been dispersed to make way for the new order. A sad tale but told by all urban working class communities across the world. The horror of addiction is told again through ‘Mass Ave Story’ with just his guitar and a voice that is passionate and heartfelt and emotional and frail and powerful and uplifting all at the same time. His music is a very real journey through his own personal demons and is altogether mesmerising. Sometimes, as on ‘Living In The Red’ his words can chill you to the bone as he dissects American working class life. Never one to avoid difficult subjects Bryan tackles one of the most tragic episodes in American history next on ‘Jumper 9/11’ as he places himself in the shoes of someone on floor 102 of the Twin Towers on that terrible morning of 11th September, 2001. As the fire consumes the building and he has to make the stark choice of how he will perish. A song that could be in poor taste is anything but in the hands of Bryan McPherson as he portrays some of what may go through your head in those shoes. Beautiful. We nearing the end and the album’s longest song ‘See Me Fall’ with a lovely delicate guitar tune and harmonica and ends on a somewhat positive note as Bryan dedicates the song to all the friends and family that helped get him through to this point in his life. That’s not the end mind as ‘Chihuahua’ is tacked onto the end and a sly psychobilly-ish guitar track which despite the harshness of the previous thirty minutes will leave you smiling.
Street life, politics, addiction, prison, gentrification, the plight of the working class, broken dreams, discrimination litter the alleys of Bryan’s songs. Their are also moments of beauty and clarity as this modern day folk-punk troubadour brings us on the journey with him. Once again Bryan manages to come up with something that is gritty and heartfelt as well as beautiful, passionate and inspiring. As we have said before it may not be a fun roller coaster ride but the words are as honest as they are urgent. Come on every second counts!

(you can stream and listen to Kings Corner on the Bandcamp player below)

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Cd’s, Vinyl. Downloads- From Bryan  iTunes

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SINGLE REVIEW: 5 HILLS OUT- ‘The Snug Sessions’ (2019)

When a new Folk-Punk band pops up somewhere in England we like to think we are on it straight away so we couldn’t wait for the third release from Derbyshire band 5 Hills Out to land on our doorstep! Two tracks of beautiful, infectious, foot-stomping folk-punk.

The Snug Sessions by 5 Hills Out is what use to be called a double A-side back in the day when vinyl truly ruled and it’s two songs will be officially released tomorrow on the 12th April but is available now on pre-release. The Snug Sessions is the bands third release and first on their own record label Culvert Collective Recordings. The single marks a step forward in the bands development after their debut acoustic EP No Way In from 2016 and the follow up Still Outside from Autumn 2017 which saw the band nominated for best folk act 2018 on Radio Wigwam. So they have tasted local success but if a band really wants to proceed they have to try untested waters and now is a good time for bands like 5 Hills Out with some other notable bands taking folk (and Celtic) punk to the masses.

5 Hills Out from left to right: Dave Coxon- Bass * Rebecca Liverman- Saxophone, Accordion *  Ben Liverman- Guitar, Mandola, Vocals * Andy Gurney- Guitar, Mandola, Mandolin * Chris Clay- Drums.

The EP opens with ‘Cogs’ and sometimes you know straight from the off if you like it and within just a few seconds I had that feeling. It has that sort of 80’s Anarcho-Punk feel to it but much much better produced and a BIG sound that encompasses fiddle, mandolin, tin-whistle and saxophone. Its as catchy a tune as i heard in a while and has a nice Irish/Celtic interlude taking it firmly into Celtic-Punk territory and with Ben’s great vocals that are sung with passion and gusto whilst still sounding quite angsty (quite the feat I tell you) but as usual you need the songs to make all this work and ‘Cogs’ is just that. A rollicking belter of a track that as vocalist Ben explains

“aimed at a society that continues to undervalue and underpay its workers”. 

On track two ‘The Divide’ the lyrics tell us that we must stick together despite the current political unrest and climate of division. Like many of the bands in the Ce;tic/Folk-Punk scene 5 Hills Out have never shied away from using their music to share their political and social views. In 2018 they took part in a protest march to protect a threatened local music venue and more recently shared and supported a campaign to protect the very same studio where they recorded in the past. ‘The Divide’ is another belter of a song. Faster than ‘Cogs’ but still tuneful and as catchy as feck! The accordion comes out here meaning they have now ticked all the boxes to become firm London Celtic Punks favourites. A great song that despite it’s power still has that folk melody unpinning it as Ben sings about us all coming together.

5 Hills out is quite the family affair, with Ben Liverman on mandola, guitar and vocals, which is complemented by Andy Gurney also on guitar, mandola and vocals. Ben’s wife. Beks contributes contrasting sounds to the band on accordion, saxophone and backing vocals, with Beks’ Dad, Dave Coxon on fretless bass and Chris Clay on drums. Shame there’s only two tracks here but 5 Hills Out are definitely a band to watch out for and one to add to that growing roster of bands that float in Ferocious Dog’s orbit. For fans of bands like The Silk Road, Folk The System, Under A Banner or huge stadium bands like The Levellers or New Model Army these two songs will strike a real chord and these infectious foot stomping folk-punk anthems really make us excited to see 5 Hills Out live in concert and hopefully a album won’t be too far behind either.

Buy The Snug Sessions

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(5 Hills Out, Live at The Hairy Dog, Derby, February 2017)

APRIL EPISODE OF THE CELTIC PUNKCAST #25 OUT NOW

It’s April and though its miserable as sin here in Blighty the sun never goes down for The Celtic Punkcast. Follow the link for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world.

Stream live or download to listen to later and enjoy!

G’day everyone, hope you’re all recovered from the Celtic celebrations of March, the celebration is still going here at Punkcast Central however as it’s the shows second birthday! To celebrate I have a great line up of music, a new feature called ‘Listeners Choice’ and a few other things I’m working on. Ok without any more rambling than is necessary here’s this months playlist:

BLAGGARDS  – ‘Kerfuffleful’

DRUNKEN DOLLY – ‘Hold On’

IN FOR A PENNY – ‘Fore The Devil’

SMZB – ‘Scream For Life’

THE CURRENCY – ‘Victoria Rose’

THE McMINERS – ‘Left Behind’

BACKSEAT HOOLIGANS – ‘Battered Mug’

LISTENERS CHOICE as selected by WALDO KINKSMARKHAM

FIRKIN – ‘Hold My Beer’

THE CLOVES AND THE TOBACCO – ‘Too Much Trouble’

SIR REG – ‘Far Away’

FLOGGING MOLLY – ‘Drunken Lullabies’

MICKY RICKSHAW  ‘Home In Song’

THE CLOSET SQUATTERS – ‘Her And I’

THE GO SET – ‘Bones’

ALESTORM – ‘Drink’

KRAKIN KELLYS – ‘We Are The Freaks’

THE FIGHTING JAMESONS – ‘Year Gone By’

Thanks for listening, much more to come!

You can listen to the April episode of The Celtic Punkcast at the link below. Simply click for the best Celtic-Punk of the past and the present and remember you can listen to it live or else download to listen at another time.

THE CELTIC PUNKCAST #25

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

The Celtic Punkcast have just released a limited edition t-shirt and stickers so support the guys who make this all possible. Available from The Celtic Punkcast FB page here.

ALBUM REVIEW: McDERMOTT’S 2 HOURS Vs. LEVELLERS & OYSTERBAND- ‘Besieged’ (2019)

Second generation Irish singer-songwriter, Nick Burbridge, has been playing Irish-influenced acoustic music since his teens influencing countless others, including in their own words, The Levellers. His band McDermott’s 2 Hours were among the first to ever think of combining punk and Irish folk and his new album Besieged sees him accompanied by members of both The Levellers and the Oysterband and showcases his work as not just a musician but also, in the best Irish tradition, as a poet, playwright and novelist as well.


When writers wax lyrical about the rugged Celtic beauty that came to fruition with The Pogues and Shane MacGowan, they often seem to suggest that time has stood still and that Irish music had been sitting,waiting, since the mid-sixties ballad boom of The Dubliners et al for something suddenly to connect the urgency of punk with the heart and soul of traditional music. But out in the rough and ready bars of Hamburg and a hundred other German hostelries a band was carving out and whittling its own take on the beauty of Irish folk music; adding fire, vitality and punk-style energy while handling the travails of fights and frolics, women, dark streets and drink.  The band morphed into McDermott’s 2 Hours in 1986 (named after a wonderfully unexpected happening on pirate radio during the Battle Of The Bogside as recalled in Eamonn McCann’s War And An Irish Town) ‘being Irish and in the wrong place and at the wrong time’ – to paraphrase MacGowan. In the pubs and clubs of Brighton and London they built a reputation for their incendiary live performances that have become legend. Among their wild and youthful admirers were a gaggle of friends who, a few years down the line, influenced by the spirit, fire and camaraderie of Nick Burbridge and McDermott’s 2 Hours, would strap on guitars and call themselves The Levellers. Those in the know realise that Nick Burbridge has been, and continues to be one of the best songwriters in the Anglo-Irish tradition. He fashions songs that, as well as perfectly capturing the gritty underbelly of the Irish experience in 60s/70s mainland UK, beautifully capture the longing for home and reality of the Troubles with all the evocative magnificence of Beckett or Joyce.

But that was then and this is now.

Besieged is not so much a final curtain as a magnificent encore, serving as the last instalment of a magnificent career. Singer, songwriter, poet, playwright and frontman with folk, rock, roots and punk outfit McDermott’s 2 Hours, Nick Burbridge has released his final album with the band. Besieged sees Nick again team up with members of The Levellers (Jeremy Cunningham and Simon Friend), Oysterband (Dil Davies and Al Scott), Ben Paley (son of the late folk music giant Tom Paley), plus Tim Cotterell and friends, for the album’s twelve tracks. Released via The Levellers On the Fiddle Recordings. Given the artists involved in this album it is of no surprise to hear contemporary folk music of the itinerant outsider, travelling through Europe delivering great tunes and hard hitting poetical lyrics that stand out and are clear. All this amongst the traditional melodies expertly delivered . Fans of the artists will be delighted with the blood sweat and tears gone into this production, but this is no compilation of hits gone by,  but something new and fresh, so even if you come to’Besieged’ as an innocent abroad, looking for an anecdote to the monotony of apolitical electronica or a die hard folkster extending their collection, listen up and be inspired.

This album has everything you’d want from a folk album, laments of the itchy footed; murder ballads; the loss of young lives; drinking songs; anti establishment reeling and railing and a call to join the march of protest. Yet while the tunes are heavily rooted in tradition the lyrical content oft recounts tales of modern society, forgotten tales of the tragic loss of young life in contemporary Ireland. This theme is particularly stark in ‘This Child’, ‘Forlorn Hope’ and ‘All That Fall’.

‘This Child’ like so many a folk song laments the loss of young life, gunned down for being in “the wrong place at the wrong time.” But this is not a song of 17th century highway robbery or even a tune of the innocent Irish during the troubles. This is a song of South Manchester’s Moss Side in the 80s. The time is emphasised by electric jarring chords that blend so well with the rest of the strings, that, incidentally, give us a haunting solo in the middle eight, and a good old fashioned punky 4×4 drum beat.  This is a song of a time when the press dubbed the area ‘Gunchester’ a killing field on our doorstep when young Jesse James, the lads rightly don’t dwell on the irony of this young kids name, was shot while innocently riding his bicycle across a piece of wasteland. All this told clearly and melodically with enough rock guitar to bring on  a crescendo end of the echoing tones of feedback. ‘Forlorn Hope’ rocks us to Portadown and asks us to jig to the tale of a town divided by sectarian violence, where a night on the gear  may be followed by a morning of throwing rocks at the Orange drumming bands, where any attempt at peace was thwarted by those whose interest it was to keep communities apart. The female protagonist of the piece seems to survive but could have easily met the fate of Alice McLoughlin, shot in the back of a Portadown police car or poor Catholic Bernadette Martin shot down while sleeping in bed with reformed Protestant Gordon Green. No wonder our song’s heroine here ends up  high in Camden town. All this to growling guitars across the verses with singing violin instrumentals.

It is the first side of the album that is particularly steeped in modern day tales of tragedy and track 6 is no exception. ‘ All That Fall’ is an uplifting ballad told from the perspective of the victims of abuse that have risen to have a life now “looking back in hope, not in anger”. These “daughters of Mayo” stride history and geography and could be many a farm girl or boy abused in a barn with a sack upon their head or even daughter of Mayo, Mary Ann, kidnapped and abused with a pillowcase on her head in Reading 2005. The tune is acoustic and clear like a Christy Moore ballad that leads us to hum along, the chorus strong that anybody shaking the dust from their feet to live again will feel and the female vocals at the end soft on our ears and full of hope.

The opener of side one ‘Firebird’ gets us in a great mood and sets the tone with fiddle and guitar delivering a folk rock and reel of a Phoenix rising from the ashes with a strong vocal and sing along chorus. This is quickly, it seems,  followed by ‘Erin Farewell’ a swaying anthem for the inevitability of the natural roamer leaving behind the toil of the fields of home and the bed of his marriage under the pretence of chasing a better life in the big smoke. It reminds us of many a navvie or brickie’s song whether that come from Ian Campbell, The Fureys or indeed The Pogues. The worker here admits that it is not just the money but  the excitement and camaraderie of like minded men in a strange land he seeks. Like so many of us his yearning ping pongs him from ‘over there’ to the warmth of home, it is a lucky man who has an understanding wife. Side one also includes a rallying call to protest, ‘The Last Mile’  “Lets take it in the old style, that’s your arm through mine” they cry to an Anglo folk rhythm that has uplifting strings and drums that send a tingle right through you.

Side two  content eases us into historical ground. ‘Warrior Monk’ with strong bass, marching guitar riff and somewhat Arabic strings, walks us to the time of Crusades from the fall of Jerusalem in the 12th century to its’ Moorish reinstatement under Saladin. The song has a crusader’s bastard Moor son of the east ending in battle with his other Christian son of the west. A timely reminder of the futility of war when many a brother fights with another, we are, after all, Christian, Jew or Muslim, sons of Abraham! The jarring electric chord at the end reminds us that this is a song of now as well as then. The songwriters knowledge of history and how it weaves its way through our DNA and indeed a curse upon all our houses continues with title track, ‘Besieged’ . A wonderful trip from fortresses of 17th century Rheinfels to monastery walls, Irish tenement houses right up to date through Cornish fisherman’s houses to the so easily kicked over castles in the Sand. A lyrical metaphorical trip through the history of life and love like Bob Dylan gave Al Stewart a large dram and they wrote a song together. ‘Crossed lovers’ brings us into a timeless familiar territory of a familiar lovers quarrel “How can you hear me if you won’t listen” brought to us by two voices in a slow melodical ballad.  This is juxtaposed by  the raucous drinking song of ‘Damned Man Polka’ backed with reels and military marching drums.

This wonderful album’s penultimate song is a kick in the teeth to the abuse that taints the Church with hard hitting ‘All in your Name’ a duel tempo choppy guitar with bouncing verse and drawled accusational chorus before once again calming us down with the final track, ‘ The Ring’. A traditional sound, a beautiful song of love, land and nationhood with string, flute and voice as crisp as snow underfoot reminding us who we are, “here, now and always”.
Every listen of ‘Besieged’ is indeed time well spent.

Buy Besieged 

Limited edition two CD set released 8 February includes the Best of compilation, Anticlimactic but you can buy several versions including the download direct from Nick here

Also available from all streaming services inc. Spotify, Amazon etc  here

Contact Nick Burbridge-  WebSite  Facebook

ALBUM REVIEW: VISCERAL NOISE DEPARTMENT- ‘Distant Banging’ (2019)

Sarcastic Folk-Rock band from Glasgow, eclectically influenced by folk, grunge, psychedelic rock, metal, glam rock, blues and doom. Our man in South Carolina TC Costello ran the rule over their new album Distant Banging of which they plan to spend any profits on cheap drink and Gaffer Tape.

After playing an acoustic show with Glasgow’s Visceral Noise Department last year they left no doubt in my mind that they were the queen and kings of happy songs with sad lyrics. Their smile-inducing folk rocky tunes with tight harmonies were a joy to listen to until I paid attention to the lyrics. Then the songs were still a joy despite the songs’ stories of poverty, environmental destruction and poor mental health.

The first time I opened for them, however, they were a sloppy folk-punk band that insisted on singing harmonies they couldn’t quite hit. Why the asymmetry? I must admit that it was entirely my fault. I have a song called ‘Whiskey/Whisky,’ during which i encourage the audience play a drinking game in which they take a drink every time i say the I say ‘Whiskey’. I utter eponymous word 44 times in the two-minute song. No audience on the planet drinks throughout the entire song… except in Glasgow. The volume of alcohol and the speed at which they drank it needless to say did not enhance their musical abilities.

So the second time I played with them, they made the responsible decision of scheduling me after Visceral Noise Department’s performance. The band was tight, talented, and had no difficulty with harmonies. So, as my first experience with them was a trainwreck, the second experience was a damned good show, and my third was their new album ‘Distant Banging,’ I can honestly say VND gets better every time.

The album ventures to hard-rock, folk-rock, psychedelia, country, grunge, and even spoken word. This may sound a bit all-over-the-place, and it is. But by pacing the album, they make it work.

The opening song, ‘Gold Medal in Mental Gymnastics’, is a catchy hard rock number a bit reminiscent of Thin Lizzy, complete with a harmonised guitar solo. The lyrics are sharp, sarcastic, and anything but subtle. The opening line ‘I love having a boss and a landlord; It feels great’! leaves no ambiguity. Unless you don’t understand sarcasm, I suppose. Other things the narrator ’loves’ are ’being considered a cripple’, ’rats in the ceiling’, and ’having no choice in the matter,’ The song ends with the singalong: “Lalalalalalalalala. I’m a Happy Man!”

The second number, “Venus,” is a psychedelic folk-rock song about environmental destruction, and once again has a straight-to-the-point from the start: “It’s hard to write a country song when the country side is gone’. Nor is there any confusion in the chorus: ‘Burn it all, burn it all again. Let’s go live in Hell’.

The title of the song, seems to be reference to environmental conditions on the planet Venus, as its atmosphere is full of carbon dioxide, and even has acid rain. ‘Venus’ and the third song, ‘Semi-Educated Delinquent’, a folk-rock number about a child left behind by the education system, features some stellar fiddle work by members of Glasgow bands The Trongate Rum Riots and Sloth Metropolis.

A third of the way through the album goes in unexpected direction. And that direction is straight to early ‘90s Seattle. While listening to songs tracks that reflect what on traditional marriage and what it means to struggle I’m also filled with fond memories of when I learned to play guitar, bashing Nirvana riffs on my old Stratocaster knockoff.

The sixth song, ‘Made my Bed’, is reminiscent of some of Soundgarden’s more psychedelic work and tells the story of someone stuck in where they are in life.

Another psychedelic track, ‘A Warm Place’, comes next and features spacey guitars and eerie backup vocals and even a spoken-word poem by Jenny Tingle, the band’s drummer. It focuses on mental health issues.

‘Daddy’s Dole’ is a hard-rocking blues rock number with goofy lyrics that tell the story of someone living off their father’s employment benefits. Then their father loses the benefits then the narrator has to find a job. It features some nice blues harmonica by Kris Dye from Glasgow blues rock band Multistory Lover.

With ‘Middle Class Hero’, a folk-rocky song focusing on privilege, Visceral Noise Department further proves they want you to know what their songs are about:

“Two men faced off in the colosseum,
One raised his father’s sword,
the other raised his fists,
Now if I was a gambling man,
I’d tell you where I’d bet,
I won’t put down my fathers sword tonight”

The chorus, with the line

‘Don’t call it meritocracy, that really makes me laugh’

, further cements the far from vague nature of their lyrics.

The band venues back to psychedelia with ‘Utopia’ and the album gets a reprise of the its grunge phase with ‘Modern City Blues’. With the closer, ‘Maybe It’ll be Alright (The Ambulance Song)’, the band manages to combine nearly all their influences into one song.

Throughout the song, Visceral Noise Department features spooky harmonies evocative of Alice in Chains’ grunge, the combination of drums with acoustic guitar is reminiscent of the ’60s folk rock revival, and the spacey lead guitar and multi tracked violin and cello create a psychedelic effect. A perfect ending to the album.

While not a Celtic-punk album, (though Visceral Noise Department are Scottish and active in the punk subculture, so maybe it is) ‘Distant Banging’ is certain to appeal to fans of the genre. Much of their grunge errs on the punkier side of it, the lyrics touch on themes common in punk and Celtic trad, and I defy you to find a better-paced album

(you can hear Distant Banging on the Bandcamp player below before you buy! The download is only a bargain £3!!)

Buy Distant Banging  FromTheBand

Contact Visceral Noise Department  WebSite  Facebook  Bandcamp  YouTube

the irrepressible TC Costello makes another welcome return to our shores this June with a month long run of dates that will take him the length and breadth of the British and Irish isles! Watch out for two dates at The Lamb in Surbiton, south-west London. The first as part of the pub’s special Lamb Fest and the other a special show put together by London Celtic Punks that will feature some local legends and special guests.

Contact TC Costello  Facebook  Bandcamp  Tumbler  ReverbNation  Twitter  YouTube

EP REVIEW: DRUNKEN DOLLY- ‘The Party’ (2019)

Dutch Celtic-Punkers Drunken Dolly must have had a pretty good St. Patrick’s Day judging by the title of the opening track on their new EP! 

Drunken Dolly hail from the working class port city of Rotterdam in the Netherlands and in the last 2-3 years have gone from being a band that only people in their own country know of to being one of the most well known Dutch bands around. Despite only having a couple of releases they have managed to ride a wave with England’s own Ferocious Dog that has seen them become one of the Hellhounds (Ferocious Dog’s most loyal group of followers) favourite bands with not a single FD gig passing by without a couple of people in the audience with Drunken Dolly t-shirts. They have even managed to to play over here a handful of times with headline gigs in London and some choice support slots (Rock City!) with FD cementing their popularity.

Formed in 2004 they briefly split up but forged with a love of Irish and Celtic music and punk rock they soon realised they missed the drunkenness and debauchery involved in being in a Celtic-Punk band so re-united in 2014 and decided to take things a wee bit more seriously. Well that or they just wanted to play music, drink beer and party! Their debut release was Drunken Dolly And The Dead Mans Curse. An EP of four self penned songs lasting only ten minutes but made even of an impact to surge to the top of the Celtic-Punk media’s Best Of lists for 2015. This was followed up a couple of years later with the release of their brilliant debut album Alcoholic Rhapsody and again, as their name suggests, beer drinking influences a lot of their lyrical themes. The music was fresh faced, fast and super catchy with a knowing sense of humour that has endeared them to everyone who comes across them.

So can they keep up this record of only producing absolutely fantastic records. Well the answer is of course and there’s no sign of it letting up either! The Party begins with the opening track ‘Let’s Get Fucked Up’ which is near six minutes of some of the best Celtic-Punk this side of the Atlantic. Batten down the hatches and let these shipbuilding folk burst yer eardrums and possibly even make you fall over a wheelbarrow in your back garden and end up with a cartoonish black eye for a fortnight!  Anyone familiar with our own Mick O’Toole will recognise some similarities with the duo banjo/mandolin sound but its the vocal harmonies that set Drunken Dolly apart with some 60’s style crooning straight off The Beach Boys greatest hits album. Michael and Randy share vocals throughout the EP and even though they couldn’t be more different they fit together brilliantly on The Party and its not often a six minute song flies by so quickly either.

They follow this up with the blatantly named ‘Alcohol’ and Michael takes over to sing about his one and only true love. Simple words of love are often the most tender! Pop-punk in the style of NOFX and Blink 182 connects with Irish folk and the result is super catchy and a definite crowd favourite I would think. A song with a chorus of just “Alcohol Alcohol Alcohol” is sure to get them pints in the air! The Party theme continues with ‘Until The Bottles Are Done’ and Randy sings as a punk rock Brian Wilson about the party never ending till all the beer is drunk! Only two songs to go and ‘Without You’ is the shortest track here at just under three minutes and compared to the speed that everything flew by on the debut EP it’s refreshing to hear them not rush things and take their time… even if the songs are still played at breakneck speed!

The Party ends with ‘Never Too Late To Party’ and it’s fair to say that every song here is pure class. Twenty minutes of solid and catchy Celtic-Pop-Punk which has elements of punk bands such as NOFX and Blink 182 as well as the usual suspects of the Dropkick’s and the Molly’s but its those fabulous Beach Boys harmonies that give Drunken Dolly the edge. One hell of a band and as their star rises we going to have more and more chances to see them over here so be sure to catch them when you can.

(In the days leading up to the release of Drunken Dolly’s ‘The Party’ EP their video diary sees them being interviewed on Bang Your Radio and then going off to see Nick Parker live at the Viking Sports Bar in Leiden)

Buy The Party

Contact the band or at their shop here shortly

Contact Drunken Dolly 

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(Drunken Dolly playing their bloody amazing awesome mega hit ‘Hold On’ at Bevrijdingsfestival Zuid Rotterdam 2018)

NEW FILM. A REBEL I CAME- THE STORY OF ÉIRE ÓG LIVE AT THE BRAZEN HEAD

In 1997 Éire Óg released their Live At The Brazen Head album, one of the most iconic rebel album of its generation. This film, produced by The Rebel Collective podcast, brings together some of the original members of the band and many other prominent musicians from the rebel/folk scene to discuss how the band and album came about, its impact and legacy more then twenty years later.

Many of the best rebel bands of the modern era hail from Glasgow. Among them Saoirse, Athenrye, Shebeen, Mise Éire and Pádraig Mór but the foremost was the legendary Éire Óg who led the way inspiring all around them. Formed in Glasgow, Scotland in the early 1990’s, they toured throughout Ireland, Scotland, Wales, England, Europe and the USA extensively during their time together.
What made them unique was their introduction of the marching drums to their music, a style that has subsequently been copied by many bands ever since. It gave them an unmistakable and uncompromising sound that became the soundtrack of an entire generation during a period of civil strife prior to the IRA ceasefire of the late nineties.
The band was led by Irish republican supporter, Glasgow-born folk rock singer Gary Og, who is now a successful solo artist and we recommend checking him out here.

The video is viewable for free but we would appreciate if you could donate to: 
https://angortamorglasgow.com

An Gorta Mór Glasgow

 We’re Building a Famine Memorial in Glasgow

Between 1845 and 1855 over one million people fled starvation conditions in Ireland. Around 100,000 made their way to Glasgow. Coiste Cuimhneachain An Gorta Mór (Great Hunger Memorial Committee) has been formed to build a permanent memorial to those who died of starvation or were forced to emigrate, including those who came to our city during ‘An Gorta Mór’.

We need to have a monument worthy of the memory of our ancestors who were forced to leave Ireland and those who were starved to death by the British government and the British ruling class, so please give generously. There is an online shop where you can buy goods with the An Gorta Mor logo. All profits go to the fundraising plot. Thank you. We are building it!

THE REBEL COLLECTIVE

The Rebel Collective podcast is a monthly music based podcast that features various guests of a rebel nature. We will be getting to know some of their favourite songs and the songs that helped shape the artist they are today, and hopefully gaining a bit of insight into their background and influences.

Podcast  Facebook  YouTube  Twitter

BUY LIVE AT THE BRAZEN HEAD CD HERE

ALBUM REVIEW: TORTILLA FLAT LIVE AT OLD CAPITOL (2019)

Full blooded Highland bagpipes and chugging punky guitars from one of Europe’s greatest Celtic-Punk bands. The new album from Switzerland’s Tortilla Flat is a special dual CD and DVD release of their concert in Langenthal at this refurbished beautiful old cinema.

A week after we reviewed our first live album in over a year lo and behold another one lands on our doorstep. While The Fighting Jamesons album was recorded at a outdoor festival Tortilla Flat have chosen their headlining gig at the exquisite Old Capitol music venue from 4th November, 2017. Taking their name from the John Steinbeck humorous novel of the same name about a bunch of Californian outsiders who want to own nothing and get drunk, Tortilla Flat formed in 1991 and have at their core Chris, Ritchie and Lexu who at various times are joined by the The Independent Pipers who keep up a steady supply of expert bagpipers whenever they are required. For a lot of bands in the Celtic-Punk scene the priority has always been the live show and so for a lot of bands their releases don’t quite tally up with how long they have been together but Tortilla Flat have never neglected the recording side of things and this will be their eighth album release during their eighteen years together. Their last release being 2018’s tribute to the vinyl single The 45rpm accompanied by garage-surf-punk legend Jorgen Red Westman which we featured here.

Here’s a band that easily sits slap bang on the line between Celtic and Punk and in a scene where most bands naturally try to sound like the two biggest bands in the scene, the Murphys and the Mollys, here though is a band that tries to steer their own path. Also rather unusually they take the Celticness of Scotland rather than Ireland as their major influence. That’s not to say that a few Irish tunes don’t show up but that it’s Scotland calling the shots here.

Tortilla Flat left to right: Ritchie: Bass, Harp * Tom MacFly- Bagpipes * Lexu- Drums, Acoustic Guitar * Violin- Christine * Accordion- Asi MacHasi * Rob Highlander- Bagpipes * Chris- Electric Guitar, Lead Vocals

The album kicks off in style with a duo of great songs with the traditional ‘Scotland The Brave’ and Tortilla Flat penned number ‘The Great Escape’ getting things started. It’s the roar of the pipes that gets you going here so if you’re one of that rare breed of Celtic-Punk fans who don’t like bagpipes then this band isn’t for you. On the other hand if you love bagpipes then you will bloody love Tortilla Flat! After all their are not many bands in the scene with two pipers at its core and sometimes they have been known to have even more!

Straight away it has to be noted that the sound here is absolutely perfect. No surprise I am sure after all why bother if it didn’t but it as well as the perfect sound it also manages to portray transfer their live in concert sound to disc. Live At Old Capitol is great value with twenty-three songs and a running time of a very impressive seventy-two minutes which is almost the maximum you can fit on a compact disc. Alongside a collection of great tracks from their back catalogue such as the brilliant ‘1946’  as well as ‘Don’t Ask Why’ and ‘Tough Love’ from their debut album. On a album that’s split roughly 50/50 between covers and originals it’s the self penned tracks that stand out for me but these lads know their way around a fair traditional tune tune too with a bunch of Scots and Irish tunes that the band have been playing since their early days. Rare Old Mountain Dew’, I’m A Rover’, ‘Dirty Old Town’, ‘The Rising Of The Moon’ are among the highlights and ‘Amazing Grace’ may only be ninety odd seconds long but would give the Dropkicks more than a good run for their money and even better as it morphs into the albums standout track, the wonderful, ‘F.U.C.K.U.’! The album ends with a great run of songs from last years tribute to the punk rock 7″ vinyl single ‘The 45 rpm’ to a spirited version of  ‘Auld Lang Syne’ that sounds more like Dropkick Murphys trying to sound like AC/Dc than you could ever imagine possible. The Hank Williams Country classic ‘I’m So Lonesome I Could Cry’ sees the band cast their net further than the Celtic nations and a great version though I would recommend checking out the original as well (here) before the curtain comes down with the song that burst Celtic-Rock into the mainstream Whiskey In The Jar’. When Thin Lizzy stormed the charts with it back in 1973 they were one of a handful of bands that would begin the process that leads right up to where Tortilla Flat and contemporaries sit today.

So a whopping seventy odd minutes of full on classic bagpipe’n’roll that is full of warmth and absolutely great music. The sound as as we said is perfect so a big hats off to the band and Mauro Grossud who produced it. Tortilla Flat are a Celtic-Punk band that fully embraces the culture and sound of the Celtic nations and while their are moments when you can compare their sound to others on the whole they have ploughed their own furrow and managed to come up with something that stands on its own feet. Tortilla Flat’s sound has wide appeal and it’s completely in the spirit of Celtic-Punk that their music would appeal to both punks and traditional music fans alike.

WATCH THE FULL VIDEO OF THE CONCERT

HERE

Discography

In The Grip Of The Grape (LP- 1996) * As Usual (LP- 1999) * All Hail (7″- 2002) * Dirty Old Town (EP- 2004) * At The Tavern (LP- 2005) * From Vine To Wine (LP- 2008) * A Trainload Full Of Stout (LP- 2009) * The Great Escape (LP- 2013) * Today (Single- 2013) * Forward To The Past (LP- 2017) * The 45rpm (7″-2018)

Buy Tortilla Flat Live At Old Capitol

Outsider Shop

Contact Tortilla Flat

WebSite  Facebook  YouTube  MX3 Soundcloud

If all the dew were diamonds”, Pablo said, “we would be very rich. We would be drunk all our lives”. But Pilon, on whom the curse of realism lay uneasily, added: “Everybody would have too many diamonds. There would be no price for them, but wine always costs money. If only it would rain for a day, now, and we had a tank to catch it in”. “But good wine”, interjected Pablo, “not rotgut swill like the last you got”. “I didn’t pay for it”, said Pilon. “Someone hid it in the grass by the dance hall. What can you expect of wine you find ?”

dialogue from “TORTILLA FLAT” by John Steinbeck, 1935

FILM- NO IRISH NEED APPLY. INTERVIEW WITH THE DIRECTOR BILL FITZPATRICK

With St. Patrick’s Day a hazy blur here’s a timely reminder things weren’t always so rosy for the Irish. The acceptance today’s generation now, mainly, enjoy was fought for over many years. In the short film No Irish Need Apply director Bill Fitzpatrick exposes the anti-Irish bigotry of yesteryear in the classified pages of Boston’s daily newspapers.

In parts of America the month of March is known as Irish-American Heritage Month. A welcome development in that nations history and certainly something we would benefit from in Britain given the huge numbers of people with Irish ethnicity. One of the things that is taught these days is how the Irish were vilified, oppressed and discriminated against on arrival in the USA. It is important that knowledge of this is widely spread as some would deny it ever happened and would even have you believe that these poor souls had some sort of ‘privilege’. Working class Boston native Bill Fitzpatrick directed a short film about this and we gladly sent over a bunch of questions to him and he replied with this thoughtful and well written essay on the film and why he chose to make it. So thanks to Bill and a happy Irish-American Heritage Month to all Irish-Americans and their friends.

NO IRISH NEED APPLY

Thanks to The London Celtic Punks for the interest in my short. ‘No Irish Need Apply’ was created on my iMac desktop computer in my man cave,(tool shed) for approx $60. It’s basically a slideshow at nearly seven minutes. I spent $30 on a slideshow creator app and signed up for a historical newspaper archives database. The soundtrack budget was a whopping $1.98 courtesy of iTunes.

My name is Billy Fitzpatrick. I’m a 57-year-old Irish American (2nd gen.) born and raised in Charlestown, Massachusetts, the home of the Bunker Hill Monument and the battleground of June 17, 1775. As we say, “you won the battle, but we have the hill!” Believe it or not, there were Irish on both sides of the battlefield. The trickle of Irish at the beginning of the 19th century turned into a flood during the 1840’s and onward, and by the turn of the 20th century, Charlestown was Boston’s most Irish of enclaves. Over 90% of the 40,000 people crammed into the one square mile peninsula was of Irish descent. Dockworkers, freight handlers, saloon keepers, city workers. Tough, blue-collar, Irish Catholic to the core. Ben Affleck made a movie about Charlestown you may have seen. ‘The Town,’ is based on a group of Charlestown bank robbers, and we have more than our share of them.

NINA

Fast forward to 2016. I’m married with a son living in San Diego, California (long story.) I was reading an article one morning while getting ready for work, (I’m a house painter) on  Irish Central. It was the story of the 8th-grade school girl who debunked a University of Chicago professor’s claim published in the Oxford Journal of something or other, called, ‘The Myth Of Victimization’. The professor said stories passed down through the generations of Irish-Americans of discrimination, particularly the so-called NINA signs and newspaper advertisements, were more blarney than believable, sort of a “pity the Paddy,” tales of woe uncle Dan would mumble before passing out.
He scanned 75 years of New York Times newspapers, from 1850 to 1925, and found only a handful. All but one were aimed at women, approximately one per decade. He proudly pasted what he called, “the only NINA ad aimed at an Irish male.” It was actually for a boy to push a grocery cart in 1853. Somehow the published work gets into the hands of a girl named Rebecca Fried. She’s an 8th grader in Washington D.C. at an elite grammar school where presidents and other high ranking government officials send their children. Having been told of these signs by her grandfather as a child, she decided to investigate. With the help of a historical newspaper’s archive database, she entered the right keywords and cast a wide net, every newspaper in the country for as many years as possible and found dozens of examples. With the help of her father and another history professor named Kerby Miller, she crafted a well written, well-cited rebuttal. The author of the Oxford paper, Professor Richard Jenkins, wasn’t amused, and picked apart her work, stating that nearly all the ads came from one newspaper! Nonetheless, she was made famous for being the girl who debunked a mighty history professor. Several newspapers ran with the story before Irish Central wrote about it. When I read the article, I noticed Irish Central didn’t include any examples of the ads, so I  decided to try and find examples in Boston newspapers. My mother gets the Boston Globe delivered each day, so I was able to get free access,(only for home subscribers) It cost nearly 3 dollars per article if you don’t receive the Globe’s home delivery.

THE SEARCH

After a day on the ladder, I would come home to my family, strap on the feed bag, and afterward head to the man cave for some research,(and a couple of cold ones!) I have a NINA sign in the man cave. I got it on eBay for twelve bucks. It’s about 18″ long by 7″ tall, stiff cardboard,  dingy tan color, complete with fake water stains and tack holes. An obvious reproduction but I found out later it was a fake. I needed a time frame to put in the parameters and 1873 was the first year the Globe was printed, so I was thinking of starting at the beginning when I noticed tiny print in the corner of the sign. I looked closely and it read, “Boston Printing Co, 1915.” I nearly spit my beer into the computer screen!. Perfect, I thought.  If there was a demand for these signs in 1915, then certainly the newspapers would be full of NINA ads. I entered 1910-1920 and put in every keyword I could think of, help, wanted, No, Irish, man, woman, work, situation, apply, etc. I hit the button and…nothing. I took out a few words, nothing again. I would get hits on those words, for example, Irish setters for sale, Irish linen, Irish whiskey, Irish tea, but no NINA. I finally narrowed it down to the word Irish, plenty of hits, but no discrimination.

BOSTON CELTICS

After a few nights of searching, I was thinking maybe the Prof was right. I got bored and started reading articles in the paper, the daily news in turn of the century Boston when I spotted an article about the mayor of Boston. Nothing special about it, but the name sounded familiar. James Michael Curley was the mayor of Boston, a colorful character, and one thing he was known for was his dislike of the Protestant, ‘Brahmins’, Yankee aristocrats who were descended from the Puritan’s, and ran Boston for centuries. Curley would have never tolerated such discrimination, and probably would have torn down any sign himself personally. It hit me. The Irish were running Boston by 1915, and it would be suicidal for a shopkeeper, factory owner, restaurant etc. to hang one. I had to go back in time. 1900-1910 nothing, 1890-1900 I got one NINA ad 1880-1890, several more, mostly domestic help. It was 1870-1880 when i hit the jackpot. Dozens and dozens of ads for men, women, boys and girls. Suddenly I had about 60 examples on my desktop.

WTF TO DO WITH THEM?

 The ads themselves were small. The average ad was 2 or 3 lines in the back pages of the newspaper, approx.  1.5″ x 1/4″. Often the font was faded and letters were faint. I took each one, expanded it, adjusted the contrast and colored the letters in wherever needed. I was thinking about making a movie, but they are words in rectangular blocks and a slideshow format made sense. I downloaded a slideshow app and got busy. I decided it needed visuals so I found some anti-Irish political cartoons from the 19th century. I opened a slideshow creator app on my iMac and started dragging and dropping them in place. I gave each frame 8 seconds of time on average, with some having just 2 lines, therefore taking less time for the viewer to read, and the longer ones having four lines or more needing a few more seconds
I downloaded the song ‘No Irish Need Apply’ from iTunes for 99 cents. The version was perfect although the voice sounded familiar. The singer’s name was Alan Lomax. Lomax wasn’t an Irish name as far as I knew, but that was the name attributed to the song. It’s a traditional ballad with an 18th-century feel. The only problem was the song was too short at 3 minutes 12 seconds. I tried to squeeze as many ads as possible, but I had to give the reader enough time to read each one. After cramming as many as possible in the timeline, I had dozens leftover. Employers looking for men, women, boys, girls, from domestics to carpenters. Opportunities for employment available to all except the Irish. I thought about finding a longer version of the song, but I loved the Alan Lomax version, so I added a second song. After searching I came upon the Wolfe Tone’s version. Derek Warfield’s version is totally different from the Vaudeville version of the 1880’s. It’s a livelier, clearer, modern spin on the original. Derek replied through email to my asking permission for the use of the song, he and his band mates wrote the song while on tour in New York City in the seventies. He found the lyrics in an old songbook he found. 
On a personal note, I added 2 frames of my grandparents. The first one is the team photo at the beginning of the 2nd song. Those lads are The Erin’s Hopes, 1907 Boston Gaelic Football champs. My grandfather, Michael Connolly, a Corkman, is standing top right. Later, towards the end of the short is his wedding announcement to my grandmother, Nellie Hurley. He, a labourer, and she, a domestic from Bantry,  They met in Boston at an Irish dance hall in 1917. My grandmother was working at the time for a family in Brookline Mass. While she was living with, and working for the family of her employer, less than 8 blocks away, another family was welcoming their newest member. They named him Jack, and he is in the last frame!
I sent the original version to Irish Central and they wrote a nice article on my video. it was there in the comment section I found the singer of the first song was in fact Tommy Makem and not Alan Lomax. Lomax was an archiver of folk music from around the world and recorded the version while in Ireland. So far, No Irish Need Apply has been selected and screened in 19 film festivals, including twice in Boston, Los Angeles, twice in Dublin, Donegal and Carlow.
Not bad for a house painter on a sixty dollar budget!

Contact Billy Fitzpatrick

Billy runs a very interesting Facebook page called Fitzgraphics which is Billy’s gallery for the old photos that he has found, plus newspaper clippings of Charlestown, Mass. as well as the film, No Irish Need Apply. As he says “Feel free to copy, share, download, or print anything (I Did !).

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HAPPY ST. PATRICK’S DAY TO ALL!

It’s here again. The day when everyone is just a little bit Irish, except for the gays and the Italians obviously (©Simpsons!). St. Patrick’s Day a day of wearing the green and celebrating the land of your birth or of your ancestors in whichever way you see fit. For some it’s a religious holiday while for others it’s a time to have a few drinks and party. After all today all Lenten restrictions are eased and so I will be personally celebrating with the biggest bag of crisps (Tayto’s obviously!) known to man.

When we were young ‘uns we knew St. Patrick’s Day wasn’t far off when bunches of pre-paid postcards from relatives in Ireland would appear on our doorstep and then as the day drew closer a strange spongy package containing green leaves would arrive.  Some would be pinned to your blazer and off you’d be sent off to Catholic school which would be a sea of green for the day. The one day of the year we were allowed to be Irish in a country that if not openly hostile to us just plain ignored us. You see I’ve always thought of St Patrick’s Day as a day for us. The Irish overseas. It’s our day. A day to remember our roots and while we may have been airbrushed out of history and school curriculum’s and our contributions ignored it was a day to assert ourselves and say We Are Irish! We’re still here and still fighting as the sticker goes.

It was in the United States that Saint Patrick became the symbol of Irish heritage and culture that we know today. As more Irish came across the Atlantic, the Feast Day celebration slowly grew in popularity. In fact the first ever St. Patrick’s Day parade held was in Boston in 1737. These days it is celebrated around the world wherever an Irish person has ever set foot or settled it is celebrated on the anniversary of Patrick’s death, which was believed to be March 17, 461 AD.

So you won’t find anyone sneering at you condescendingly from the London Celtic Punks for whichever way you choose to celebrate. Go to mass or the pub or both. Dust off the auld Eire/GAA/Celtic top or even your leprechaun outfit and whatever you choose to do be proud of your roots if you got ’em. If you ain’t got them then come join us. Everyone is welcome at this hooley and in amongst all the fun why not spare a moment to remember those who passed that pride onto us and are not here anymore and raise a glass to the sky for them.  Sláinte.

In the true spirit of the international nature of Celtic-Punk here’s Cascabel from Slovakia and their St. Patrick’s release of ‘Out Comes The Beast’. Their is talk of them returning to play London again soon. Let’s just hope it’s mot another Monday!!

Cascabel- Bandcamp  Facebook  YouTube

Károly Pintér has uploaded to Spotify an absolutely brilliant 2019 St. Patrick’s Day Punk Rock Playlist with the added warning FAST SONGS ONLY!!! so head here to hear it! 24 songs from the best bands in the business and all from the last couple of years too.

ALBUM REVIEW: THE FIGHTING JAMESONS- ‘A Moment In California’ (2019)

The Fighting Jamesons deliver a live recording from last year’s Get Shamrocked Festival. Traditional style Irish music but with an aggressive and energetic modern-day approach.

With two solid studio album releases behind them The Fighting Jamesons have chosen their fantastic live set from Get Shamrocked 2018 as their next album to hit the stores. Hailing from the resort town of Virginia Beach in California they have quickly gained a strong presence on the East Coast with their constant touring and great relationship with their fans. Formed in 2010 they play a style of Celtic-Punk akin to Flogging Molly in that they are almost acoustic but still mange to kick up a racket. As we said in our review of Every Day Above Ground back in 2014

“Heads down and fast as humanly possible is how The Fighting Jamesons like it and we have to say we bloody love it too!”

and as they are a band that earns their bread and butter on the live circuit it’s no surprise that A Moment In California is more of the same in a extremely tight set of 50% well known and loved trad Irish folk covers and 50% of their own material.

The live set was recorded at Get Shamrocked Festival which, now in its seventh year, has the whole Celtic-Punk community salivating every year when it’s line up is released! Much like Flogging Molly’s Salty Dog festival it’s sadly something most of us will only ever watch via You Tube but with its mix of Celtic-Rock and Punk alongside Folk, contemporary and traditional music it’s definitely on my To-Do list when i win the lottery. Started in 2012 by second generation Irishman Paul Little the festival is held in California attracting thousands to watch some of the best bands around as well as international bands such as The Go-Set and Sir Reg in recent years.

The album begins with one of The Fighting Jamesons most famous of their own tracks ‘How I Ended Up This Way’ but starts with a touching tribute to the parents of 17 year old Irish-American Cullen Connolly who tragically died in a car crash in 2015 caused by a drunk driver. A huge baseball and Celtic-Punk fan who loved The Mahones, Gaelic Storm and The Young Dubliners among others. Cullen lived with neuro muscular disorder but never let it affect him and he lived a full and enjoyable life surrounded by loved ones before it was snatched away. One of the stages at the festival has been named after him. A really nice touch from the festivals organisers.

(the opening song from The Fighting Jamesons 2016 set at Get Shamrocked)

The album begins with the Jamesons original ‘How I Ended Up This Way’ telling of life in an Irish-American family and a day on the lash that gets out of hand! The Fighting Jamesons play hard and fast but in a completely accessible way and I’m sure half the audience would think they are Celtic-Punk while the other half Celtic-Rock! Great tune, catchy as hell with great lyrics and a band at the top of their game. Listening to this first song you can see why they chose to release it as the production (hats off to Chris Kendrick) and sound is absolutely perfect.  Plans are afoot for them to have their set at this years festival properly recorded and maybe released so keep an eye out for that among other things in The Fighting Jamesons camp. Next we have, without a doubt, the most overplayed cover in Irish history, Drunken Sailor! They do a good job of it is all I can say. The next couple of songs were my favourites off Every Day Above Ground starting with ‘What Does It Mean?’ and show what great songwriters they are. It remains a favourite again here in no small part to its absolutely fecking great chorus. Jeffrey’s fiddle and Miles accordion really come into their own here. Again the song is fastly played but still firmly with its feet in the folk camp despite George’s thrashy guitar and Justin and Vince on drums and bass giving it that extra ‘punky’ bite. ‘Year Gone By’ lulls you into the belief it’s going to a slow dirge of a sea shany before exploding in yer ears and we get more catchy full throttle Irish music that is made equally at home in the intimate pub or any big festival.  We earlier compared them to Flogging Molly but the comparison is to the Molly’s at their best.

Next up is the Irish-American classic ‘Johnny I Hardly Knew Ye’. Made most famous in Celtic-Punk by The Dropkick Murphys who never fail to play it in each live show. An anti-war anthem for each generation since it first appeared in 1867. Like the band the song’s roots are in Ireland but it’s only with the added American experience that it became a real American folk classic. They play the first half slow before the second half comes blasting out. Superb. ‘An Irish Medley’ is arranged by the band and is a bunch of well known Irish folk songs (‘Fields Of Athenry’, ‘Streams Of Whiskey’, Seven Drunken Nights etc.,)  bashed out in that certain Fighting Jamesons way. Next is ‘Tell Me Ma/The Last Thing I Remember’ and beginning with the famous folk song before morphing into their self penned tragic tale of alcohol abuse. The well known tale of a life lost in alcohol and oblivion. On the album this song is slow and angry but here is played with an urgency that tops the version off Every Day Above Ground.  There but for the grace of God…

“Every day not wasted is a wasted day”

Next up is a rather interesting cover of ‘Eleanor Rigby’ by The Beatles. Now The Beatles were an Irish band without any doubt (check out our feature The Beatles And Ireland here for proof) but it’s still came as a bit of a shock to find this classic Lennon/McCartney song sat in the middle of The Fighting Jamesons set. The bhoys kick it off with a short rap with is no doubt from small massive worldwide smash that sold a billion copies but completely passed me by! It’s a spirited version and you can’t go wrong with such great material to start with though it does show the bands versatility. ‘One More Drink’ is the last of the original material and again and one to grab your mates and let loose at the end of the night. ‘A Moment In California’ is not a song but band vocalist and banjo player Mike Powers giving a nice shout out to the bands fans and hands out some goof plain old advice we could all do with listening to. The curtain comes down on A Moment In California with perhaps the traditional Irish folk song most suited to be turned into a Celtic-Punk rocker!! ‘The Irish Rover’ has been around for donkey’s years but most outside the Irish community will remember it for the brilliant Pogues and Dubliners collaboration back in 1987. That version still gets plenty of airtime and still earns the fella’s and their families a pretty penny I am sure! Here The Fighting Jamesons give it plenty of oompf go off road a couple of times before going out on a really energetic high and I can imagine on a line-up of memorable acts at last years festival The Fighting Jamesons were one on the most memorable!

The Fighting Jamesons left to right: Jeffrey McLaughlin- Backing Vocals, Fiddle * Miles Hoyle- Accordion * George Bauman- Lead Guitar * Mike Powers- Vocals, Acoustic Guitar, Banjo * * Justin Conner- Drums * Vince Kafigian- Bass *

2019 will see the band hitting the studio again later this year to record their third full length studio album and even some distant plans to cross the broad Atlantic so keep an eye upon what they are up to. A Moment In California is officially released tomorrow, and will be available on almost all big music streaming outlets ie. iTunes, amazon music, Spotify Microsoft music etc. We don’t get a lot of live recordings to London Celtic Punks and on hearing this I can only regret their aren’t more. Nearly a hour of fantastically played fast Irish folk with very wide appeal from a band who though polished come across as sincere and heartfelt in all the right places and funny and ramshackle too. A great band and if they they ever come near where you live then move heaven and earth to go see them as on the evidence here you are guaranteed a night to remember.
Buy A Moment In California

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Contact The Fighting Jamesons

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Cullen’s Mam and Dad have set up a charity in honour of their son- Cullens Claddagh. You can check that out here and they would especially like to hear from any bands wishing to donate merchandise they could raffle off to raise money for the charity.

(raise a glass to Cullen this St. Patrick’s day. We’ll remember you in London mate)

GET YOUR FREE DOWNLOAD OF ‘IRISH DRINKING SONGS FOR CAT LOVERS’…

We are getting ever closer to ‘The Big Day’ and to celebrate Irish-American musician and cat-fan Marc Gunn has made his album Irish Drinking Songs for Cat Lovers available to download for free until the day after St. Patricks Day. Yes that’s right there’s no cost to you. Just ‘adopt’ and download the album. You’ll find details through that link.

 So let’s celebrate St Patrick’s Day with Celtic music and cats.

What the hell is this about I hear you all saying? Well it’s exactly what it says on the cover. Celtic musician Marc Gunn has spent a lifetime in the Irish and Celtic music scene and while he’s not administering the Celtic Music podcast or recording and playing more ‘normal’ music he has released a whole bunch of CD’s in tribute to our feline friends- the cat. Now I’m a cat man myself and have two, with the rather predictable names of Molly and Murphy!, so a whole bunch of Irish songs re-written with lyrics about cats is right up my alley.
Imagine for a moment all of the crazy little things your cat does. Racing around your home. Climbing on door frames. Napping in the oddest positions. Nuzzling up to you. Waking you up in the morning. Begging for food. Having them rub their tail against your leg. The list goes on and on. These are just a few of the many pleasures of owning a cat. All the beauty, the sweetness, and all the madness, that’s what this album is all about.
As Marc says himself
“I wanted to share my experience with one of life’s most-amazing creatures. I wanted your mind to meld with mine, so you can experience my cats, and I can experience yours. This is just a small sample of the purr-fect world awaiting you when you purchase a copy of this album.”

This is one of a series of cat themed Gaelic albums so feel free to download Irish Drinking Songs for Cat Lovers for a limited time only. It is available for free only until Sunday 18th March, 2019 no strings attached. Just follow the link below. Click ‘Buy the Album’ and in the pop up box name your price as ZERO and you can then download the album free!
Slainte! Meow!

DOWNLOAD Irish Drinking Songs for Cat Lovers HERE

Marc Gunn is a rhythm and folk musician inspired by Celtic culture, science fiction, fantasy, and cats. He breathes new life into the autoharp, which continues to surprise musical veterans and fans a like for it’s unique sound and spirited energy. It’s like a satirical jam session between The Clancy Brothers and Weird Al Yankovic. It’s Celtic music, the traditional and the twisted.

Marc Gunn- WebSite  Facebook  YouTube  Bandcamp  CelticMusicPodcast

ALBUM REVIEW: RUNA- ‘Ten: The Errant Night’ (2019)

Innovative and award-winning Celtic Roots band, Runa draw on the diverse musical backgrounds of its band members and offer a modern, referential and refreshing approach to traditional and more recently composed Celtic material. 

Hear the world premier of Ten: The Errant Years tonight, Sunday, March 10th, on the Live Ireland (here) radio station on The Bill And Imelda Show. The show will begin at 18:00 GMT. So be sure to tune in and join the ever growing ranks of RUNAtics!

Runa have graced these pages a couple of times before and though you won’t ever find them supporting the Dropkick Murphys (mores the pity as that would be one hell of a gig!) they are, and remain so after Ten: The Errant Years, one of the favourite bands over here at London Celtic Punk HQ. With four studio albums behind them Runa celebrate their tenth anniversary with their first release since 2016’s imaginatively titled live album Live. Over the years their prominence has risen and risen to the point now where the guests on Ten read like a who’s who of the Folk and Country scene in north America. With several Grammy award winning musicians on board for this album, including legendary Irish singer, Moya Brennan; nine-time All-Ireland Irish fiddle champion, Eileen Ivers; Nashville session musican, Jeff Taylor; and Nashville singer-songwriter and Harmonica player, Buddy Greene, and many more, then Ten already sets the bar high before you have even listened to it.
Traditional Irish folk music has never stood still. Ever. Change may have been slow at times but it always came and always despite those who would never accept any deviation to what had become before. As Ireland’s people spread reluctantly across the world they took with them their music and so Irish music evolved. From the 1940’s onward it was seen as the music of the farming communities and the working-class and held in low esteem until The Clancy Brothers shot to fame in the 1950’s and introduced it to an audience well outside of the Irish community and suddenly it become very popular. The Dubliners moved it further on with their Guinness soaked ballads of the 60’s with the Irish showbands and Celtic-Rock of the 70’s taking us up to The Pogues and their beer soaked ballads of the 80’s and the more modern development of Celtic-Punk. Outside the island of Ireland Irish music has soaked up the influences of wherever Irish people have washed up and fully embraced it. In the States that means pushing the boundaries of Irish folk into Country and Americana and Bluegrass. Runa do all this but in a much more subtle way than any Celtic-Punk would and it has been very successful too with them being awarded several honours including Top Group and Top Traditional Group in the Irish Music Awards and three Independent Music Awards including Best Live Album, Best World/Traditional Song, and Best Bluegrass Song. They even wound as #1 in the 2014 London Celtic Punks Best Trad/Folk Album of the year for Current Affairs.

Runa from left to right: Canadian Cheryl Prashker on percussion, Jake James of New York on the fiddle, vocalist and step-dancer, Shannon Lambert-Ryan of Philadelphia, Caleb Edwards of Nashville on mandolin and Dublin-born Fionán de Barra on guitar, bass, vocal and bodhran.

Together they have set the Irish folk music scene alight and will continue to I am sure with the release of Ten. The songs here represent the progression of Runa from a traditional Irish folk band to what they call themselves ‘Celtic Roots’. Music that not only takes in the other Celtic nations but also their adopted home on the other side of the Atlantic. Ten begins with Glasgow-Irishman Paul McKenna’s track ‘Again For Greenland’. It’s the usual story of an Irishman going off somewhere leaving his beloved back home on the shore.

“We leave our sweethearts and our wives,
All weeping on the pier;
Cheer up my dears, we’ll soon return,
‘Tis only half a year.”

The rumble of the bass at the beginning gives way to Caleb’s amazing mandolin and Shannon’s ever amazing vocals which lead everything along and adds so much to the music. It’s for albums like this and bands like Runa that the dictionary folk invented the word ‘catchy’ so to spare me repeating it for every song just assume that every song here is and bloody well is too!

Commemorative plaque in Mexico City unveiled in 1959: “In memory of the Irish soldiers of the heroic St. Patrick’s Battalion, martyrs who gave their lives to the Mexican cause in the United States’ unjust invasion of 1847”

‘John Riley’ tells of the Irish adventurer who left Galway during the famine years and winded up enrolled in the American army where he ends up fighting in the Mexican–American War of 1846–1848. Treated terribly by the US army and suffering from the common anti-Irish and anti-Catholic discrimination of the time John led a number of fellow Irish Catholics who decided to defect to the Mexicans, where they formed the Saint Patrick’s Battalion in the Mexican Army, fighting bravely in several battles though eventually being all but wiped out in the The Battle of Churubusco on the 20th August, 1847. Their memory is still celebrated widely in Mexico today. The song speeds along at a decent pace and Buddy Greene’s harmonica certainly livens it up along with the beat of Cheryl’s percussion. A sad story but one of many times through history the Irish proved themselves in battle. Though Shannon’s voice is intrinsic to Runa’s sound the band naturally excel with pure Irish trad and with the superb ‘Kelly Man Reels’ Jake plays amazing fiddle to the opening two reels written by Fionán before ending the track with the Scots reel ‘A Trip To Strathbogie’. ‘The Green Fields Of Canada’ sees Shannon tell another tale of Irish emigration though unusually as Andy Irvine, who recorded the song with Planxty, says
“Unlike most emigration songs, the émigré in this one appears to believe he has done the right thing”.
A beautiful song tinged with sadness as the Irishman promises to himself that when he makes it big
“If ever friendless Irishmen chances my way:
With the best in the house I will greet him and welcome”

Next up is the modern day Scottish folk song ‘Thaney’ written by Karine Polwart of Malinky. Upbeat and again Cheryl’s innovative use of percussion adds so much to the sound of the song. ‘Great Lakes Of Pontchartrain’ is an American ballad telling of a man who falls in love but the love is unrequited. Thought to have originated in the southern United States in the 19th century it is perhaps most famous for its recording by the legendary Planxty in 1974. ‘Firewood Set’ is another grand set of reels with the opening track written by fiddle player Jake and June Apple and finishing with the trad ‘Chinquapin Hunting’ and the switch from fiddle to mandolin is absolutely seamless. ‘The Banks Of Newfoundland/ Jerusalems Bridge/ Crowleys’ begins with the first of the three tracks with another sad tale of emigration. Written in 1820 the subject matter belies the tune in these songs and with two fantastic reels added onto the end it’s pure upfiting. More than half way through Runa now play a glorious cover of the David Francey penned track ‘Saints & Sinners’ which could almost have written for them. They follow this with the long forgotten Hoagy Carmichael and Jack Brooks penned ‘Ole Buttermilk Sky’. Written in 1946 for the Western movie ‘Canyon Passage’ it’s pure hokum and a welcome and jolly interlude. ‘Torn Screen Door’ is a beautiful song featured here in a stunning video below. Sung unaccompanied by music this style is known across the world as acapello but in Ireland it is called sean nós (Gaelic for ‘in the old style’) and is considered the ultimate expression of traditional singing. Usually sang as a solo but not always, here Runa tell the all too common story of hardworking working class folk losing it all.

In true sean-nós style the words are considered to have as much importance as the melody as in ‘Torn Screen Door’. With ten years under their belts it’s only natural that people have come and gone but Runa always welcome them back for more, as on their last album Live, and the following few songs have a handful of ex-members joining in, like on ‘Runa Alumni Set’ which flips from folk to jazz to trad Irish and back again all seamlessly and is an absolute pure joy to listen to. Just three songs to go and on ‘An Buachaillín Bán’ Runa are joined by Clannad’s Moya Brennan as well as Fionán’s brothers Cormac on harp and Eamonn on flute for a beautiful and gentle version of this Gaelic language song. ‘Dance In The Graveyards’ again shows the bands versatility with a cover of the North Carolina-based roots-rock band Delta Rae’s 2012 hit and the curtain comes slowly down on Ten: The Errant Years with the trad Appalachian spiritual ‘Bright Morning Stars’. Slow and mournful and a superb way to end things.

CLICK HERE TO HEAR A PREVIEW OF THE ALBUM

Runa have an amazing way of interpreting work and with the songs here ranging from centuries old to modern times the selection is as varied as you could wish for while still having Runa stamped all the way through it like a stick of seaside rock. There are no boundaries for Runa as they continue to expand on their Celtic sound and even throw in such gems/surprises as ‘Ole Buttermilk Sky’ among the sometimes haunting and tragic melodies and themes from Ireland and Scotland giving such a refreshing take on Celtic traditional music. It is no wonder that Runa are well received everywhere they go and their reputation as one of the best and inventive folk bands of this modern era is well deserved.

Discography

Jealousy (2009) * Stretched On Your Grave (2011) * Somewhere Along The Road (2012) * Current Affairs (2014) * Live (2016) *

Buy Ten: The Errant Night

CDbaby  -their is no pre-release order so the CD will be available here shortly

Contact Runa

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EP REVIEW: THE TWO MAN TRAVELLING MEDICINE SHOW- ‘Oh Me Oh Mi’ (2019)

A brand new EP from Dorset’s finest purveyors of ramshackle Americana-Country-Folk-Punk band The Two Man Travelling Medicine Show hits the shops! Released tomorrow on Musical Bear Records.

Seems like only yesterday (it was in fact last December!) that we were introducing you to the sounds of The Two Man Travelling Medicine Show and here they are again following up A Snakes A Snake with another brilliant release, this time in the shape of new EP Oh Me Oh Mi. Formed in Dorset in 2016 they have rapidly become firm favourites on the south coast music festival scene in a relatively short time. I saw them on the bill at Cursus festival last year and as infectiously fun and lovable as anyone who played that weekend. They describe themselves as ‘Heartfelt, Ramshackle Country Punk’ and that seems as good way to tell you that their sound comes packed with influences from all over the shop all packed together in what back in the day we use a call a ‘festival’ band. The sort of band (Dorset and it’s neighbour Devon have always had loads of them) that never seem to record anything and are really nothing much more than a large group of mates who get together and jam danceable good time folky tunes at festivals. In the olden days it was Demo tapes and these days its the internet that introduces us to bands we may never see. Oh Me Oh Mi is the bands fourth release after their debut album, Weeding Out The Wicked, in 2017 and two singles Float Your Boat and A Snake’s A Snake. So as you can see they have been tremendously busy racking up more releases than most bands twice their age.

The Two Man Travelling Medicine Show left to right: Seb Hartley- Harmonica, Mandolin * Martin Giles- Guitar * Steve Wareham- Slapbox * Alison Jay- Violin * Chris Pearce- Keys (back of photo) * Rob Volves- Bass (back of photo) * Olly Hopper Pay- Guitar, Cello (back of photo) * Mark Lyons- Singer, Guitar * Jamie Lynch- Lyrics * Brad Watt- Banjo *

The EP opens with the title track ‘Oh Me Oh Mi’ and its a pure cacophony of sounds. As you can see from the band picture ten members can certainly kick out a novel and engaging sound. Its got a certain country swing to it alongside the gentle folky base. Lead vocalist Mark describes the song

“Obsession with reading great books as a youth and how I actually thought I was the hero when reading them. I would honestly believe I was Owen Meany or the next Bilbo Baggins, escaping reality through literature.”

At nearly four minutes the track is given a good chance to develop and is a great slice of folky pop music.

It’s followed by ‘Make The Bed’ and while there’s none of the energetic upbeat folk we loved when we saw them live this is more of that folkish pop in the style of the opening song. A clever song with clever lyrics that is the kind of love song that only couples will be able to relate to. So far so good but to be honest its the final track, ‘My Banjo Player Hates Me’ which really got me tapping me toes as I’m sitting here typing this. Whether or not Brad really does detest the song is autobiographical you’ll have to ask Brad and Mark. I couldn’t say! This more of what I like The Two Man Travelling Medicine Show for. Don’t get me wrong the opening songs were great but bands like this have an ability to get you onto your feet and ‘My Banjo Player Hates Me’ is the perfect song to get you moving. Catchy as hell with that abundance of sounds coming out at you from every direction. American bluegrass butts heads with quaint auld English folk. Perfectly produced as you can hear every contribution to the song which tells of the various band members anger at the singers constant search for perfection. A dark tale of hate and murder.

The Two Man Travelling Medicine Show are quintessentially a English folk group that has soaked up enough influences to make them more than interesting enough. A band that English Summers were made for they manage to combine busy and energetic country/folk with some slower more intense material that only adds to their worth as a great band. With Oh Me Oh Mi though they have proved they are not just for bouncing up and down to in the English countryside, theirs a whole lot more to them.

Buy Oh Me Oh Mi

Contact the band via mark1lyons@icloud.com  or you can buy their debut album here

Contact The Two Man Travelling Medicine Show  Facebook

Musical Bear Records  WebSite  YouTube  Facebook  

IT’S MARCH! DOUBLE EPISODE OF THE CELTIC PUNKCAST #24 OUT NOW!

It’s March and the month of Wales, Cornwall and Ireland’s patron Saints. So with that in mind it’s the perfect time for a ‘supersized’ episode of The Celtic Punkcast. Two hours of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world.

Stream live or download to listen to later and enjoy!

Myttin da! Welcome to the second ever supersized March edition of the Celtic Punkcast. This month the show is twice as big as a normal episode, meaning I’ve crammed as much great music as I can into almost 2 hours. Play this one loud on St Paddy’s and St Pirans Day! Here’s the tracks from some of the biggest names in the celtic/folk punk genre.

 

THE GOBSHITES – ‘Swallowtail Jig’

THE MAHONES – ‘The Wild Rover’

THE SKELS – ‘Raggle Taggle Gypsy’

THE VANDON ARMS – ‘Muirsheen Durkin’

ALTERNATIVE ULSTER – ‘The Parting Glass’

BLACK ANEMONE – ‘Drunken Sailor’

BRACE YOURSELF BRIDGET – ‘Whiskey In The Jar’

DROPKICK MURPHYS – ‘Fields Of Athenry’

GAELIC STORM – ‘Johnny Jump Up’

IRISH MOUTARDE – ‘The Wearing Of The Green’

ORTHODOX CELTS – ‘Rare Old Mountain Dew’

T.C. COSTELLO – ‘Botany Bay’

THE KREELERS – ‘Boys Of The Old Brigade’

THE POGUES – ‘Leaving Of Liverpool’

THE TOSSERS – ‘Mairi’s Wedding’

THE TEMPLARS OF DOOM – ‘Wrap The Green Flag’

1916 – ‘All For Me Grog’

BLACK TARTAN CLAN – ‘Banks Of The Roses’

CHARM CITY SAINTS – ‘Come Out Ye Black And Tans’

FIDDLERS GREEN – ‘I’ll Tell Me Ma’

HANDSOME YOUNG STRANGERS – ‘The Green Fields Of France’

KILMAINE SAINTS – ‘Finnegans Wake’

SAINT BUSHMILLS CHOIR – ‘The Foggy Dew’

THE LANGERS BALL – ‘Galway Races’

THE YOUNG DUBLINERS – ‘The Rocky Road To Dublin’

BLAGGARDS – ‘Irish Rover’

DREADNOUGHTS – ‘Katie Bar The Door’

FIFFIN MARKET – ‘The Night Pat Murphy Died’

PUDDLES PITY PARTY & CAIT O’RIORDAN – ‘I’m A Man You Don’t Meet Everyday’

NECK – ‘Star Of The County Down’

SELFISH MURPHY – ‘The Auld Triangle’

THE DUBLINERS – ‘Molly Malone’

You can listen to the March episode of The Celtic Punkcast at the link below. Simply click for two hours of the best Celtic-Punk of the past and the present and remember you can listen to it live or else download to listen at another time.

THE CELTIC PUNKCAST #24

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

GIG REVIEW: BACKSEAT HOOLIGANS IN NEW YORK – 17th FEBRUARY 2019

“On the 1st day of March it was raining…” so sang yer man and if the Celtic nations ever do get more than a cursory glance then March would a perfect time to do Celtic History Month. With today being the feast of St. David of Cymru, the 5th for St. Piran of Kernow and the 17th Ireland’s for St. Patrick then we can safely say that March belongs to us. To get us in the right spirit we thought we’d give a shout out to one of the lesser known bands on the scene the Backseat Hooligans out of South Central Pennsylvania and Maryland. Good friend of the band Johnny Piper of brilliant fellow Celtic-Punkers Alternative Ulster popped along to their show a week or so ago to check out the competition and was suitably impressed.

February 17 in Poughkeepsie, NY saw the kick-off show of The Dropkick Murphys’ annual Spring tour culminating in their St. Paddy’s Day Boston bash. Central Pennsylvania’s Backseat Hooligans took the opportunity to stage a road trip and perform a pre-show party at Mahoney’s Irish Pub down the street from the concert venue. 

the Bhoys about to set sail…

Reminiscent of The Go Set and The Real McKenzies, their 90+ minute set kicked off with a bagpipe jig by Chris Spagnolo that built into a wall of sound as the rest of the band joined in. This lively tune morphed into an abbreviated DKM’sThe Boys are Back’, with multiple band members lending enthusiastic voice to the chorus. The six lads certainly seem to enjoy each others company, a necessity given how far they traveled together in drummer Johnny Sexx’s epic tour bus. The dedicated Johnny drove six hours one way from south of Baltimore to central PA to pick up the lads then on to Poughkeepsie. Ever gracious and supportive, The Hooligans stuck around for Alternative Ulster’s set prior to retracing their six hour odyssey. Next the bagpipes laid down the melody of Johnny Cash’s ‘Ring Of Fire’. Speaking of rings, Mahoney’s 2nd floor dining level is open to the lower stage level through a giant circle decorated with the crests of all 32 Irish Counties. During the song, the circle was lined with the toddlers and children of diners above enthusiastically dancing their diapers off. The Hooligan’s sound is infectiously vivacious.
(‘Battered Mug’ from the Backseat Hooligans upcoming EP.
Due out soon so watch this space for more to come!)

The band moved smoothly and rapidly through well rendered versions of ‘Galway Girl’, The Real McKenzies’ ‘10000 Shots’, a bagpipe driven medley of ‘Itchy Fingers’ (a difficult reel well executed), ‘Scotland The Brave’ and ‘Willie Nae’, onto ‘When Johnny Comes Marching Home’, ‘I Fought The Law’, ‘Drunken Sailor’, and The Stanfields ‘Dirtiest Drunk’. Numerous songs were punctuated by excellent lead guitar riffs by Arik Trimmer.

the quiet before the storm…

The Hooligans have recently been recording new original material and the two original songs they performed at Mahoney’s were the highlights of the show for this writer. First off wasOld Battered Mug’, a tribute to their local speakeasy which starts quietly with front man Keith Kelly singing the chorus accompanied only by mandolinist Dave Garry, followed by four quick stick clicks and the full band launches into a mighty sound with the bagpipes carrying the melody and the guitar and rhythm section with A.J. Mitchell on bass delivering an energetic punker. Things mellowed briefly with a fine rendition of Mr. Irish Bastard’s ‘I Hope They Sell Beer In Hell’ only to be amped up again with the ubiquitous ‘Shipping up to Boston’, the familiar jig line played on mandolin and, rather uniquely, Chris Spagnolo’s saxophone. 
A ska version of ‘Kiss My Irish Ass’, ‘Fields Of Athenry’ with the melody carried by bagpipes, something that sounded like ‘Skinhead On The MTA’, ‘Tooraloo’ and ‘Not Your Stepping Stone’ (perhaps only a coincidence that Peter Tork died soon after) led to the second, excellent original, ‘Pints Of Whiskey’, the opening guitar riff of which had me looking to the bagpipes as the source of the fantastic sound. Both originals were total class and here’s hoping for many more. Like many an Irish punk band before them, the closer was AC/DC’s ‘It’s A Long Way To The Top’ and these lads do not suffer by comparison. The large (especially for 4 PM) crowd demanded an encore which was duly delivered with the bagpipe-centric traditional folk tune ‘Blooming Heather’ (a/k/a ‘Wild Mountain Thyme’ a/k/a ‘Purple Heather’ a/k/a ‘Will Ye Go, Lassie, Go?’). Unwilling to go was the piper, who played on as if only just getting started, a fabulous conclusion to a fabulous gig.
Contact the Backseat Hooligans-
As we have said a thousand times it’s not all about you know who (and you know who) its the little bands that makes a truly great scene and Backseat Hooligans are as important in it as anyone. We urge you all to continue to check out the lesser known bands in Celtic-Punk and never be put off by them being across a ocean or a continent as that means very little these days. Big thanks to Johnny for taking the time out to write the review and if you wish to see Backseat Hooligans they next take the stage at the Kingston Kilt Festival on March 9th and before anyone gets too excited this is Kingston in New York not Kingston on the outer edge of south-west London. A very easy mistake to make believe me! The festival is being held at Tony’s Pizzeria at 582 Broadway, Kingston, New York and you can find more details here at the Facebook event. 

ALBUM REVIEW: MICKEY RICKSHAW- ‘Home In Song’ (2019)

“Locations change, friends change, scenes change, but we always have a home in song”.

Boston’s Mickey Rickshaw have long been considered the future of Celtic-Punk by some (guilty!) so a couple of years on from Behind The Eight Ball could their third studio album live up to the weighty expectations we had put upon it? Well read on to see what our good man Marv thought of it.

For the uninitiated, according to their website, Mickey Rickshaw is a “high energy Celtic Punk band that plays fast and loud”. Hailing from Boston, home to so much great music, and with a couple of albums and EP’s under their collective belts (there are eight of them!), ‘Home In Song’ is their third and latest album, due for release soon.

With a heritage like that, and not ever coming across them before, I was excited to review this album. I mean they are from Boston, am I right?! But strangely, on first listen I didn’t take to it. I have no idea why that is. Perhaps I was tired or just feeling a bit odd, or perhaps it was because I was on the train on the way to work on a Monday morning. I don’t know what I was expecting, but I wasn’t feeling the love. The first couple of tracks just didn’t work for me; the phrase “trying too hard” crossed my mind. Looking back now, I don’t understand it. I love the punkier end of the folk punk spectrum and these guys have raw folk punk oozing out of their pores. So I let the album run on, after all you can’t write off an album after a couple of tracks and it certainly wouldn’t make for a fair review. I am very glad that I did.

(The video for ‘Home In Song’ was shot in the very American Legion that the song was written about, which is now privately owned and operates as a recording studio, and venue, WAMLEG. Directed and edited by the bands own Mike Rivkees)

“And then the sun came up on another day and we found ourselves in time, abandoning a scene that we felt that we built together.
Disenfranchised kids who found a home in song.
Music with a fist- we played it for so long.
Best friends of our lives- formed the strongest bonds,
and now our heroes, they’re falling one by one.”

The sound is predominantly loud bass, overdriven electric guitars over manic drumming (their drummer sure does love his crash cymbals!), thrashy and powerful, with shouty vocals and mob-chorus harmonies. It’s hard to avoid comparisons with the Dropkicks, but these are no DKM wannabees. Think of ‘Buried Alive’ from the Dropkicks’ ‘Blackout’ crossed with some Stiff Little Fingers and you’ll be in the ballpark.

This album just builds and builds. It’s a bit like going to a gig on rainy wet Tuesday; it takes some time to forget about the water seeping in through your shoes. By track four, ‘Keep Afloat’ they take a deep breath, slow it down a tiny amount and say to themselves (I imagine) “Right boys, let’s get this done”. Because let me tell you, you soon forget about that downpour. From there on there is no let-up, no looking back; the power and the energy scream out of the speakers and by the time we get to track six, ‘Fang’, the boys are belting it out and taking no prisoners.

This is no fiddle-de-dee music, there is no shoegazing or worthy whistle solos here. This is hardcore and filthy folk-based punk make no mistake. The absolute artistry of these tracks though, is how every now and then they drop the guitars out for a bar or two and let the melody carry the music to remind you of its glorious roots. After the magnificent onslaught, it is a welcome and jarring break just for a second or two, then they hook you back in and bludgeon you into submission. I get the feeling the entire album is designed to soften you up for the final track, ‘Floodgates’. Even after all the preceding mayhem it takes the music on this magnificent album to a new level with a banshee of a pipes riff. It’s an absolute masterpiece, an exemplar for the genre and I keep going back to it time after time. I learnt something today; more traditional Celtic folk punk, dare I say more melodic folk punk, with its mandolins, banjos, fiddles and tin whistles may be a joy, but there is a place deep in my heart for the fast, dirty, uncompromising and brutal tunes of Mickey Rickshaw and their like.

    Mickey Rickshaw left to right: Jimmy Donovan – Guitar * Chris Campbell – Drums * Jake Sullivan – Fiddle * Mike Rivkees – Lead Singer * Kyle Goyette – Bazouki * Shane Welch – Bagipe/Tin Whistle * Tom Donnelly – Guitar * Derek Dooley – Bass

I have re-listened to this album many times now and after a while I think I finally got it. No more did the first couple of track sound forced, the fault had always been entirely mine. They were just the first hesitant steps on a journey to a different destination. You can pick up Mickey Rickshaw’s previous albums from their Bandcamp page on a pay-what-you-like basis for which they have my utmost respect. Today was a school day.

Buy Home In Song- Released March 1, 2019

Bandcamp   ArrestRecords (T-Shirt/Vinyl offer)

Contact Mickey Rickshaw

WebSite  Facebook  Bandcamp  Twitter  YouTube  Instagram   Merchandise

ALBUM REVIEW: GREENLAND WHALEFISHERS- ‘Based On A True Story’ (2019)

Long time thought of as ‘more like The Pogues than The Pogues are’ Norway’s unpolished Irish-Punk pioneers Greenland Whalefishers show they can also adapt to new sounds with their new album garnering applause from all over the internet. 

Now in their 25th anniversary year Greenland Whalefishers have done as much as anyone has to keep The Pogues flame burning bright. Beginning in the small bars around their home town of Bergen in Norway they played their very first concert on the 8th March, 1994 and haven’t looked back since. With album and single releases now well into double figures, gigs and tours across most of the world and appearances in several major films they have slowly, but surely, built up a global fan base and all done off their own backs. They were one of the first bands to develop the sound made popular by The Pogues taking British punk attitudes and sound and combining it with Celtic/Irish folk influences and from there all roads lead to what we call today Celtic-Punk.

One of the most striking things about The Pogues career was that though they are primarily known as a Irish folk band they often throughout their days strayed into other music. Whether that was Folk, Irish, Punk, Jazz, Reggae, Tex-Mex, Country, Ska and more they still managed to keep that unmistakable Gaelic tinge to everything and it gave traditional music the shot in the arm it needed (whether the folk snobs purists agreed or not they became irrelevant) and introduced Irish folk to a worldwide audience. Greenland Whalefishers have primarily been thought of as a band that sticks to The Pogues script pretty rigidly but here on Based On A True Story the true spirit of The Pogues is unleashed and the Whalefishers sound all the better for it!

 

The Whalefishers tenth album begins with ‘Over’ and for the initiated it kicks off just like Shane and the gang. Vocalist and band former Arvid’s laconic and laboured delivery is straight out the Pogues style book. Agnes on tin-whistle echo’s Spider’s important role and throughout the album her whistle can be heard laid gently on top of the more heavier instruments. ‘The Party’ begins with a speedy opening but soon settles down and comes with a traditional Poguesy anthemic chorus which leads us into the the first single released from Based On A True Story, ‘K Says’, and to say it went down well is an understatement. Across the internet Web-Sites that cover everything from Punk to Metal to Folk to Ska have gone mental for it! Arvid goes all Rude-Boy on us and we get as fine a slice of Celtic-Ska crossover since The Trojans (here) knocked us for six way back in 1987.

‘K Says’ is to the Greenland Whalefishers what ‘Fiesta’, ‘Metropolis’ or the whole of ‘Hell’s Ditch’ was to The Pogues. A chance to not move away from Irish folk but to take it with them into new and strange lands. They followi up with friend of the band Åse Britt Reme Jacobsen taking over on vocals for ‘Darkness’ before Arvid joins in to duet on a country tinged number. Time for a kick-arse track and ‘Friend-Enemy’ comes at just the right time. Sounding, despite his strong Norwegian accent, scarily like Mr. MacGowan at times Arvid carries the song and indeed a lot of the songs here with his voice, just as that band I keep mentioning did with Shane. ‘Joe’s Town’ is upbeat fast as feck Irish folk music. Nearly acoustic except for Jon-Erik’s electric guitar which at times is so subtle the album sounds like an acoustic one. ‘Halloween’ sees Arvid singing faster than any person ever should be able to along to a song that keeps the pace up as Odin’s fiddle and Ronny and his array of instruments, mandolin, banjo and bouzouki, keep the Irish turned up to 11! ‘Bad Match’ tells of a relationship gone bad and could easy fit upon If I Should Fall From Grace With God with its intelligent lyrics and punk rock styled folk music. One of the highlights here and my personal favourite after ‘K Says’. We are nearing the end and so far its the usual high standard from one of the Celtic-Punk scenes big hitters and ‘Together’ takes on a epic Punk ballad sound while ‘Ticket’ takes us back to the early days and a basic Irish folk rocker which takes us up to the last track.  Great choice of song to bring down the curtain and ‘Riverside’ is another standout track which has that country tinged Irish Fol-Punk feel to it. Again Agnes and her tin-whistle keeps the song on track.

Band from left to right: Ørjan Eikeland Risan- Drums * Ronny Terum- Mandolin, Banjo, Bouzouki * Atle-Hjørn Øien- Bass * Agnes Skollevoll- Tin Whistle, Harmonica, Vocals * Arvid Grov- Lead Vocals, Mandolin * Jon Erik Kvåle Øien * Alexander Bjotveit- Guitar * Odin Døssland- Fiddle * Photo- Lars Kristian Steen *

Forty minutes long and containing eleven tracks Based On A True Story has been released as limited edition vinyl with a free CD version of album inside the sleeve. The vinyl album will contain a free bonus 7″ single with two songs only available through this single and no digital version or streaming version of these tracks will be made available. The Celtic-Punk scene has a lot of bands out there that sound like The Pogues. After all they are/were the major influence for all Celtic-Punk bands in the beginning but none sound as much like them as the Greenland Whalefishers do but don’t go away thinking they are a tribute band as they are a million miles away from that and it is when they sing their own songs that they really shine as a band. Formed well before the two pillars of Celtic-Punk Greenland Whalefishers look set to outlast both the Murphys and the Mollys and their never ending World tour continues!

Buy Based On A True Story

You can Pre-Order the album from MacSlonsShop and receive Vinyl and CD together from 8th March.

Contact Greenland Whalefishers

WebSite  Facebook  Twitter  YouTube  Spotify

ALBUM REVIEW: T.C. COSTELLO- ‘Horizon Songs’ (2019)

Most American artists we only get to know from their record releases but it seems T.C. Costello drops over this side of the broad Atlantic often enough for him to develop quite the following for his anarchic accordion Folk-Punk!

Horizon Songs is the sixth studio album from long time auld mucker of London Celtic Punks T.C. Costello. Though based in his adopted home town of Greenville, South Carolina he’s also a part time member of Leicester based folk-rockers The Brandy Thieves and is often found crossing the pond to join them here on stage in the summer months during festival season. During this time he also ventures across Europe and has always also found time to do a couple of shows for the London Celtic Punks, as well as spending the afternoon entertaining the auld folk residents at the Nursing home I work at! A visual tour de force its not many who can pull off a gig supporting punk bands or playing for the oldies but T.C. manages both with ease. The official release date for Horizon Songs was 28th December, 2018 but I am ignoring that and putting it down as a 2019 release. I actually did have a copy in my hand at TC’s successful gig at The Lamb in Surbiton at the end of last Summer but TC sold so many CD’s I had to give him my copy back so he’d have some for the later gigs on his tour!

T.C.’s roots, like many Irish-Americans, are lost in the midst of time and the chaotic nature of their ancestors arrival in America but cherished they are and though not entirely responsible for T.C.’s output they do play a large part. Among the ‘murder ballads’ and sea-shanties here are gems from Ireland’s musical history (except for ‘The Wild Rover’. He fecking hates ‘The Wild Rover’!) and his identity as descended from immigrants fleeing famine and oppression has played a large part in the songs he plays and writes.

“The tour I did this year took me to Italy, England, Scotland and Ireland,” Costello says. “And their traditional songs have a lot of influence on my songwriting, anyway. I just draw off the traditional sources, both musically and lyrically, and if you write in that style, you’re probably going to write about immigration or murder.”

T.C. Costello’s latest release, Horizon Songs is pretty much a one man Celtic-Folk-Punk album as T.C. is one of those talented bastards who can play a multitude of instruments from tin-whistle to accordion to the hulusi (sort of a Chinese bagpipe). The album opens with the darkly humorous ‘The Muse Of Mary Malloy’, a perfect example of a ‘Murder Ballad’ in which poor Mary gleefully goes about murdering any poor man who falls for her charms until she finally finds the man of her dreams and after accidentally bumping him off is sentenced to death. Originally penned by and for T.C’s English band mates in The Brandy Thieves T.C. plays a memorable version here.

Next on an album that is heavy on traditional immigration themes is the old trad Irish folk classic ‘The Leaving Of Liverpool’. Played with gusto and for good reason this is a popular song among the punkier bands in the Celtic-Punk scene as it can be played at 110mph as T.C. shows here! It’s bittersweet tale of a Irish man saying goodbye to his beloved,

“so fare thee well my own true love; when I return united we shall be”

, to leave to mine for Gold in 1800’s America, The jocularity of the tune is tempered by our realisation that this journey ended in tragedy for most of these young men. T.C. gave his comments on this great ballad in his recent review on these pages of the new album from The Templars Of Doom, here, last week. With two toe-tappers so far it’s time for a slow one and ‘Dear Bonnie’ and T.C gives full vent on the accordion and his vocal range is impressive as well. Now no one would accuse him of ‘crooning’ his way through things but his is a voice that portrays emotions and feelings and fits snugly within his songs. No Celtic-Punk album is complete without a drink song and ‘The Ballad Of Being Born In A Bar’ does the job ably, complete with cautionary tale that absolutely none of us take any notice of! ‘Run Like Hell / See The World’ is not two songs but one I think he couldn’t decide to name. Played fast again with a gang chorus of friends its a ode to sailing across the oceans leading into ‘It Starts With A Funeral’ ,a short but sweet song lasting just eighty seconds that finishes with a heavily Irish influenced flourish at the end that I would have liked to have seen extended. Next up is one of the album highlights and the wonderful ‘May The Horizon Be Your Home’ sees T.C. accompany some utterly fantastic accordion here with equally good tin whistle, 12-string guitar, ukulele and clawhammer banjo. The words here are aimed at those that would deny sanctuary to those in desperate need.

One of the jobs that immigrants, especially the Irish as their farming skills were all but useless in the new country, found work in was the mining industry and not many jobs were more dangerous and badly paid than down the pit and ‘Murder In The Diamond Mine’ tells of the desperation of one poor soul to get out of the mine which he eventually succeeds in doing but at a great price to his soul. Another tragic traditional Irish song follows with ‘Botany Bay’, sung by many Irish bands including The Pogues and the Wolfe Tones it tells of an an Irish labourer dreaming of immigrating to Australia to make his fortune.

“Farewell to your bricks and mortar,
Farewell to your dirty lies.
Farewell to your gangways and your gang planks,
And to hell with your overtime.”

We coming towards the end and ‘Horizon Songs’ ends with three excellent songs, the first of which ‘Highlands of Afghanistan’ is a modern re-working of the traditional folk song ‘Lowlands of Holland’ while ‘Grine Kuzine’ (in English ‘My Green Cousin’) sees T.C. test out his Yiddish language skills. One of a group of songs known as ‘disillusionment songs’ as they deal with the disappointment felt by many Jewish-Americans that the streets in the USA were not ‘paved with gold’ and instead they carried the poverty and hard times across the ocean with them from Europe. Horizon Songs ends with the amazing ‘Over The Skies’ and a angry, but told beautifully, ballad again with excellent accordion. Thinking that was the end it came as a shock to find an, admittedly not too surprisingly, eccentric extra track hidden away at the end so be sure not to miss that…

Jens- Matilda’s Scoundrels, Johnny- gun for hire! and T.C. at The Lamb in Surbiton 2018.

Recorded in 2018 while T.C. was touring Ireland, Italy and England and in between gigs reflecting on his immigrant heritage while passing from country to country with ease. The news was filled with stories from home with hardly a day going by without the headlines being about border walls or people attempting to enter the US. For this reason the album he wrote leans heavily upon new and old stories of immigration alongside ones about drinking, murder, sailing and death. All online sales of Horizon Songs will be donated to the non-profit organisation familiesbelongtogether.org, helping families at the US-Mexico border. Admittedly like many in the Celtic-Punk scene T.C. is best captured live on stage but he always manage to capture the energy of his live shows admirably on his records and I defy you to find many more in the scene who are as entertaining.

(have a listen to Horizon Songs on the Bandcamp player below)

Buy Horizon Songs

FromTC

Contact TC Costello

Facebook  Bandcamp  Tumbler  ReverbNation  Twitter  YouTube

(T.C. entertaining the crowd at The Gunners for the London Celtic Punks masses last Summer at the start of his European tour. Thanks to Anto Morra for filming.)

ALBUM REVIEW: THE TEMPLARS OF DOOM- ‘Hovels Of The Holy’ (2019)

What to do when a mate releases a new album? To stave off any allegations of nepotism ye rope in a guest reviewer to do it instead! With Ulster county Celtic-Punks The Templars Of Doom second album out our favourite South Carolinan Folk-Punk accordion playing multi-instrumentalist TC Costello rode into town with some pen and paper and he got the job! 

Hanging out with a fellow multi-instrumentalist friend once, we came to the conclusion that we both played one or two instruments well, and were sloppy on about ten instruments.  ‘Good enough to be in a (expletive deleted) punk band’, I believe he summarized.  But how would sloppy mandolin and tin whistle fit into such a punk band?  Most Celtic-Punk bands are full of ace musicians. Ulster, New York’s Templars of Doom have that precise answer, though the band is far from (expletive deleted.)

(hear the first Templars Of Doom album Bring Me The Head Of John The Baptist on the Bandcamp player below. Available to download at a knockdown price!)

The five-piece band features bagpipes, electric guitar, acoustic guitar, bouzouki, banjo, mandolin, tin- whistle, bass and drums, often with members doubling up on instruments.  None of them show great virtuosity on their instruments, but therein lies the point, and with their powers combined, they form one of the most punkiest acts in all of Celtic punk.

The Templars Of Doom : Rory Quinn * Marty Shane * Josie Rose * Michael X. Rose * Eric Pomarico *

On ‘Hovels of the Holy’, the Templars approach Celtic-Punk in an non-obvious way, owing more to the sloppiness of The Clash and The Sex Pistols than the wall-of-sound distorted guitars of Flogging Molly or Dropkick Murphys.  

The opening instrumental, ‘Templars Rise From the Crypt’, works as a sort of overture and evokes background music in a pulpy adventure movie.   Indiana Jones, Perhaps?  Opening with a picked bass line that fits comfortably between Celtic and old-school punk, the song builds up with mandolin, bouzouki, tin whistle, electric guitar and, best-of-all, hellish screams.  It’s reminiscent of some of The Pogues’ early instrumental numbers like ‘Metropolis’ or ‘Wild Cats Of Kilkenny’.

The next track, ‘H-Block Escape’, sounds like the rebel song that The Clash never wrote, starting with the shout-along staccato chorus.  

’38 in ’83! H-block escapee! 38 IRA Free’!

and features some bagpipe work that’s oddly like of some the Clash’s unassuming lead guitar lines, backing up and strengthening the vocals. ‘H-Block Escape’ sets the tone for the album overall, establishing that the album is packed with strong choruses, brazen about its punk influences, and is full of lyrics that will send you to the history books. 

 Next comes ‘Black Friday On My Mind’, proudly continuing the the funny-but-sad aspect of Celtic-Folk, telling the story of a truly destitute individual looking forward to the US’s celebration of commercial decadence known as Black Friday, the day following Thanksgiving.  It opens with the line:

Black Friday’s on my mind, waiting on the breadline

The rent money’s all been spent, and the children have no clothes.

In addition to sing-along Pogues-like chorus and bluesy lyrics, it has a jaunty 3-chord instrumental breakdown that I found hard not to mosh to.

The Templars’ rendition of ‘Leaving of Liverpool’, with it’s driving 4/4 rhythm and sloppy mandolin part is a good reminder that playing as fast as humanly possible isn’t the only way to make a traditional song punk, a reminder I myself probably need.  The Templars also include the rebel songs: ‘God Save Ireland’, ‘Wrap the Green Flag’, and the send-you-to-the-history-books ballad ‘Roddy McCorley’.  All three of these rebel songs involve the characters dying at the end.  

‘Beggar on the Road’, is one of the spookier songs on the album.  Starting with a tin-whistle and banjo intro, it tells the story of a drunk helping an impoverished and badly injured beggar.  The narrator gives him bread, clothes and whiskey (they are a Celtic-Punk band after all.)  ‘Jesus Christ!  what happened to you’? the shocked narrator asks the beggar.  The beggar responds, ‘How did you know my name’?  ‘You’re a bastard and a scoundrel, but this day you saved your soul’, concludes the final verse.

Also on the album a cover of Slade’s glam rock classic, ‘Mama Weer All Crazee Now’, which works surprisingly well as an all-acoustic drinking song, and the bawdy-but-frightening ‘Tattoo Covered Hag’, whose three-chord, and three-word, chorus is one of the strongest on the album.  

The album finishes with a bagpipe-and-lead-guitar-heavy rendition of the Ramones’ ‘Chinese Rocks’, a song about addiction ruining a life, but also, in classic Ramones style, a joy to listen to.  It proves a fitting way to conclude the album that deals with some dark themes, is a pleasure to hear and a celebration of the band’s old-school punk influences. 

(you can hear the new Templars Of Doom album Hovels Of The Holy for free -before you buy it!- on the Bandcamp player below)

Buy Hovels Of the Holy

FromTheBand  CDbaby  iTunes  (cheapest way to order the CD for Europe is via CD Baby)

Contact The Templars Of Doom

Facebook   Bandcamp  YouTube  Spotify  Instagram

Tune in again in just a few days time when its TC Costello’s turn under the London Celtic Punks microscope. In a perfect world we ought to have got one of The Templars Of Doom to review TC’s new album but there you go. TC has just released his sixth album of his career and the self released Horizon Songs is certainly one of his best and judging by the crowd that night down The Lamb in Surbiton were selling like hot cakes! So come join us again for that….

THE NEW SINGLE FROM GREENLAND WHALEFISHERS COMES ASHORE!

After almost a quarter of a century at the forefront of the Celtic-Punk scene Norway’s Irish Folk-Punk ambassadors Greenland Whalefishers show they still got plenty more in the barrel with a new single taken from the upcoming album Based On A True Story set for release next month.

Way back when the Mollys and the Dropkicks were just a twinkle in the eye a band from Bergen in Norway took to the stage to play their first ever gig. That day when Greenland Whalefishers played their very first concert on 8th March, 1994 saw the first major development in Celtic-Punk since Shane MacGowan and The Pogues first thought of combining British punk with Celtic/Irish folk influences. More than two decades later they are still going strong and have played just about every corner of the world. ‘K Says’ is the first single from the new upcoming studio album Based On A True Story which will be released on the anniversary of that night nearly twenty-five years ago. After the album release concert at home in Bergen, the band will play concerts in Germany, France and the Czech Republic.

Greenland Whalefishers- WebSite  Facebook  Twitter  YouTube  Spotify

Full a full biography of the fascinating history of Greenland Whalefishers check here.

Greenland Whalefishers are so amazing they had an award winning documentary made about them last year that is now available on You Tube so settle down with a cup of tea and a packet of biscuits and watch ‘Twenty Years Of Waiting- The Movie’ the inside story of how a small Celtic-Punk band from Norway went from playing small bars in Bergen to becoming festival favorites all over the world!

EP REVIEW: THE PLACKS- ‘Rebellious Sons’ (2019)

The debut release from The Placks based in the Scottish Highlands and Islands. World champion Pipers and Punk-Rock legends combine to play a concoction of Celtic infused Punk-Rock and Trad-Folk, but with melody, mirth and a message!

One thing that is always levelled at the Celtic-Punk scene is that it is often inauthentic. There are two kinds of people who make this allegation usually. One is the folk music snobs purists who cannot stand to see their music ‘fiddled’ about with and updated. These people are usually happy for ‘folk’ music to remain isolated from the public within their own ghettos where they can remain ‘big fishes in little ponds’. The other kind is those that quite simply do not understand the Celtic diaspora. Many in Scotland and Ireland consider the children of those forced into exile as little more than a joke. I think this is mainly because we share the values and culture of those original exiled people and in modern day Ireland and Scotland this is seen as old fashioned and outdated. Where the children of Ireland may listen to the latest American ‘Grime’ artist those same children if born in Milwaukee or London or Memphis or Brisbane could be learning the traditional folk music of their ancestors or, even better, playing it. Celtic-Punk is a direct link for many of us to what we consider as ‘Home’ but it doesn’t worry me at all that folk back ‘home’ don’t get it. After all it was the same children of the Celtic diaspora at the forefront of the Punk revolution in the late 70’s.

Even so it is always a blessing to discover a Celtic-Punk band from one of the various Celtic nations. From Ramoneurs De Menhirs in Brittany, Ireland’s Blood Or Whiskey, from Wales Anhrefn, in Galicia the Bastards On Parade and Falperrys. All bands that have embraced their local languages and cultures and have, sometimes against the will of many of those snobs purists, dragged it kicking and screaming into a new era. In Scotland that is exactly what Oi Polloi have done with the Scottish language. It is undeniable that in the Celtic nations our languages are in desperate trouble. The tidal wave of globalisation threatens the Celtic nations and the possible damage could be greater than the British (and French) ever did to them. So it makes no sense for the Scottish language community to turn its back on a band that is helping promote the Scots language in a style never before attempted. A band that plays all over the world and sings and releases records in Scottish that is basically shunned by the people who are supposedly in place to help save it. Still they are getting through. From packed gigs in the Highlands of Scotland to having one of the best selling Scots language records of all time maybe the time has come for the Scottish nation to embrace Celtic-Punk and The Placks could be the band to make them do it!

For Oi Polloi it is uncompromising anti-fascist political hardcore-punk that gets the message across but for the The Placks it’s a dynamite mixture of Celtic infused melodic punk rock and folk music. The bands ranks include, alongside guitar, accordion and fiddle, Fraser and Black Jack Rees, two former world champion pipe band members in their ranks as well as vocalist Iain who spent his youth in various punk bands that both helped shape punk rock (Intensive Care) and toured worldwide and were very successful (Beerzone) so you know these guys are a perfect example of the overlap between traditional music and punk. This new EP came about as The Placks were offered a support slot on the recent Flogging Molly European tour. The original idea being to release a four track CD to sell at the concert. Sadly that gig had to be cancelled due to the recent political upheaval over in Paris so the Bhoys decided that the best thing to do would be to release them digitally instead and get the band’s name out there. It’s certainly done them no harm and offers have been flying in from all over the world for The Placks to play and record. The band’s name comes from the Gaelic Scots word Plack which was an ancient Scottish coin worth four Scottish pennies.

So the question is all this is well and good but are The Placks really deserving of the accolade ‘The future of Celtic-Punk comes from Scotland’ as our comrades over at the Celtic Folk Punk site suggest? Well the answer my friends, on the evidence of these four songs, is POSSIBLY! All the elements that float my boat are here. A pride in their country and it’s value and culture that is not hampered by prejudice and bigotry in any way. Joyous uplifting music that sweeps you away but is just ramshackle enough without being too polished. A style of music that would be at home in either the pub or the stadium. The opening track ‘Stealing Bread’ reminds me of 80’s Highlands punk rockers Toxic Ephex with the simple story of of someone being deported for stealing bread. Not much lyrically here to get your tongue round but its a great opening track before the blistering pro-independence ‘Nation In Chains’ erupts and fills your lugholes. Whilst the band are strong believers, as we are too, in Scottish freedom they make it clear they are not anti-English in any way and that it was/is the English ruling classes to blame for the crimes committed against Scotland and the Celtic nations and further afield. Next up is ‘The Mountain Men’ and definitely a trad air to this. Fiddle and accordion lead the way until the music speeds up and certainly gets the blood racing.

Rebellious Sons ends with my favourite track here ‘Let’s Pretend’ and its funky acoustic base tells of the wish for a perfect world away from the reality of what is really happening. Great meaningful lyrics with a novel way of getting them across… and a great tune as well. It bodes well for this great bands next release which is an album (out soon I am promised!). It’s a fantastic four minute history lesson through Scotland’s tragic history away from tartan trousers and shortbread and as I say promises much more of the same I hope. It can be guaranteed that we will be hearing much more from this great band and the chances are that if you live in the States or Canada you may well have the pleasure of seeing them well before me!!

Buy Rebellious Sons  iTunes  Amazon  Spotify

Contact The Placks  WebSite  Facebook  Twitter  YouTube

Read a interview with The Placks Clan Chief MacPlack here from Transceltic from last month.

FEBRUARY’S EPISODE OF THE CELTIC PUNKCAST #23 OUT NOW!

Banish those Winter blues with an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world from London Celtic Punks brothers-in-arms The Celtic Punkcast. Stream live or download to listen to later and enjoy!

G’day everyone, hope you’re surviving wherever you are, between record heatwaves here in Australia through to insane cold snaps in North America the world is truly going a bit mad. Let’s play some songs to get you all in a better mood. Here’s this months track list.

BRACE YOURSELF BRIDGET – ‘Julia Delaneys’

FOX ‘N’ FIRKIN – ‘Too Hip For 4ZZZ’

PIPES AND PINTS – ‘Raise Our Flag’

TC COSTELLO – ‘The Ballad Of Being Born In A Bar’

THE LANGERS BALL – ‘Dirty Old Town’

THE ROYAL SPUDS – ‘Skipping Stones’

FIDDLERS GREEN – ‘No Anthem’

NYAH FEARTIES – ‘Glen Ashdale Falls’

SMOKEY BASTARD – ‘Cheer Up Love (Worse Things Happen At Sea) Pt III’

THE LAGAN – ‘Sailing East’

THE PEELERS – ‘The Glen Will Rise Again’

HANDSOME YOUNG STRANGERS – ‘Poor Ned’

PIRATE COPY – ‘Reckless Alice’

ROUGHNECK RIOT – ‘Parasites’

THE MAHONES – ‘A Great Night On The Lash’

AULD CORN BRIGADE – ‘Star Of County Down’

CRAIC – ‘Irish Rover’

You can listen to the latest November episode of The Celtic Punkcast at the link below. Simply click for just over an hour of the best Celtic-Punk of the past and the present and remember you can listen to it live or else download to listen at another time.

THE CELTIC PUNKCAST #23

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

KRAKIN’ KELLYS WIN 2019 LONDON CELTIC PUNKS BEST ALBUM READERS PICK

We always knew that the London Celtic Punks readership had exquisite taste but it sure is nice to have it confirmed! We have the winner of the first ever London Celtic Punks Readers Pick and they are well deserving of the award. Having already walked away with Best Debut Album and fourth overall in the Top Thirty Albums of 2017 the Krakin’ Kellys polled 32.38% out of an incredible 522 votes, almost seventy votes clear of runners-up Tir Na Og from Germany with London’s very own Clan Of Celts coming in in bronze medal position clear of The Rumjacks. And as if by magic on the morning we announce this The Krakin’ Kellys only go and release a new video too so scroll down and enjoy another in a long line of bloody great music videos from the utterly fantastic Krakin’ Kellys- Celtic skate punk, beer and bar fight !

We were blown away at how many of our readership took part and 522 votes far exceeded what we were expecting and so congratulations to the Kelly’s. I’m sure 2019 will bring them the recognition they deserve. You can check out the official London Celtic Punks Best Of list here which includes all the relevant links to find out more about these releases.

NUMBER ONE

Contact Krakin’ Kellys- Facebook  WebSite  Bandcamp  YouTube  Twitter  Instagram

NUMBER TWO

Contact Tir Nan Og- WebSite  Facebook  Instagram  YouTube  LastFM

NUMBER THREE

Contact Clan Of Celts- WebSite  Facebook  YouTube  Twitter  ReverbNation  Soundcloud

So there ends the final link to 2018. Now time to look forward to 2019 and we have already had a bunch of releases land on the doormat so stay tuned for the best in Celtic, Folk, Punk and much more.

ALBUM REVIEW: THE LED FARMERS- ‘Irish Folk Out Straight’ (2018)

Well I never it’s actually an Irish band from Ireland! The Led Farmers hail from Dublin and their brand new EP features seven absolute Irish folk classics done of course in that special Led Farmers way!


The Led Farmers are four Dublin fella’s who love what they do, playing upbeat Irish folk music and more. Boasting a two-time All Ireland music champion and members who have studied music at University level. Having performed throughout Europe and the U.S. they began their career in 2014 playing beloved Irish folk classics but soon after began to concentrate on writing their own material that may nod to the past but also moves folk along to the present and even the future. They take their name from a quote by Robert Downey Jr.’s character in the 2008 film Tropic Thunder. Recently having toured Italiy they went down a storm with their acoustic traditional folk played with passion and energy. They’ll not be a song here new to even the casual folk fan but these songs have become the mainstay of most pub singers for a very good reason. Speaking for myself I heard these songs at my Mammy’s knee and were among the first songs I ever knew the words to. Each song evokes a memory and experience I look back with fondness and I’m sure most people from the Irish diaspora can relate to that. Irish Folk Out Straight has been mixed and mastered by Eoin Withfield and is seven tracks of classic Irish folk done in their own energetic and fun Led Farmers style.

The Led Farmers left to right: Patrick Widmer- Drums * Ross O’ Farrell- Bass and Vocals * Brendan Walsh- Banjo and Vocals * Conor Buckley- Guitar

Now the songs here were originally and, in most cases, made famous by one or two bands but in the case of ‘Whiskey In The Jar’ it’s a song that stepped out of folk music and actually became better known when recorded by Irish rock band Thin Lizzy. Anyone who hasn’t seen the TV recording of them miming away to it from 1973 had better get on it now (here) for it’s never been bettered. Recorded, of course, by both The Dubliners and The Pogues (they even released a version of it together!) it’s given a new lease of life here as The Led Farmers run through it with a jolly and energetic tune bordering on upbeat country and bluegrass at times with Brendan’s guitar aflame!

“With me ring dum a doodle um dah
Whack for the daddy o
Whack for the daddy o
Theres whiskey in the jar”

The song dates from the 17th century though no one is actually sure when and who wrote it but a cracking way to kick things. A very popular song which folk music historian Alan Lomax in his book The Folk Songs of North America, suggests was because

“The folk of seventeenth century Ireland (and Scotland) liked and admired their local highwaymen where the gentlemen of the roads robbed English landlords, they were regarded as national patriots.”

Now the next song has been recorded by just about every Celtic-Punk band in existence and if you haven’t heard it by at least a dozen bands then you need to seriously sort out your music collection! ‘I’ll Tell Me Ma’ is without doubt the most popular trad song in Celtic-Punk and with good reason too. It’s a beauty of a song that is perfect for speeding up and getting a crowd going as well as getting a good auld singsong on the go as well. Here it’s mucked about (in a good way) as the boys have fun with it diving in and out of several genres, including reggae, as its ploughed through in just over a couple of minutes. Originally a a children’s skipping song, it’s another song whose origins are a bit obscure but versions were found in parts of northern England and Ireland in the 19th century. Following now is ‘The Rattlin’ Bog’ and The Led Farmers demonstrate they can play a mean bit of trad Irish folk as well as a good party song. No one knows the exact origins of the song except that its about a bog on the grounds of Collon Monastery in county Louth. Traditionally the song gets faster and faster as the song comes to the end and audience participation is a must here with its easy to remember chorus. As with most folk songs it’s been passed on orally through generations and hence many different versions exist out there but the version as sung by The Dubliners seems to have become the standard.

(The first single from the EP and its great video as filmed by Ger O Donnell in the beautiful fields of county Clare. )

This time its given a bit more time to breathe and at over four minutes is the longest track here and with its’s trad folk flourishes it’s the standout song here and well deserving of the hilarious video that accompanies it.

“And in that bog there was a tree, a rare tree, a rattlin’ tree
With the tree in the bog
And the bog down in the valley-o.”

We get another popular Celtic-Punk cover next with ‘Star Of The County Down’ and for once we know it’s date of birth as it was written by Cathal McGarvey who passed away in 1927. The song is set near Banbridge in county Down and The Led Farmers take a rest and play it nice and slow. It’s beautifully played and the addition of some wonderful uilleann pipes from Roman Haller really lifts the song. Another Pogues/Dubs collaboration follows with ‘Rare Old Mountain Dew’ and they stick fairly close to the standard with Brendan’s banjo leading the show and the gang getting in on the “hi di-diddly-idle-um, diddly-doodle-idle-um, diddly-doo-ri-diddlum-deh” chorus! Written in 1882 the song celebrates poitin, the name for illegal Irish alcohol brewed from, what else but, the humble potato and this is what gets my goat (or in English- on my nerves) when people denounce Celtic-Punk with being obsessed with songs about alcohol when here you have a song that has been belted out for 130+ years doing just that. We shipping up towards the end and appropriately its the sea shanty ‘Leaving Of Liverpool’. Dating from the 1800’s it tells of a prospective Gold miner setting sail for California who pledges to his beloved “so fare thee well my own true love; when I return united we shall be”. Whether your man ever did is debatable. Certainly many didn’t giving this song perhaps a bitter sweet edge to its jocularity. So on a mini-album of seven songs the first six have been much loved and much played classic Irish folk tunes so when I saw ‘Drunken Sailor Odyessy’ was bringing down the curtain I expected the bog standard version but The Led Farmers turn the song on its head and deliver a song pitched somewhere between The Beach Boys and some white-bread Hip-Hop! Great fun as Brendan gives it a go rapping as Ross gets a chance to shine on the bass rumbling away while the band chip in and the whole thing is bloody marvellous and worth the price of the EP alone!

So absolutely nothing original here (except the rap version of ‘Drunken Sailor’ I suppose) but that’s hardly the point of a record like this. Maybe it’s to keep their fans happy in between ‘proper’ releases or maybe they know it’s guaranteed press coverage but whats in it for the casual fan or those like me new to the band. Well hard to say exactly but these songs are extremely well played and the fun is utterly infectious and it’s brilliant to hear a band having such great fun playing songs that are sometimes over a couple of hundred years old. The Led Farmers have a back catalogue of great songs of their own so relish the chance to freshen up these classics and it’s worked out well for them.

Buy Irish Folk Out Straight

iTunes  Spotify

Contact The Led Farmers

WebSite  Facebook  Soundcloud  YouTube  Instagram

(in concerto al Bundan Celtic Festival in Stellata di Bondeno (FE).)

Read a great interview with vocalist and banjo maestro Brendan on the 67 Music site here.

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2018!

Well it seems like only yesterday that I was sitting in Mannions in north London totting up the votes for the Best Album Of 2017 over a couple of pints and so here we are again. Everyone loves to give out there opinions and we are no different so for what it’s worth, here’s who we think made the best music in the celtic-punk scene over the last year. It’s been another outstanding year for the music that we all love and some truly fantastic records came out in the last twelve months. 2017 saw just about every major player in the scene release an album while in 2018 they left it to many of the lesser known bands to dominate! Remember though this is only our opinion and these thirty album’s are only the tip of the iceberg of what was released last year. Feel free to comment, slag off or dissect our lists. As a bonus we figured out how to attach a poll at the end so you can even vote on your favourite release of 2018 yourself. If it’s not listed then simply add your choice.

We don’t pretend to be the final word as that my friends is for you…

1. THE RUMJACKS- Saints Preserve Us  here

2. 1916- Far Beyond The Pale  here

3. CLAN OF CELTS- Beggars, Celts & Madmen  here

4. KRAKIN’ KELLYS- Promised Land  here

5. THE O’REILLYS AND THE PADDYHATS- Green Blood  here

6. SIR REG- The Underdogs  here

7. TIR NA OG- From The Gallows  here

8. FIRKIN- We Are The Ones  here

9. THE MAHONES- Love + Death + Redemption  here

10. THE MUCKERS- One More Stout  here

11. BASTARD BEARDED IRISHMEN- Drinkin’ To The Dead  here

12. HOLD FAST- Black Irish Sons  here

13. LEXINGTON FIELD- Dreamers  here

14. THE RUMPLED- Ashes & Wishes  here

15. TAN AND SOBER GENTLEMEN- Veracity  here

16.THE KILLIGANS- Dance On Your Grave  here

17. ALTERNATIVE ULSTER- Pog Mo Thoin  here

18. PADDY AND THE RATS- Riot City Outlaws  here

19. IRISH MOUTARDE- Perdition  here

20. BASTARDS ON PARADE- Cara a Liberdade  here

21. MR. IRISH BASTARD- The Desire for Revenge  here

22. PIRATE COPY- Swashbuckle & Swagger  here

23. SINFUL MAGGIE- S/T

24. JOLLY JACKERS- Out Of The Blue  here

25. MUIRSHEEN DURKIN AND FRIENDS- 11 Pints And 3 Shots  here

26. THE CHERRY COKE$- The Answer

27. THE CLAN- Here To Stay  here

28. KINGS & BOOZERS- Still Got The Booze  here

29. FALPERRYS- Nova Abordagem  here

30. AIRS & GRACES- Voting At The Hall  here

bubbling under: MALASANERS- Footprints  here

So absolutely no surprises here at all. In fact The Rumjacks have pretty much swept the board across the Celtic-Punk scene with what we even thought was their best release since their groundbreaking debut album Gangs Of New Holland. The Bhoys are going from strength to strength and are set to go through the roof in 2019. They remain as humble as ever and downright lovely folk to know which reminds me, congrats from us all here to Frankie and LCP’er Anna on their engagement. Other notables were Sir Reg who even flew over to London to premier their new album The Underdogs before later returning to embark on a successful nationwide tour… while I was on holiday! London-Irish band Clan Of Celts, despite a few teething problems, delivered a fantastic debut album as well as, my personal favourite of the year, Belgium’s Krakin’ Kellys. A dual release of an album and a EP on the same day is a novel approach but it paid dividends for Lexington Field as they were both brilliant. Sinful Maggie have just been getting bigger and bigger all year and we expect this to continue into 2019. Three albums from the Celtic nations with two from Galicia from Falperrys and Bastards On Parade and Cornwall’s Pirate Copy. All together we have bands from twelve countries with Germany with the most placings alongside  Australia, USA, England, Belgium, Sweden, Hungary, Canada, Italy, Galicia, Cornwall and Japan.

KRAKIN’ KELLYS- Promised Land  here

I was not the only one at London Celtic Punks Towers to be abso-fecking-lutely blown away by the Krakin’ Kellys debut album. Fast and melodic skater style punk rock with bagpipes that will blow the cobwebs away off off anyone! They made quite a wave in the scene thanks to their brilliant videos so go check them out here. This section was the easiest one to award by far!

1. THE LAGAN- Let’s Do It Again

2. MEDUSA’S WAKE- Rascals & Rogues  here

2. HANDSOME YOUNG STRANGERS- The Bleeding Bridge  here

4. THE DANGEROUS FOLK- One  here

5. LEXINGTON FIELD- Modern Times  here

6. SCOTCH- Last In The Bar  here

7. TULLAMORE- Déš An Pr’i Strà, Déš An Int ál Bar  here

8. THE GRINNING BARRETTS- The St. Padraigs  here

9. IN FOR A PENNY- Sometimes Its Better To Not  here

10. THE ROYAL SPUDS- Unforgotten Lore  here

bubbling under…

MOSCHE DI VELLUTO GRIGIO- Of Pain And Glory here and RAISE MY KILT- A New Tartan  here

At one point this was heading towards being an Australian #1, #2 and #3 but at the last minute our local favourites The Lagan released Let’s Do It Again at the end of December and wrestled it away from Medusa’s Wake. Their first studio release in a hell of a long time it came out too late to trouble many of our friends ‘Best Of’ lists but their loss is our gain! Besides them and our Aussie friends the list was made up from bands from the USA, Holland, Italy and Austria which goes to show the international nature of the scene. As an aside you can get the brilliant bagpipe punk debut EP from Scotch for free by following the link to their review. For lovers of the McKenzies you’ll not be disappointed!

1. MARYS LANE- Wild Unknown  here

2. LOUIS RIVE- The Cheap Part Of Town  here

3. THE CRAICHEADS- S/T  here

4. LANKUM-  Between Earth and Sky here

5. MAN THE LIFEBOATS- Man The Lifeboats  here

6. SLIOTAR- Voyage

7. CLOVER’S REVENGE- Gotta Get O’Raggednized  here

8. BLACKBEARDS TEA PARTY- Leviathan  here

9. THE LED FARMERS- Irish Folk Out Straight

10. FINBAR FUREY- Don’t Stop This Now  here

bubbling under: THE BRANDY THIEVES- The Devil’s Wine  here

Always the hardest to do this section as our scope has become fairly wide over the years and gone beyond Celtic-Punk but Irish-American’s Marys Lane managed at once to be a record both me and my Mammy love! Even better the Cleveland based band have made it available to download for free/donation so follow the link above. Scot Louis Rive’s debut album really impressed me and was one of my most played albums of the year and The Craicheads capped a great year with a fantastic single and their lead singer Mick making the papers and the telly for saving a Mum and her babies lives (here). Good on yer Mick. It’s a privilege to know you. More local talent at #4 which ended a year where Man The Lifeboats have gone from first band on to headline shows and a mention for the amazing Finbar Furey who put a most excellent LP at the tender age of only 72.

MERSEY CELT PUNKS

We may be a wee bit biased here but last years winners take it again this year too. 2018 saw them continue to develop the site into an all-round resource for Liverpudlians and further afield. Yeah these guys are always blowing our trumpet we know and we have shared a good few scoops with them, and will again not long after this is published, but we enjoy what they write and it’s all done with an enthusiasm that us auld hacks are constantly jealous of. Plus you are not a major player in the Celtic-Punk scene unless you had your picture took with Elliot! You can also join in their fun and games on their Twitter and Facebook and their Web-Zine. Be sure to subscribe.

So there you go. Remember we don’t pretend to be the final word on things in fact if you check the other celtic-punk media I’m sure we’ve all come up with relatively different lists. Our Best Of’s are cajoled and bullied out of the admins from the London Celtic Punks Facebook page. The assorted scraps of paper and beer mats were then tallied up please remember not all of us heard the same albums so like all the various Best Of’s ours is also subjective.

This is our 6th year of us making these lists so if you would like to check out out who was where in our previous Best Of’s then just click on the link below the relevant year.

We are not alone in doing these Best Of lists in fact all the major players in celtic-punk do them so click below to check out what they thought.

THE CELTIC PUNKCAST

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

MacSLONS IRISH RADIO

Now here’s a new feature. Pick your own favourite below! The Poll will end on the final day of the month!

remember any views, comments or abuse or slander we would love to hear it…

 Sláinte, The London Celtic Punks Crew- January, 2019

2018 REVIEW ROUND-UP’S. PART THREE: USA AND JAPAN- THE CHERRY COKE$, THE GODDAMN GALLOWS, RAILROAD EARTH

Here is Part 3 and the final part of our 2018 Round Up’s where we catch up with the releases that we couldn’t give a decent review to first time round. I would make it a new year resolution to do better in 2019 but feel I can’t as the amount of excellent releases we receive far exceeds our ability to review them in time, but we are getting better! We don’t want to dilute our reviews or hurry them so hopefully you will understand the thought and work that goes into our reviews and forgive us. Today we go to the north America and also fit in one of the best Celtic-Punk bands in the world from Asia. Each and every one are worthy of your time so go ahead and check them out and apologies to the band’s concerned that we had to squeeze them in like this. Part 1 was releases from the Celtic nations (here) and Part 2 was Europe (here) so today dive in!

THE CHERRY COKE$- ‘The Answer’  (Buy)

One of the most established bands in the Celtic-Punk scene and yet still widely unknown outside their home The Cherry Coke$ release their eighth studio album, The Answer. Now veterans of the scene since their humble beginnings back in 1999 they have gone onto become huge at home mixing traditional Irish folk music with fast and furious punk rock in the same way as Flogging Molly. They rose to prominence after the release of their debut album Beer my Friends which earned them nationwide attention and appearances on Japanese TV and their video being shown regularly on MTV. Twelve songs here lasting just under forty-five minutes and what you get is an eclectic mix of Irish, Punk, Rockabilly, Folk and more all blended together into The Cherry Coke$ very own style. Imagine a harder edged Mollys but with a bit more bite and dual male/female vocals and you’re on the right track and just to show these guys can play they knock out a couple of traditional Paddy’s Day cover songs in ‘The Irish Rover’ and a blazing traditional version of ‘John Ryan’s Polka’ but it’s their own compositions that really shine.

The single ‘Dong Chang Swag’, the Poguesy ‘A-Yo’ and the seven minute song ‘Lilac’, taking in the pomposity of Queen amongst everything else they pack in!, that are my standout track’s here. Another outstanding album and no surprise there!

Contact The Cherry Coke$-  Facebook  LastFM  YouTube

THE GODDAMN GALLOWS- The Trail  (Buy)

The sixth album from a band that is new to me but one I will be definitely checking out. The band formed in Portland, Oregon in 2004 later moving to Los Angeles, living, so they say, in squats and abandoned buildings before spending four solid years on the road dragging their asses from town to town defining their sound. They certainly are a novel band with hardly two songs on The Trail sounding the same. The band mix up a chaotic blend of rockabilly, psychobilly, punk rock, bluegrass, folk and metal to make what some have labelled as ‘hobo-core’. Kicking off with ‘Grassmuncher’ a mental instrumental which begins with the folk elements of the band coming together before the band unleash and metal guitar soon takes it far far away from the finger-in-the-ear folkies. The vocals and music here is gritty and hard and not for those of a gentle disposition. That is not to say that The Goddamn Gallows can’t knock out a quality tune and this album is full of them. Cut from the same cloth as one of my favourite bands Phantom Of The Black Hills (who we did a feature on recently here well worth checking out). Loads of great songs like ‘It’s Gonna Be Ok (no, It’s Not)’ a doom laden slow dirge of a song that also has its speedy bits and a wicked sense of humour, the title track with its folk-punk-metal xylophone (!), the Demented Are Go-esque psychobilly-country-metal of ‘Honeyhole’ and the epic closing track ‘Down With The Ship at over six minutes with dual vocalists and the catchiest song you’ll find here. The little I have heard of Goddamn Gallows gives me the impression that this album is a mixture of the old sound of the band and the new heavier direction they seem to be travelling in. They are on tour throughout Europe later this year, sharing shows with Gallows Bound and Koffin Kats, so I guess we’ll find out then won’t we?

(you can hear the whole of The Trail over on You Tube below)

Contact The Goddamn Gallows-  WebSite  Facebook  YouTube  Spotify

RAILROAD EARTH- Captain Nowhere EP  (Buy)

With some similarities to The Goddamn Gallows this is another release that is certainly not Celtic-Punk but interested me enough to give it a far few plays this year. This is The Goddamn Gallows with all their rough edges gone and a shave! That’s not to say it is in any way weak or wimpy just that its coming from a different angle. Beautifully played Americana with some of the best banjo of the year from a band that has been together for eighteen years! With six albums behind them Captain Nowhere was my first experience of Railroad Earth but carries on in the same tradition as that first album, The Black Bear Sessions, back in 2001. The EP kicks off with the marvelous banjo and mandolin laden ‘Blazin’ A Trail’ accompanied by the glorious sound of an upright bass its utterly fantastic and a surefire foot-tapper if not thigh-slapper!! The kind of song that is guaranteed to get you off your backside and jigging about.

Only six songs here on a record that lasts thirty-five minutes but eleven of those belong to the epic closing title track, ‘Captain Nowhere’. A slow countryfied ballad that ebbs and flows beautifully along that belies it’s length. ‘Only By The Light’ and ‘The Berkeley Flash’ also stand out for me on a release that is kind of hard to pigeonhole but fiddle player Tim says “We’re a Country & Eastern band!” and that may indeed be right.

(The band live in concert at Red Rocks Festival)

Contact Railroad Earth-  WebSite  Facebook  YouTube  Soundcloud

So ends the third and final part of our 2018 Round-Up’s. We are guaranteed to have still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. If you don’t want to miss any of our posts then you can follow us by filling in your e-mail address in the box that is either below or to the left depending on how you are viewing.

DON’T MISS THE HIGHLIGHT OF OUR YEAR ON MONDAY WHEN WE UNVEIL THE LONDON CELTIC PUNKS BEST ALBUM OF 2018!!

EP REVIEW: THE LAGAN- ‘Let’s Do It Again’ (2018)

Sneaked in just before the end of last year was this new EP from local beer-soaked Celtic folk-punk favourites The Lagan and with the Best Of lists due next week no way could we miss out on reviewing it so off went Marv to chat to Brendan and find out what’s what.  
Just after Christmas the shiny new and aptly named EP from The Lagan, ‘Let’s Do It Again’, popped through my letterbox with an excited thud. Released in the dying embers of 2018, it  concludes five long years since their magnificent debut album ‘Where’s Your Messiah Now?’. The song ‘Same Shite, Different Night’ from that album was responsible, almost singlehandedly, for changing my life. But that’s another (and probably very tedious) story.

I asked Brendan O’Prey, main vocalist and guitarist in the Kingston-on-Thames based band, why they had decided to go for an EP release after so long, instead of a full album.

“I just thought it was time to get something out!”, replied Brendan,  “when we started recording the EP it had been five years since we released WYMN. We had to get something out there, but didn’t have the money or material to release a new album. We’re not prolific songwriters and we didn’t have a lot of time in the studio”.
The EP, contains five stunning new recordings, three written by O’Prey, one traditional and one, ‘Home For A Rest’, a masterful cover of song by Canadian folk band Spirit of the West. I was not familiar with the original and was stunned to find it is actually a cover. The lyrics are so perfectly suited to The Lagan lads and lass I was convinced it was written by them!

All five of the tracks are absolute classic Lagan in full flight. With Brendan’s distinctive voice and the signature combination of driving whistle, fiddle, guitar and bass, these could simply not have been anyone else! With one exception they are rip-roaring beer-soaked 100 miles-an-hour glory tunes. If you loved ‘Where’s Your Messiah Now?’ (and if you didn’t then what is wrong with you?!), then you will love all of these. Their one and only flaw is that they are over too soon.
Said Brendan when I asked him about plans for another full album,
“that’s the next step. I’ve never sat down  to write an album as one piece of work, but I’d like to. Life gets in the way though, none of us do this for a living and we are always so busy gigging.”
‘A Song For Jim’, the penultimate song of this magnificent EP,  isn’t quite as manic as the others. It’s not that it’s slow, it’s just slower by comparison! Written by O’Prey, musically and thematically a recognisable child of ‘Work Away’ from Messiah (my fave track off that album), it is a heartfelt and sorrowful bittersweet requiem for Jim. I don’t know if it’s written from personal experience, the CD liner notes suggests it might be, but my word this is written and sung from the heart. It makes me wish I had known Jim, clearly a singularly special human being. I cannot wait to see this done live, the entire audience will go crazy.

The Lagan: Alex Kidd – Drums * Big George – Bass * Our Morgan – Fiddle/keeping the lads in check * Brendan – Guitar, vocals and anger issues * Andy Mac – Tin Whistles/Hype Man.

Speaking of which, when can we get our next Lagan fix?

“We’re gonna try to hit the festival circuit a bit harder this year, hopefully get out to Europe a bit more. Our first gig of 2019 is at The Fighting Cocks in Kingston on 2nd February. It’s a free show and it’s always a good time down there. so ‘mon down and have a sing-song with us.”
As Brendan says the next Lagan is Saturday 2nd Feb at their favourite haunt The Fighting Cocks in Kingston-Upon-Thames. It’s about twenty minutes from Waterloo on the train and the gig is **FREE** so no excuses especially with a stellar line up of  Blues/ Folk/ Country/ RagTime/ Jazz/ Swing from the  Swamp Stomp String Band and fellow Kingstonites acoustic folk-punkers Boogedy Smak. All the details are here on the Facebook event. See thee in the moshpit!
Buy Let’s Do It Again
Compact Disc- BanquetRecords
Contact The Lagan
(if you missed it (may God have pity on you) then have a listen to The Lagan debut album Where’s Your Messiah Now? here on the Bandcamp player below)

EP REVIEW: THE ROYAL SPUDS- ‘Unforgotten Lore’ (2018)

They may have the strangest name in Celtic-Punk but Dutch band The Royal Spuds can also play a mean tune as evidenced on their fourth studio production, a brand new EP, titled Unforgotten Lore.

Wherever these guys got their name from I do not know but since their formation back in 2012 The royal Spuds have been pushing their version of Spud-Rock to the masses. It is certainly true that growing up in a Irish household you do come to the conclusion that the potato is king! Both their debut album Wanted Drunk and Alive and It’s A Feckin’ Freakshow were voted into the Top 10 and 20 over at Irish Pub Radio as well as reaching the heights in the Celtic-Folk-Punk site lists as well.

(have a listen to It’s A Feckin’ Freakshow on the Bandcamp player below)

The boys have toured the length and breadth of the Netherlands and played most of the alternative festivals the country has to offer. They have even managed a tour of Ireland in 2015 and in 2017 ventured further afield across Europe and as they say

“just like any salty spud, once you have had a taste of their powerful music, you will be left craving for more”.

The Royal Spuds are of course available for gigs, festivals and concerts in the Netherlands and abroad.

Coming out in the gap between Christmas Day and New Years Day Forgotten Lore may not have been blessed the most perfect release date but they celebrated it well with a bumper sell-out gig in their home town. The EP begins with ‘The Arrival’ one of several songs here penned by lead singer Maarten. It is cut from the same cloth as the recent upsurge in acapello singing of songs like ‘Old Maui’. The sound of chains and the ocean with the boys belting out the chorus of “Unforgotten Lore”. The song comes to an abrupt end and we are straight into ‘I’m Too Old For This’ and some fast paced melodic Celtic-Punk. The bends in Europe certainly love their flute and though I was late to realise that I actually liked it in Celtic-Punk I am most definitely a convert to it now and Mickey’s playing is superb. Chuck in a guitar solo as well as accordion, banjo and mandolin and we off to an absolute flyer. Needless to say Maarten’s vocals are as clear as the proverbial bell and his English as good (indeed better!) as any English speaking band you’ll find. Next up is the EP’s first cover song. The band have chosen well with ‘Johnny Jump Up’, a lively energetic trad Irish folk song that may surprise some in that it only dates from the 70’s. The song tells of an Cork man who gets in a whole load of trouble thanks to drinking too much extra-extra-strong cider. It’s a popular song on the circuit and deservedly so and The Royal Spuds do it justice.

“So if ever you go down to Cork by the sea
Stay out of the ale house and take it from me
If you want to stay sane don’t you dare take a sup
Of that devil drink cider called Johnny Jump Up”

Its played fast but with a style that would impress both folkies and punkers. ‘The Man’ is one of my favourites here and exposes in me what it is so good about Celtic-Punk generally. I find myself drawn to both the folky ballads and fast punk songs and ‘The Man’ is the closest they come to a ballad here, though not really that close really. Catchy and based somewhat, but no means exclusively, on the auld Pogues number ‘I’m A Man You Don’t Meet Everyday’ it’s a great wee number with all the Celtic instruments coming together beautifully with the vocal chords of the band getting a nice work out with the ‘OOOOOhhhhh’ chorus. The song speeds up at the end with a really nice Irish folk flourish showing these guys know wht they about. A more traditional Celtic-Punker follows with ‘Alley In Killarney’ a drinking song about getting lashed in Kerry. Mickey is back with accordion this time, the talented bastard!, and Maarten gives it a bit extra with the vocals. A cracker of a tune.

Too often Celtic-Punk is though to be only about the music of Irealnd and Scotland but their are seven Celtic nations and The Royal Spuds visit there next with the ‘Tri Martolod’. A traditional Breton song dated back to the 1800’s in Lower Brittany. Made famous by it’s recording by the famous Breton harpist Alan Stivell in the 1970’s. The Royal Spuds version is utterly fantastic and the highlight of the album for me. At a whopping six and a half minutes the song is given time to develop and not once do you start to tire of it. Beginning with a 70’s Folk-Rock vibe the song twists and turns even with time to inject a touch of ska into it. All the songs on Unforgotten Lore are sung in perfect in English and while we don’t mind that it’s not something that matters so was nice to hear the story of three young sailors who leave Brittany for Newfoundland and find love sung in it’s absolutely perfect native Breton! The EP ends with the jolly ‘The Last Wild Haggis’ and they go out on another high with a song about that elusive Scots creature the haggis. While the song almost punks out the band rein it in a bit stopping just short but another cracking song and given over five minutes to evolve.

Their has always been a fantastic scene in the Netherlands and while the bands there do share some similarities they are all different enough to survive independently. The Royal Spuds are on the folkier side of things while still having more than enough punk to keep us all happy. An excellent EP that impressed me no end and to have a song in a Celtic language has even impressed me that bit more!

Discography

Start Your Engines EP (2012) * Wanted: Drunk ‘n’ Alive (2013) * It’s a Feckin’ Freakshow (2015)

Buy Unforgotten Lore

Download (-Apple/Spotify/Google/Deezer etc.,) For physical CD’s contact the band

Contact The Royal Spuds

AUSSIE CELTIC-PUNK SPECIAL. DOUBLE EP REVIEW: HANDSOME YOUNG STRANGERS and THE DANGEROUS FOLK

With only a handful of last year’s releases to go before we unveil our Best Of lists it dawned on our man in Cavan, Shane, we could present two Aussie bands for the price of one so here are two of the best Celtic-Punk bands rocking it on the underside of the world. Handsome Young Strangers and The Dangerous Folk may play music from the same genre but together they also show the great diversity in the scene.

Handsome Young Strangers. ‘The Bleeding Bridge’ EP.

Sydney based Handsome Young Strangers have just released The Bleeding Bridge mini album which is the ninth release from the band in their almost 15 years of existence. The Sydney bush / folk outfit describe their style of music as Bushranger core. The mini album is release on the Tasmanian Label ‘Folk ‘Til Ya Punk’ who have also signed bands such as The Ramshackle Army, Fox N Firkin and The Dead Maggies. If, like me, you haven’t listened to HYS much before now this is an ideal introduction. I’m not quite sure how or why I haven’t been listening to them more regularly but I will definitely be making up for that. The new mini album contains three new original tracks ‘Coming Home’, ‘The Bleeding Bridge’ and ‘The Rose Hill Packet’. It also features a brilliant version of the Aussie traditional tune ‘Limejuice Tub’ and a cover of the Triffid’s ‘Wide Open Road’. My personal favourite on the mini album is ‘Limejuice Tub’ which have a very distinctive Aussie Folk Punk sound. The band have been touring Australia extensively from coast to coast over the years covering everything from small clubs to the larger festivals. HYS is made up of 6 core members and features regular guests. They have recently added Edward Lawlor (Medusas Wake (Mandolin & Vocals)) to their line up. Special guests on the new release include Jason Walker (Pedal Steel), Ben Pattinson (Squeeze Box), Michael Carpenter (Piano) and Luke Moller (Fiddle). HYS are planning to release a full new album in 2019. If its anywhere nearly as good as ‘The Bleeding Bridge’ then we are in for another treat.

Buy The Bleeding Bridge-  iTunes

Contact Handsome Young Strangers-  WebSite  Facebook  Soundcloud  YouTube

The Dangerous Folk. One EP.

As 2018 drew to a conclusion we received the debut EP from The Dangerous Folk all the way from Brisbane, Australia. Prior to this we had only heard snippets from the band on social media. In 2018 they released a video for the song ‘Shipping it up to Brisbane’ which I suppose drew our attention for obvious reasons. The band has been going for about two years now and their music has been described as Guinness fuelled Celtic Punk. The style of music is definitely more early days Dropkick Murphys than Flogging Molly and is played at a high intensity and tempo. The ep titled ‘One’ features a total of 5 tunes opening with ‘Shipping It Up to Brisbane’. The other songs on the ep are: • ‘Sayeno’ • ‘Inch’ • ‘The Brigade’ • ‘Spike it up’ You’re probably sick of listening to ramble on about Celtic Punk bands from Australia but we can’t help it. They just keep emerging and each one is as good as the last (if not better). The Dangerous Folk are another shining example of what the Aussies have to offer the scene and I have no doubt its not the last we will be hearing from them. If you’re lucky enough to be over that part of the world anytime soon be sure to look them. If not, then get your hands on a copy of the ep ‘One’ and give it a spin. Either way I can safely say you won’t be disappointed.

Download One- FromTheBand  (tracks 1 Aussie $ each) 

Contact The Dangerous Folk-  Facebook  Bandcamp

2018 REVIEW ROUND-UP’S. PART TWO: EUROPE- SIGELPA, EAST TOWN PIRATES, LOCKS, IRISH STEW OF SINDIDUN,

Here is Part 2 of our 2018 Round Up’s where we catch up with some of the releases that we missed first time round. Here are four bands and a whole load of music to take in all at once so make yourself a cuppa and relax. Their is something here that anyone can enjoy I’m not kidding. From Celtic-PUNK to Irish trad and Nick Cave-esque Murder Ballads-ish folk-noir all these releases are highly recommended. We prefer to do more detailed reviews but we just couldn’t keep up with everything so a few slipped the net and ended up here as we didn’t want them to be missed out completely. After doing bands from the Celtic nations last week (here) today we are in Europe. Check up again soon where we will be featuring bands from across the world

SIGELPA- ‘País De Titellaires’ EP (FREE DOWNLOAD)

Sad to say this is the final release from one of the Celtic-Punk scene’s most innovative bands. Formed in Barcelona in 2010 this Catalan band are named after the acronym of the initials of the seven deadly sins in the Catalonian language. Superbia/ Pride, Ira/ Wrath, Gula/ Gluttony, Enveja/ Envy, Luxuria/ Lust, Peresa/ Sloth and Avaricia/ Greed making up the letters in their name. With several great releases behind them (all available for *FREE* from the bands Bandcamp page) Sigelpa have sadly thrown in the towel and bow out with this fabulous three track EP which is also available for *FREE*! In the Sigelpa tradition its over in a flash in only seven minutes. Iits all played at a frantic pace with accordion and fiddle leading the way but the standout thing about Sigelpa has always been the dual female/male vocals used to such great effect on the opening song ‘Oda A l’Odi’ which flashes by in a superb 100 seconds.

Not a bad song here with the single ‘País De Titellaires’ a high point but the final track for me cannot be beaten. Slow(ish) but catchy as feck with great rock guitar and fiddle and those gang vocals working brilliantly together. Sigelpa were always a brilliant band and one of my favourites in the scene. Everything they did had a great deal of thought put into it. With great politics, great musicians, great songs and a great spirit too they will be sorely missed. R.I.P. Sigelpa.

Contact Sigelpa- Soundcloud YouTube Facebook Twitter Bandcamp YouTube

EAST TOWN PIRATES- ‘Ship Of Fools’ (BUY)

A home grown band now hailing from the smugglers dens along the East Suffolk coastline of ye Olde Ipswich Towne they have come. With two critically acclaimed album’s behind them, 2011’s self-titled debut album on their own Rumrunner Records label and the follow up, 2013’s Seven Seas Of Sin they have been labelled quite appropriately as ‘Motorhead meets The Pogues’! A regular feature on the UK’s punk circuit and with regular headline appearances they are rapidly becoming one of this island’s better known punk bands. Similar in style to Pirate Copy from Kernow, who we featured in Part One of our Round-Up’s, in that while they have no Celtic instrumentation they do play in that style that is probably best known as Pirate-Punk that crosses into Celtic-Punk quite easily. So has the five year wait since the release of Seven Seas Of Sin been kind to them? Well you bet you last doubloon it has!!

We have twelve songs here clocking in at thirty six minutes and it is as catchy as hell throughout. It’s most definitely punk ROCK but has that accessible feel to it without compromising on their sound at all. At times it has the bluesy hard rock of AC/DC or The Quireboys and others the simple three chord majesty of vocalist Rikki’s last band Red Flag 77 who played just about every square inch of this fair isle in their time together. It’s not all fast as feck though and, it must be my old age, but I really loved ‘Dead Man’s Cove’ and ‘Betrayal’ which even though are the slowest songs here could hardly be described as ballads!! They even slip in a reggae tinged track ‘I, Hedonist’ which I’m not a big fan of but then I’ve always been in the minority there. Otherwise it’s the fast songs that dominate with the title track, the appropriately titled ‘Fast Track’ and ‘Voodoo Pirate Rock ‘N’ Roll’. The album ends with the standout track a re-working of ‘Prisoner’s Lament’ which appeared originally on Seven Seas Of Sin showcasing Rikki’s great punk rock vocals with just acoustic guitar backing before the song erupts and the rest of the band join in and leave the album on a real high. It’s all great stuff and just recently they have even been venturing to London a bit more so keep you eyes peeled for their next visit dust your waistcoat off, get your ‘Arrrghs’ in gear, shake your booty, and join in the fun with the motliest of motley crews around.

Contact East Town Pirates- WebSite Facebook Soundcloud ReverbNation YouTube

LOCKS- ‘Skeletal Blues’ (BUY)

Now this is not the sort of release that features on these pages much but I’ve loved this record from the moment I first heard it. LOCKS are a four piece band from North London comprising singer-guitarist Locks Geary-Griffin, Andy Marvell on drums, Marian McClenaghan on fiddle and Mike Byrne on double bass. Together the band have dabbled in various musical genres prior to LOCKS including blues, rockabilly, trad Irish, indie, nu-folk and our very own Celtic-Punk as well. So the Celtic connections are high and on this basis they would easily qualify for the Irish football team! Having known Mike for more years than I care to remember since his days in one of the original London Celtic-Punk bands Pitful Of Ugly who later became Skibbereen and his rockabilly band The Obscuritones it’s nice to see him continuing to play in really interesting bands. LOCKS have been described as smoky, cinematic, and ghostly and the band themselves play up the comparisons to Tom Waits and Nick Cave and on hearing their debut album Skeletal Blues it is a comparison well worthy of them.

Locks voice is dominant throughout the album and its perfectly pitched accompanied by the fiddle, double bass and rattling drums which on album opener ‘Bones’ sound just like… well bones. The tone is set on ‘Bones’ with a song about burying dead bodies on the moors and be sure to check out the utterly fantastic video above written, produced and starring Abigail Hardingham. While it is ‘Bones’ that steals the show for me they also come close with ‘The Chase’, ‘Toes’ and ‘Skin’.

Back in 1996 Nice Cave brought out a CD Murder Ballads which comprised of him singing songs (old, new and traditional) of death and violence. It’s to that tradition that LOCKS come from with their tales of dead bodies, strange creatures and dark family secrets and like Murder Ballads is complete with both morbid humor and sobering horror. Dark lyrically the music veers from straight up gently played folk into eastern European at times while even finding time to pay the first couple of bars of The Pink Panther theme tune. Skeletal Blues ends with ‘Laveau’ about the voodoo Queen of New Orleans Marie Laveau. Though she died in 1881 it’s still a title she still holds today with people still visiting her grave to leave tokens in exchange for small requests. The longest song here at well over five minutes it gives LOCKS the chance to shine with Mike’s bass rumbling away fantastically and Marion’s fiddle drifting in and out of Celtic airs.

On first play I had assumed it was all fairly similar fair, due mainly to the hypnotic drumming style and Locks laid back vocals but upon a few more plays it became clear there’s a lot more to the songs than I had given credit. It’s a fascinating album and as I have said before man cannot live on Celtic-Punk alone so stretch your horizons beyond the Dropkick Murphys and be prepared to get into someone new and imaginative.

Contact LOCKS- WebSite Facebook Bandcamp YouTube Soundcloud

IRISH STEW OF SINDIDUN- ‘City Of Grigs’ (BUY)

We end Part Two with easily the most blatant Celtic of our releases today, the fourth album from Irish Stew Of Sindidun. Born in Belgrade, Serbia back in 2003 it’s been six years since their last album, New Tomorrow, was released so it’s been quite a long wait but worth it! On City Of Grigs they have never sounded so Irish! With ten songs and three traditional Irish covers, ‘Paddy’s Lamentation’, ‘Step It Out Mary’ and ‘Down By The Glenside’, that are well chosen and show the bands connection with Irish music goes well beyond that of just a covers band. These songs topics feature the three most important subjects in Irish music, emigration, rebellion and romantic tragedy! It’s indeed a shame we don’t more folk like Sindidun vocalist Bojan Petrovic back at home when he explains

“these songs are not included merely to be album fillers, but because they speak of themes which are still actual. Irish music is much more than quick melodies, dance and fun; through traditional folklore Irish songs we keep remembrance of values of one culture, which are still worthy of reverence.”

City of Grigs is their most ‘trad’ sounding album so far and it really cannot be faulted. Besides the three fantastic covers are the bands original songs which are equally as good and they don’t get any better than the album’s lead single ‘Heavier Than Sin’. Absolutely amazing banjo from Ivan giving it a ‘Wild-Western’ feel but based firmly you know where. Bojan’s vocals are smooth and deep and fit in perfectly with the upbeat Irish music and dark lyrics. The song ends with an Irish reel and shows exactly what Irish Stew Of Sindidun are capable of. How these guys aren’t touring Ireland teaching the Irish to re-connect with their culture I don’t know!

All the songs here are great and as catchy as hell to boot but the standout tracks for me are the uptempo opening song ‘Strangers’, the jolly short’n’sweet ‘Drink And Sing’ and, the closest they get to a ballad here, ‘Holiday’. They even find time to mix in a bit of reggae alongside trad Irish on the superb instrumental ‘The Old City Keeper’ where Nemanja and her utterly amazing fiddle playing shines. Irish Stew Of Sindidun are one hell of a band and are absolutely massive at home in Serbia. That they aren’t as well known outside is criminal. Over half an hour of traditional Irish music with folk and rock not just welded on but added with care and love. It may have been six years since their last album but the band have spent it wisely improving on their sound when I didn’t even think it would be possible!

Contact Irish Stew Of Sindidun- WebSite  Facebook  YouTube

So ends the second part of our 2018 Round-Up’s and apologies again to all the bands as each and every release deserved that full London Celtic Punks treatment. I can guarantee we have probably still missed more fantastic music so all the more reason to send us your releases to review. Get in touch via the Contact Us page to find out how. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. If you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

2019 WE’RE OFF AND RUNNING! JANUARY EPISODE OF THE CELTIC PUNKCAST #22 OUT NOW

2019 is here so clear away those Winter blues with an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world from London Celtic Punks brothers-in-arms The Celtic Punkcast. Stream live or download to listen to later and enjoy!

Hi everyone and welcome to 2019! Thanks for joining me for another year, I’m looking forward to bringing you some fantastic music over the next 12 months. The podcast grew at a really pleasing rate last year and I’m hoping that trend continues. Thanks to my mates at London Celtic Punks for their continued support, hoping to be able to do more stuff with those guys as the year progresses as well as a few other things I have up my sleeve for 2019. Gareth

There’s a whole lot of great music on this months show, here’s the playlist:

ST. BUSHMILLS CHOIR – ‘The Secret Set (Drowsy Maggie/Star Of Munster)’

DUST RHINOS – ‘Jedi Drinking Song’

THE POGUES – ‘Body Of An American’

SCRUM – ‘Whiskey Lullaby’

BEERCANDU – ‘My Way’

SCOTCH – ‘Last In The Bar’

THE CRAICHEADS – ‘Leave Me Alone’

THE PIKEYS – ‘Drunk In Cardiff’

THE TAN AND SOBER GENTLEMEN – ‘The Day Has Come’

THE GRINNING BARRETTS – ‘Rising Of The Moon’

HOIST THE COLOURS – ‘Something More Than This’

THE BOTTLERS – ‘Up She Rises’

THE GO SET – ‘Union Man’

THE REAL McKENZIES – ‘Chip’

CLAN OF CELTS – ‘Stacey Lawlor’

BODH’AKTAN – ‘Heave Away’

MR. IRISH BASTARD – ‘Time After Time’

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

You can listen to the January episode of The Celtic Punkcast at the link below. Simply click for just over an hour of the best Celtic-Punk of the past and the present.

THE CELTIC PUNKCAST

Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

2018 REVIEW ROUND-UP’S. PART ONE: THE CELTIC NATIONS- CRAIC’n’ROLL, DAMIEN DEMPSEY, PIRATE COPY, FALPERRYS

Every year we are completely shocked by the sheer number of Celtic-Punk releases we receive here at 30492- LONDON CELTIC PUNKS. As happy as this makes us it unfortunately means that we cannot keep up with everything out there. Sometimes we will receive music that we simply don’t have time to give a review to and others just simply get lost in the ether so every year we have a week at the end of the year to catch up with the ones we missed first time round. We prefer to do detailed reviews so apologies to the band’s concerned that we had to squeeze them in this way. Each and every band featured here are worthy of your time so please be sure to check them out. To start with in Part One we will be concentrating on releases from the Celtic nations. In a few days time we will head to Europe and then we will focus on the America’s so please be sure to check back.

CRAIC’n’ROLL- ‘The Early House’ (BUY)

The older I get the more and more I get back into Rockabilly I have to tell you. Having grown up listening to Elvis and The Dubliners at my Mammy’s knee this hasn’t been too much of a shock to anyone in my family as they are all rock’n’rollers. My Mammy would definitly approve of Craic’n’Roll. Basically a duo of fantastic Irish singer Donna Dunne and London based psychobilly legend Phil Doyle once of legendary Dublin psychos the Klingonz. The Early House is ten songs of mostly gentle rockin’ acoustic rock’n’roll with the odd flash of something a bit harder. Donna’s voice is utterly fantastic and although she is probably sick and tired of being compared to Imelda May its a very favourable comparison I think. The album is a lovely mix of a few well chosen covers and their own compositions of which the Guinness tinged title track about a pub called The Early House, the 50’s style ‘Treat Me Nice’ and the bonus track ‘Arizona Sky’ with full band backing are the highlights.

Donna released one of my favourite albums of last year called Voodoo that I heartily recommend and still play all the time. She’s got one hell of a voice and it gets a good workout here. Donna seems to be always busy juggling several different projects at once and hopefully Craic’n’Roll won’t be put on a back burner and will be back again soon.

Contact Craic’n’Roll- WebSite Bandcamp Facebook YouTube

DAMIEN DEMPSEY- ‘Union’ (BUY)

Having already milked the Greatest Hits market a couple of Christmasses ago Damien Dempsey has released this unashamed Christmas cash-in album but unlike the sweet and sickly Christmas album’s that we’re use to this does have some redeeming features. Damo hails from the north of Dublin and is, I suppose, as famous for his affected vocals as any song he has written. A renowned singer-songwriter his last couple of albums have left me fairly cold bar one or two songs and here on his latest their are no new compositions just a selection of fourteen of his better known songs or ones he has performed and given a bit of spit’n’polish and recorded with some of the bigger names in the Irish and folk scenes. So we have Damo collaborating with the likes of John Grant on ‘Soulsun’, Kate Tempest on ‘A Child is An Open Book’, Imelda May on ‘Big Big Love’, and even rapper Maverick Sabre on ‘You’re Like the Water’. It’s all strong stuff and each collaboration is worthy of further experimentation as Damo continues his quest to wrap Irish folk around every kind of music possible though we still waiting on that Celtic-Punk number mate! The highlights for me are ‘Singing Bird’ with the legend that is Finbar Furey and as amazing a version of the rebel ballad ‘Kevin Barry’ with Damo accompanied by an understated Seamus Begley.

Back in the early days of his career the Dublin intelligensee scoffed at Damo and his mainly working class audience who not only got what he was singing about but also liked the idea of someone with their accent singing it. He’s become part of the furniture in Ireland now, reluctantly I would guess, but he’s still with the ability to turn a head and if you can release an album like this and have no one question your integrity then that definitly means something.

Damien Dempsey- WebSite Facebook YouTube Twitter

PIRATE COPY- ‘Swashbuckle And Swagger’ (BUY)

Proper authentic Celtic Celtic-Punk from the ancient kingdom of Kernow and the small fishing village of Portreath. Pirate Copy were formed in December, 2011 and have featured on these pages a couple of time before with a couple of EP previous releases but now is time for their debut album. Swashbuckle And Swagger is released on the appropriatly named Black Sail Records and is twelve songs of over forty minutes of high octane shouty punk rock about pirates. They may have no Celtic instruments in the band and Pirate Copy are most certainly a punk band but they make use of Celtic/Pirate tunes and arrangements and as it’s as catchy as anything you’ll hear with a mandolin I think its fair enough to grab them for our wee scene!

Pirate Copy: The Admiral – Bass * Ashtiki The Caveman – Drums * Johnny ‘Danger’ Danger – Guitar, Vocals and being crushed underfoot The Captain – Vocals.

Several highlights here including the first single release from the album ‘Reckless Alice’ based on a true story about a drunken lass called Alice who after a night on the lash in Torquay, nicked a ferry, declared herself a pirate then crashed the ferry, trashing everything in sight, and got arrested. Hilarious! The rest of the album veers from songs based on stories from the rich history of the south-west coast of England steeped in smuggling, rebellion and general buccaneering to more modern day tracks like ‘Somalian Pirates Suck’ and ‘Kicked Out The Pub’ all done with tongue firmly in cheek and with bottles of Rum on standby. Vocalist Cap’n Kernow has a strong growl that fits the music superbly and the rest of the band chugg away to their hearts content and while some of the songs may go on a tad too long this is the kind of punk rock that come’s into it’s own live on stage which is where they shine. Feel good punk rock with a wide appeal and hopefully 2019 promises to be a special year for Pirate Copy which will see them come busting out of Kernow over the English border and with appearances at many a festival coming up be sure to keep an eye out for them on the circuit. A dirty dozen ditties that clocks in at forty-two minutes all marinated in rum and ready to pillage your eardrums!

Contact Pirate Copy- Facebook Bandcamp YouTube

FALPERRYS- ‘Nova Abordagem’ (BUY)

More traditional Celtic-Punk from a somewhat lesser known Celtic nation with the Falperrys second album Nova Abordagem. The Falperrys were formed in 2010 and hail from Vigo in seventh Celtic nation of Galicia. Released in June we only got a copy when one of the band sent us one just like the others here fully deserved a more detailed review but with time was against us. The albums title in English is New Approach but they sound just the old brilliant Falperrys to me! A seven piece fast as feck accordion led Celtic-Punk band. In fact it is the dual sound of Manolo’s accordion and Don Xosé’s thrashy guitar that gives Falperrys their sound. Thirteen tracks here packed with energy and all expertly played. Mostly Falpeerrys own composiotions but with a handful of covers like ‘Nove Crozes’ which is a cover of Irish folk legends ‘Go On Home British Soldiers’ while The Pogues Streams of Whiskey’ and ‘The Irish Rover get a Galician make-over along with the famous instrumental ‘John Ryan’s Polka’. Well known musicians Rubén de Donramiro, Suso Soak, Sime Keltoi!, María de Gaioso, Kg o Boticario and María de Gaioso from the Galician folk and rock scene guest on this brilliant album.

Falperrys know their way round a cover but as is usual it is with their own material they are the strongest with opening track ‘O Meu Alento’, ‘Aboiado’ and ‘Taberneiro’ standing out but my absolute fave here is the album closer ‘Arousa’ which is just pure traditional folk heaven. The lads show they can play their instruments here and knock out one hell of a tune. We nearly brought them over to play in LOndon a few years ago with a friend of ours who was living in London but he returned home to Vigo and the plan never came to fruitition. It is said that Galicia and Ireland in particular have much in common with the weather and music being just two things and their is no mistaking the Galician love of Celtic music and culture. Located Occupied in the green and lush north-west corner of Spain and faces out towards the Atlantic ocean it is also known as ‘the land of the 1000 rivers’. They have their own language which we are proud to say that the Falperrys are one of a small group of Celtic Celtic-Punk bands to use regularly. Celtic customs are embedded in Galician culture with the bagpipesthe national symbol of the country. Gaitas, as the pipes are called locally, rule Galician music and the city of Ourense alone has over 5,000 registered bagpipers. A fantastic album and I am sure they are a belting band to see live too. The album is available as a Pay Whatever You Want download which means the band would like you to have it for free if you don’t have much money but please leave enough for a Guinness or two if you do.

Contact Falperrys- Facebook YouTube Bandcamp

So ends the first part of our 2018 Round-Up’s and apologies to all the bands as each and every release deserved that full London Celtic Punks treatment. We have probably still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. And finally if you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

ALBUM REVIEW: RAISE YOUR PINTS Vol.3- VARIOUS ARTISTS

Raise Your Pints Volume 3 is a compilation of Celtic-Folk-Punk from MacSlon’s Irish Pub Radio; a Celtic-Folk-Punk internet radio station out of Magdeburg, Germany. It started life as part of wider mainstream internet radio station, but when that organisation closed back in 2009 these guys decided, thankfully, to go it alone with a full station dedicated to the glory of folk punk; they have never looked back!

So what do you get for your €9 (plus P&P)? Well, a hell of a lot as it turns out; some of the finest party oriented folk punk I have ever seen assembled in one place. It is a testament to the global love and reach of Celtic-influenced folk punk that of the twenty tracks on the disc, ten countries are represented. Six of the tracks come from German bands, which is understandable given the source, but we’ve got 14 additional jaw-dropping tracks from Spain, France, Ukraine, Serbia, Switzerland, Great Britain, Italy, USA and, of course, Ireland. Don’t make the mistake of thinking this eclectic mix of nationalities might water down the authenticity of the music- this is all top quality straight up loud, sweaty, folk punk perfectly designed with only one purpose in mind- an  accompaniment to a night of dancing and drinking to the small hours. To put it another way, it is slap bang in the middle of my sweet spot and I loved every single minute of this epic collection.

I was already familiar with a handful of the beauties on this album; Ferocious Dog and Black Water County from the UK, Orthodox Celts from Serbia and Airs & Graces from Germany. Without exception the other bands on the album were completely new to me and in that respect it serves as what used to be called a “Sampler” album back in the days of yore. A collection of tunes allowing the listener to cheaply explore the best that a bunch of bands have to offer, without risking a load of cash on albums you might not like. Yes, I am aware the switched on media-savvy youth of today today just use YouTube for this, and so do I, but the point here is that this collection has been curated with love and a deft touch. Let this album take you on a journey across someone else’s music taste; it is a joyous trip!

Reviewing a compilation album is difficult. Running through each track and trying to describe it would soon become boring reading so I’m going to explore some of the tracks that were the standout songs to my ear- the tracks you have to go back to after the first complete run through because you can’t wait to hear them again.

First up is actually the first track on the album; ‘The Fury’ by Brick Top Blaggers. Opening with a slow and mournful waltz led by the fiddle, with acoustic guitar backing and a keening vocal, it lulled me into a false sense that the album would probably be featuring an appearance of ‘Danny Boy’ somewhere along the line and perhaps another version of ‘Fields of Athenry’. All classic songs of course, but not the Celtic party anthems I felt I was promised by the cover of the album, which features a caricatured drunken bawdy mess taking place inside a stereotypical Irish pub! The song soon put that to rights. After a verse of soulful fiddling the band clearly got fed up with it, cranked up the amps, plugged in the electric guitar and set the overdrive to eleven before kicking in with the drums for a fast melodic romp. The kind of track that makes you prick up your ears while having a quiet drink with your mates and paves the way to getting home at 2am when you only went out for a swift one. The biggest surprise of the track came when I checked out the nationalities of the bands to begin writing this review; these guys are from the USA, California in fact. The Beach Boys they ain’t!

I can’t review highlights without special mentions for Black Water County who lent their track ‘Way Down Low’ to the party, and Ferocious Dog who showcase ‘Crime and Punishment’ from their second album, From Without (not the Red album as documented in the CD inlay), Normally these would have been instant standout tracks for me, but I am very familiar with these bands and their music so it was more like welcoming old friends into the pub than finding new stunners. This is particularly relevant as, at time of writing this, McSlon’s Irish Pub Radio listeners have just voted Ferocious Dog’s Red album the #1 ‘Best Celtic Rock, Celtic Punk & Trad. Irish Folk Album’ of 2018. Congratulations to Ken and the lads!

Next in Marv’s Top Picks is ‘Yvonne John’ by The Logues. It reminded me a little of The Waterboys ‘A Bang on the Ear’ in places due to its production simplicity, though it is faster and drives along at a blistering pace led by some manic mando or banjo picking, occasional tin whistle and solid drumming. But its real beauty is in its soaring chorus, professing undying love to the itinerant Yvonne John three weeks after a catastrophic split. The song is so heartfelt I should think it might be a love-letter to real person. If so, Yvonne, wherever you are, you really need to listen to this! This was actually my favourite on the album, though all the tracks are so good it was a close call. I was interested when I found The Logues are the only representatives from Ireland on the album and wondered whether that subconsciously affected my instant affection for the song. But in the end I concluded this was not the case, it’s just the best bloody song in my opinion.

‘Folkpunk-Song’ by Paddy’s Funeral, from Germany, actually started out as my least favourite track on the album. It is a perfect “meta” song, deconstructing the notional formula used to construct folk punk songs, within the medium of a folk-punk song, doing all the things the lyric is instructing as they are sung. Very clever.

“At first we hear a mandolin,

It’s playing fast 16ths.

There it is the singer’s voice,

Dirty dark and mean.

The bass is playing one and five.

The bass drum quarter notes.

The key, surprise! G Major!.

This is how it goes…”

They even roll in a few bars from ‘I’ll Tell Me Ma’ half way through just to underline their credentials. I jumped to the conclusion they were smugly poking fun at my very favourite form of music in the guise of a comedy track (how dare they!). I don’t think it is actually the case now, after checking out some of their other material on YouTube, but even if it is they nail it so well it’s actually impossible not to love the song. It is so joyful I forgot they might be taking the piss! They might be doing it in an arch and knowing way, but they get it spot on, so I’ll forgive them this once.

When I asked MacSlon’s how the ‘Raise Your Pints’ series of compilations came about they told me that in 2015, after a few years of going it alone with their folk punk radio station, they produced an album called ‘Let the Kelts unite Europe’ to support the “Keltic Festival” in Germany and decided to do it again the following year. ‘So Raise Your Pints Vol. 1’ was released in 2016 and they hit upon the brilliant idea to do a new volume every year to celebrate St. Patrick’s Day. Volume 3 was released in 2018, though it is still available from the shop on their website. I simply cannot urge you strongly enough to check out this compilation series. What I have heard is fantastic and I cannot wait to see what we get in Vol. 4 on 17th March 2019. They are even going to be putting on a ‘Raise Your Pints’ festival in Germany in 2020 and I, for one, plan to be there.

Buy Raise Your Pints-  Here

Contact MacSlons Irish Pub Radio- WebSite  Facebook  Twitter  

2018… THE STATISTICS

I know we say this every fecking time we do this but once again it’s been another absolutely fantastic year for both the celtic-punk scene in general and for us personally.  The amount of visits to the site exceeded last year by more than we could ever have imagined. More views, article likes and comments than ever before and we exceeded views on 2017 by a whopping 10,000! Once again we have been told by several bands that our reviews have a positive effect on music sales and things like Facebook Likes so we’re even more grateful that you seem to be listening and acting upon our recommendations.

TOP TEN COUNTRIES VIEWING

(2014/2015/2016/17 in brackets)

1. United Kingdom (1/1/1/1)

2. USA  (2/2//2/2)

3. Germany  (3/3/3/3)

4. Ireland  (7/4/4/5)

5.Canada  (6/7/8/9)

6.  France  (5/5/5/4)

7. Australia  (4/8/6/7)

8. Spain  (8/6/7/6)

9. Italy  (9/10/9/8)

10. Hungary (17/9/23/15)

So no real changes at the top with the UK (!), USA and Germany out on top together with well over half of all the yearly views. The only new country is Hungary who replace the Netherlands at the #10 spot.

We know from regular checks on our WordPress stats page that we have regular readers from all over the world and a big shout out to our fan in the Ivory Coast. We look forward to seeing Catalonia listed separately soon along with all the Celtic nations as well as the Basque country, Sardinia and Corsica (all countries we have regular viewers from). Until they gain independence they continue to be listed under the counties that occupy them. Not for much longer we hope…

To go to the relevant article/review simply click on the number in red.

TOP TEN ARTICLES VIEWED
1. London Celtic Punks Presents The Best Of 2017
2. Release Dates For New Movie About The Irish Holocaust- Black 47
3. Bring Your Mate To The Hooley- A Starters Guide To Celtic-Punk
4. An Argument That The Irish Famine Was Genocide
5. The Unholy Trinity- Shane MacGowan, Mark E.Smith And Nick Cave
6. Interview With Gareth From The Celtic Punkcast
7. It’s Our 500th Post
8. Film Review- Black 47
9. How Guinness Saved Ireland
10. Celebrate A Celtic Christmas 2018
TOP TEN MUSIC REVIEWS VIEWED
1. The Skids- Burning Cities
2. Ferocious Dog- Red
3. The Johnny Clash Project- The Johnny Clash Project
4. The Mahones- Love + Death + Redemption
5. Paddy And The Rats- Riot City Outlaws
6. Krakin’ Kellys- Promised Land
7. Clan Of Celts- Beggars, Celts And Madmen
8. 1916- Far Beyond The Pale
9. The Rumjacks- Saints Preserve Us
10. Finbar Furey- Don’t Stop This Now
So there you have it. Not particularly interesting to anyone but me but maybe there’s someone else out there who gives a feck!!! The next couple of weeks will see the unveiling of the London Celtic Punks Best Of 2017 list so be sure to check back and find out who rocked our odd boat the last twelve months.
So only left to wish you a peaceful and happy new year and to see us out here’s a brilliant and brand spanking new song from one of the very best Celtic-Punks bands in Eastern Europe, Всё Crazy from faraway Belarus titled ‘In Vileyka…’ telling of spending New Year in the city of Vileya and we couldn’t have asked for a better way to kick off into 2019.

Contact Всё_CRAZY  Facebook  Bandcamp  LastFM  YouTube

Why not follow the blog and receive a e-mail every time we post by clicking on the logo at the top of the page and, depending how your viewing this, by clicking on the ‘Follow’ button either on the left hand side or scroll down after the posts. Last year we published 103 articles so about 8 a month so you’ll hardly notice us!

2014 THE STATISTICS here*2015 THE STATISTICS here

2016 THE STATISTICS here*2017 THE STATISTICS  here

CELEBRATING A CELTIC CHRISTMAS 2018. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

Each December we pick the best Christmas themed song we’ve heard that year to showcase in our end of year message. This year we went with something a little different. LOCKS come from North London and while they may not be your typical Celtic-Punk band they have plenty of pedigree within their ranks. Their debut album Skeletal Blues came out earlier this year which we will be featuring in the second of our 2018 Review Round-Up’s due after Christmas Day. Subscribe to the London Celtic Punks web-zine and receive notification of every post by filling in the box on the right or below depending on how you are viewing this article. ‘The Hangover Song’ came out today and is available from here.

You can catch LOCKS live in concert next at The Bedford in Balham, South London on 8th January.

Contact LOCKS-  WebSite  Facebook  Bandcamp  YouTube  Soundcloud

CELEBRATING A CELTIC CHRISTMAS

According to long standing theory, the origins of Christmas stems from pagan winter festivals. One main reason early Christians were able to spread their religion across Europe so quickly came from their willingness to embrace celebrations already common among regional populations. One such example is the Celtic ‘Alban Arthuan’, a Druidic festival that took place around December 21st. the Winter Solstice. This traditional fire festival celebrated the re-birth of the Sun. Although a celebration of the Son’s birth replaced that of the Sun’s, still a number of ancient Celtic Christmas traditions remain today.

Christmas

As we look across the Celtic nations, it is interesting to note some similarities among Christmas traditions that cross geographic boundaries. They include, for example: Holly (a symbol of rebirth among Pagan Celts, but also of hospitality—it was believed fairies sought shelter inside the evergreen leaves to escape the cold); Mistletoe (believed to have healing powers so strong that it warded off evil spirits, cured illnesses and even facilitated a truce between enemies); fire and light (most notably the Yule log or candles placed in windows to light the way for strangers and symbolically welcoming Mary and Joseph); and door-to-door processions, from wassailing to Wren Hunts.

Each of the seven nations possesses its own variations of Celtic Christmas customs. Surrounding cultures and local identify shape theses practices as well.

SCOTLAND

Flag ScotlandChristmas was not officially recognized in Scotland for nearly four centuries. The Puritan English Parliament banned Christmas in 1647 and it did not become a recognized public holiday in Scotland until 1958. However, according to Andrew Halliday, in his 1833 piece Christmas in Scotland, Scots were not discouraged from celebrating Christmas. Halliday wrote

“We remember it stated in a popular periodical, one Christmas season not long ago, that Christmas-day was not kept at all in Scotland. Such is not the case; the Scots do keep Christmas-day, and in the same kindly Christian spirit that we do, though the Presbyterian austerity of their church does not acknowledge it as a religious festival”

Halliday’s 19th century account went on to describe festive sowens (sweetened oat gruel) ceremonies, “beggars” (actually “strapping fellows”) singing yule song, dances and card parties and children’s teetotum games. Despite Puritan rule, some long-time Christmas traditions are preserved. These include burning the Cailleach (a piece of wood carved to look like an old woman’s face or the Spirit of Winter) to start the new year fresh; or on Christmas Eve burning rowan tree branches to signify the resolution of any disputes. The Celtic tradition of placing candles in windows was also done in Scotland to welcome “first footers” (strangers, bearing a small gift) into the home. Traditional dishes also continue to be featured at Christmas lunch and throughout the holidays, including Cock-a-Leekie soup, smoked salmon, beef or duck, Clootie dumplings, black buns, sun cakes, Christmas pudding and Crannachan.

Because Christmas was not an official holiday until the late ‘50s it is no surprise that today, for some Scots, Hogmanay (New Year’s Eve) is the most important event of the season. Arguably, locals ring in the new year with much more gusto than any other place on the planet.

IRELAND

flagAn Autumn clean up was a common practice in Irish homes to prepare for Christmas. Women looked after cleaning the interior, while men took care of the outdoors, including whitewashing all exterior surfaces. Then holly, grown wild in Ireland, was spread throughout the house with cheer. Contemporary Ireland also highlights this clean-up ritual; once complete, fresh Christmas linens are taken out of storage.

Other customs include the Bloc na Nollaig or Christmas Block (the Irish version of the Yule log), candles in the window (perhaps one for each family member), and leading up to Christmas, ‘Calling the Waites’ where musicians would wake up townspeople through serenades and shouting out the morning hour. Christmas Eve Mass is still a grand affair; a time for friends and family to reconnect. It is not uncommon for churchgoers to end up at the local pub after service to ring in Christmas morn. On Christmas Day, traditional dishes include roast goose or ham and sausages, potatoes (such as champ), vegetables (such as cabbage with bacon) and plum pudding, whiskey, Christmas cake and barmbrack (currant loaf) for sweets. Traditionally on December 26th, St. Stephen’s Day, Wren Boys with blackened faces, carrying a pole with a dead bird pierced at the top, tramped from house to house. Today the custom sometimes sees children caroling throughout the neighbourhood to raise money for charity. It is also quite common to go out visiting on this day.

WALES

Flag WalesMusic was and still is a major part of Welsh holidays. Plygain is a Christmas day church service, traditionally held between three and six in the morning featuring males singing acapella in three or four-part harmonies. While today this may be mainly practised in rural areas, Eisteddfodde (caroling) is abundantly popular in homes, door-to-door and as part of annual song-writing competitions.

Dylan Thomas’ story ‘A Child’s Christmas in Wales’ is renowned around the world. An excerpt offers a glimpse of a traditional Welsh festive season:

“Always on Christmas night there was music. An uncle played the fiddle, a cousin sang ‘Cherry Ripe’ and another uncle sang ‘Drake’s Drum’… Looking through my bedroom window, out into the moonlight and the unending smoke-coloured snow, I could see the lights in the windows of all the other houses on our hill and hear the music rising from them up the long, steady falling night”

Other intriguing Welsh traditions include toffee making; drinking from a communal wassail bowl of fruit, spices, sugar and beer; children visiting homes on New Year’s Day looking for their Callenig gift; and Mary Lwyd (Grey Mare) featuring wassail singers going door-to-door carrying a horse’s skull and challenging residents in a contest of mocking rhymes.

ISLE OF MAN

Flag Isle Of ManCarolling also holds a special place in Manx Christmas celebrations, but traditionally an unconventional twist characterized it. On Christmas Eve, large numbers attended church for Carval. While the congregation sang, all of a sudden women would begin the traditional food fight, having peas on hand to throw at their male counterparts! Accounts from the 1700s and 1800s describe 12 days of non-stop Christmas celebrations where every barn was filled with dancers accompanied by fiddlers the local parish hired. The Reverend John Entick recorded in 1774

“On the twelfth day the fiddler lays his head on one of the women’s laps, which posture they look upon as a kind of oracle. For one of the company coming up and naming every maiden in the company, asks the fiddler, who shall this or that girl marry? And whatever he answers it is absolutely depended on as an oracle”

As in Celtic fashion, Hunting the Wren processions occurred on the Isle of Man and today the practice is going through a revival, characterized by costumes, singing and dancing.

Other Manx customs include Mollag Bands, wearing eccentric clothing, swinging a mollag (fishing float) and demanding money (a practice since outlawed); the kissing bush (a more elaborate ornament than a sprig of mistletoe); and Cammag, a sport that originated on the Isle of Man traditionally played on December 26th and/or Easter Monday. In older times but even as recently as the early 20th century, Christmas decorations were not taken down until Pancake Tuesday (when they were burnt under the pancake pan). Now holiday décor tends to be packed away on Old Christmas (January 6th).

CORNWALL

Flag CornwallAs a result of Oliver Cromwell banning Christmas, authentic holiday carols began to fade through much of Britain. However, throughout the 1800’s, Cornish composers and collectors sparked a revival of local Christmas song.Certain carols well-known around the world, such as Hark the Herald Angels and While Shepherds, are credited to Cornish origins.

“Contrary to the effect Methodism might have had on the English carollers, in Cornwall its impact was to stimulate song,” states the Cornwall Council (Cornish Christmas Carols – Or Curls, 2011). “In those areas where Methodism was strongest, music and signing had their greatest appeal, and notably so at Christmas. The singers would practice in chapels and school-rooms, some of them walking miles to be there”

Today, Cornwall erupts in festivals, fairs and markets during the holidays. The Montol Festival in Penzance (named for Montol Eve on December 21st) is a six-day celebration highlighting many Cornish traditions. These include Mummers plays, lantern processions, Guise dancing (participants dress in masks and costume, such as mock formal dress, to play music and dance).

Montol is also the time for burning the Mock (yule log). A stickman or woman is drawn on the block of wood with chalk. When the log burns, it symbolizes the death of the old year and birth of the year to come.

BRITTANY

Flag BrittanyBrittany boasts a wealth of folklore and supernatural beliefs around Christmas time. Christmas Eve was known as a night of miraculous apparitions from fairies to Korrigans, and at midnight, for just a brief moment, waters in the wells would turn into the most sweet-tasting wine. It was also at midnight, when families were either at mass or in bed, that ghosts would surface; traditionally food was left out for deceased loved ones just in case they visited.

During the holidays, Christmas markets come alive in many Breton towns vending hand-made crafts and toys, baked cakes and bread and ingredients for Christmas dinner. You can also buy Gallette des Rois at stalls, as well as bakeries, which is traditionally eaten on January 6th (Epiphany). A tiny figurine (the fève) is hidden inside the puff pastry cake; the person who finds the figurine in their piece gets to be king or queen for the day and wear a crown. Another special tradition through all of France is a meal after Christmas Eve’s midnight mass, called Réveillon. Specifically in Britany, the traditional dish for this occasion is buckwheat crêpes with cream.

GALICIA

Flag GaliciaGalicia has its own unique Christmas gift-bearer that pre-dates Christianity. He is called Apalpador, a giant who lives in the mountains. For Christmas, he descends into the villages below to make sure each child has a full belly. He brings treats, such as chestnuts, and well wishes for a year full of delicious sustenance. While Apalpador may not be widely observed in Galicia, his legend is seeing a revival.

Food is very important during the Galician holidays, featuring at least two feasts (on Christmas Eve and Christmas Day). Not surprisingly, seafood is on the menu, including lobster, prawns, shrimp, sea bass, and cod with garlic and paprika sauce. Other culinary delights consist of cured meat, cheese and bread, roast beef with vegetables and for dessert tarta de Santiago (almond cake), filloas (stuffed pancakes) and turrones (nougats). The children of anticipate the coming of the Three Kings or Magis by filling their shoes and leaving them outside on Epiphany Eve, January 5th. Many Galician’s communities also parade on the 5th.

So there you have it the old traditions just like the traditional music we all love live on…

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

Nollaig Shona Dhuit agus Bliain Nua Fe Mhaise (Irish Gaelic)

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

GET IN THE FESTIVE SPIRIT WITH THE LONDON CELTIC PUNKS CHRISTMAS CELTIC PUNK TOP-TWENTY!

CLICK HERE

Now go have a drink…

ALBUM REVIEW: VINCE CAYO- ‘Lucky Red Hat’ (2018)

Cayote Rock’n’Roll with Yorkshire grit’n’soul.

Lucky Red Hat is the follow up album to last years Bound For Glory which rocked the collective arses off of the London Celtic Punks in 2017. Vince has I’m sure a bit of Irish blood (apologies if you don’t mate!), many in Yorkshire do, and I’m thinking that influences his style quite a bit. He’s that kind of annoying artist who can play loads of instruments while you’d be happy to know how to bang a tambourine in time! When we reviewed Bound For Glory we described him, pretty accurately as it goes, thus

“Vince has a very strong voice that growls out at you like Tom Waits lashing it up with McGowan backed by The Street Dogs”.

He puts his sound down to his love of good auld Celtic-Punk, especially Flogging Molly as well as Country influenced Punk in Social Distortion and the likes of Billy Bragg. A gritty Yorkshire take on folk and country music but with a modern interpretation. That album was one of my favourites of last year and indeed in ‘The Garbageman’ he has a song that I still play all the bloody time. A utterly fantastic album of countryfied Rock’n’Roll with plenty of Folk-Punk in there too. He has made the album free to download so do yourself a favour and get a copy from here on his Web-Site.

(have a listen to Vince’s debut album here on the Bandcamp player below)

His new album out only yesterday follows on pretty much exactly where Bound For Glory left off and that’s no bad thing I tells ya! Lucky Red Hat begins with ‘Animal Chin’ and Vince’s distinctive smokey growl grabs your attention instantly. It’s more of a full band vibe here with backing from El Vincenzo (hold your breath!) on several differnet guitar’s, harmonica, double bass, accordion, tenor banjo, mandolin, tin whistle, Grant Henderson on drums and Kieran O’Malley on fiddle but still basically Vince on guitar and harmonica. It’s all catchy stuff and its both folk and punk to my ears. ‘Working For The Company’ like most of the tales here is of ordinary working class life. This time of working years and years for the same company without realising where the time went. It’s pretty much the story for all of our folks if they were lucky. If not then our Grandparents. The first track released from the album was the title track ‘Lucky Red Hat’ and Vince chose well. Cut from the same cloth as the aforementioned ‘Garbageman’ imagine a folk song played on electric guitar but with ballsy singing and a nicely aggressive tone to it all.

The second track released form the album was ‘Dockfield Homeward Blues’ and we are in serious finger-in-the-ear folk territory here. Just Vince on acoustic guitar with that trademark voice gently telling us of life in Bradford a once proud Northern town but now in the doldrums.

The influences found here are far to many for me to list them all but trad English folk is accompanied by all sorts including Celtic and Punk but on ‘The Ghost Of Dean Moriarty’ it’s played like a acoustic hardcore punk song. Played as fast as possible but clear too and within a touch of Eastern Europe perhaps among the western imagery. Those Eastern Europe influences much more to the fore in the next track, ‘Deep Into The Night’, as Vince dusts off his accordion before we back to folkieness with  ‘Chipping Away The Stone’ where he is accompanied on fiddle giving the gentle song a Celtic feel. On  ‘Manningham’ Vince again tells of working class life in the borough of Bradford that at one point was the Jewish and then the German part of town but now is segregated between Asian and white communities. The area houses Valley Parade football stadium, home of Bradford City. In 1985 a fire broke out at the final game of the season against Lincoln City killing fifty-six spectators and injuring nearly 300. This was played out in front of the entire country live on TV and it’s legacy looms darkly upon the city to this day. Riots in 1995 and 2001 further pushed the two communities apart and sadly seems to be still doing so today. ‘Shannon Of Goodbyes’ sails past bordering more Country and Celtic-Punk and is a song worth listening to. I had originally thought it was a song about someone emigrating from Ireland to Bradford but Vince tells me it’s a poem by Mike Lally put to music. He was an Irish immigrant to the USA in the 50’s and the poem tells of him looking back over this decisive move. Vince knew Mike which how this song came into being. A great song nevertheless and again as catchy as hell. We sailing up to port now and if the album has touched and threatened to go full on Celt then ‘Beauty And The Beast’ is the song we were waiting for. Maybe its the tin-whistle into but as Vince is joined on vocals by Marjory Jager, once of the Dutch punk quartet Elusive Disorder, and she is the perfect accompaniment for Vince’s distinctive vocals with her beautiful voice. The albums main theme has been Western and ‘Cayotes And Roadrunners’ continues this with a chorus that took me a couple of listens before I realised the joke(you’ll get it if your over a certain age!) before the album ends with the traditional folk song, and only cover on the album, ‘Hang Me’ and a beautifully gloomy end as Vince gently strums his guitar and regales us of a hard life that ends on the end of a hangman’s noose.

Twelve songs clocking in at an impressive forty-two minutes and again I am very impressed with what Vince has come up. One thing I feel I must add is that it is Vince’s offbeat voice that dominates the album completely and while I love it and feel it fits proceedings absolutely perfectly maybe it aint for everyone but in a scene where Shane MacGowan is revered as a God it shouldn’t matter to anyone and in fact should only add to your enjoyment. After all your not here to hear anything sung perfectly… I hope so anyway. Vince Cayo is an amazingly talented fella and he’s put out another fantastic album that I hope you give some time to.

(you can have a sneaky listen to Lucky Red Hat here on the Bandcamp player but PLEASE use the link below if you choose to buy the album)

Buy Lucky Red Hat

FromVince Download only £3! CD- £8. PLEASE USE THIS LINK

Contact Vince Cayo

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(here’s the song that introduced me to Vince. I defy you not to fall in love with it!!!)

THE CELTIC PUNKCAST. BONUS EPISODE- TOP 10 ALBUMS OF 2018

December is usually the time when all the various Celtic-Punk media begin to compile and release their Best Of charts. There’s already been a couple and we are no different with ours traditionally released in the first couple of weeks of January. Our stablemates over at The Celtic Punkcast have just put out a special episode featuring the best song from the ten best Celtic-Punk albums of 2018 and I can tell you it’s a good one. 

Hi everyone, I thought I’d drop a little something extra this year for December in addition to the Christmas Special, it’s my top 10 albums of 2018 as judged by me and my old kelpie Banji. Some fantastic music came out this year and I swapped a lot of these artists albums positions around many a time before settling on the final rankings. Rankings are always suggestive so if you disagree with my list then feel free to let me know yours. Here’s the rankings/playlist:

10: ALTERNATIVE ULSTER – ‘No Queen, No Crown’  from BOOBIES BANJOS BEER AND BAGPIPES

9: THE LANGERS BALL – ‘No Irish Need Apply’ from HARD TIMES IN THE COUNTRY

8: THE O’RIELLYS AND THE PADDYHATS – ‘Green Blood’  from GREEN BLOOD

7: BASTARD BEARDED IRISHMEN – ‘Pirates Of Three Rivers’ from DRINKIN’ TO THE DEAD

6: MR. IRISH BASTARD – ‘Oliver Cromwells Head’  from THE DESIRE FOR REVENGE

5: KRAKIN’ KELLYS – ‘Anarchy In The Double K’  from PROMISED LAND

4: SIR REG – ‘Don’t Let Go’  from THE UNDERDOGS

3: MEDUSAS WAKE – ‘Hobart Sailor’  from RASCALS AND ROGUES

2: THE RUMJACKS – ‘The Foreman O’Rourke’  from SAINTS PRESERVE US

1: THE MUCKERS – ‘Black Irish’  from ONE MORE STOUT

CLICK HERE

So there it is. Any thoughts send them to me on Twitter, Facebook or via email and I look forward to more great music in the new year.

Muer ras, Gareth & Banji

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

  • The London Celtic Punks Best Of 2018 lists will appear in the next few weeks covering the best albums, EP’s, Folk/Trad releases, Celtic-Punk media and more so if you don’t want to miss it then be sure to subscribe to our E-Mail alert list. The box is on the right or below depending on how you are viewing this page.

ALBUM REVIEW: TAN AND SOBER GENTLEMEN- ‘Veracity’ (2018)

Their has been a few great debut Celtic-Punk albums during 2018 but here is one of the very best from North Carolina’s the Tan and Sober Gentlemen. Raw and unfiltered, a blend of hard-driving, danceable roots delivered with a punk edge and whisky-fuelled abandon they call ‘Celtic-Punk-Grass’.

Holy f*$%*£g shit this is a one hell of a great album!! If anyone out there is still mourning the loss of the great Cutthroat Shamrock then dry your eyes and sit yourselves up as grieve no more as the Tan And Sober Gentlemen are here to fill that big Celtic-Bluegrass-Punk gap in our hearts. We were lucky earlier in the year to be chosen to showcase their debut single a release of the auld Celtic rebel number ‘Follow Me Up To Carlow’ which, needless to say, was absolutely fantastic. This though just left me itching for more so I was doing cartwheels when they sent me their debut album last week and it’s not been out me lugholes ever since!

Recorded in the woods of Chatham County, North Carolina, the album is a riotous take on what the band calls ‘Scotch-Irish hillbilly music’. North Carolina has a rich history of Irish, Scotch and Scotch-Irish history going back generations and the Tan And Sober Gentlemen are rightly proud of their state’s Celtic musical heritage. Musically they embrace the glorious foot stomping sound of their home while welding to it irish and Scots tunes and melodies. Totally acoustic this is the kind of wide-open-throttle, no-holds-barred band that could drown out most Punk bands with their passion, energy and sheer ruggedness.

Tan And Sober Gentlemen from left to right: Alan S. Best- Mandolin, Accordion, Penny Whistle *  Ben Noblit- Bass * William Maltbie- Singing * Jake Waits- Drums * Tucker Jackson Galloway- Banjo * Eli Howells- Fiddle * Courtney Raynor- Guitar

Since forming in the summer of 2016, Tan and Sober Gentlemen’s reputation has garnered them wide support at home in the Appalachians, across the East Coast and even back ‘home’ in Ireland. Veracity was released on 1st December this year and recorded and mixed at BNB Audio by Brett Scott and he has done an amazing job taking Tan And Sober Gentlemen’s live sound and transfering it successfully to record. Kicking off with ‘Rabbit’ and as ferocious banjo picking you ever gonna hear. It’s lively, catchy and totally awesome. The kind of song that almost forces you to onto the dancefloor to kick up the dust or as Black Water County would say “Beat up the floor!”. The song is based on a old black banjo tune from their home in the North Carolina Piedmont. First mentioned in 1913, it is thought to be much much older. Played at breakneck speed leaving the Country’n’Western me Mammy use to listen to in its dust. Mandolin, fiddle and Banjo are on fire while the rest of the band struggle I reckon to keep up. The pace doesn’t let up next with ‘The Day Has Come’ and neither does the catchyness! The first signs of the bands roots comes with an amazing cover of The Pogues classic tribute to Irish-America ‘The Body Of An American’. Beginning with Eli’s tender fiddle that almost stretches into the auld rebeller ‘Boolavogue’ before the band all come together as the song builds up and like the original bursts into life. Guitarist Courtney takes over ably on vocals and belts it out with gusto and heart. Yeah it maybe impossible to fuck up this song but it’s just as hard to impress with it too but a great version and a surefire way to get the dancefloor moving I am sure. ‘Waterbound’ is more traditional Hillbilly/Bluegrass fair but again played at a pace that’ll leave you out of breath just listening to it. A 20’s fiddle tune from Grayson County Virginia, though also thought to be much older. They slow it down slightly for ‘Deep Chatham’ but not by much! Courtney takes over from William on vocals again for ‘Knoxville Girl’, the albums longest song at just under six minutes. As far as I can tell it tells of a rather vicious fight but wrapped around a beautiful country and western ballad with some great fiddle. It’s the sort of song that would have fit perfectly on Nick Cave’s infamous Murder Ballads album. From the 17th century, the song was originally from Shropshire England, where the murder was commited, but it made its way across the broad atlantic to America by Irish immigrants, who sang it as ‘Wexford Girl’. It again took on new life when it was renamed ‘Knoxville Girl’ two centuries later after a second murder occurred. One of the album’s highlights is one of their own compositions and ‘Hold My Hand’ is what every country song should sound like. No mistaking the highlight of the album for me and it totally justifies them releasing it as the lead single for the album too. ‘Follow Me Up To Carlow’ is one of my favourite songs anyway but the Tan And Sober Gentlemen perform one hell of a good version of it. You can check out our review of it as a single here where we also dig into the interesting history of the song too. Veracity ends with ‘Going Home’ and it’s a song packed with history. Black churches in western North Carolina sang hymns in Gaelic well into the 20th century, and many Southern Baptist hymns are based on Scottish melodies. Antonin Dvorak was staying in the mountains of North Carolina when he stole the tune of two different bagpipe songs and wrote the 9th Symphony. It is thought the melodies of those two bagpipe tunes made their way into the repertoire of the black churches in Asheville NC, where Dvorak heard them and incorporated them into the Largo Theme. The song is now sung as the last song of every ceili. The band actually learnt it in Fort William!

So we’ve nine songs that clock in at thirty-three minutes and while they may be better known at home for their raucous, energetic live performances and with Veracity they have captured their wild abandon perfectly. With sold-out shows across the South, and, more interesting for us, international tours on the horizon, Tan And Sober Gentlemen are set for great things.

(you can have a free listen to Veracity before you spend your 10 bucks on it on the Bandcamp player below)

Buy Veracity

FromTheBand

Contact Tan And Sober Gentlemen

EP REVIEW: THE TWO MAN TRAVELLING MEDICINE SHOW- ‘A Snakes A Snakes’ (2018)


A Snake’s a Snake is the brand new EP from Dorset’s finest ramshackle Americana-Country-Folk-Punk band The Two Man Travelling Medicine Show released on Musical Bear Records.

The Two Man Travelling Medicine Show formed in 2016 and have rapidly become firm favourites on the south coast music festival scene in a short time. Described as ‘Heartfelt, Ramshackle Country Punk’ they have built up a good following and are becoming known for their riotous live shows. They released their debut album ‘Weeding Out The Wicked’ last year but as far as I know didn’t really escape their home base. This year they have released two EP’s ‘Float Your Boat’ and, this one, ‘A Snake’s A Snake’ and are aiming to begin 2019 with another. Things are definitly on the move for The Two Man Travelling Medicine Show so be sure to watch out for them next year.

The EP begins with the title track, ‘A Snakes A Snake’, and from the off it bounces along with a catchy air to it. It’s very much a product of the part of England they come from with an abundance of bands playing this kind of folky-catchy-country-punk. They are what I use to call a ‘Festival Band’ back in my youth. Dorset seems to churn out bands like this willy-nilly while the rest of the country barely manages a couple per town! I mean you count the number of bands in London on one hand. The song is pure great stuff. The kind of track that is guaranteed to get you up off your arse and bouncing around a field somewhere near the South-West coast. Influences galore mashed together and with a staggering eight members they sure cook up an interesting sound. Banjos, acoustic guitars, accordion and violin compete nicely for your attention while vocalist Mark explains his views on the deceitful world of the bastard and ethics.

‘Flood’ is up next and if I was to pigeonhole this band then perched somewhere between The Levellers and New Model Army would perhaps be it. Mark’s vocals are perfect and it’s great that he doesn’t ry too hard with them delivered in a completely natural way. The band have a bit more bite in this song and even an electric guitar can be heard though it’s not exactly thrashing! Still another great song that leads us into the gentle ballad ‘Sick And Tired’ where the band take it down a notch while fiddle player Alison Jay takes over on vocals to sing tenderly about the break-down of a relationship. A lovely song that shows the great diversity in this bands sound. Now this where most of the reviews Of A Snakes A Snake end but we were sent one with a bonus track, ‘Putting On A Show’. It’s another gentle rocker with Mark back on vocal duties and again its beautifully understated.

The Two Man Travelling Medicine Show show perfectly on this EP what they are all about. At times threatening to burst your eardrums in that way only an eight-piece acoustic Folk-Punk band can and at others so gentle and tender you shouldn’t really be listening to the same band but you know you are.

Buy A Snakes A Snakes

Contact the band via mark1lyons@icloud.com  or you can buy their debut album here

Contact The Two Man Travelling Medicine Show  Facebook

Musical Bear Records  WebSite  YouTube  Facebook  

ALBUM REVIEW: THE O’REILLYS AND THE PADDYHATS- ‘Green Blood’ (2018)

Here’s a German band that makes authentic Irish music with their third album release Green Blood. That may sound all a bit strange to yer average Joe but not to London Celtic Punks favourite Anto MorraThe O’Reillys and the Paddyhats are by no means a goose that thinks it’s a fox though they are much more fox and goose in one. This is an album that builds the bridge to those who carry green blood and those who want it. Because the yearning for Green Blood is insatiable.

There’s a London Celtic Punk sticker that reads ‘It’s not blood that makes you Irish but a willingness to be part of the Irish nation’ and The Paddyhats are most certainly proof of that. Their latest offering ‘Green Blood’ must surely be a contender for best Celtic Punk album of 2018.
The cover art is exceptional and could even double as an advertisment for Peaky Blinders! Like all their albums to date, this is available on vinyl and appropiately limited edition green vinyl, so definately one for those vinyl junkies and collectors like myself. This is what more records should sound like these days. The mix and production here are second to none. It does baffle me how a singer that is not singing in his first language, is so much easier to understand than the majority of those singing this type of Celtic Punk in their own language. It’s very refreshing. Here’s the running order and little about each song.

The O’Reillys And The Paddyhats from left to right: Tom O’Shaugnessy- Bass Guitar, Backing Vocals * Dr. Bones- Drums * Ian McFlannigan- Show, Backing Vocals * Sean O’Reilly- Vocals, Guitar, Tin and Low Whistle * Dwight O’Reilly- Vocals, Banjo, Mandolin, Accordion * Mia Callaghan- Fiddle, Vocals * Connor O’Sullivan- Electric guitar *

Green Blood
Pulled in by the tribal sound of the pounding drum and Celtic mysticism of the uilleann pipes & fiddle, with distorted guitar and bass feedback threateningly hiding down low in the mix and within 30 seconds you know what you’re getting! Green Blood, Green Blood, Green Blood is the chanting war cry and it’s powerful, aggessive and blissful. More Irish than Brennans Bread or Barry’s Tea and a true and honest celebration of the things that make people glad to be Irish and those that aren’t, wishing they were.

Another Town Another Girl
This is the Only Ones ‘Another Girl Another Planet’ meets Donegal Danny. The age old tale of the womanizing blaggard only in this case the man knows he is gonna get his comeuppance when he will ‘Drown in his self made crown’. It’s all very shanty until the stunning guitar solo reminds you that these aren’t a beardy, finger in the ear, woolly jumper and craft beer band. They’re very much Punk Rock.

Circus Of Fools
This one is a belter! The opening verse I can’t help but guess is aimed at the Trump administration but as the song progresses you know it’s a much broader reflection of the sickness of those in power. We are treated to almost Eastern European rhythmic chops on this and it’s two a half mins of no nonsence.

Gamble With The Devil
A perfect folk love song warning us not to gamble, especially with the devil. I don’t want to give too much away in a spoiler alert way, all I will say is that it is a craicin’ little story.

Swing Your Hammer
Starting like an Enio Moricone spaghetti western theme before leaping into a Ska-Punk dance beat and the big chorus in the work song tradition. Wonderfully tight banjo and fiddle instrumental breaks tie this catchy song together.

Promise
Now this is refreshing. A drinking song about abstinence! There’s an old country song that drones on about ‘One day at a time sweet Jesus’ well this is kind of that; but for people that fight instead of pray for the strength to stay sober and look forward to the day they can throw the towel in and get stocious again.

Boys On The Green
A celebration of the beautiful game and the ritual that surrounds it. No mention of fighting, just the pride in your club colours, the comaraderie of meeting before the match for a pint and singing song together on the terraces.

Greg O’Donovan
This one takes us away from terrafirma and puts us in the charge of an heroic captain, as he slaughters Spanish and drowns in the worship of women after. This has a great low whistle or flute hook, that sounds a little like the Fury’s ‘Lonesome Boatman’ on amphetamine suphate.

Roasie Lou
A beautiful bit of fiddle playing helps us feel the heartbreak in this love ballad and lament dedicated to a true love and criminal partner.

This is Our Time
…”To right the wrongs because failure is part of our lives” is the general message I get from this pounding, Poguesesque four minutes of fun.

Rockstar
This is the familiar sentiment for anyone who aspires to make a living in the music industry today. A fabulous female vocal performance and guitar solo puts this forward as one of the best tracks on this record in my opinion.

Where Your Heart Is
A joyus stomper “Your feet will take you where your heart is” and that’s down the boozer where you can see your mates and “blow the ladies a kiss”

Yesterday’s Rebel
Craicin’ closing song about an IRA man finding himself in hell after killing a policeman.

LIVE AT FOLK IN A FIELD IN THE SUMMER

Back in July I had the pleasure to witness their live show when the played my local festival in Norfolk. ‘Folk In A Field’ has been going about 4 years now and have had some great acts so far including Ferocious Dog, Punkfolkers, LongShore Drift and the Nobel Jacks – the latter due to headline in 2019 but The Paddyhats topped the bill and nailed it this year.
Their set as well as including songs from their first two albums

there was also time to throw in the odd Irish standard

and the most unexpected.

As well as playing each year, I also run the merchandise stall at ‘Folk in a Field’, so when The Paddyhats turned up, they took over my stall for the last couple of hours. I can honestly say a nicer bunch of people you couldn’t wish to meet. They came all the way from Germany for one show, with a small road crew and giant merch man

all of which were really easy going, friendly and a pleasure to have at the festival. I just hope they enjoyed it as much as we did.

Buy Green Blood

FromTheBand  Amazon

Contact The O’Reillys And The Paddyhats

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Thanks to London Celtic Punks favourite Anto Morra for the review. Songwriter, performer and multi media artist that believes ‘Life is for laughing and fighting injustice’. Traditional folk songs and punk rock of his formative London years, along with his Irish roots and Norfolk home are the inspiration behind his work. You can catch up with Anto here or just look through the pages here to find several of his releases.

Web-Site  Blog  Facebook  Reverbnation  Twitter  YouTube  Bandcamp

 

DING DONG MERRILY ON HIGH! THE TOSSERS CHRISTMAS SINGLE OUT TODAY!

Now plenty would say that Chicago’s The Tossers are the best Celtic-Punk band in the world and many would even say that they are the heirs to The Pogues crown. So it is that any new release is welcomed by the Celtic-Punk masses!

Ding dong indeed. With Christmas (we don’t go in for that Xmas shite) Day just around the corner blue-collar Irish-American Celtic-Punk living legends The Tossers have released their new single on Victory Records. Famous for their warts and all, gutsy, resolute working-class Irish anthems, The Tossers step out in a different direction with two songs celebrating that most wonderful time of the year. The two song single features one original composition, the biting ‘Merry Christmas’ and a recording of the Robbie Burns classic  ‘Auld Lang Syne’.

Merry Christmas to you
To all of the well heeled in your fancy clubs
To all my friends and cronies in the pubs
To all of the people and the kids down in the street
Who ain’t got nothin’ not a poxy thing to eat
Merry Christmas to you
To all of you thieves and men who have waged an endless war
While you were safe behind a bolted door
To those who have fought and to those who have died
And to every one of those who was on our side
Merry Christmas to you
Oh the hungry, thirsty, sick and cold and strangers now to you
And as you have done to the least of men
You have done this to me too
And may you all sleep warm at night
And may you all have all your hearts delight
And may God bring each one of you
Every God damned thing
That’s always been coming to you

The Tossers have been entertaining us and fighting the corner for Irish-America for 25 years so in the year of their 1/4 century they have been relatively quiet with last years brilliant ‘Smash The Windows’ album release only followed this year by the release of an official Tossers Stout that is also called Smash The Windows! A natural act you would think from ‘the world’s loudest drinking band’. Always amazing to hear new material from one of my favourite bands and even better that they will be announcing some major tour dates very shortly. Let’s pray they include some local to us as well!

The Tossers are more than just a band to their fans. They have inspired and promoted a love in your roots that is sadly missing for most people. They tell the tale of both Chicago and America’s Irish communities. Serious and piss-taking at the same time and joyful and sad and upbeat and maudlin The Tossers do it all and yes we Irish are all of these things… and The Tossers celebrate it all. In the words of Tony Duggins

“God Bless you all, and may each and every one of you have a very Merry Christmas, Happy Holidays, and a Happy New Year.”

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HO! HO! HO! DECEMBER’S EPISODE OF THE CELTIC PUNKCAST #21 OUT NOW!

London Celtic Punks have teamed up with Gareth Olver of The Celtic Punkcast to bring you the best in Celtic-Punk, Celtic rock and folk punk from around the world so be sure to check out their December episode. It’s packed to the rafters with good cheer.

Ho Ho Ho! Merry Christmas everyone! It’s December and that means it’s time for another Christmas Special! Some great songs by some great artists to keep you festive all month long and into the new year as well! So from myself and the Olver family have a great Christmas and New Years and most of all stay safe out there. Here’s this months Christmas tunes:

THE MAHONES – ‘The Connaught Mans Rambles/Christmas Eve Reels/Johnny’s On Fire

FLATCAPS AND FISTICUFFS – ‘White Christmas’

CELKILT – ‘Jingle Bells!’

DROPKICK MURPHYS – ‘AK47 (All I Want For Christmas Is An)

REILLY – ‘Dear Santa (I Can Explain)

THE GOBSHITES – ‘Sorry Mom I Spent All Your Christmas Money On Beer’

THE WAGES OF SIN – ‘Merry Christmas From The Wages’

ALTERNATIVE ULSTER – ‘Kilted Christmas’

DARBY O’GILL AND THE LITTLE PEOPLE – ‘Baby It’s Cold Outside’

MR IRISH BASTARD – ‘Christmas In Hell’

SHANE MacGOWAN AND THE POPES – ‘Christmas Lullaby’

THE RUFFIANS – ‘Together At Christmas’

THE WAILIN BANSHEES – ‘A Tale For Christmas’

BLACK ANEMONE – ‘Christmas Day At First And Main’

FIFFIN MARKET – ‘Fairytale Of New York’

SKINNY LISTER & BEANS ON TOAST – ‘This Christmas’

PADDY AND THE RATS – ‘Auld Lang Syne’

Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here.

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

You can listen to the latest December episode of The Celtic Punkcast at the link below. Simply click for just over an hour of the best Celtic-Punk of the past and the present. You can stream it or download to listen whenever you want.

THE CELTIC PUNKCAST

SINGLE REVIEW: SIX FOOT TEN- ‘Christmas Is Here’ (2018)

It’s the first of December and not long now till Christmas Day so here’s the new Christmas single from Premier League Celtic-Punkers Flatfoot 56 off-shoot 6’10.

Chicago based 6’10 is the acoustic project of Tobin Bawinkel, the lead singer of Flatfoot 56 whose critically acclaimed first full length album, The Humble Beginnings of a Roving Soul came out in December of 2014. 

Gather around the Table, I’ll tell you of a stable

A humble place, the birth of grace, the son of God is here

The fire will be going, the candles will be glowing

We’ll sing the midnight carol songs, proclaim the son is near, 

Christmas is here.

Peace on earth is spoken, its a mending of the broken 

A second chance a song and dance, to celebrate the year

Bells they will be tolling, like angels they are showing,

Peace on Earth, good will to men, the fathers plan appears 

Christmas is here.

Come gather around and see, The birth of the king 

swaddled in a manger, here the angel sing

Christmas is Here

Tobin started 6’10 to go back to his musical roots in Americana and folk music. Life can’t be all circle pits and spitting on sweaty crowds. Here is a side that is a little more laid back and thought provoking. He is joined by many talented musicians who bring much to the table as far as diversity and musical creativity. 

“When I was growing up, I remember playing folk and bluegrass music with my family in our living room. I always loved the story telling aspect of this style and the joy of playing with close friends and family. I loved it when songs would have a quirky and playful tone and theme. All of the pretentious elements that can sometimes find their way into music, were absent during these sessions with my family and friends. You would find seasoned players, playing right next to children who were just learning. This culture is what I wanted again. The idea was to return to a simpler and more earthy feel.”

Those who have grown to love Tobin’s raw punk aesthetic and candor will find much to cling to in this new endeavor. There is sorrow and yearning for a place far from here. But there is also joy abundant amidst the unexpected twists in life’s passage. 6’10 is close to the hearts of those who hunger and thirst for something more than an empty life following the American dream. You can check out their debut album here on the Bandcamp player below.

Download Christmas Is Here

FromTheBand

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EP REVIEW: SCOTCH- ‘Last In The Bar’ (2018)

Get your **FREE DOWNLOAD** of Austrian Highland Punk-Rockers Scotch debut EP!
Far too often bands from outside the Celtic diaspora seem to think that Celtic-Punk is solely down to the influence of the Irish when in fact every Celtic nation should be credited. Today’s band give it away in their name where they get the majority of their sound from. Scotch hail from the small town of Weyer in Upper Austria and and have been together since 2013. Their debut album, Scotch The World, hit the streets on 8th March, 2013 and was twelve tracks of nearly all original Scotch songs with Scottish bagpipes and Irish tin-whistle put to dynamic punk rock beats. You can hear that debut album below on the Bandcamp player.
New release Last In The Bar kicks off with the auld sea-shanty ‘Bully In The Alley’ but brought bang up to date from it’s 17th century roots in Africa. The ‘bully’ of the title refers to being shitfaced as we might say today. The song begins as a group acapello version before the music kicks in and we end with a fast and furious 105 seconds of bagpipe driven punk rock. Gégé’s vocals are absolutely crystal clear and sound so authentically American I had to double check where they were from! Second track is ‘Tough Punks’ and Scotch tear into punk bands that are play at being punk. Great, funny lyrics that remind me of oh so many bands I have known over the years.

There is a new breed of European Celtic-Punk that really knows how to promote themselves through You Tube and Scotch are one of them. Take a look at the video for ‘Generation Fun’ and you’ll see what I mean. A hilarious story to accompany as finer a slab of Celtic-Pop-Punk as I’ve heard in a while. Imagine NOFX or Pennywise but with a bangin’ bagpiper and your almost there.

The fun continues with ‘Liar, Liar’ with more of the same melodic punk rock and pipes, except with the added distant sound of reggae, before title track  ‘Last In The Bar’ hits the waves. Another cracking video for you to watch and the Bhoys pull out all the stops here with rumbling bass and wailing pipes.

And so we come to the final track on this EP and ‘Keep Rolling’ is a great way to go out. An epic sound that builds and builds and tells a good story too. Twenty minutes of original Scotch material that is over far too early and I am already looking forward to a full album. 

Last In The Bar was released on 5th October 5 this year and was recorded, mixed and mastered by Matthias Reithofer at Far Beyond Recording studios. He has done a grand job as the EP is absolutely faultless. Musically It would appeal to fans of the Dropkick Murphys style of music from a decade ago with the mix of pipes and punk. The band have christened their style as ‘Highland Punk Rock’ and yeah that sounds about right! Now the interesting bit for you simply click on the link below and be directed to a free download of Last In The Bar. Yes, free!!! So don’t delay get to your lap-top and get downloading…

Download Last In The Bar

Here

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EP REVIEW: THE CRAICHEADS- ‘Greetings From Another Land’ (2018)

One of the biggest pullers on the London Irish scene Celtic-folkers The Craicheads are back with an 4-tr