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.

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. TWO EP REVIEWS: 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

Facebook  WebSite  Bandcamp  Soundcloud  YouTube

(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

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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.

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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.

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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.

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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

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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-track EP the follow up to their debut album and a taster for their new studio album due next year!

There are two Irish communities living in London. The Irish and the London-Irish. The Craicheads are London-Irish through and through. A product of their environment on the working-class streets of London where the Irish ran everything. Nowadays London is a multicultural place where every nation in the world has rocked up to and the presence of the Irish in it has diminished in a couple of ways. For decades the public face of the Irish was the pub. Only a decade ago Irish pubs dominated the high streets of the capital but gentrification and changing demographics and the ever increasing need to build flats for young yuppies professionals has seen 100’s and 100’s closed over the last few years. On top of that, the ageing population has sadly seen many of the Irish who arrived in the glory days of Irish emigration from the 50’s through to the 80’s either pass away or move back home in retirement. Nevertheless their is a rich vein of Irishness still alive and kicking in the capital and it wouldn’t be unusual to go to an Irish pub these days and find the Irish born well outnumbered by the Irish not born in Ireland!

Music has played an enormous part in this and yeah bands like The Pogues did truly represent us back in the day but more modern bands like The Bible Code Sundays continue the trend. All over London, and other parts of England, Wales and Scotland, the foreign born Irish celebrate their ancestors and their roots listening and singing along to fellow foreign born Irish bands and singers. Into this category we can add the wonderful Craicheads. Formed a decade ago the Bhoys are in constant demand playing in and around the capital and at functions and festivals throughout the UK and abroad. Performances on ITV’s This Morning, at Trafalgar Square for the 2016 St Patrick’s Day festivals, The Irish Post Awards and at The Rugby World Cup too, as well as a residency at one of London’s largest and most well known Irish bars, O’Neills in the west end. They have one release behind them, ‘Brewed In London’, which was basically an album of Irish folk and country tinged covers which was well played and enthusiastically received but it was the two original Craichead compositions on the album that stuck out for me. ‘Take Me Back To Harrow’ and ‘Sligo Shore’ showed exactly what they can do and I never stopped hinting to Mick the bands singer when I would see him that they ought to concentrate on some original material. Well I have gotten my wish!!

The Craicheads from left to right: Sean Douglas- Bass * Ben Gunnery- Fiddle/Whistle/Flute * Mick O’Beirne- Guitar/Lead Vocals * Martin Stewart- Drums * Tim Eyles: Lead Guitar/Mandolin *

It’s a wee bit of a change of direction for them and I can honestly say its for the better. Watching them in O’Neills, as I have done countless times, you come away knowing a couple of things. 1) That you have had a bloody great time and 2) that these guys are wasted on the London pub scene! The songs here are still tinged with folk, country, blues and even good old fashioned rock’n’roll but there’s a bite to these songs that was missing before. Maybe its a bit of punk attitude but as a taster for the upcoming Craicheads second album this will certainly get the juices flowing.

Greetings From Another Land was recorded many miles from London at the Rockfield Studios in Monmouth, Cymru. The studio has in the past played host to such legends as Oasis, Joe Strummer, The Stone Rose’s and Queen. In fact it’s was here where Freddy Mercury wrote the epic song ‘Bohemian Rhapsody’! The EP kicks off with the rousing title-track ‘Greetings From Another Land’ where Mick’s voice sits snugly between fellow London-Irishmen Johnny Rotten and Shane MacGowan but still completely tuneful! The song takes the form of a message from one generation to the next about their experiences and the struggles they faced in emigrating to these shores.

“No Blacks, No Dogs, No Irish was the sign upon the wall, It’s hard now to believe it but it happened to us all”

Times were tough for those Paddies and Biddies we must never forget. The song itself takes in a ska/reggae beat, appropriately enough, alongside some fantastic fast trad Irish. The Irish lived side by side with the West Indian communities on arrival here in London’s poorest areas and many of their children still do.

A cracker of an opener with more than a hint of the Bible Code’s Celtic-Rock but lifted by the influences from around London. All the required instrumentation is here and played, as you’d expect, absolutely note perfect. They follow this up with ‘The Ballad Of John Joyce’, a song about vocalist Mick’s Grandad John Joyce from Connemara. Arriving in England from the Gaeltacht (where only Irish was spoken) with no English he got a job working down the coal mines in Wales, then to London and starting work and raising a family. It’s down to such legends in our lives that we are Irish. Here The Craicheads give it some Country’n’Irish with a snappy, catchy tune with Ben’s fantastic fiddle and tin-whistle moving it along nicely. It’s hard to imagine what he must have gone through to leave the green fields of home to go to work two miles underground. It literally must have seemed like another planet. On ‘Larry’s Song’ Mick tells the story of a man he worked with many moons ago. Like many of these long gone Irish over here, they all had a story to tell. A great hurler from Gort, Co Galway he helped the young Mick figure out what life was all about. His advice be sure to chase your dreams is truly good advice. The slowest song here though not quite a ballad but some lovely Irish folk played under Mick’s voice who proves he can still hit the notes when needed. A beautiful song with a strong and positive message. Class.

We’re rolling up to the end and the curtain comes down on Greetings From Another Land with ‘Leave Me Alone’ and The Craicheads go out in style with a knockabout Poguesy Celtic-Punk number. Telling the story of a man looking for a bit of peace and quiet away from it all down the boozer who won’t be left alone. Yeah there is still a trace of country still in there but its fast and furious and a great way to end things. Four new songs that are knocked out with power, passion and pride and it would be criminal if The Craicheads were confined to the pubs of London town. We will keep you posted as to when the full length album will be delivered but we must never forget that we built the roads, schools, hospitals (and staffed them too), tubes and plenty more besides in London and we have a not too shabby musical legacy to be proud of as well.

Buy The EP

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SEVEN DRUNKEN NIGHTS! FLOGGING MOLLY NATIONWIDE TOUR STARTS A WEEK TODAY!

We have plenty of Celtic-Punk bands in England. We even have plenty of really good ones too BUT there’s only two bands that have left our wonderful scene and entered the mainstream. Those bands are, of course, the Dropkick Murphys, who will be crossing the ‘Broad Atlantic’ to us early next year, and LA’s Flogging Molly! These two bands have somehow managed to cross the divide so that I’ve even heard people say they can’t stand Celtic-Punk but that they think Flogging Molly are really good!

Their umpteenth UK tour begins a week today on Sunday 2nd December in good auld London town at the Shepherds Bush Empire and we get to do it all again the following day except this time with London Irish Celtic-Punk band The Lagan opening the show. Following London the tour heads to Scotland and Glasgow before coming back to England and Newcastle, Bristol, Manchester, Sheffield, Birmingham, Oxford, before the final night in Bournemouth with Black Water County in tow. Back in the summer tour sponsors Fireball organised Fuelling The Fire in north London, a fantastic play-off for nine bands (including the best Celtic-Punk bands of the South of England) and the prize for the three bands chosen was to open shows on the tour in Bournemouth, Bristol and London. In the end Black Water County, The Run-Up and, London’s very own, The Lagan won, but with commiserations to Mick O’Toole who we thought were robbed and to further rub salt into the wound their van broke down on the way home to Swindon! Similar ‘play-offs’ were held around the country for all the gigs on the tour giving some unknown bands a great chance to showcase themselves. Well done to Fireball! Tickets for dates on the tour are unbelievably cheap. Remarkably only £15 for all the dates. The last time I paid £15 for a gig at the Shepherds Bush Empire must be well over a decade ago! Fireball will be offering special drink promotions on the night too so your wallet won’t feel the strain too much. Be warned though a couple of dates have already sold out so hurry and get your tickets as soon as you can!

TICKET LINK: https://www.floggingmolly.com/tour

You can listen to all the bands on the tour on this Spotify playlist.

https://open.spotify.com/playlist/6HunR1aIGvP26vejHSPH9H

Along with Flogging Molly they will accompanied on the tour with The Bronx, Face To Face, Lost In Stereo and Matt Stocks so great value for any tight arses out there.

THE BRONX

Formed in 2002 not in New York as you would think but in LA they have released five studio albums of hardcore punk rock but of more interest to Celtic-Punk fans would be their three albums of mariachi music under the moniker of Mariachi El Bronx.

FACE TO FACE

Another Californian punk-rock band on the bill Face To Face started way way back in 1991 and apart from a brief hiatus from 2004 to 2008 have been pumping out a wrack of albums including the recent Hold Fast acoustic album.

LOST IN STEREO

Winners of last years Fuelling The Fire Glasgow’s Lost In Stereo may be Celtic in birthplace but are heads down punk in music. Recently described as “their blend of genre-hopping rock is stuffed full with furiously catchy hooks and gleaming pop-inspired choruses which would make Katy Perry proud”.

MATT STOCKS

A presenter on Scuzz TV Matt will be DJ’ing in the sixty seconds inbetween these bands!!

Well what to say about Flogging Molly? Well you are here so there’s not really an awful lot that you won’t already know. They have now been together for an amazing twenty-one years. Dave King, Bridget Regan, Bob Schmit, Denis Casey, Nathan Maxwell, Matt Hensley and Mike Alonso have combined to bring us six exceptional studio albums and two sublime live recordings. They have played some of the best live gigs that I’ve ever been to and I am sure I will be adding to that list the gigs on this tour. What they bring to the music scene in general and the Celtic-Punk scene in particular is an authenticity and intelligence rarely seen in modern day music. Let’s hope they (and me!) are around in another twenty years! Slainte.

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Oh for a bit more of this!!! Floggin Molly last year at The Forum dahn Kentish Town rocking all our socks off!!

CLASSIC ALBUM REVIEW: PHIL OCHS- ‘I Ain’t Marching Anymore’ (1965)

The ultimate 60’s folk singing radical who put protest songs on the map and wrote the most sincere and provocative material of his day. I Ain’t Marching Anymore is Phil Ochs’ second LP and includes the awe inspiring title track that defined a generation.

There were those who fought and those who fought against the Vietnam War and Phil Ochs was the latter. He wrote the best song of the war, the title track of this album, which tells the tale of a soldier who has fought in all the wars throughout American history from 1812 to the Civil War right up to the World Wars of the 20th century but who now chooses to lay down his arms. The release of I Ain’t Marching Anymore became a defining moment during the War and catapulted Phil Ochs into the unofficial leadership of the anti-war movement.

“Oh, I marched to the battle of New Orleans
At the end of the early British war
The young land started growing
The young blood started flowing
But I ain’t marching anymore

For I’ve killed my share of Indians
In a thousand different fights
I was there at the Little Big Horn
I heard many men lying, I saw many more dying
But I ain’t marching anymore

It’s always the old to lead us to the war
It’s always the young to fall
Now look at all we’ve won with the saber and the gun
Tell me is it worth it all

For I stole California from the Mexican land
Fought in the bloody Civil War
Yes, I even killed my brothers
And so many others
But I ain’t marching anymore

For I marched to the battles of the German trench
In a war that was bound to end all wars
Oh, I must have killed a million men
And now they want me back again
But I ain’t marching anymore

It’s always the old to lead us to the war
It’s always the young to fall
Now look at all we’ve won with the saber and the gun
Tell me is it worth it all

For I flew the final mission in the Japanese sky
Set off the mighty mushroom roar
When I saw the cities burning I knew that I was learning
That I ain’t marching anymore

Now the labor leader’s screamin’
When they close the missile plants
United Fruit screams at the Cuban shore
Call it, peace, or call it, treason
Call it, love, or call it, reason
But I ain’t marching anymore
No, I ain’t marching anymore”

Phil Ochs was born Philip David Ochs in El Paso, Texas, in 1940 to a New York doctor Dad and a Scottish Mammy. His father joined the army in WW2 treating soldiers at the Battle of the Bulge. His shocking experiences there would lead to mental health issues and in November 1945 he received an honorable medical. On returning home he would in later years suffer from bipolar disorder and depression, things that would later haunt his son too. Phil had dropped out of university and his interest in folk music and politics would see him move to New York in 1962 where he would become a fixture in the burgeoning Greenwich folk scene.

His debut release, 1964’s All the News That’s Fit to Sing, was the album that defined what he called his ‘singing journalist’ phase, strewn with songs whose roots were pulled from Newsweek. A year later Phil Ochs would release I Ain’t Marching Anymore, twelve original Ochs compositions plus a cover of Ewan MacColl’s ‘Ballad of the Carpenter and a version of ‘The Highwayman’ by the English poet Alfred Noyes set to music. The most notable was of course the title track but also ‘Here’s To The State Of Mississippi’, a six minute long biting attack on the states attitude to race relations. There is humour wrapped up in social commentary as on ‘Draft Dodger Rag’ where he rips a new one on those who cheer leaded the war while using any means necessary to get out of fighting themselves. ‘That Was The President’ is a loving tribute to John Kennedy written not long after his assassination. In the album’s liner notes he adds that his Marxist friends could not understand why he written this song and this was one of the reasons he couldn’t be a Marxist. His socialist sympathies showed with ‘The Men Behind The Guns’ but he also courted controversy among his left-wing fans when on ‘That’s What I Want to Hear’ he tells a jobless worker to stop moaning and fight. He also rails against the death penalty with ‘The Iron Lady’ with its memorable line

“And a rich man never died upon the chair”

but Phil Ochs had a way of softening the message and making it accessible and where some may have indeed be turned away by his politics many were charmed by him and the sentiment he would readily employ to great effect. We are happy to be able to bring you a free download of this landmark album that also includes an electric version of ‘I Ain’t Marching Anymore’ which was originally released as a single in the UK. Simply skip to the bottom and follow the link.

In the early ’60s Phil was as well known as Bob Dylan but while his albums received critical attention he achieved little commercial success with only a string of minor hits behind him. By the early 70’s Ochs was still recording but his star had waned. His records weren’t selling and even the critical acclaim had dried up. Struggling with both alcoholism and bipolar disorder and distraught at the military coup in Chile, where the popularly elected government of communist president Salvador Allende had been crushed, he was in a downward spiral. He played a handful of shows in 1974 and by all accounts had lost none of his fire or his ability to move a crowd but on April 9th, 1976 aged just 35 Phil Ochs took his own life. As Congresswoman Bella Abzug said in the Congressional Record on April 29, 1976:

Mr. Speaker, a few weeks ago, a young folksinger whose music personified the protest mood of the 1960s took his own life. Phil Ochs—whose original compositions were compelling moral statements against war in Southeast Asia—apparently felt that he had run out of words.

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(Phil Ochs appears on Phil appears on Come, Read To Me a Poem on April 12, 1967 in New York City performing two songs and a lengthy interview)

LINER NOTES FOR I AIN’T MARCHING ANYMORE RE-ISSUE

by Richie Unterberger

Phil Ochs’s debut album, 1964’s All the News That’s Fit to Sing (also reissued on CD by Collectors’ Choice Music), established him as one of the foremost folk musicians in the topical singer-songwriter movement. While Ochs would eventually broaden his vision to encompass just as much personal and poetic verse as political protest, 1965’s I Ain’t Marching Anymore contained perhaps his most issue-driven songwriting. Militarism, American imperialism, the Vietnam War, labor struggles, and the explosive conflicts of the Civil Rights movement — one or the other of these concerns were behind the messages of almost every song. If this ensured that some of the pieces would be more dated than Ochs’s subsequent, more diverse repertoire, they also provide something of a snapshot of the mid-1960s social turmoil that both enraged and inspired his generation.

“He was getting better in his writing,” says Elektra founder and president Jac Holzman, who (as he had been on Ochs’s debut) was credited as production supervisor for the LP, with Paul Rothchild billed as recording director. “He was extremely prolific, but there’s a big difference between craft and art. He was becoming much more of a craftsman. It was tough being a songwriter [in that era], because of this 800-pound gorilla, Bob Dylan, who could dash off stuff in no time that was superb.”

That wasn’t stopping, of course, a legion of young singer-songwriters such as Ochs from stepping onto the road that Dylan had done much to pave. “He was angrier,” responds Holzman when asked what set Phil apart from his competition. “But not a nasty anger. But you could hear it. He had more edge. Buffy Sainte-Marie had edge of a different kind; some of her edge was a shrillness. But I think he had righteous edge. [Tom] Paxton was a better songwriter in the strict song sense, and he took a much lighter view of things, which I think sometimes is very effective.”

There was certainly no shortage of topical material for Ochs and Paxton to draw upon, and both were doing a lot of recording for Elektra in the mid-’60s. “There’s another thing that’s important about topical songs, especially on Elektra,” continues Holzman. “We came out with records frequently. We didn’t wait three years, or two years, between releases. Phil Ochs, he could have one out every six months. I learned a lot about the frequency of interaction between an artist and their audience from most of my singer-songwriters. We kept them recording.” Certainly Ochs had plenty of material ready to lay down when he went back into the studio to cut his second album, comprised entirely of original compositions, with the exception of a cover of noted British folk musician Ewan MacColl’s “Ballad of the Carpenter.” (Phil did give co-writing credits to Alfred Noyes on his adaptation of the poem “The Highway Man,” and to John Rooney on another such adaptation, “The Men Behind the Guns.”)

Undoubtedly the song that reached the widest audience was the title cut — not just via Ochs’s recorded version and concerts, but also via its subsequent adaptation as one of the anthems of the anti-Vietnam War movement, sung by crowds at innumerable demonstrations (and still sung at some such events today). “Oh yeah, it was a natural,” laughs Holzman. “It was easy to remember, it was catchy, and it was singable. All of those are good things.” It’s still not well-known that Elektra also had Ochs record an electric folk-rock remake of the song, “hoping to see if we could get some radio on it,” according to Holzman. With backup by the Blues Project (whose Danny Kalb had played second guitar on All the News That’s Fit to Sing), the 1966 single was only issued in the United Kingdom (and also as a flexi-disc with Sing Out! magazine).

The two other tracks on I Ain’t Marching Anymore to make the greatest impact also took on the era’s most controversial outrages. “Draft Dodger Rag” was, like “I Ain’t Marching Anymore,” also picked up at many anti-war rallies, demonstrating that Ochs could blast the military with satire as well as earnest declaration. “Here’s to the State of Mississippi” — at nearly six minutes, a very long track for 1965 — generated some controversy of its own, particularly in Ochs’s advice for the state to find another country to which to belong. Phil himself likely remained proud of the song, as he updated it for the Watergate era, retitling the number “Here’s to the State of Richard Nixon” on a 1974 single (the other side of which, incidentally, was an updated version of another number from his early career, “Power and the Glory”).

Though I Ain’t Marching Anymore helped Ochs continue to expand his fan base, it wasn’t the sort of thing that could enter the hit parade. Nonetheless, Holzman has recalled how Phil, rather surprisingly, would constantly inquire about how his records were selling, though at that point his sales were modest and dominated by pockets of enthusiasts in big cities in the Northeast. “I thought that was kind of charming, as a matter of fact,” says Holzman of Ochs’s commercial ambitions. “He was always interested in how he was doing, always comparing himself to somebody else, and that drove him nuts. I think the seeds of it were certainly there at Elektra. I think it was clear to all of us that this is not how you did it, but his illusions did not stop that material from coming. If he had tried to write pop songs or much more popular-oriented songs for Elektra, I wouldn’t have recorded ’em. That’s not where I saw him. I would have given him his release and let him go elsewhere.”

Ochs did actually dent the lower reaches of the Billboard charts for the first time with his third and final Elektra album, 1966’s In Concert. Yet this did indeed occasion his release from the label. As Holzman recalled in his autobiography Follow the Music (co-written with Gavan Daws), “We kept him on Elektra for three of the six albums we could contractually claim, and then he asked to be released because he felt we weren’t doing enough for him. In a way that was true, because by then…the whole music scene was shifting away from what Phil did, or at least what he did best, which was the topical political song. With fewer people listening, his personal devils took over.” I Ain’t Marching Anymore, however, captures him at a younger, fresher time, when he was reaching his peak as a master of topical song, even if his artistic restlessness would move him onto different fields as well in the future.

For more on Phil Ochs

PhilOchsHomePage  SonnyOchsHomePage (Phil’s brother)  Shadows That Shine  Wikipedia  AllMusic 

(The best documentary on Phil Ochs on the net. PBS American Masters- Phil Ochs There But For Fortune. Written and directed by Kenneth Bowser)

for more like this…

SINGLE REVIEW: THE DISINCLINED- ‘Sing And Create’ (2018)

The Disinclined are from south west London but sometimes they wish they were elsewhere.

The debut release from a band well known to me and also from my neck of the woods as well in South-West London. They may not be your archetypal Celtic-Punk or Folk-Punk band hat much I can admit but as I find them almost impossible to pigeonhole then it seems OK I reckon to just label them as Folk(y)-Punk and be done with it!

The Disinclined came together in 2014 when they mistakenly carried on playing together after doing a few covers at their friends’ wedding. Drummer Dave recruited Tim, who could actually write and sing original material, so along with Dave’s lyrics and the occasional riff from Shea and Matt, they started gigging in 2015 and have been playing ever since. I always describe them as being able to play for Ireland being 50% second generation Irish but this also means their influences are far and wide, from punk to gypsy folk and thrash metal to prog rock. They’ve all been in different bands since the mid/late 80’s. Dave & Tim played together in This Wind Thing and Vicious Hippy but went their separate ways in the early 90’s – with neither picking up their instruments again until the Disinclined came calling. Matt replaced Shea on bass when he was sacked from 80’s Kingston punk band NMBD, so he took up guitar, learnt bar chords and ignored bassists until he joined Riot/Clone and Refuse All in the noughties. They all play in other bands including Refuse/All, Lost Cherrees and Mooshwa Pooshwa. So with a wealth of experience in both playing and songwriting it was only to be expected that The Disinclined know their way round a good tune or two and on Song And Create they pass two such songs onto us.

The Disinclined from left to right: Shea- Guitar * Tim – Vocals, Guitar, Melodica, Uke * Dave – Drums * Matt – Bass

Sing And Create begins appropriately with ‘Sing’ the longest of the two tracks and nicely transfers their accomplished live sound onto disc. It begins with drums and some crunching bass lines from Matt before Tim joins in with an instrument you may not know until you hear it, the melodica. It’s a wind instrument with a small keyboard on top that you blow into that makes a sound pitched somewhere between a harmonica and a clarinet. The song itself is pretty damn catchy and Tim’s laid back vocals fit perfectly (they are The Disinclined after all) as the song builds while the lads still manage to sound super laid back about it all. On the other song, ‘Create’, two versions have appeared with this one re-mixed with fiddle and is far superior. Beginning with a ska beat but not of the happy, giddy sort that can get on your wick, or mine anyway! As you can imagine from a band that manages to squeeze the line

“we are disinclined to acquiesce to your request

into one of their songs this is clever and intelligent music and ‘Create’ takes in all those influences moulding them into, again, some very catchy pop music. First and foremost a live band The Disinclined are on the lookout to make even more changes to their sound and so if you play accordion or fiddle then please give them a shout. Only two songs here but a welcome taster for a band that must have an album on it’s way soon surely?

The two songs clock in at just under eight minutes and considering they have generously made it available as a free download it won’t cost you a penny, or a cent, to get your hands and feast your ears on this slab of funky folkish punky rock. The single only came out a few days ago and is available at gigs on CD and for download at the link given below.

(you can check out and listen to Sing And Create on the Bandcamp player below)

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Contact The Disinclined

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ALBUM REVIEW: TIR NAN OG- ‘From The Gallows’ (2018)

From The Gallows is the fourth album from German Celtic folk punk band Tir Nan Og. Released in January 2018 according to Marvey Mills it delivers an instant slab of authentic folk punk loveliness from the opening song to the very last drop of the fourteenth track.

It is necessary, when reviewing an album, to draw comparisons with others of the genre in order to locate it in the broad and diverse spectrum, for the delight and delectation of the reader. I have found that many European Celtic folk punk bands tend to focus on a few keys themes; drinking, fighting and wenching, wrapped up in fast aggressive tunes with the distorted guitar turned up to 11 and the drummer beating out a rhythm like a runaway train. Songs you might imagine singing along with at the top of your voice, pint of booze in one hand and the other clenched in a fist punching the air in defiance of the oppressive overlords of the past. From the Gallows is not one of those albums. Think of a combination of Black Water County, The Biblecode Sundays and Mad Dog Mcrea with a little of the whimsy of Merry Hell thrown in for good measure and you will get somewhere close. Don’t get me wrong, all those good old familiar party themes are well represented here, but the musical underpinning is layered, sophisticated, varied, skilfully delivered and occasionally surprising.

The opening track, “O’ Hanlon’s Last Words”, sets out the stall for the album and I knew by twenty seconds in that I would love the whole album. Leading from the front with some capering-pace solid fiddle licks and acoustic strums it melds seamlessly into the opening lyrics. Robert Meyer, the most Irish sounding German voice I have ever heard, delivers “Bless me Father for I have sinned done quite an evil deed”. His gravelly tones supported by dancing flute riffs, you know instantly where this track is going. He is joined on vocals by Sarah Kucharek, sounding for all the world like Shannon from Black Water County, in some fabulous backing harmonies as the song build pace.

Tir Nan Og left to right: Sarah Kucharek- Vocals, Traverse Flute * Robert Mayer- Guitars, Vocals * Andreas Fingas- Backing Vocals, Bagpipes, Whistles * Volker Katzki- Drums, Bodhran * Joachim ‘Joggi’ Fink- Bass * MatthiasPracht- Fiddle, Nyckelharpa

Loosely themed, naturally enough, around the struggles of life and death with the shadow of the gallows ever-present, the album keeps up a blistering pace, throwing in the ubiquitous tin whistle, flute and some alternative percussion I could not quite identify, as it romps from song to song. By  track three, Sarah takes over on lead vocals on the excellent “Firestorm” with scaffolding ably provided by some growling fiddle, droning pipes (maybe!) and backing harmonies from the rest of the band. The thoughtful fourth track “Monster (In My Mind)” dials down the pace a little and is pushed along by interwoven flute and whistle harmonies, with a beautiful flute and fiddle breakdown towards the end.

Sarah returns on haunting lead vocals for my personal favourite track on the album, ‘Last Farewell’, telling the sorry tale of Myles Joyce, one of three men wrongfully convicted and hanged in 1882 for the murder of a local family on the border between Mayo and Galway after a shameful trial by British authorities. “Toll for me the Angelus bell, let it ring let it sing my last farewell”.

The pathos is punctured admirably by the next two tracks “Three Nights in Town” and “Shaun O’Malley”. Riotous and ribald romps documenting the misfortunes of drinking too much when seeking romance and of being mistaken for the ne’er-do-well Mr O’Malley wherever the author turns. The latter being the perfect song for spinning and reeling audience participation at any whiskey-fuelled gig at a certain point in the evening! I am looking forward to being in that crowd one day, screaming “Who the fuck is Shaun O’Malley” along with the band onstage.

The fun doesn’t end there though. Seven more tracks complete the album, including two bonus tracks, with the instrumental “Bastard Reel” being a standout joyous and fiddle-driven reel, with one of the final songs sung in the band’s native tongue. The final track “Johnny Pirate”, with alternating English and German verses, is happy pirate rock documenting the life and times of Johnny Depp!

Tir Nan Og’s music is familiar, even on the first listen. Authentic and eclectic in its influences it draws on a pantheon of instantly recognisable themes. This absorbs you, quickly and completely. But just when you think you know where it is going, the band changes tempo, drops in a change, adds a different instrument or goes in a new direction. That is one of things I really enjoyed about this album, it never seems to get complacent or relies on regurgitating that which has gone before. Skilled and layered musicianship expertly woven together with glorious vocals and harmonies create dynamism and energy exhibited by the best that Celtic folk punk has to offer. I like this band so much I am off to purchase their first three albums and I will be looking out for them eagerly on the gig and festival circuit.

Discography

Ardacris (2016) * Jack Of Folk (2015) * Bitter Brew (2012) * After Work (2019) *

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EP REVIEW AND EP RELEASE SHOW! THE BRANDY THIEVES- ‘The Devil’s Wine’ (2018)

Combining Gypsy rhythms and punk energy, ska grooves and folk storytelling, The Brandy Thieves have created a sound that is uniquely their own, a sound that has stolen the hearts of all of whom that have seen them perform. Stephen Francis Bourke was at the release party at the Soundhouse Leicester for London Celtic Punks.

Already renowned as one of the Midland’s best live acts, The Brandy Thieves gypsy rhythms and punk energy, ska grooves and folk storytelling create a sound that is uniquely their own. ‘Raucous’ ‘Infectious’ ‘Enthralling’ ‘Captivating’ and ‘Sweaty’ are just a few of the words that have been used to describe the alcohol stealing gypsy punks. Now they have taken a new direction, embracing grass roots Americana in the form of new EP ‘The Devil’s Wine’.

Chatting to the punters ahead of the EP, ‘The Devil’s Wine’ launch at the Soundhouse in Leicester it became clear that I was in for “a hellava good show!”. The Brandy Thieves have a varied local fan base from punks that are old enough to remember seeing The Clash at Granby Halls, now a car park for The Tigers Rugby ground, to ska fans who had been encapsulated by the Two Tone launch just up the M69, through to ex-ravers disillusioned by the commercialisation of the scene, bearded lovers of country folk and exuberant students.


In a week when the City had come together in grief following the tragic loss of the football club’s beloved chairman Vichai Srivaddhanaprabha they needed something to celebrate, felt when Demarai Gray’s strike put the winner in for the club on Saturday, felt on this Friday night. In short, there was a lot of love in the room.
This was more than a gig. We had a magician compère, fortune telling, belly dancers and free shots of brandy. Having already appeared on Monday at a London Celtic Punks show TC Costello, self proclaimed punk folk accordion player and part time Brandy Thief entertained the crowd with his highly entertaining solo slot, The Splitters supported with their tight, edgy rock/ska sound with added sound effects, like the embodiment of Mick Jones’ mind somewhere between the Sandinista album and Big Audio Dynamite. They played their way right through a blown amp!

Then we had the main event.

The Brandy Thieves are a live band, first and foremost. They told me that when they write the songs Andrea and Cain bring the lyrics to the rehearsal and the arrangement is done by the whole group. The first album ‘Old Tattoos’ has that live feel, ‘ The Devil’s Wine’ demonstrates just how in tune with one another’s mood the Brandy Thieves must be.

Photos by Philip Vernon

So how does the collection of new songs fit in? – Well the lyrical themes of earlier songs continue. A folk lore devil is ever present, right down to the title of the EP. He’s a curse to the protagonists of the ballads and an ever present feeling that the ‘old one’ may well have the best tunes. ‘Down the River’ is a personal lament of battling demons inside. The track was an early taste of the forthcoming EP and works well as a bridge from the old ska/punk folk beats of the first album ‘Old Tattoos’ towards the new cooler sharper sound of ‘Devils Wine’ by providing a gospel blues feel with the more familiar reggae beats.

For the new EP marks the Brandy Thieves anew. Like they took the Chattanooga choo choo, picking the grapes and grain of Americana music on the way and distilling a spirit of their own into ‘The Devil’s Wine’.
Andrea’s vocals are just as powerful but smokier and melodic throughout. Listen to her scat on jazz blues inspired ‘Midnight Circus’ and all of their voices come through the intro of the EP, an untitled drinking song in the form of a spiritual for the 21st Century, reminding us, in Brandy Thieves style, of our own mortality.
Joe’s trumpet and Sebastion’s banjo have been let off the leash of the rhythm section to offer encapsulating melodies and freestyle solos. Hear the horn sing with TC Costello’s accordion on ‘Midnight Circus’and the hauntingly restrained banjo, echoing southern gothic on ‘ This Mountain’, while Chris’ tight drum beats and Cain’s waking bass riffs have taken up their rightful role as the heartbeat of the band, saying “keep cool, we’ve got this”. the aforementioned ‘Midnight Circus’ is as rhythmically rolling as a Stray Cat Strut.
Gone on ‘The Devil’s Wine’ are the runaway mixed tempos of ‘Old Tattoos’ although they still went down well during the show, taking the crowd from swaying folksy singalongs and then distinctively upping the tempo in a ‘1,2,3,4!’ punk/ska rhythm to get them jigging and pogoing with abandonment. Whether that was ‘Didikai Lee’; The hurdy-gurdiness of ‘Broken Record’ or title track of the first album itself; ‘Old Tattoos’ this was the case tonight. The exceptions are ‘Molly Malone’ a swaying murder ballad reminiscent of the classic traditional song ‘Rose Connelly’ and on the night an acoustic version of ‘Blackbird’ that had loyal fans singing along, both these tunes will, I imagine, be mainstays of the band whatever direction they take.
The Brandy Thieves have evolved away from ska. This was acknowledged midway through the gig when they covered Toots and the Maytals’ ’54-46 Was My Number’ saying that this would, probably, be the last time their Leicester faithful would hear it, and then playing it with the gusto of saying goodbye to an old friend.  Now we have a sound that is just as comfortable for the listener at home or played in the car as it is live. ‘Girl from the Black County’ with a clear acoustic guitar, plucking banjo and singing accordion wouldn’t sound out of place blasted on the eight track of a classic 1970’s Chevy pick up as it kicks up dust from the road on the way to see Billy Jo Spears at the Whiskey River.

(listen to the EP below on the Bandcamp player)

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The Brandy Thieves are bringing their sweaty, dancing, skanking frenzy to London on Saturday 17th November at the Hootananny in Brixton. Plenty of bands on so check the Facebook event here for details. Its free to get in before 10pm and gig ends at 3am. Hootananny Brixton, 95 Effra Road, Brixton, London SW2 1DF.

BRING YOUR MATE TO THE HOOLEY: A STARTERS GUIDE TO CELTIC-PUNK

Alright straight of the bat I know what you’re thinking: I’m reading a site called ‘London Celtic Punks’ I don’t really think I need a starters guide to the Celtic Punk/Rock/Folk Punk scene. Well steady on for a second and hear me out: This isn’t for you. This for your mate who has shown a bit of interest or even a passing interest in this music. Maybe they’ve watched The Departed, or heard the Dropkick Murphys on a sports broadcast, or maybe they’re just looking for some kick arse tunes to play on Paddy’s Day. It can be tough trying to think of where to start introducing them to the genres, so many great bands to choose from after all, so here’s my recommendations to help you help your mates out.

DROPKICK MURPHYS – THE WARRIORS CODE

This is the song that got me into this genre, stomping beats, wailing pipes, lyrics that fire you up. Written for Bostonian boxer Micky Ward, it’s a fantastic tune for any mate of yours who’s looking for some music to play while at the gym. Even after all these years it’s still my favourite Murphy’s song, great mix of punk rock sensibilities and some fantastic piping by the bands former piper Scruffy Wallace.

FLATFOOT 56 – KNUCKLES UP

A great punk tune that is a great bridge track for those just getting into the genre. Fast and hard, this song wouldn’t be out of place in a mid-2000’s skateboarding video. Flatfoot 56 are an excellent starting point band for people new to the genre. Once you’ve played them this get them onto to tracks like ‘Black Thorn’, ‘Ollie Ollie’ and of course ‘Winter In Chicago’.

KRAKIN KELLYS – ANARCHY IN THE DOUBLE K

Similar to Knuckles Up, just a flat out great punk tune, another skate punk style banger from one of the newer bands on the scene. The Kellys have a big future ahead of them and your mate will want to be on the ground floor for these guys.

KILMAINE SAINTS – THE SAINTS ARE UP!

Honestly, I could’ve picked any one of about a dozen songs from these guys, but I went with the opener from their fantastic debut album ‘The Good, The Plaid And The Ugly’. Similar to The Warriors Code in as much as it combines a great punk rock tune with some tremendous piping work. You and your mates will be belting out ‘raise a shot, raise a pint, put your arms around your mates, ‘coz we’re the noisy drunken bastards called the Kilmaine Saints!’ in no time.

THE DREADNOUGHTS – LEONARD COHEN

One of my mates upon hearing this song said to me ‘It’s a great song, but why is it called Leonard Cohen?’ I honestly had no idea, but really it’s irrelevant because he was right, it is a great song. The Dreadnoughts have always wholeheartedly embraced the folk side of the folk punk genre, playing everything from polkas, shanties and great punk rock songs. Once your mates have gotten a taste of these Canadian mainstays point them towards songs like ‘Back Home In Bristol’, ‘Eliza Lee’ and ‘Grace O’Malley’

THE BOTTLERS – HADES WAY

Regular readers of this site will know that the lads of London Celtic Punks love them some Australian bands and for good reason: we have some incredibly good bands down here. From bands like The Go Set, The Ramshackle Army, The Dead Maggies, Fox N Firkin, Medusas Wake and so many more Australia has an amazing scene that is going strong, even with The Rumjacks no longer calling Australia home. For mine though, Hades Way is one of the absolute top shelf songs by an Australian band. The Sydney lads from The Bottlers embrace all things Australiana and Hades Way is a cracking song.

THE YOUNG DUBLINERS – THE FOGGY DEW

Of course if you’re going to introduce your mates to this music, then you’re going to have to throw in a few traditional songs that have been covered by modern artists. This track is one of my favourites, great vocals backed by some tight music make this a powerful version of a powerful song. Once you’ve introduced your mates to this then move onto songs like ‘Botany Bay’ by The Blaggards, ‘The Wearing Of The Green’ by the Kilmaine Saints, ‘Danny Boy’ by Happy Ol McWeasel and of course the Pogues and The Dubliners teaming up on ‘The Irish Rover’.

SIR REG – FECK THE CELTIC TIGER

Based in Sweden and with a majority Swedish band. Sir Reg are a good way to introduce your mates to the wider world outside of the main hotspots of North America, The UK & Ireland and Australia. Feck The Celtic Tiger is an amazing tune about the exodus of Irish nationals riding high on the so called Celtic Tiger boom of the 90’s/2000’s. Well paced and well played with a catchy chorus, it’s a great song to introduce people to the many non traditional scenes, from there you can bring bands like The Barley Hops from Indonesia (great scene in Indonesia btw), Raise My Kilt from Argentina, Selfish Murphy from Hungary and of course the many great bands from central and Eastern Europe.

THE TOSSERS – SIOBHAN

Anyone who listens to the Celtic Punkcast will know that The Tossers are my favourite band, so of course I’m going to include them on this list. Siobhan is such a great song and in my opinion no other band seams trad and punk together as well as The Tossers. Siobhan is a prime example of The Tossers at their absolute finest. If I was to list all my Tossers recommendations this article would become something challenging Tolstoy in length. Pick any Tossers song and you can’t go wrong really.

THE POGUES – STREAMS OF WHISKEY

If you’re introducing you mates to Celtic Punk, you have to give them a taste of the band that started it all. A bit like some of the other bands on this list, you could chose any number of their songs by these legends (ok, maybe not Fiesta). I’d go with Streams Of Whiskey over some of The Pogues mainstream hits such as ‘Fairytale Of New York’ or ‘Dirty Old Town’. A great singalong chorus surrounded by some of Shane McGowan’s finest lyrical work makes for a tremendous song.

So there you go ladies and gents, 10 songs to get your mates to dip their toes into the waters of the Celtic Punk and it’s offshoots scene. Of course there were dozens of great bands I didn’t get to mention, the world of Celtic Punk and the number of bands out there continues to surprise me. But set your mates up with some of these and you’re off to a good start.

Or if it’s easier, just point them in the direction of the Celtic Punkcast.

CelticPunkcast

 

We have teamed up with The Celtic Punkcast to bring you the best in Celtic-Punk, Celtic rock and folk punk from around the world. You can find the Podcast here and we recommend you head over there as soon as you get the chance and take a listen. Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily.

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NOVEMBER’S EPISODE OF THE CELTIC PUNKCAST #20 OUT NOW!

London Celtic Punks have teamed up with 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 November episode.

G’day everyone! The new podcast from our partners The Celtic Punkcast is up for November. The featured band are New York’s The Gobshites but listen out for new tunes from American bands Alternative Ulster and Lexington Field, Germany’s Kings And Boozers and Italians Mosche Di Velluto Grigio making up the hour long programme alongside music from such Celtic-Punk greats as The Real McKenzies, Shambolics, Captain Jacks Army, The Sunday Punchers, The Gentlemen, The Barley Hops, Bastard Bearded Irishmen and heaps more.

Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. The next post will be a special article written by Gareth especially for people who haven’t yet experienced the joys of Celtic-Punk so check back in a few days for that.

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

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.

THE CELTIC PUNKCAST

ALBUM REVIEW: LANKUM- ‘Between Earth and Sky’ (2018)

Their new album has been called the most exciting album of traditional Irish song in decades and Dublin natives Lankum show how to perform old songs in new ways. Distinctive four-part vocal harmonies with arrangements of uilleann pipes, concertina, Russian accordion, fiddle and guitar. Their repertoire spans Dublin music-hall ditties and street-songs, ballads from the Traveller tradition, traditional Irish and American dance tunes and their own original material.

lankum.jp

There is only one thing I’d rather do more right now than listen to Lankum’s ‘Between Earth and Sky’ and that is go and see them live. Lankum bandGushing a bit I know, but as someone oft accused of having music tastes severely in the past, my favourite two albums being The Fureys, best of compilation ‘ The Spanish Cloak’ and The Pogues ‘Rum Sodomy and the Lash’, suddenly my taste is brought into the 21st century after going to see Lankum live and buying their CD ‘Between Earth and Sky’ at the gig.

 

Their powerful voices, guitar, uilleann pipes, harmonium, fiddle and accordion create a sound lit in the hearth of tradition and fired up with the sensibilities of injustice whether the tune be their own or one already owned by lovers of folk.

Radie Peat’s haunting voice on traveller traditional ‘What Will We Do When We Have No Money’ and original lament to women’s plight ‘Granite Gaze’ pleasantly weave into the fabric of your mind. Similarly Ian Lynch’s Déanta in Éireann, about Irish emigration is stoked with bitter indignation with a voiced end that has the power of Shane MacGowan’s finish to the ‘Old Main Drag’.

By contrast the Turkish Reville is played with the wildness of Tom Waits’ ‘Frank’s Wild Years’, ‘The Townie Polka’ had me whistling Cormac Mac Diarmada’s fiddle refrain all day at work to the extent that the lads thought I was on a promise and the wit of ‘Bad Luck to Rolling Water’ had me laughing out loud.

Seeing them live had the bonus of hearing Radie Peat and Daragh Lynch rendition of ‘Hares on the Mountain’ and the whole troop thoroughly enjoying themselves singing out ‘Fall Down Billy O’Shea’ that led us all stamping our feet and whooping.

Buy Between Earth and Sky

Here (iTunes, Google, Spotify etc.,)

Contact Lankum

WebSite  Facebook  Twitter  YouTube  Instagram

Named after the the child-murdering villain from the classic ballad, Lankum were originally named Lynched after brothers Ian and Daragh Lynch before changing their name. You can hear their debut album on the Bandcamp player below.

* Thanks to Stephen Francis Bourke for the review and you can check out his great web-zine, Midlife With Attitude here.

ALBUM REVIEW: LEXINGTON FIELD- ‘Dreamers’ (2018)

More in the same week from Fiddle Rockers Lexington Field out of San Diego, CA. Playing shows, drinking pints and having a good time! Slainte!

God only knows what possessed Lexington Field to release a brand new EP and a LP on the same day but on reflection it works. Our review of their EP, Modern Times, appeared here last week and while not wanting to go over the same ground I have to say we were extremely impressed with it. The differences between the two releases are stark with the EP harking very much back to the roots of Lexington Field in the Celtic-Punk scene while Dreamers is a thoroughly more rounded affair and lends itself to Flatfoot 56’s offshoot 6’10 or the Murphys/Street Dogs collaboration FM359. pcked with elements of Country, Folk and Americana aside from their Celtic/Irish influences it marks a natural progression from that debut album back in 2011.

As Beau Gray, lead vocals and guitarist and writer of many of the songs here said in a recent interview.

“In the summer of 2017, we started writing songs again. It was time to write about all the positivity and hope we experienced in our daily lives. Love, family, our children, and the dreams we were so blessed to have come true, inspired the songs of both albums. Dreamers is an uplifting, catchy record, one we always wanted to write, and finally decided to take the leap into a more inclusive, all-ages sound. Five songs really tapped into our pop punk roots, which lead us to separate them from the pack, and give them their own home in Modern Times. We are very proud of all these songs and hope the positivity stands out and represents us as the artists we have become over this last decade. Our family, friends, and fans have supported us all these years, and both albums honor them. We are humbled, and very lucky to continue to create fiddle rock music in Lexington Field.”

Both releases came out today on Thursday, November 1, 2018 and the ten track Dreamers, is Lexington Field’s fourth full-length album in nine years along with a very fine selection of EP’s along the road. Both releases were tracked at Weathertop Studio (Anza, CA) in the Spring) by long time collaborator Matt Maulding, formerly of the brilliant celtic-punk band Brick Top Blaggers, who also performed keyboards, harmonica and backing vocals alongside Beau and Bryan Hane on electric and acoustic  guitar, Cami Smith on violin, Nick Sitar on drums and percussion and Nick Freeling on bass.

Photo by Sarah Anne

Here they are in the throws of ecstasy at their double-record release party with the legendary and super amazing Reverend Peyton’s Big Damn Band (if you don’t know them then definitely check them out too… after Lexington Field though) at the Soda Bar in San Diego just last night! I’d have given my left arm to be there with you bhoys and ghirl!

Dreamers begins with the absolutely wonderful ‘Crazy Love Song’ and Beau’s happiness is evident all over the song as it takes in influences from across the United States even at one point nearly venturing into the more folky side of college bands like R.E.M. It really is a fantastic start but i will stop short of singling it out as, and i doubt this will shock anyone, I love every single song on this album. It really is that good. It may not be full on Celtic-Punk but I’ve noticed a shift in both artists and fans to tone down the more punkier side of things and as I enter my fifth decade in a couple of years I find myself absolutely enraptured by releases like this and this is certainly one of the best ones you’ll hear. With ‘Crazy Love Song’ still ringing in my eyes it time for the first single release from the album and ‘Bright Blue World’ carries on in the same vein with bouncy and catchy folk to make your heart melt! The official video was filmed by Chung-i Wang at Yore Studio in San Diego and edited by Beau.

The songs roll off and the joy seems into you but its not a cheesy kind of thing but the band opening themselves up and having to guts to tell us their inner most secrets and frailties and the righteous aim to become better people through sharing their lives with their loved ones. ‘Greater Than The Sea’ leads us up to ‘Nashville’ where they slow it right down and Cami’s sad Irish fiddle laments while Beau sings of moving to the home of C’n’W and I always love hearing the harmonica. Though not exactly Celtic i always thinks its criminally underused in Celtic-Punk. They pay tribute to their home in the relaxed  ‘Diego Nights’ and next to ‘Michigan’ though not sure what the connection is there but the song is utterly beautiful!

Their are moments here where Bruce Springsteen could be channeling his Irish roots and ‘Honey’ could easily fall from the Bosses lips though not with the same emotional range as Beau. Cami’s fiddle rages through ‘The Lumberjack’ with a harder edge to the previous songs as the story of the lumberjack unfolds. We coming towards the end and they go out with a bang with ‘Story Time’ and ‘Saint Oliver’. Two songs that continue in the same catchy vein and lead us gently to the end of the album and Beau extolling of family is a great way to bring down the curtain.

A couple more things to add here before I leave and one is the pure quality of Beau’s writing. As proved by this double release he can flit from downright humour to pathos and sadness and pure joy with ease. He is maybe the perfect example of a Celtic-Punk singer/songwriter and it’s that range that makes Lexington Field such an interesting band. The other thing is the effort they always put into their releases and the artwork and I would suggest if possible to get the physical CD to really appreciate Dreamers. Lexington Field are one of the mainstays of the American Celtic-Punk scene and with this record their popularity is sure to grow seeing as it will impress new fans and please anyone who has been following their career to date. A wonderful record. Here’s to many many more.

(Treat yourself and have a listen to the title track on Dreamers on the Bandcamp player below. Then your only decision should be whether to get the Download or the CD!!)

Discography

Old Dirt Road (2011 LP) * Poor Troubled Life (2012 EP) * No Man’s War (2013 LP) * Greenwood (2015 LP) * Redwood (2016 EP)

Buy Modern Times 

FromTheBand  iTunes

Contact Lexington Field

WebSite  Facebook  YouTube  Twitter  ReverbNation  Bandcamp

EP REVIEW: LEXINGTON FIELD- ‘Modern Times’ (2018)

Lexington Field is Fiddle Rock from San Diego, CA.

Back in the early early days of the London Celtic Punks one of the first bands to get in touch with us from overseas happily turned out to be a band that would go on to become one of my favourite all-time Celtic-Punk bands, Lexington Field. Born in San Diego, California in 2009 they are a straight up punk-rock band but with fiddle right slap bang in the middle of proceedings and one in which it’s the fiddle that calls the tune!

It’s been only two years since their last EP Redwood and three since their last full length album, Greenwood, appeared but they have kept busy touring and playing festivals around North America and now on November 1st they have a double release of an album and a EP, Modern Times, on the same day! Certainly very ambitious and it actually goes against the rock’n’pop guidebook and I honestly don’t remember any band ever doing it before. The reasoning behind the decision to have two releases seems to be that while the album is much more rounded musically, carrying on perhaps from their acoustic EP Redwood where they re-recorded several of their old tunes, here they let their hair down and let their pop-punk roots show.

Modern Times begins with ‘Side By Side’ and from the off you just know that Lexington Field are back with a bang. Fast, heads down Celtic-Punk with a shedload of attitude and Bhoy oh Bhoy that fiddle! Cami’s playing is breathtaking and such an integral part of the songs here. This is why some bands may be Folk-Punk but will never be Celtic-Punk. Not that it matters to them as they have christened what they do as ‘Fiddle Rock.

As is Lexington Fields way they are are also a story telling band and here Beau tells a simple tale of love and a message of hope for all singletons!

“I can’t believe that this is now real
I never thought I would find you my dear
I knew from the start If I opened my heart
We’d rock this love side by side”

It’s not just played fast its over pretty quickly too but the band don’t slow down on Modern Times at all. On ‘We Are Fearless’ its again the fiddle standing out but vocalist Beau has a great voice and his vocals fit in with the music perfectly. Pitched nicely between punk rock shouting and folky smoothness it’s easy to understand the words and the positive message springs forward. Next up is the track ‘Tracy Boys Know How To Party’ and the song is a follow up I’m sure to the 2011 song ‘Tracy Boys Fight The World’ which appeared on their album Old Dirt Road. The mythical (I think?) Irish family get another tribute to their hard drinking and hard living ways and what a life. Whiskey and pints are thrown back and the song has an unmistakable Irish air to it. A real mosh pit filler this one leading us into ‘Tip My Cap’ and they keep the speed up with Beau singing of friends and loyalty. Catchy as hell and so much energy I’m sure you’d be guaranteed a good time watching this motley crew. The EP ends with the title track ‘Modern Times’ and starting off with just Beau it soon becomes a loud affair. It’s got a rough edge to the recording of this song that only adds to the awesomeness of their sound. A great message as usual and a superb way to end the record. 

So we get five original songs coming in just short of fifteen minutes and for the initiated it’s a great place to start but for those of us who love Lexington Field I can’t say it’s a return to form as I’ve loved every single release from them! Each release is a real labour of love from them from the beautiful artwork to the heartfelt and positive lyrics. A fantastic taster for their new album Dreamers that we will review in the next few days, so be sure to come back and check that out. Rest assured it will receive glowing praise galore from us!

“We are very proud of all these songs and hope the positivity stands out and represents us as the artists we have become over this last decade. Our family, friends, and fans have supported us all these years, and both albums honor them. We are humbled, and very lucky to continue to create fiddle rock music in Lexington Field.”

Discography

Old Dirt Road (2011 LP) * Poor Troubled Life (2012 EP) * No Man’s War (2013 LP) * Greenwood (2015 LP) * Redwood (2016 EP)

Buy Modern Times

Pre-Sale for release on November 1st iTunes

Contact Lexington Field

WebSite  Facebook  YouTube  Twitter  ReverbNation  Bandcamp

ALBUM REVIEW: THE RUMJACKS- ‘Saints Preserve Us’

The new album from the undisputed Kings Of Celtic-Punk hits the decks right across every corner of the globe. I never thought they’d ever come close to their out of this world debut album but as Shane O’Neill shows they have not only made an album to compete with Gangs Of New Holland but possibly even surpassed it!!!

To say we’ve been excited and eagerly awaiting the release of The Rumjacks new album is a major understatement. It’s no secret that we’re big Rumjacks fans (if not a little obsessed) over here at London Celtic Punks. True to form, The Rumjacks didn’t disappoint. This is another absolute crackin’ album – 42 minutes of pure brilliance. I haven’t been able to turn it off since I got my hands on it. Totally addictive! The album, Saints Preserve Us, is released on the tenth anniversary year of the band and what a way to mark the occasion. Originally formed in Sydney in 2008, the band recently set up camp in Europe and have been touring rigorously over the past few years. They have just kicked off their tenth anniversary tour which will be ripping through Europe and Asia over the next few months. The crowds and venues are getting bigger which is down to their hard work and of course the exceptional tunes they continue to churn out. This is their fourth studio album and the third to be released in the last three years. Over the past few weeks the band have been drip feeding with a few tracks to wet our appetite. First up was the title track and video, ‘Saints Preserve Us’.

This track is full of the energy we’ve become used to from the band. There’s also a hint of ska-punk on the track. This was followed up with ‘Bus Floor Bottles’, ‘The Foreman O’Rourke’ and ‘Cold London Rain’. All of this within a week!!! ‘The Foreman O’Rourke’ is a cover of Matt McGinn’s folk tune. It features Paul McKenzie and Troy Zak from Canadian punks The Real McKenzies. And bhoy have they transformed this song…It’s been given a boost a speed with bagpipes thrown in for good measure.

The album features a host of guest appearances from the Celtic-Punk world with Mike Reeves of Mickey Rickshaw popping up again, after a recent spot on German band Kings & Boozers debut album, doing a spot of vocals on the second track ‘Billy McKinley’. The combination of vocals between Mike and Frankie on this track works wonders making this one hell of a tune. Other guests include Maurizio Cardullo (Folkstone – Whistle & bagpipes), Robert Collins (Blood Or Whiskey – Trumpet & accordion), Angelo Roccato (The Clan – Guitar), Francesco Moneti (Modena City Ramblers – Fiddle), Denis Dowling (Clan of Celts – Guitar and backing vocals) and last, but definitely not least, our very own Shelby Colt (London Celtic Punks – backing vocals). Beat that!! The fourth track on the album is a rendition of ‘An poc ar Buile’ (The Mad Puck Goat). I’ve heard some of the traditional versions of this tune before but nothing anything quite like this. The song is almost entirely in Gaelic and played at a high tempo with bagpipes, which works well. I had trouble getting it out of my head a few nights.

It’s difficult to pick the best songs on this album. They’re all feckin’ brilliant. If I was pushed I’d have to say ‘A Smugglers Song’, ‘Bus Floor Bottles’, ‘Billy McKinley’ and ‘Cupcake’ would be the favourites. ‘A Smugglers Song’ is a revisit to The Rumjack’s roots and you’d be forgiven for thinking it had been plucked from one of their early days EP’s. We’ve listened to quite a few Celtic-Punk bands here at London Celtic Punks and The Rumjacks are a tough act to follow. Everything they’ve released to date has been highly acclaimed throughout the Celtic-Punk world and they’re going from strength to strength. It’s widely accepted that their debut album Gangs of New Holland is probably the best Celtic Punk album to have even been released. I never thought another album would get anywhere close to it, however I have to say, Saints Preserve Us is most definitely a contender to knock it off the top spot. So there you go… Drop whatever you are doing and get your hands on a copy of Saints Preserve Us now.

Rumjacks band

The Rumjacks left to right: Top: Gabriel Whitbourne- Guitars, Vocals * Adam Kenny- Mandolin, Banjo, Bouzouki, Bodhran, Acoustic Guitar, Vocals. Bottom: Johnny McKelvey- Bass, Vocals * Frankie McLaughlin- Vocals, Tin-Whistle, Guitar * Pietro Della Sala- Drums, Vocals.

Also make sure you try to catch The Rumjacks in a town near you. Buy Saints Preserve Us

FromTheBand  Here  (iTunes, Google, Apple etc.,)

Contact The Rumjacks

WebSite  Facebook  Twitter  Instagram  YouTube  Soundcloud

For more on The Rumjacks check out the following articles Album Review: ‘Sleepin’ Rough’ (2016)  here

Album Review: ‘Sober And Godless’ (2015)  here

Single Review: ‘Blows And Unkind Words’ here 30492-London Celtic Punks Top Twenty Celtic-Punk Albums Of All Time here The Rumjacks And Irish Pubs here

IT’S OUR 500th POST!

Holy Shit! October has been kind to us. Not only did we breach 4,000 members on the London Celtic Punks Facebook page but this is our 500th post! Yes 500! Thanks to everyone who has contributed along the way and if you fancy having a go at writing or reviewing then drop us a line on the Contact Us page.

Now onto the next 500!

LONDON CELTIC PUNKS

BONDED BY SPIRIT NOT SUBSCRIPTION

FILM REVIEW: BLACK ’47

Famine was quite deliberately employed as an instrument of national policy, as the last means of breaking the resistance of the peasantry to the new system where they are divorced from personal ownership of the land and obligated to work on the conditions which the state may demand from them… This famine may fairly be called political because it was not the result of any overwhelming natural catastrophe or such complete exhaustion of the country’s resources in foreign and civil wars

– William Henry Chamberlin

BLACK 47

Directed by: Lance Daly

Written by: Lance Daly, P.J. Dillon, Eugene O’Brien and Pierce Ryan

Starring: Hugo Weaving, James Frecheville, Stephen Rea, Freddie Fox, Barry Keoghan,  Moe Dunford, Sarah Greene and Jim Broadbent

Runtime: 1 hour 39 minutes

Despite being a huge film fanatic it’s fair to say I haven’t anticipated a film like Black ’47 since the release of the Irish War Of Independence drama The Wind That Shakes The Barley back in 2006. At that film a whole bunch of us went to the cinema sneaking in beer and crisps and cheered every time a British soldier was dispatched, much to the annoyance of the metropolitan elites watching it with us in snooty Islington. Black ’47 was going to be a whole different film. We have made no secret here that we don’t actually believe there was a famine in Ireland. Their were adequate supplies of food being grown in Ireland but these were needed to feed the British empire and so were taken at gunpoint from the country. Ireland was transformed into

“an extended grazing land to raise cattle for a hungry consumer market [in Britain]… and the British taste for beef had a devastating impact on the impoverished and disenfranchised people of Ireland” and “pushed off the best pasture land and forced to farm smaller plots of marginal land, the Irish turned to the potato, a crop that could be grown abundantly in less favourable soil.” (Rifkin, ‘Beyond Beef’ 1993)

Make no mistake it was the ethnic cleansing of the Irish Gael that was the goal here.

Set in the west of Ireland in 1847 at the very height of An Gorta Mór, the story begins with Feeney, played by James Frecheville having returned from Afghanistan after fighting with the British army. He deserts and makes his way back home only to find the potato crop has failed and disease, emigration and famine has touched many of his neighbours and also claimed the life of his devoted mother while his brother has been hanged. The film tells of Feeney and his attempt to avenge the deaths of his nearest and dearest. Lance Daly directs the film as Rambo meets Fionn MacCumhaill and the story unfolds, in a way as many people have said, like a traditional western and while it’s not the first Celtic action film, that honour belongs to Braveheart and then maybe Michael Collins, it certainly brings the chilling horror of the times to our screens very well. Unlike Braveheart’s William Wallace our hero here is strong and silent. Like Clint Eastwood’s The Man With No Name, from Sergio Leone’s ‘spaghetti’ westerns, Feeney is a quiet grim faced executioner who dispatches his foes with finesse.

The film begins as a history lesson about the relationship between Ireland and the British Empire. A history lesson sorely needed in these times about the horrors of the ‘famine’. Those of with the inclination will take a certain amusement from watching Feeney taking his revenge against members of the British authorities after all he kills with a style only found in feature films. One curious aspect to the film is that the Gaelic subtitles appear in the centre of the screen instead of along the bottom and their is a lot of our native language in the film. It is shot in the same style as films based in the Arctic with a sort of white glow that gives it a sense of bleak apprehension. One aspect that should ruffle feathers among the Irish establishment is the portrayal of those who ‘took the King’s shilling’ to save their skins. The ‘sleeveen’ mentality of the Royal Irish Rangers who assisted the British Army to help murder their countrymen. The sleeveens are still around. Look no further than the Dáil and the Gards facilitating the evictions of families from their homes if you wish to find them.

James Frecheville as Feeney in Black 47

At times it seems that Feeny has the entire British Army on his back but at every turn he escapes their clutches and even when he is eventually caught he escapes easily using his wiles. By now it gets more than a little far-fetched as David takes on Goliath in some fairly improbable situations. Towards the end of the film Feeney’s former comrade in the British Army, Hannah, played by Hugo Weaving, arrives in Ireland to help capture him. A much more rounded character than Feeney we see eventually a shift in the loyalties of Hannah towards sympathy for the Irish cause.

Black 47 is a great film and while its detractors (more sleeveens!) moan that it will re-open ‘famine’ wounds these are wounds that have not healed and will not heal until it is finally excepted that the potato blight did not kill the Irish or send them into exile but a callous British regime bringing ruination to the Irish people, language and culture. Feeney’s avenging angel of death struggles to have his revenge while at the same time representing the fight against the wretched British landlord system. The tension mounts throughout the film and at the climax of the film emotions will run riot at the realisation that both natural disaster and a kind of fascism butchered our people. Black 47 may be implausible in parts but it does go someway to laying the ghosts of An Gorta Mór to rest.

RECOMMENDED LISTENING:

At this point can I point you in the direction of last years London Celtic Punks #1 album Chronicles Of The Great Irish Famine by Declan O’Rourke. Fifteen years in the making Declan has taken the best of traditional Irish music and the heart of modern song-writing for something truly special. He has taken true stories that will melt your heart and put them into something that I believe every school child would be given a copy of. It is quite simply outstanding and a more than worthy companion to the film. Read our review here which includes various places to buy or download the CD and a link to listen to the album. assisted by a wealth of Irish musicians including John Sheahan on fiddle, Dermot Byrne on accordion, Gino Lupari on bodhran and Mike McGoldrick on pipes, whistle and flute and I can honestly say that in all my 47 years I have never heard anything that evokes Án Gorta Mór in such a moving and evocative way.

RECOMMENDED READING:

Coogan, Tim Pat (2012), The Famine Plot: England’s Role in Ireland’s Greatest Tragedy, Palgrave MacMillan

Crowley, John (ed) (2012) Atlas of the Great Irish Famine, Cork University Press

Kinealy, Christine (1997) A Death-Dealing Famine: The Great Hunger in Ireland, Pluto Press

Fogerty, Chris (2017) Ireland 1845-1850: The Perfect Holocaust And Who Kept ‘It’ Perfect, Fogarty Press. Available here.

On Facebook:

Let Ireland Remember  Remembering An Gorta Mór  National Famine Memorial Day

but the most extensive resource on Facebook about this period is to be found at

The Great Hunger- Ireland 1845/1850

RECOMMENDED WATCHING:

When Ireland Starved Part 1  Part 2  Part 3 

ALBUM REVIEW: SIR REG- The Underdogs’ (2018)

Traditional Irish folk music, unforgettable melodies, propelled by an driving, energetic punk rock backing.

Sir Reg are an energetic six piece from Sweden fronted by Irishman Brendan Sheehy who left Dublin to fulfil his dream of putting together the most amazing band possible. With songs about everything from the issues of modern day society to finding the right bar on a Saturday night, combined with strong melodies and explosive live shows. 

September 18 saw the release of the fifth album from the Swedish Celtic punk heavyweights Sir Reg. The new album The Underdogs comes two years after the last album Modern Day Disgrace and is released on Despotz Records. It was recorded between Sweden and Ireland and most definitely packs a punch from the first note right through to the last.

The first of the eleven tracks on the album is the title track ‘The Underdogs’. It sets the scene for the rest of the album with a high tempo beat. The song is about the ongoing working class struggle for equality in the modern world. This is followed up with a tribute to Conor McGregor. Unfortunately for Conor, the lyrics didn’t come through in his recent battle

“Conor Mc Gregor the lord of the fight, he’ll destroy anyone in his way, smacking the shite out of fools with delight…”.

Oh well, let’s move swiftly on…..

The album is packed full of good humored drinking tunes which is common place on a Sir Reg album. ‘Stereotypical Drunken Feckin’ Irish Song’ is a funny wee song which needs little explanation. When I heard the beginning first I thought it sounded like early year Wolfe Tones or The Dubliners. ‘FOOL (Fight Of Our Lives)’ is the first single to be released of the album and is excellent.

Other notable tracks from the album are ‘Cairbre’, which is a traditional instrumental and ‘The Stopover’. The album closes on a slower note with ‘Sinner Of The Century’ which is also very good.

Sir Reg is Brendan Sheehy – Vocals * Karin Ullvin – Fiddle * Chris Inoue – Electric guitar * Filip Burgman – Mandolin * Mattias Söderlund – Bass * Mattias Liss – Drums

Personally I think this is Sir Reg’s best album by far. This is a band which are continually improving and I have no doubt there’s lots more to come. They have just finished a successful tour of England and Scotland, earlier in the year they played in the USA and they are currently embarking on a European tour to promote The Underdogs so get out and support them if you get the chance. If, like me, you won’t get the chance to catch them live on this tour, be sure to do yourself a favour and pick up a copy of The Underdogs album. You won’t regret it.

Buy The Underdogs

FromTheBand  DespotzRecords  Amazon 

Contact Sir Reg

WebSite  Facebook  YouTube  Instagram  Twitter

On 22nd August Sir Reg jetted in to play a special invite only gig at Waxy O’Connors in central London. The set contained songs old and new played acoustically by three of the band’s members. Here’s the entire set minus the encore. 

PHANTOM OF THE BLACK HILLS

Phantom of the Black Hills are one of the most innovative bands you will ever hear that has a banjo! This isn’t the Country music of Nashville or the Grand Ole Opry instead its angry polemic over bluegrass banjo, mandolin and upright bass mashed together with raucous punk guitar, blistering drums and dirty, snarling distorted vocals with extreme sound effects and movie dialogue samples. They are one of my favourite bands so I thought I’d attempt to convert a few of you lot too.

The Black Hills are a mountain range in South Dakota famous for the Mount Rushmore memorial of the four presidential heads of Washington, Jefferson, Roosevelt and Lincoln carved into the granite. It’s also an area where large populations of Scots and Scots-Irish settled which may explain the areas fondness for moonshine. Production of illegal alcohol that is still widespread today. Another possible by-product of the Celtic on the local population is widespread mistrust of all government. Many see themselves as outlaws and in the Black Hills you are unlikely to find a Vegan coffee shop or demand for stricter gun control laws. Phantom Of The Black Hills are a band that shy away from publicity. From the bandana’s that hide their faces in their videos and photos to their Web-Site and Facebook page that are very careful not to give away any clue as to their identities. We can only hope they are the real deal and not a bunch of music school rich kids!

The musical worlds of Phantom of the Black Hills couldn’t be more different. In the Celtic-Punk scene we are used to bands fiddling with traditional music and adding, sometimes taking away, things to come up with something fresh. Country And Western though sometimes seems so staid and set in its ways its hard to imagine a band doing to it what say the Dropkick Murphys have done with Irish music. That was until the Phantom Of The Black Hills rode into town. With their cowboy hats pulled down over their eyes and frightening outlaw masks they look more like they have come to relieve you of the gold in your purse. Violence, drunkenness, debauchery abound in these tales of South Dakota’s doom country and hellbilly punk outlaws.

Relatively unheard of over this side of the pond I thought it only fair to share my good fortune with you. They have released five albums, the links to hear each one are included as well as one of their amazing videos from each album. You can buy all together from the Bandcamp site for a reduced rate just check there and the link is at the bottom. This is surefire music to go to hell for.

Whoever said the devil had all the best tunes must have heard the Phantom Of The Black Hills.

Ghosts

Released January 1, 2009

Ghosts was the 2009 debut album of the Phantom Of The Black Hills. It was released on Ratchet Blade Records who specialise in ‘Dark Roots Music’. They have supported the Phantom Of The Black Hills from the beginning and have released all their albums thus far. Ghosts  introduced the  world to their relentless Hellbilly music and rants. Opening with the insane  ‘Confessions Of A Barn Burner’ it goes from weirder to weirder right up to album closer ‘Read My Bible’. Banjo laden doom music for a generation of country and folk fans who want something a bit more extreme and it don’t come no more extreme than this!

(Part One of the ‘Government Demons’ trilogy)

(Listen to Ghosts below on the Bandcamp player)

Born To Gun

Released January 1, 2010

The second album from the Phantom Of The Black Hills and again it was released on Ratchet Blade Records. If you thought Ghosts was dark then prepare yourselves. With loops and sampling, and with as much distortion as twang the two worlds of country and punk crash together. Bluegrass banjo pickin’ and mandolin, upright bass thumpin’, with loud punk guitar, hard-hitting drums and angry, snarling distorted vocals it carries on in the same vein as Ghosts but more so…

(Part Two of the ‘Government Demons’ trilogy)

(Listen to Born To Gun below on the Bandcamp player)

Enemy!

Released January 1, 2012

Lyrically more dark and intense than the previous two releases, Enemy! is filled with musical imagery of war, lust, death, and hell… Produced by Cramps bassist Chopper Franklin and mixed by legendary punk rock producer Geza X they pushed the banjo, fiddle and mandolin up even more to the fore but with the guitars as brutal as ever. The arrangement of the music is flawless. Able to spend two years on Enemy the band were able to create heavier sound effects and loops and with ever more controversial lyrics. Hard-hitting, controversial dialogue permeate the raw, rusty sounds of the record. Their best release to date.

(Listen to Enemy! below on the Bandcamp player)

Moonshine Bright

Released January 1, 2014

This was the album that somehow winged its way across the Broad Atlantic to me and saw me play it to death over the next few years. The highly-anticipated fourth album release  was again produced and mixed by The Cramps bassist Chopper Franklin and he captures the band absolutely perfectly. On Enemy! the banjo, fiddle and mandolin were to the front, so for Moonshine Bright it was time to grind the guitars up more. The result is as memorising mix of traditional country instruments with searing guitars, distorted vocals, intense sound effects and movie dialog. One of the most innovative bands around their songs are brutal missiles that encourage all to live a life of full freedom.

(Listen to Moonshine Bright below on the Bandcamp player)

Scalped

Released August 25, 2017

Which brings us nicely onto the Phantom Of The Black Hills last release and you can tell from the album sleeve who exactly they would like to scalp! Still blending a lively mix of styles from Southern Rock, punk, Alternative Country and a B-movie aesthetics but always experimenting and never standing still. For a band that don’t give anything away and pride themselves on their anonymity they had this to say about Scalped “our previous records have either leaned more toward the roots music or the aggro approach, but on ‘Scalped’ we’ve combined everything on one on album”.

(The first music video from Scalped, directed by Chopper Franklin and featuring Mather Louth from the Heathen Apostles)

(Listen to Scalped below on the Bandcamp player)

Phantom Of The Black Hills

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EP REVIEW: MOSCHE DI VELLUTO GRIGIO- ‘Of Pain And Glory’ (2018)

The untraditional Anti-Folk punk band.

Mosche Di Velluto Grigio are an Italian Celtic-punk band and while their name may not trip lightly off the tongue of anyone who cannot speak Italian it’s certainly more poetic and beautiful than the English translation, Gray Velvet Flies! The name appears to come from an old Italian horror film directed by Dario Argento. The band were founded in 2000 and hail from Canneto sull’Oglio in the northern Italian region of Lombardy, home of fellow Celtic rockers The Clan and Strawdaze. Celtic-Punk has always been popular in Italy and relations between their Irish and Italians have always in the main been friendly, except perhaps in the USA in the past where two poverty stricken immigrant communities lived side by side in ghettos.

Mosche Di Velluto Grigio from left to right: Matteo De Ieso aka Malle The Beaver: back vox, drums • Francesco Fornasari aka Frankye “The Baker” Squillace: electric guitar, double bass, back vox, harmonica • Andrea Cagnini aka TheKing Cagno: voice, folk guitar, bagpipe, irish bouzouki, harmonica • Christian José Cobos aka CJ: electric bass, acoustic bass, kahuna bass ukulele, back vox • Pietro Arfini aka Rapax: back vox, mandolin, banjo Font row: • Laura Cagnini aka Lalla: sax, flute, tin whistle, trombone • Fabio Dall’Aglio aka Phabius from Garlic: concertina, accordion, amon, sax, trumpet

Famous for their DIY ethos Mosche Di Velluto Grigio were first conceived in the late nineties when singer Andrea and his sister Laura were inspired by their love for NOFX and the 90s punk scene. Together they went on to recruit others and the first incarnation of the band was gathered around them. Collectively they have become one of the more successful Italian Folk-Punk bands and though influenced by the likes of The Pogues and Dubliners on one wing and Stiff Little Fingers on the other their is more than a ounce of the legend Johnny Cash in there as well. These days members of the band come from not just Lombardy but from all over Italy and even Mexico.

I first came across them on their 2016 album Old School. It never made the reviews here as it was a couple of years old by then but I was impressed and have kept up with them since waiting for a chance to make things right. That album was, as far as I am aware, all traditional folk songs from North America and back Ireland and home to Italy. Internationally renowned songs like ‘Amazing Grace’ and ‘Waltzing Matilda’ go up against classic Celtic songs like ‘The Foggy Dew’ and the ‘Fields Of Athenry’ and a rake of songs that I had never heard before. The new EP, Of Pain And Glory, carries on in the same vein except with one exception all the songs are penned by the band. Beginning with ‘A Whisper From My Cigarette’ and it’s classic Celtic-Punk. Loud and bombastic and massive. The song is not particularly fast but catchy and tuneful while Andrea sings out the lyrics, no doubt through a cloud of cigarette smoke! His voice is so raspy he makes Tom Waits sound like the singer in a boy-band. Accordion and tin-whistle grab you here until mid-way when the song suddenly shoots up in tempo. An excellent start that leads into ‘Glasgow Town’ and this is no ordinary Celtic-Punk band as witnessed by the sound of a saxophone wailing away in the background.

Again its catchy as hell and this time a much more straight forward punk rocker of a tune. They slow it down again next for ‘Seven Ships’ and even add in a bit of Country’n’Western twang. Balanced between country and folk it threatens to take off but stays a nice gentle folky foot-tapper with a couple of Celtic touches thrown in for good measure but… then it does go off for last few bars ensuring I’d say a messy dance floor when played live. ‘Pieces Of Glass’ begins as the most Celtic of the songs here with accordion at the forefront before the chugging guitars come in and lead the song on a right merry Celtic-Punk dance. The third single from the EP is ‘Laura’ and we couldn’t have timed this review any better as just three days ago they released the new video and its a great production as many of their videos seem to be.

The EP comes to an end with Mosche Di Velluto Grigio’s favourite song, ‘The Parting Glass’. I say favourite as it also featured on Old School and was released as a single inbetween that record and this. First heard in the late 1700’s the song has been recorded by far to many to mention here but the sad but defiant song has rarely sounded different here. Starting off as barroom ballad they soon up the ante and turn the song into a killer punk rock tribute. Love it.

Bands like Mosche Di Velluto Grigio don’t make covers in the traditional sense of the word. I would prefer to call them re-interpretations. They have taken some old traditional songs of their home, of the Celtic nations and further afield and have made them their own. Mosche Di Velluto Grigio are a utterly fantastic band and if you can get past the distinctive vocals then I’m sure they’ll gain a bit more recognition outside of Italy. While the music has crossover appeal Andrea’s vocals place it firmly in the Punk side of Celtic-Punk but also shows these lot will never be found watering it down.  

Buy Of Pain And Glory

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EXCLUSIVE VIDEO OF KRAKIN’ KELLYS NEW SONG

Celtic skate punk, beer and bar fight !

https://youtu.be/39nb8Mf4b68

Director : Matthieu HENDRICK & Stephan MOSSIAT   Shooting : Ludwig PINCHART
Editing and graphics : Matthieu HENDRICK  
Special thanks to Maxime Dechamps, Claire, Sarah Tennina & Rock’s Cool
Written by David Leroy. Composed by Pierre-Yves Berhin. Played by Krakin’ Kellys
Krakin’ Kellys released one of the years best albums so far and we wouldn’t be at all surprised if it went on to the top the Best Of 2018 polls it is that good. Full of energy, attitude and humour it’s good auld fashioned drinking music. No revelations about politics and no songs about nuclear war but the perfect music to take the pressure off. Its music to drink to, to dance to, meet folks and make friends and Krakin’ Kellys have delivered a must have album, Promised Land. Read our review here and have a listen on the Bandcamp player below before you part with your hard earned. Here on new track ‘Come And Get Some’, released today, the Bhoys show there’s a whole lot more to them than just fast and noisy Celtic-Punk.

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ALBUM REVIEW: KINGS AND BOOZERS- ‘Still Got The Booze’ (2018)

Ten years young so time for their debut album! German Celtic-rockers Kings & Boozers have Still Got the Booze !

Kings & Boozers are the latest band in the glorious history of German Celtic-Punk to feature here. Ten years young this year they were born out of the ashes of long time German scene stalwarts Lady Godiva who released several albums from 1994 to 2006 of a more folky version of Celtic-Punk. When they called it a day two bands would emerge with Muirsheen Durkin & Friends one (check out our review of their 2018 album here) which carried on in the same folky Irish vein as Lady Godiva and the much harder edged Kings & Boozers. Both new bands have a crossover of members so there’s a lot of co-operation between them but both have taken different routes on the Celtic-Punk highway and have delivered two completely different sounding albums.

Still Got The Booze is their debut release and we have a combination of covers, both well known and not so, traditional folk and fast rockin’ punk all taking their place. Kicking off with the short intro of a loser in a pub crying into his beer before the album really kicks off with the title song and ‘Still Got The Booze’ and sets the story of the band to a great Irish influenced folk-punk tune. Tin-whistle and accordion lead the Celtic side of things and singer Thomas has that raspy, 60 fags a day singing voice that a few German bands go for but also seems to fit the music so well. A real thigh slapper to start with before the first of three Lady Godiva songs are re-visited. Not knowing them I had a brief look through You Tube and can only guess they are beefed up a bit from those original versions. ‘One Whisky’ continues in the same vein.It’s high tempo and super catchy with the guitars and drums leading the Celtic instruments on a merry dance. ‘One Whiskey’ was also recorded by Muirsheen Durkin on their recent album and you could safely say is the folk opposite of the Boozers punky version. Thomas even sings both versions I think! Next up is one of my favourite songs and one I have been suggesting to bands to cover for years. ‘Bold Fenian Men’ has all the necessary parts to make it one of the most famous Irish rebel songs. Sacrifice and war and love abound in a song based on the aftermath of the failed 1916 uprising in Dublin against British occupation. Best known as played by Irish legends The Wolfe Tones the song was written by Peadar Kearney, who also wrote the Irish national anthem. The Boozers version keeps it slow but with chugging guitar and some excellent drums while Thomas is joined on vocals by Mike Rivkees of the Boston based ‘Celtic-Punk Next Big Thing’ Mickey Rickshaw.

“Some died by the glenside, some died near a stranger
And wise men have told us their cause was a failure
But they fought for old Ireland and never feared danger
Glory O, Glory O, to the bold Fenian men”

This people is how to play a standard. The guys have a wicked sense of humour and show it next on ‘Seven Paddies in Berlin’. The song has already seen the light of day as it was featured on Raise Your Pints Volume 3- MacSlon’s Irish Pub Radio sampler CD. Drugs and drink are taken as the Bhoys have a debauched trip to the German capital. Another Boozers & Kings composition follows with the slow and melancholic ‘Queen Of Hearts’ and every decent Celtic-Punk album needs at least one of these with Thomas singing of cards not women! A smattering of covers follow beginning with ‘Drunken Scotsman’ originally by Mike Cross, a naughty song about kilts that came out in the late 70’s and is given the Celtic-Punk treatment this is followed by another Lady Godiva tune ‘In God We Trust’. Again its played with a bit more bite and they nail it as their own.

When choosing their cover versions Boozers And Kings have done very well and were lucky on ‘The Raven’ to have the songs writers Gary Miller and Mick Tyas of The Whisky Priests along for the ride. The Whisky Priests were from County Durham in the north-east of England and were around from 1985 to 2002 and though very popular here at home they were absolutely massive over in Germany so it’s great to see them remembered and even greater news is that plans are afoot for their reformation of the band and tours, record re-releases and even new recordings are all in the planning stages. Renowned for their live shows and hectic touring schedule they built up a great reputation so its brilliant news that we’ll see them back playing live again soon.

The song is from the 1992 Timeless Street album and what they have produced is so much more than just a bog standard cover. The love and respect oozes from it and the tune itself is a worthy tribute to the soon to be back with us again Whisky Priests. It’s fast and that unmistakable north-eastern England sound that differentiates it from the Irish influenced folk of the Boozers. A great song telling of a bastard who grows from child to man and only ever changes when the full moon shines.

“His heart was made like an evil blade
Hard steel with a thirsty lust for blood
His soul dwelt on the dark side of the grave
And his body held no love”

Again it’s catchy as hell and leads us nicely into a cover of the ever popular ‘Wild Rover’. Yeah its been done to death but it’s given a bit of a twist here with the Boozers covering Craic Haus version of the song. Sung to the tune of ‘Ghost Riders In The Sky’ its a great twist and has what Craic Haus have christened Shamrockabilly coursing through it. We heading towards the end so time for another jokey song with Milwaukee singer/songwriter Pat McCurdy’s epic ‘Sex and Beer’.

As you can imagine its not a totally serious song but great fun nevertheless. The third Lady Godiva song ‘Remember The Time’ is a sentimental rocker that leads us into the final and ‘Everyman Is A King’ brings down the curtain. Written by Pogues mandolin player Terry Woods and fellow Irish legend Ron Kavana the song appeared first as the B-side to ‘White City’ before being included on the expanded release of Peace And Love.

“From the far corners they made it their home
The Eyeties and Germans, the Paddies the Poles
Goin’ down in the dirt comin’ up with the gold
Like Bill Fuller, the Kennedys and Corleones”

A fantastic song that takes in what we all love and hate about the States but overall the opportunity it gave to so many people fleeing from poverty, and worse. Thomas gives it a decent Terry Woods impression and it’s a solid version that doesn’t stray too far from the original.

Produced by Sebastian ‘Seeb’ Levermann, of famous German metallers Orden Ogan and owner of the Greenman Studios he has done a grand job taking the folk and punk elements and combining them to make a powerful album that is not over produced or sees either wing of their music over dominating. Ten years since they first kicked off is a rather long time to get your debut album out but it was a wait worth waiting for.Their experience in other bands has stood them well and whether you call them Folk Punk or Celtic Rock it doesn’t really matter as the one thing you are guaranteed is a damn good time and they have managed to successfully transfer that sound onto Still Got The Booze.

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The Whisky Priests You can listen to them here and even better catch them live in central London at The Borderline on the 19th November later this year. Information and tickets here.

ALBUM REVIEW: LOUIS RIVE- ‘The Cheap Part Of Town’ (2018)

The debut album from Louis Rive a Scottish singer-songwriter drawing on all aspects of folk music from traditional to barroom ballad to modern day tale-tellers and poets. Influenced by The Pogues, Hamish Imlach, Michael Marra and The Corries Louis has set out to continue the grand tradition of the Celtic storytelling musician.

Funny sometimes the circumstances you first hear a new song or a new album. In the case of the new Louis Rive album I was trying to get to sleep one night but had such a pain in my knee I could not drop off so having the next day off work I got up in the middle of the night and went downstairs. The Cheap Part Of Town had been in my huge to-listen pile for a couple of weeks so on a whim I thought I’d give it a whirl and see what it was like. Well initially I thought it was the combination of a couple of beers and a handful of strong painkillers but I ended sitting up till the early hours with the the album on repeat so much did I love it!

The Cheap Part Of Town is just Louis on his own. Nothing else just him and his acoustic guitar. Plenty of thrills but no gimmicks, except for a wee bit of fiddle. Just straight up acoustic folk with tales of Louis life tacked onto it. Born in the Edinburgh you won’t see on the postcards in the centre of the city or on programmes about the Festival he later had the same ‘rite of passage’ as many Scots of his, and indeed many previous, generation and moved to London. It was in London he garnered many of the ideas of the songs on the album but three years grafting shitty odd jobs in London was three years too many and he fled to Spain where after two years getting pissed and stoned in a village in Andalusia before a cheap flight took him to Barcelona, basically because of a cheap flight. Not wanting to go back to that existence of badly paid jobs purely to cover the rent he decided to concentrate on his music and with a wealth of stories from the shiteholes he has lived and the interesting folk that he has met he began to put these stories to music. As Louis himself says

“Folk music is storytelling. Storytelling is poetry. Poetry is songwriting when you can’t play the guitar.”

The Cheap Part Of Town begins with ‘Francis Drake’s Last Trip’ and after all my talk about the album being full of his life experiences this I doubt does. The tale of Sir Francis Drake famed English sea captain, privateer, slave trader, naval officer and explorer of the Elizabethan era and his adventures fighting the Spanish whilst attempting to capture gold and silver and bring it home to London. Drake died of dysentery in January 1596 and while he is celebrated here he has always been labelled a pirate in Spanish quarters.

As stated their are no gimmicks just Louis and on this evidence he doesn’t need any. Blessed with a strong voice and a ear for a catchy tune as well as a way to tell an interesting story all wrapped up in just over four minutes. He follows this with ‘Streetlights Of London’ and the story of the N19 bus which use to take Louis from the working class Highbury Estate to the graveyard shift in posh hotels in the centre of London. The song tells of the life on that bus from cleaners in the morning to drunks in the evening with all of society’s excess and necessity reflected on the top deck of an out-of-hours mode of transport. The song is played faster than ‘Francis Drake’s Last Trip’ and still carries on the theme of catchy, tuneful and interesting story telling that flows throughout the album.

“Running through the underground
with a carrier bag of sin
Constabulary absence opportune moment for another tin
The carriage was dark but there’s nobody there”

Another fascinating character in Louis life was the subject of the next track ‘Cider Al’. Drinking in the The King’s Arms, Tollcross back home in  Edinburgh the karaoke gave you a free shot of shit whiskey for entering so all the local pissheads would come down and do a song and get free booze.

One such fella was Cider Al who always sang the same song ‘Common People’ by Pulp. In life you come across these people who come and go in your life.

“We heard Pulp’s ‘Common People’ for the seventh time
You stumbled through the lyrics as you spilt your wine
And we all laughed and joked and said that you’d be fine,
we were wrong”

I am getting sick of using the word ‘Catchy’ but there yo go there’s no better word for what I’m listening to. A loving tribute but also a sad one. The sad songs pile up now with ‘Mulberry Mews’ up next and the stories of childhood and growing up, buying drink and fags, the boredom of the high street, visiting his great-aunt in an old people’s home and that you can never get away from where you came from.

“Oh mister barman pour me another
I know the night is drawing near
They’ll carry her body down to the churchyard,
Sunday morning
Where there’ll be no-one to shed a tear”

A bleak tale about a neighbourhood of Edinburgh that doesn’t exist. next up Louis writes about Hospitalet de Llobregat, a satellite town now merged into Greater Barcelona, in the title track  ‘The Cheap Part Of Town’. The forgotten part of Barcelona and the song speaks about all the folk on the street, the gypsies, drunks and prostitutes. It was a tough area with a incredibly rich array of characters but these places are always more interesting than the rich part of town, which is why the rich always want to live there but without the threat and danger. Give it a couple of years and I’m sure the yuppies will have turned Hospitalet de Llobregat into just another bland suburb. Gerry Denis adds some reserved fiddle here that fits just in. All the songs here are varied and original and from ballad to foot stomper’s like ‘House Of God’ and ‘Lowlife’ great tunes abound with great hooks. Every song tells a story. The failings of the church towards the poor or the awful memories of a life in service that a soldier attempts to block through drink. While the rite of passage for recent Scots was a journey down South to Kings Cross in times past it was Americas that the Scots went. Large-scale emigration began in the 1700’s, after the defeat of the Jacobite rising and the resulting breakup of Highland Clearances (the Scottish An Gorta Mór). Displaced Scots left in search of a better life and settled initially around South Carolina and Virginia and then further in successive generations. ‘Take Me To Virginia’ tells of one of these Scots working his hands to the very bone but refusing to give up on the land he works.

“They took me to Virginia
Four and twenty years ago today
I’m still working the land
Blood and stones with both my hands, Virginia”

The idea that there’s always something better over the horizon is something I can relate to. Being half Scottish and having left the frozen north back in 1990 I can testify the sight as you got off the train at Kings Cross back then would be enough to make you turn tale and head back to comfort of your Mammy’s bosom. The curtain comes down with the album highlight the beautiful ‘Alone’ and here Louis brings together all the strands of the previous songs and as with all the songs presented here it offers you the chance to enjoy the music wash over you as well as to listen to the words and dissect them.

A truly wonderful and original half hour plus in the company of a singer-songwriter that deserves to more widely heard. To tell tales of working class life in folk music is not unusual but what is unusual is for them to be told with such passion and feeling and the taste and smell of authenticity that fills your senses with the legends of Louis life across Europe. Louis has a grand future ahead of him and on listening to The Cheap Part Of The Town I want to come with him.

(have a free listen to The Cheap Part Of Town before you buy on the Bandcamp player below. It’s only a fiver so support independent artists and get your wallets out!)

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From Louis

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AN ARGUMENT THAT THE IRISH FAMINE WAS GENOCIDE

With the release of Black 47, a movie about the ‘Great Potato Famine’ of Ireland in the 19th century out in the next week, we take a timely but controversial look at how the famine wasn’t a famine at all and the British government stood idly by and let millions of Irish die in what is now being called genocide.
A blight upon the potatoes of Ireland forever changed the histories of Ireland, England, and the United States of America. The blight that we now know was a water mold (and not a fungus as originally believed), Phytophthora infestans, attacked the cash crop of the Irish Catholic peasant farmer. This was the crop with which the Irish paid their rent to the English and Protestant landlords.

The Irish ‘Famine’ Memorial situated on Custom House Quay, Dublin

Starving Irish peasants tried to eat the rotten potatoes and fell ill to cholera and typhus and whole villages were struck down. Many landlords evicted the starving tenants who could be found dying on sides of roads with mouths green from eating grass to fill their bellies. Other families were sent to workhouses where the overcrowding and poor conditions led to more starvation, sickness, and ultimately death. Going to a workhouse was akin to marching to one’s own death. Some more sympathetic landlords paid the passage for their tenants to emigrate to America, Canada, and Australia. Ship owners took advantage of the situation and wedged hundreds of diseased and desperate Irish into ships that were hardly sea-worthy for the Trans-Atlantic trip. These ships became known as “coffin ships” as more than one-third of the passengers died on the voyage.
The Irish that did survive the trip to America, Canada, or Australia on the coffin ships drummed up awareness and more importantly, aid in the form of food. But for every one ship sailing into Ireland with food, more were exporting grain-based alcohol, wool and flax, and other necessities such as wheat, oats, barley, butter, eggs, beef, and pork that could have helped feed the Irish people. The Irish themselves were accused of bringing the famine on themselves as they were viewed as a lazy, overpopulated race of people – never mind that they were not legally able to fish or hunt under British law. They starved in the midst of plenty because they were not allowed to provide for themselves and their families by any means other than agriculture.
The Famine, or An Górta Mór, the Great Hunger, took more than one million lives, between those that died of starvation and those that left Ireland for a better life in America or elsewhere in the world. Those who were left behind in Ireland experienced a desperation that led to a massive change in politics and nationalism – it was only a few years later, in 1858 that the Irish Republican Brotherhood was founded. The British government and the British and Irish Protestant landowners still required the Irish peasants and laborers to pay their rent for the land they could not work due to the blight and the hunger upon them. In a lush island surrounded by water teaming with fish and land that fattened pig and cattle alike, how could one failed crop cause a Famine? According to British law, Irish Catholics could not apply for fishing or hunting licenses. Their pigs and cattle were sent to England to feed the British and to export for trade, while the landlords kept the fine cuts for themselves. Ireland was part of the British Empire, the most powerful empire in the world at that time – yet the British government stood by and did nothing to help their subjects overcome this hardship. In our time, an enforced famine such as this would be labeled genocide yet in the 1800s it was merely an unfortunate tragedy. As defined in the United Nation’s 1948 Genocide Convention and the 1987 Genocide Convention Implementation Act, the legal definition of genocide is any of the acts committed with intent to destroy, in whole or in part, a national, ethnic, racial or religious group, including by killing its members; causing them serious bodily or mental harm; deliberately inflicting on a group conditions of life calculated to bring about its physical destruction in whole or in part; imposing measures intended to prevent births within the group; and forcibly transferring children of the group to another group. The British policy of mass starvation inflicted on Ireland from 1845 to 1850 constituted “genocide” against the Irish People as legally defined by the United Nations. A quote by John Mitchell (who published The United Irishman) states that
“The Almighty indeed sent the potato blight, but the English created the Famine”.
 From the Greek word for tribe (or race), genos, and the Latin term -cide, the word genocide refers to the extermination of the peoples of a nation (or religious group) carried out by an organization, usually a government. Such is the case when discussing the British treatment of Ireland during the potato blight; treatment which was based in the history of Ireland.
William Makepiece Thackcray wrote: “…It is a frightful document against ourselves…one of the most melancholy stories in the whole world of insolence, rapine, brutal, endless slaughter and persecution on the part of the English master…There is no crime ever invented by eastern or western barbarians, no torture or Roman persecution or Spanish Inquisition, no tyranny of Nero or Alva but can be matched in the history of England in Ireland.” (Metress, 2)
A famine did not truly exist. There was no food shortage in Ireland evidenced by the fact that the British landowners continued to have a varied diet and food stuffs were exported. This was not the first failure of the potato crop in the history of Ireland. The starvation (and genocide) occurred as the British carried on their historical exploitation of the Irish people, failed to take appropriate action in the face of the failure of the potato crop, and maintained their racist attitude toward the Irish.
The Penal Laws, first passed in 1695. were strictly enforced. These laws made it illegal for Catholics (Irish) to own land, and required the transfer of property from Catholics to Protestants; to have access to an education, and eliminated Gaelic as a language while preventing the development of an educated class; to enter professions, forcing the Irish to remain as sharecropping farmers; or to practice their religion. In addition, Catholics (Irish) could not vote, hold an office, purchase land, join the army, or engage in commerce. Simply put, the British turned the Irish into nothing better than slaves, subsisting on their small rented farms. The exportation of wheat, oats, barley, and rye did nothing to help the financial status of the poor farmer. The produce was used to pay taxes and rents to the English landlords, who then sold the farm products for great profit. These profits did nothing for the economy of Ireland, but did help the English landlords to prosper. The Irish farmer was forced to remain in poverty, and reliant on one crop, potato, for his subsistence. The potato became the dominant crop for the poor of Ireland as it was able to provide the greatest amount of food for the least acreage. Farming required a large family to tend the crops and the population grew as a result of need. Poverty forced the Irish to rely upon the potato and the potato kept the Irish impoverished.
As the economic situation worsened, landlords who had the legal power to do so, evicted their Irish tenant farmers, filling the workhouses with poor, underfed, and diseased human beings who were destined to die. A caption under a picture shown in The Pictorial Times, October 10, 1846, best describes the circumstances of the great starvation, and the nature of the genocide:
 “Around them is plenty; rickyards, in full contempt, stand under their snug thatch, calculating the chances of advancing prices; or, the thrashed grain safely stored awaits only the opportunity of conveyance to be taken far away to feed strangers…But a strong arm interposes to hold the maddened infuriates away. Property laws supersede those of Nature. Grain is of more value than blood. And if they attempt to take of the fatness of the land that belongs to their lords, death by musketry, is a cheap government measure to provide for the wants of a starving and incensed people.”(Food Riots, 2)
It is time for the world to stop referring to this disastrous period in Irish history as the Great Famine, and to fully realize, and to acknowledge, the magnitude of the crime that systematically destroyed Irish nationalism, the Irish economy, the Irish culture, and the Irish people.

HOW GUINNESS SAVED IRELAND!

Today use to be Arthur’s Day. A day thought up as a marketing ploy by a multinational company to promote Guinness. It was an annual series of music events worldwide, originally organised in 2009 to promote the 250th anniversary of Guinness. it was scrapped in 2014 and despite the somewhat dodgy political tendency’s of the original Guinness family today is still a good day to celebrate that most Irish of drinks.

WHEN GUINNESS SAVED IRELAND

By Brighid O’Sullivan

Guinness? Seriously? As my grand daughter would say. How did that happen.

With  the history of the Great Hunger barely hundred years before, I was surprised by this trivia fact. England wrought what some would call heartless vengeance onto her own people once again.

Belfast Air Raids, WWII

During the Second World War, Ireland remained neutral, despite the fact Northern Ireland was part of the United Kingdom. The mother country was deeply engaged in mortal combat with Germany.

This decision did not bode well with England. In fact, Winston Churchill, Prime Minister of England was furious and resented Ireland’s neutrality. In an effort to bring Ireland into the war, he implemented several strategic actions by controlling ports and shipping supplies to Ireland. These strategies had disastrous consequences, hitting the Irish population at its poorest.

With the European conflict raging, Churchill prepared to deliver several embargoes that would devastate Ireland; that is until she brought out her secret weapon to defend herself. Check out the facts below.

England ceased to transport the necessary supplies of fertilizer to Ireland. 100,000 tons remained in ports, a devastating blow to Ireland to be sure. Also the British supply of feeding stuff was slashed from six million to zero as well as petrol supplies. Trains stopped running as British coal remained in England as well.

It was even reported that several animals disappeared from Dublin Zoo!

Children felt it the quickest. With no wheat to be had, Ireland introduced a new kind of bread, the 100 Percent Black Loaves, made with ground bone or lime powder in the place of wheat flour. Does this sound familiar? During the Great Hunger the British substituted corn for potatoes, also a poor substitute  Besides being a poor substitute, there was a more serious problem. The ingredients used to make the bread inhibited calcium absorption, leading to widespread cases of childhood rickets across the land. Rickets is caused by a Vitamin D deficiency and symptoms can include brittle bones, dental problems, muscle weakness, skeletal deformities and failure to thrive.

Ireland relied on exports for most of her existence. The Irish writer, George Bernard Shaw, stated, “the Irish are a powerless little cabbage garden.

Though on the surface this may have seemed true, Shaw underestimated Ireland as did the British. Ireland did not lose her Irish spirit nor her ingenuity and determination to survive. She learned this lesson from the British, beginning with the Reformation right down to the Great Hunger.

This time, Ireland had a secret weapon. Guinness!

In March 1942 the Irish government banned the export of  beer to England! At the time England was consuming near a million barrels of Guinness beer annually.

Allied troops and the British army felt the sudden beer shortage the most and England’s elite commanders complained to Whitehall of their recruits’ disparities. A short time later an agreement was made between England and Ireland. Ireland would again receive coal, wheat, and fertilizers in exchange for Guinness beer. How’s that for hitting the British where it hurts?

  • Brighid is the author of several books and a great Irish-American blog Celtic Thoughts here but you can get a free download of her e-book Ten Irish Heroines, The Women of the Rising by clicking here and following the simple instructions. Women played an active role in the Easter Rebellion of 1916. They were courageous, self-sacrificing, giving up everything for Ireland. This is a short book about ten of these extraordinary women.

EP REVIEW: DAD NAP- ‘Worn Out’ (2018)

One man Folk Punk music from Nottingham, England.

One of the great things about Folk-Punk is the generally positive message it sends out to the listener. In a scene where the majority of releases are done and organised by the bands themselves it’s nice to be able to deal with bands themselves without having to go through PA’s and managers. Dad Nap is the epitome of DIY music having recorded his second EP in his kitchen with a budget of exactly £0 using a knackered old microphone and readily available free software off the internet.

DIY literally means ‘Do It Yourself’ the idea that you don’t have to rely on the record industry to make and produce music. DIY champions the individual and communities and empowers us to record, produce albums, merchandise and to distribute and promote independently, outside and away from the music industry. DIY bands do everything themselvesfrom production to marketing and communication. By controlling the entire production and distribution chain, DIY bands can develop a closer relationship between artists and fans. The DIY ethic gives total control over the product without need to compromise.

Dad Nap is Strong Simon a one-man Folk-Punk battalion based in Nottingham in the East Midlands of England. On the break up of his old band Green Hill Zone Simon began to attempt to put together a new band. Writing songs inspired by raw emotional Folk-Punk bands like Days N Daze and We the Heathens and with the intention of finding other people it soon became clear he had enough songs to record his first EP and so Dad Nap became a truly one man operation.

(The lead song from Dad Nap’s debut release 3 Songs is also available at the Bandcamp link below as a Name Your Price download)

the infamous Dad Nap kitchen!

Worn Out is his follow up release and came out at the end of last month. All the songs were written, performed, recorded and suffered through in true DIY fashion by Strong Simon himself. The four songs here begin with the sound of an accordion before Simon jumps in with some frantically strummed acoustic guitar and what sounds to me like a kazoo!! ‘Burn The Bodies’ is a nice slice of folky class war which includes a quote from the supposed saviour of the working classes, though I’m not 100% convinced myself, Jeremy Corbyn.

“The bank of mum and dad
is not open for the poor
and now we’re all locked out
the housing market as closed the door
on us, we’re broke and tired
our world is run by fucking liars
our protectors have abandoned us
and yet they ask us for our trust”

The title song is next and ‘Worn Out’ and I loved it. At times Simon is both crooning and rapping over a basic folky mash up of several instruments. I don’t know enough about modern music to be able to compare it to anyone but it comes across as highly original in the Folk-Punk scene at least. Gloria Gaynor may or may not be any longer with us so I don’t know if she’s spinning in her grave at the sound of Dad Nap’s version of ‘I Will Survive’. The nasally voice accompanying basic punk rock with a cracking accordion solo it really makes me wonder why more punk bands haven’t covered this track with its positive message and great tune. It’s the kind of track Leatherface use to do with ease. The last song here is ‘She’s A Killer’ and politics takes a step back as Simon sings a ballad of love to his ‘punk rock killer queen’. Accordion again leads the melody and Simon shows a good vocal range without ever losing the punk rock approach.

A great wee EP the four songs clocks in at just under ten minutes. Sincere heartfelt lyrics and a belief in himself and his music Worn Out is available for just a measly £3. It goes without saying that we must do all can do to help out DIY artists like Dad Nap as they are the life and soul of any decent musical genre and without them we’d be only left with what the corporations decide is good enough for us and we don’t want that!

(listen to Worn Out for free before you buy on the Bandcamp player below)

Buy Worn Out

FromDadNap

Contact Dad Nap

Bandcamp  Instagram

ALBUM REVIEW: THE BLEEDING HEARTS- ‘The Rules Of Division’ (2018)

The Bleeding Hearts from the West Midlands play Folk-Punk for punk folk that you can sing to, dance to and play very very loud. It’s classic Bleeders but with a new sweet and sour twist that will put a smile on anybody’s face. 
Summer 2018 saw England basking in the biggest heat-wave it’s seen since 1976, the year that Punk-Rock exploded onto the red hot and ladybird covered streets of this green and pleasant land. So with the anniversary of punk taking it well into middle age its only fitting that the new album from Midlands based The Bleeding Hearts takes in about every variety of punk you can imagine. Two years in the making the Bleeders may have been quiet on the recording front but they have always been kept busy with playing live and touring. The songs here have been ‘live tested’ over those couple of years and the fields and concert halls of Europe have taken a beating because of it!!

The Bleeding Hearts from left to right: Riley ‘The Destroyer’- Drums * Foxie ‘The Gob’- Lead Vocals, Guitar * Gel ‘The Steamtrain’- Bass, Vocals * Ewan ‘The Keeping It Very Nice’- Mandolin, Cittern, Guitar, Vocals *

This is the sixth studio album from The Bleeding Hearts and it may well be their best of all time. I say may be because I only own the last three. So you could say I’m a big fan and will be a bit biased. Well you are right but I have always thought they didn’t get the attention they deserved so if I can help them along that road I sure as hell will. Formed in 1995 around Birmingham in the West Midlands they have stayed true to their aim of delivering ‘alternative music for alternative people’ ever since and even more important for them they have done it all under their own steam and refused any offer of help from ‘The Man’ and have remained an unsigned D.I.Y. collective. To hear a band combining punk rock attitude and emotion with folk’s harmonies and rhythms is nothing new on these pages but every now and then a band comes along that is that little bit different and even rarer a LOT different. The fiddle from their earlier days has gone so also gone is their most obvious connection to Celtic-Punk but listening to the album their is still loads and loads that will appeal to even the most hardcore of Celtic-Punk fans. In keeping with what we like here at London Celtic Punks the emphasis is on ‘fun’ here whilst still keeping a distinctive message in the lyrics. They may have the bones of a classic punk band but chuck it those folk harmonies and some rousing mandolin and strong passionate vocals and you have a band that is bound for glory.

The Rules Of Division begins with one of the album’s highlights and also one of the first releases from it. ‘The Devil’s Mosh’ kicks off with Gel’s throbbing bass slowly building up into one hell of a opening tune. As soon as the song really gets underway the most distinctive thing I hear is Foxie and his vocals. He doesn’t shout or yell (well he does have his moments) and he possesses a great voice but at all times his voice fits perfectly the music may it be a punk rock stormer, a folky diddler or a ballad or even a Ceilidh foot stomping whiskey swigging rocker like ‘The Devil’s Mosh’.

At the start I said that this album takes in all sorts of punk rock genres and ‘Cool Cats’ is another standout tune here but to save me the bother of telling you the high points just assume every song is one. After all I don’t think their is a weak track on this album. Testament to them deciding to road test them I suppose. Its catchy and gives the impression that their is more than just four of them and they keep it up with ‘Common Man’ where they sort of slow it down a little and even sound quite a lot like one of my favourite bands The Zipheads. Once again its a catchy number with a 60’s feel at times as The Bleeding Hearts reach out to the everyday geezer and try to steer him straight. Lots of ‘la, la, la’ gang vocals in the chorus which I always go for that leads us into one of the albums slower songs. The Bleeding Hearts inhabit a place in the UK music scene that also encompass bands like The Levellers and New Model Army and also newer bands like Ferocious Dog and The Silk Road. On ‘Don’t call This Love’ its NMA that springs to mind but also more Goth tinged bands too. Its excellent and shows the range of the band that its not all about floor fillers and that now, like punk rock, we may have lost some of that youthful vigour that demanded every song be played at 110 mph. Being from the West Midlands and in a Folk-Punk you could bet your shirt that they’ll be some sort of anti-Tory song on here and you’d not be going out in the cold so relax as ‘Tory Attax’ sticks the boot into the government and chiefly their so called ‘Bedroom Tax’ where they charged people extra for living in council housing and having more rooms than the government decided they needed. Its got me thinking of the Newtown Neurotics this one on both sound and content. A great blast of punk rock and a clever way to follow the slower ‘Don’t Call This Love’. Another video release from the album was ‘Pleasure Hive’ and a more ‘La, La, La’s’ bodes well for me. Foxie’s chugging guitar keeps the song from completely disappearing into 70’s prog-rock parody in this tale of the golden bus to Marrakesh and free love, dope and lost days.

Not surprisingly for a band that has spent a huge proportion of its existence performing in fields their is a song about the environment though don’t worry it’s far from preachy and is in fact downright beautiful. I often roll my eyes when i hear this kind of song so ‘This Nature’ is a welcome relief from the moralizing and oft-times insincere type of song you normally hear. We are rocking up towards the end and its time for another punk rocker and ‘Three Wise Monkeys’ keeps it fast with defiant lyrics calling out the rich and corrupt for all their wrong doing in a rootsy punk rock folk style. ‘Down The Hatch’ is more standard Celtic-Punk in both style and lyrics with yer man Foxie proclaiming not another drop of alcohol will ever touch his lips. Will use a straw then I suppose! A cracker of a tune with the mandolin pushed out front for this one. A right foot tapper and one we can all sympathise with though in the end we always return as does Foxie on ‘Whiskey Is The One’ and the real reason why many of us like a drink (or two!) it does actually help you get through things and it would be silly to ignore that. Though I suppose I must add here ‘Drink Responsibly’ dear readers or some posh twat will report me to the Police! So far its been a brilliant romp and The Bleeding Hearts go out on a high with final song ‘All Fall Down’ and its the longest hear. On a album that stretches up to fifty minutes, not that you notice as it flies by in a flash, the five and a half minute ‘All Fall Down’ threatens at times to build into something bombastic but but they rein it in and let the song stand on it’s own. A glorious way to bring down the curtain.
 
With two EP’s and their five albums behind them The Bleeding Hearts popularity has never waned and in part that is due to their constant gigging which has seen them play right across the UK and Europe as well as North America. It’s bands like Ferocious Dog though that have reaped what The Bleeding Hearts have sowed having showed that it is possible to do things yourselves without the need for managers, promoters, PA’s and record industry leeches trying to separate you from your principals as well as your cash. They also showed that to make it in a world where relationships get harder and harder to make that you can treat your fans as family and not consumers there to pay for your livelihood. In this modern world of digital its heartening to find a band that still likes to get out there and write a song, gig it, record it, upload it, download it, do it all again. Keeping it true to their principals of ‘alternative music for alternative people The Bleeding Hearts remain in their twenty-third year a defiantly unsigned D.I.Y collective that the spirit of ’76 lives on in. 
Buy The Rules Of Division
Compact Disc- FromTheBand  Download- iTunes  Amazon
Contact The Bleeding Hearts
Discography-
Fly In The Face Of Fashion (2001) * Anarcoustica (2002) * Merchants Of Propaganda (2003) * Politics & Love (2006) * Folk ‘n’ Glory (2011)
To hear tracks from each of their album visit the ‘Hearts Noize’ section of their Web Site.
(Re-recording of old song ‘Caravan Song’ for video release from a couple of years back)

SINGLE REVIEW: TENHOLES- ‘Trouble’ (2018)

We keep telling you that Celtic-Punk has gone global and if you don’t believe us then have a listen to the new single from, one band of several out of a fantastic scene, Tenholes from Jarkata in Indonesia.

We have waxed lyrically about the Celtic-Punk scene in Indonesia many times and to say it is absolutely amazing is a massive understatement. With a load of bands, too many to mention here, that all work together in making the scene bigger and better. No competition just #OneBigCelticPunkFamily in fact.

‘Trouble’ was released in celebration of the last Record Store Day on Saturday 21st April, 2018. Formed way back on 28th October 2004 are one of the most popular bands in the Indonesian punk and Celtic-Punk scene. Tenholes are six young(ish) chaps from East Jakarta who have and sometimes still wear ten eye Doc Martin boots, cropped hair, tight jeans and still listen to Oi music! The song ‘Trouble’ tells how complicated life can become when you add in romance, relationships and social life.

Let’s toast the past, present, and future because: This is Fun, This is Oi!, This is TENHOLES

Video produced in collaboration with Bergerak Records and Homeast Jakarta

Filmed by Ikhsan Bule, Ichsan Bodrex, Ody  

TROUBLE

wherever i go
whatever i say
trouble finds me everywhere
trouble finds anywhere
whatever i do
to make it up to you
trouble finds me everywhere
trouble finds me anywhere
what should i do
when you know it’s true
that i’m officially hated by you
but trouble loves me a thousand
more than you

Music & Lyrics : Jenggo * Arr : Tenholes
Vocals: Ukien Bstrd * Guitars : Andri * Lead Guitars : Endry Poison * Mandolins : Jenggo *
Drums : Acongaco * Guest Bass : Cahaya (SATCF)

Produced by Tenholes, Bergerak Records X Embrionic Studio
Mixed and mastered Donny Onda | Embryonic Music Studio | Assisted by Cahaya SATCF

in collaboration with
Bergerak Records | Embryonic Music Studio | FTO THE EDGE Creative house

Sing it loud, sing it proud and stay outta TROUBLE!

Tenholes

Facebook  YouTube  MySpace  Twitter  ReverbNation  iTunes

For the best introduction to the Celtic-Punk scene in Indonesia you simply cannot go wrong than checking out Wind From The Foreign Land- Indonesian Celtic Punk Compilation’ from 2014. An album of fourteen tracks from fourteen different and diverse Celtic-Punk bands from right across Indonesia. From traditional Irish folk right up to Celtic-Oi! and ballads to full on rockers its all here and just goes to show why the scene in Indonesia is both wonderful and always interesting. No self respecting Celtic-Punker should not have at least a couple of favourite Indonesian bands in their arsenal so get along here Wind From The Foreign Land is one of the best compilation albums you will ever here. That’s a London Celtic Punks guarantee!

ALBUM REVIEW: SELFISH MURPHY- ‘Broad Jump. Reloaded’ (2018)

Irish Punk, Speed Folk from Hungary !

Now I cannot imagine there is many better places for a band, especially a Celtic-Punk band, to come from than Transylvania. Forever immortalised in Western culture as the home of Count Dracula by the Dublin born writer Bram Stoker in his Gothic horror novel published in 1897. The region in Romania is bordered by the Carpathian mountains and is roughly three times the size of Wales. The name,  Transylvania, translates as ‘the land beyond the forest’ in Latin and as the name suggests it has rich and diverse history that takes in the Celts, Dacia, the Roman Empire, the Hun Empire, the Gepid Kingdom and the Bulgarian Empire among others. Not bad for a place that most people think was a figment of an Irishman’s imagination! Besides Romanians the region is home to large pockets of ethnic Hungarians, Saxons and Roma and it is to the local Hungarian community (numbering well over a million) that Selfish Murphy hail from. So in a way they another in a long long line of fantastic Hungarian Celtic-Punk groups.

Founded in 2011 in Sepsiszentgyörgy they are Transylvania’s as well as Romania’s only Irish band, let alone Celtic-Punk band. Formed by Martinka, the band bassist played for many years in a famous Hungarian Irish band, and on return to Transylvania he decided to set up Selfish Murphy. Until then no one had played Irish music but the popularity of bands like The Pogues, the Dropkicks and Flogging Molly had caught on and, as in many other countries across the world, folk didn’t want to wait for the yearly visit, if they were lucky, from one of the scenes heavyweights they wanted their own band and so Selfish Murphy were born and in the words of Martinka

“To sum up: the band can be traced by:  Cheerful songs + Beer + Party = Selfish Murphy”.

To date the band have release a whole bunch of EP’s and their full length album Another Fork In The Road arrived on the scene last year. Broad Jump- Reloaded is basically their 2016 EP re-recorded and released with a bunch of new songs. Where Another Fork In The Road was mostly original compositions here the album is largely popular traditional Irish and Scottish folk covers.

Selfish Murphy left to right: Péter Csanád László- Lead Guitar, Backing Vocals *  László Zsolt- Drums * Csiki Zoltán ‘Zaza’- Lead Vocals, Violin, Accordion * Pusztai Lehel- Flute, Tin-Whistle, Accordion, Backing Vocals  * Martinka János- Bass Guitar, Backing Vocals *

The album begins with Nan’s favourite ‘Molly Malone’ and is a lively and jolly rendition that brings in throbbing bass and thrashy guitars but still firmly has its feet in folk music. As is common with a lot of other Hungarian bands Selfish Murphy make great use of the flute and Pusztai’s playing is impeccable. On lead vocals is Zaza, as well as accordion, and his voice is clear and the lyrics mostly in English and very easy to understand. They breathe new life into this song and it has more than enough punk for the punks and folk for the auld folkies too.

(A short live set from Selfish Murphy beginning with ‘Molly Malone’ recorded live earlier this year at the 15th Hunsrück Highlander Festival in May)

As stated earlier its not all covers and on the next two songs the band stretch their song writing talents starting with ‘Barleycorn’ and I’m glad to hear the Bhoys sing in their native language. I understand that a band feels like they have to sing in English to get any recognition in the scene but we like it when bands sing in their own language after all the Celtic nations had their’s banned and forbidden so that today most speak a foreign language, English, in their own lands so respect to Selfish Murphy for that. The song is fast and catchy and the guitar nicely mixed so that even though Péter thrashes away it doesn’t take over but I’m sure when playing live they turn it up a bit more! On ‘Touch the Sky’ they go pop-punk with the flute and accordion flowing nicely. Another classic song next with ‘Leaving Of Liverpool’ and as with ‘Molly Malone’ they give us a great version of one of Ireland’s most treasured crowd pleasers. Played with gusto and spirit(s!) they make a great job of it and again breathe new life into a song before I wouldn’t have worried if I ever heard again! A couple more original songs with ‘Scottish Song’ Selfish Murphy they come up with one of the album’s highlights. I was never taken much with the flute in Celtic-Punk until I was lucky to see fellow Hungarians Firkin over here on these shores and fell in love with the instrument then thanks to PJ and his amazing showmanship. It seems to suit the Flogging Molly/trad folk side of Celtic-Punk a lot so is well suited to Selfish Murphy and their style. Having been to Scotland another original composition follows with ‘Ireland’s So Far Away’ and its the album standout track for me. At times both gentle and hard it sits nicely between both wings of the scene and shows Zaza can even sing a bit too.

Broad Jump ends with a run of classic Irish folk tunes all made famous by a combination of The Dubliners or The Pogues and in couple of cases both together. Starting with ‘All For Me Grog’ its an upbeat song despite the songs words which tell of a man selling everything he owns, including his wife, to pay for his rum and tobacco. Though telling of a mans ruin the song is a joyous romp and the chorus is made to be shouted from the bottom of yer lungs as loud as possible. ‘Spanish Lady’ is  on of my favourites of these type of song and the song, dating from the 17th century, is perfect to be punked up a bit. What a tune.

Next up possibly the best Irish ‘pub’ song of all time- ‘The Irish Rover’ of course. Belted out at every pub sing-song in the last few decades it’s a song about a dog and a ship or something. No one is quite sure who wrote the song but whoever it was they have lost out on a fortune. Competition for ‘The Irish Rover’ as best pub song ever comes from penultimate song and Irish sports fan favourite ‘The Fields of Athenry’. Often thought of an old song it was in fact written in the 1970’s by Irish singer-songwriter Pete St. John and tells of the transportation of a young Irish rebel to Botany Bay, Australia, for stealing food for his starving family during An Gorta Mór, (the Great Irish Hunger) during 1845–1850. Selfish Murphy play it straight with as solid a version as you’ll hear and the energy is up to max and the rendition is infectious. Broad Jump comes to an end with the ultimate in Celtic-Punk covers and if I’ve heard ‘I’ll Tell Me Ma’ once I’ve heard it a thousand times but so fecking what. Its a brilliant song and well suited to be speeded up with a singalong chorus and catchy as hell beat and again its done more than justice here. The Bhoys have a bit of fun to bring the curtain down and only go to show how well they have mastered Irish music.

So eleven songs and thirty-five minutes and an album that is mostly covers that you will be very familiar with but it’s well worth getting hold of thanks to their own original songs. If you would prefer to hear their won material then I recommend obtaining their album. Packed with energy and passion but beware its contagious and will have you singing and jigging along to songs new and old ones you thought you were tired of ever hearing again. Selfish Murphy visited these shore earlier in the year to headline Góbéfest, the UK’s only Transylvanian festival of arts and culture in Manchester. Though we couldn’t make it a few of our northern readers did and reported their brought they house down so here’s hoping they make it again and a bit further south this time. In fact I’m surprised one person can remember anything at all so fond was he of pálinka, the traditional local spirit from the Carpathian region that he didn’t remember much else!

Discography

Cheers- EP (2011) * One Beer Is No Beer- Acoustic EP (2012) * With Or Without Us- EP (2014) * Dirty Bang- EP (2015) * Broad Jump- EP (2016) * Another Fork In The Road (2017) * Broad Jump ReLoaded (2018)

Buy Broad Jump. Reloaded

FromTheBand  Amazon

Contact Selfish Murphy

WebSite  Facebook  YouTube  Instagram

ALBUM REVIEW: CLOVERS REVENGE- ‘Gotta Get O’Raggednized’ (2018)

Based In Sarasota, West Florida, the Irish speed Folk trio Clover’s Revenge take a break from playing all of Florida’s best Irish pubs and festivals and have just released their debut full-length album!
One of the beauty’s of Irish music is that it is best heard in a certain setting. Not sure why but it is the live arena that Irish music, and all Celtic music too, really comes alive. Its not easily done but to transfer the sound of essentially a pub band onto a live recording is not easily done but here on Gotta Get O’Raggednized Irish speed Folk trio Clover’s Revenge have pulled it off. Formed on St.Paddy’s Day back in 2015 Clover’s revenge have been gaining fans and building excitement throughout their home state of Florida but also all along the Southeastern United States.

Clover’s Revenge are only a trio which is unusual in itself for Celtic-Punk/Rock bands but their sound certainly fills your ears and gives the illusion that their is a lot more of them! Made up of John Barron, the group’s frontman and mandolin player, Dr. Zachary Johnson, the band’s other frontman and guitarist, and Beau Wilberding, the sitting-down frontman who plays the cajon. Now until just a few years ago I had absolutely no idea what a cajon was but the last few years have seen both a reduction in the amount of drummers with drum-kits and the need for a type of percussion in bands that wouldn’t quite warrant the full on drum effect. The cajon has its roots in South America and is basically just a box that is played by slapping the front or rear faces with the hands, fingers or sticks. All three have very diverse musical backgrounds from rock to alternative right up to classical music.

Gotta Get O’Raggednized may only be eight songs but clocks in at a very reasonable twenty-six minutes long. When the band set out to release their debut album the aim was to convey the energy and drive of a Clover’s Revenge live show onto CD. Beginning with ‘Will We Ever Make It Home’ the album kicks off with a original composition and is a rousing Flogging Molly-ish ditty that is surefire footstomper. As I said you’d never believe their were only three of them and if the sound on the video is a bit rough ‘n’ ready then the guys have certainly smartened it up for the album but have lost none of the charm of the live version. At its heart a driving traditional Irish tune but played wild abandon and a punk rock soul. John’s Irish-American brogue is clear and precise and fits the music perfectly. An existentialist speed Folk tune that examines the Irish diaspora in all its faults and glories.

Now not only are they very much a pub band they also sing a lot about being in the pub and for my money those kind of songs embody what we all fell in love with Irish music in the first place. When I think of my Nanna singing in the kitchen it was these kind of songs even though she thoroughly disapproved of that kind of life! The first of the album’s covers is up next and they are a mix of both well known (or over used in other words) and lesser known traditional Irish tunes. ‘Little Beggar Man’ is most famous for The Clancy Brothers version back in the 1960’s but has been recorded several times since. Again the tune is a jaunty one and catchy too. The lyrics tell of a lowly beggar who despite his low station in life is happy with his lot. We all have a lot to learn from him. A much more well known song follows and ‘The Irish Rover’ is played fast and folky and is a solid version that no matter how often I heard it will always get me belting out the chorus at the top of me voice. The Bhoys sound like they had a great auld time recording the album and this transfers well into their sound. The album has thus far sounded as Irish as they come but on ‘Banish Misfortune’they really nail it. An absolutely stunning jig played to perfection here. First published back in 1873 it has had several different names over the years but its great hear such a fantastic trad Irish tune in the middle of this album. Influence from The Pogues rears its head again next with ‘Waxies Dargle’. Its again a solid version but Clover’s Revenge come into their own next with another original song ‘No Irish Need Apply’ about the struggles of the Irish in the USA and the hope that the Grandchildren of those Irish will never forget their struggles. It’s hear that Clover’s Revenge most sound like a Celtic-Punk band. With anger and passion the rousing anthem is the tale of Irish people and their children in those early days. Rooted in  traditional Irish folk music but with a very real punk rock soul. The Irish have more in common with modern day immigrants to the USA than perhaps many would like to think. The album ends with two traditional Scottish songs that have seen plenty of versions over the years both in Folk music and in Celtic-Punk. The ‘Raggle Taggle Gypsy’ was first published in 1808 and ‘Wild Mountain Thyme’ in 1821 bring the album to a close with one a rousing shoutalong and the other a beautifully played ballad.

Entirely acoustic these guys have the ability to rock up anywhere play and next Summer they will wash up on Ireland’s shore in a reverse of their ancestors with a shipload of their biggest fans to visit Dublin and Galway. The Bhoys are looking for venues and are available to play pubs, parties, fights, wakes, festivals, and any other venues that either defy definition. Taking traditional Irish pub songs and soaking in influences from scene legends The Pogues and Flogging Molly. Both of which you can hear within Gotta Get O’Raggednized’s eight tracks. Just drop them a line and get them on in your back garden if need be!
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HEAR THE DEBUT SINGLE FROM TAN AND SOBER GENTLEMEN

The debut single from seven piece Scotch-Irish hillbilly music band Tan And Sober Gentlemen has arrived and this band from North Carolina have a bright future!

Irish-American Celtic-Folk-Punk band Tan And The Gentlemen have just released the first single off their upcoming album. It’s an amazing version of ‘Follow Me Up To Carlow’ and if anyone out there is missing the utterly fantastically brilliant Appalachian Celtic-Punk band Cutthroat Shamrock then put down the worry beads as The Tan And The Gentlemen will sate your appetite for good music!

Born and raised in Snow Camp in the North Carolina back country, Tan and Sober Gentlemen began taking in the songs, stories and tunes that make up their beloved state’s heritage before they could talk. Despite having played music together in some form or another for most of their lives, the current line up was formed in the summer of 2016. Since then, they’ve been in the saddle, playing stages from their hometown Cat’s Cradle and Shakori Hills to Galway’s legendary Roisin Dubh. The band aims to explore the Celtic roots of North Carolinian music and to play it with a fire and intensity that is lacking in much of today’s folk music. The full, as-yet-to-be-named record will be be released Dec. 1st, with the release party at the Cat’s Cradle in Orange County, N.C. The album was recorded largely live at BNB Studios in Chatham County, NC, featuring their high-octane take on Celtic and Appalachian traditionals along with a few of their own tunes. The record will be available on all platforms then, and is available for preorder by emailing tanandsober@gmail.com. Friends with the rest of the Southeast USA Celt-folk-punk crew in The Muckers, In For a Penny and Born Again Heathens who have all featured on these pages in the last couple of years. The result is Scotch-Irish hillbilly insanity they dub ‘Celtic punk-grass’. As far as folk music goes, they’re about the best drinking and dancing band I’ve found in a long time!
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FOLLOW ME UP TO CARLOW

I first heard ‘Follow Me Up to Carlow’ on a old cassette called Irish Songs Of Freedom belonging to my Grandad. It differed from the rest of the tape of sad ballads as it was played so fast with the words coming so quickly it was hard to keep up. This must have appealed to the wee punk in me and so it has become one of my favourite songs. It’s also become the perfect song for adapting to a Celtic-Punk song and has been recorded and played by such diverse artists as Blood Or Whiskey, Mickey Rickshaw, Cruachan and The Young Dubliners. The song celebrates the defeat of an army of 3,000 English soldiers by Fiach Mac Aodh Ó Broin (anglicised Fiach MacHugh O’Byrne) at the Battle of Glenmalure, during the Second Desmond Rebellion in 1580 though events in the song cover more than twenty years after. The air is reputed to have been played as a marching tune by the pipers of Fiach MacHugh at the battle  in 1580 and the words were written by Patrick Joseph McCall (1861–1919) and appear in his Songs of Erinn (1899) under the title ‘Marching Song of Feagh MacHugh’.