DECEMBER EPISODE OF THE CELTIC PUNKCAST #33- CHRISTMAS SPECIAL

Ding dong Merrily On High For It’s The Most Wonderful Time Of The Year!

Isn’t it exciting! Christmas just over a couple of weeks ago and I’m sure you don’t need it but to get you in the mood here is an hours worth of Christmas themed Celtic-Punk and Folk songs to keep you cozy. So pour yourself a large Whiskey Mac and settle down with The Celtic Punkcast #33.

Follow the link below and stream live or download to listen to later and enjoy!

Hi everyone and Merry Christmas ya filthy animals! Time for another Christmas special! Some great festive themed tunes for you guys to play over the holiday period. Before I get into the playlist, a bit of house keeping, congrats to PAUL MATTHEWS who won the 10k download comp, some Celtic Punkcast gear will be headed your way shortly and if you want to get your hands on some merch then follow this link to the shop on Facebook. In other news the podcast is now on both Stitcher and Spotify which is very cool. Also a big thanks to everyone who’s helped make this the best year in the shows history! Looking forward to 2020 and you all hearing what I have in store in the new year. But for this year, here’s the songs on this years Christmas show:

THE CHIEFTANS – ‘Bells Of Dublin (Christmas Eve)’

THE NARROWBACKS – ‘Prodigal Son (I’ll Be Home For Christmas)’

ALTERNATIVE ULSTER – ‘Krampus’

KRAKIN’ KELLYS – ‘Christmas In Kelly Green’

SHILELAGH LAW – ‘Christmas In New York (Live)’

THE DOLLYROTS – ‘Fairytale Of New York’

THE TOSSERS – ‘Merry Christmas’

CELKILT – ‘Let It Snow!’

LEXINGTON FIELD – ‘Christmas At The Pub’

THE BOLLOX – ‘Whiskey Wonderland’

THE GOBSHITES – ‘Christmas In Kilarney’

FLATCAPS AND FISTICUFFS – ‘Good King Wenceslas’

PAUL KELLY – ‘How To Make Gravy’

THE LANGERS BALL – ‘Auld Lang Syne’

THE CELTIC PUNKCAST #33

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here. In August they did a Special Edition to celebrate our tenth anniversary with a episode dedicated to the bands here that helped form and shape the London Celtic Punks from 2009-2019.

Happy Christmas/Nadelik Lowen/Nollag sona

EP REVIEW: THE CLOVERHEARTS- ‘The Sick’ (2019)

From false friends, to (temporary) sobriety, to lovable junkies and the world’s worst public transport however you like your Celtic Punk’n’Roll – the debut release from The Cloverhearts will have you covered!
No country in the world had had such a relationship with Ireland and the Irish as Italy. From the poverty stricken roots of our mass migration to the new world and then living side by side in American slums to the eventual ‘coupling’ of their communities to the influence of a shared religion that dominated every strand of life back home and that they also helped spread around the world. When I was a kid on holiday back in the ‘auld country’ it was pretty common to bump into foreign travellers and in my experience the Italians always outnumbered everyone else. Even these days its common to meet young Italians experiencing the real Ireland away from gentrified Dublin. These links have now gone full circle and we have those same Italians going back home with a love of Irish culture and music (that many sadly in Ireland no longer have) and re-inventing it. To that end no countries in Europe have adopted Celtic-Punk as Germany and Italy have. With The Rumjacks Italy has took them to their bosom and several bands have hit the streets with an obvious affiliation with The Rumjacks sound.
The Rumjacks sound is a good place to start here as both they and The Cloverhearts have a very unusual thing in common. The Rumjacks have a Italian drummer and The Cloverhearts have a Australian singer in Sam Cooper not only that but Sam and Italian tin-whistle/bagpipe extraordinarie, Chiara de Sio first met at a Rumjacks show in Manhattan, New York fresh from Chiara’s departure from fellow Italian Celtic-Punkers, The Clan. Fast forward and joined by guitarist JJ Bassi, bassist Stefano ‘Cione’ Becce, and drummer Christian Amendolara The Cloverhearts have unleashed their first record alongside two recent high profile support slots with (them again!) The Rumjacks. So considering the band have only been together for just a short time their rise has been meteorically and this new EP is a great way to start.

The Cloverhearts left to right: Cione Becce – Bass, Backing Vocals *Christian Amendolara – Drums, Percussions * Chiara De Sio – Tin Whistle, Bagpipes * Sam Cooper – Vocal , Songwriter * Luigi JJ Bassi – Guitar, Backing Vocals

The Sick came out at the beginning of last month on the Italian record label, Black Dingo Records and has six new songs all written by Sam and the band themselves. The EP begins with ‘Always Monday’ which was the first single and shows how much those Europeans love their ska. I’m not such a big fan myself preferring sad tearful songs about hunger, famine and forced emigration to happy-go-lucky joyful bouncy Ska like this! I know this all makes me somewhat of a pariah. “How can anyone not like Ska” has been said to me many a time. Luckily this song has a tough edge to it and threatens to turn Punk at any moment meaning that I can just about tolerate it. Basically a song everyone else will love and enjoy so just ignore this miserable bastard.

I’m in much more favourable territory next with what I consider the EP’s standout track, ‘Black Eyes And Broken Hearts’. Kicking off with chunky loud guitars and bagpipes the music has the same sort of Pop-Punk air to it as Dutch Celtic-Punk band Drunken Dolly or more famous bands like NOFX or Blink 182. Catchy as hell with great lyrics smothered in black humour and Sam has a great voice too for this. I was also a big fan of Chiara and her piping while with The Clan and here again it is absolutely note perfect. This leads us onto ‘Drinking Songs’ and with its tin-whistle opener it is more yer typical standard Celtic-Punk song. Played fast and with passion this is a sure fire dance floor filler leading us onto ‘Fuck Trenitalia’, a story about Italy’s national rail way service. Funny enough I first heard this while waiting for a train that was running late whilst in deepest Surrey so can sympathise 100% with the sentiments expressed. I’m guessing a lot of people in Italy would as well as within ten days the video had amassed a staggering 170,000+ views on You Tube!
(Warning- “this video may be unsuitable for some”)

Loads of ‘effing and blinding’ throughout this exceedingly catchy number. Again played at full throttle and plenty of The Cloverhearts usual humour. No time for any ballads on The Sick and ‘Junky’ keeps the pace going. About a junky friend of the band and we should remember that inside everyone cursed with this terrible addiction is a real person who needs support to rid themselves of it. Anyone immersed in the punk scene will know a person who has lost everything to addiction and the sentiments in ‘Junky’ are beautiful. Not a bad song either and the catchiness keeps coming at you with the EP’s final track and a return to some Ska with ‘No Time For False Friends’. No lecture from me this time as the whole EP (including the Ska-ish) tracks have grown on me and it’s an excellent song to bring the curtain down. Veering from Ska to Punk and back to Ska again the whole band sound magnificent. The bagpiping sounds fantastic and though the bagpipes don’t appear on every track you can hear that the songs have been written with the pipes in mind and they haven’t just been tacked onto any old song. 

The Cloverhearts opening up for them Rumjacks recently in Bergamo

So there you go the debut EP from a band that has only been together for a blink of an eye and already one of my favourite releases of the year. We always delight in the arrival of another new band on the scene and its unusual for a band to come straight out the blocks and find their niche straight away but The Cloverhearts have done just that. They may be influenced by others in the scene (who isn’t?) but they have come out with an EP that has their individual sound stamped all over it. Highly recommended!

Buy The Sick EP  FromTheBand  AppleMusic
Contact The Cloverhearts  Facebook  YouTube  Twitter
Black Dingo Records  WebSite  Facebook

NEW SINGLE FROM YE BANISHED PRIVATEERS. THE WORLDS MOST AUTHENTIC PIRATE BAND!

Hoist the Jolly Roger!! The worlds most authentic pirate rock band Ye Banished Privateers roll up to shore with their new single ‘No Prey, No Pay’ from a forthcoming new album, Hostis Humani Generis due out soon. 

Ye Banished Privateers have taken no prisoners since launching back in September 2012 in the Swedish town of Umeå, and have a list of crew mates longer than yer arm with over thirty (!) members of the band at any one time and up to a dozen on stage at gigs. With a fourth album due soon the band have released their first single to promote it. While we called their last album 

“unabashed bastardized Irish folk an’ 17th century sea-shanty punk rock”
they have continued on their quest in much the same manner with ‘No Prey, No Pay’ with a utterly fantastic and authentic (smell that sea water!) video to promote it. Sounds of the ocean begin the song followed some pretty nifty accordion and then the song gets into swing. The song stands out in part to the fabulous vocals of Blackpowder Pete who sounds like a more gravelly Tom Waits! His voice is used as the ultimate instrument throughout the song urging it along. Besides that the rest of the band are a little understated with only the accordion, fiddle and tin whistle jumping out at you but nevertheless it sails along at a fine auld pace and guarantees to take yo back in time to when pirates dominated the seven seas. Smell the salty sea air, join an inn full of drunken singing, lots of shouts of ‘yarrrrrrrrs’ and splice the main brace (an order given aboard naval vessels to issue the crew with an alcoholic drink) and get yourself ready for the delivery of their fourth album Hostis Humani Generis (due to arrive in port in February) boasting a wealth of sea shanties, drinking anthems and trad folk tunes. While you would think it would be near impossible to avoid parody Ye Banished Privateers somehow manage it with an air of authenticity and thanks to some great songs. 
Blackpowder Pete goes onto say “No Prey, No Pay” sets the stage for the album and describes how times suddenly had become more difficult for those sailing under the black flag. More than ever, piracy had become a hazardous task, many times with the sole purpose of getting enough value to guarantee a decent meal for a couple of days.”

Sail away with Ye Banished Privateers new song. The most authentic pirate rock inspired masterpiece since the golden age of the dreaded sea-predators!

No Prey, No Pay
Deadlights fastened, pouches empty,
brace yourselves were heading out
Show a leg to the caulk stained sentry
Wet the sails the boom’s about
Set the course for Mayaguana,
a plate fleet’s moving cross the straight
Scudos coined in Old Milano
Pedro’s cog just took the bait
Chase is on in shallow waters
Swivels glowing through the smoke
’tis might be an even slaughter
Took a volley through the oak
Bring a spring upon her cable
Hunter now becomes the prey
Broadsides roar with cannons able
Hooks will take us to the fray
No quarter, No parley
No pay without a prey
Fresh water, fresh barley
fine rations to last the day
No quarter, No parley
Maynard’s sizing up our chains
Good sailors, dried gnarly
end their days in a rusty cage
Scuppers laying low with silver,
none but dead men tell no tales
Charon may their souls deliver,
as we cover up our trail
No more rest on easy booties
Them old days be now long gone
The hangman waits to do his duty
Sail again by the rise of dawn
Fill them seams with tar soaked oakum
Fish the mast to make her hold
Tie and hoist the leadswing’s scrotum
Oh, hornswogglers don’t grow old
Hogshead’s full of sailors folly
Salmagundi and sawbone’s stew
Crimp some knaves from the house of mollies.
At light of dawn head out anew
No quarter, No parley
No pay without a prey
Fresh water, fresh barley
fine rations to last the day
No quarter, No parley
Maynard’s sizing up our chains
Good sailors, dried gnarly
end their days in a rusty cage

Pre-order the new album NapalmRecords

Contact Ye Banished Privateers  WebSite  Facebook  Bandcamp  YouTube

IRISH SOUL STEW- THE POGUES

One man’s thoughts on what the Pogues  Shane MacGowan were and are.

The original Celtic-Punk band, formally known as Pogue Mahone (from the Irish Gaelic ‘póg mo thóin’ meaning ‘kiss my arse’) who later became known as The Pogues. Formed in 1982 their inspired use of traditional Irish instruments and poetic, often politically tinged lyrics led them to reach a cult status where even now they are revered and loved as much as they ever were.

by Alan K. Crandall

IRISH SOUL STEW

A few years back there was a fairly popular movie around called The Commitments, about a bunch of Irish kids who form a band playing ’60’s soul music. It wasn’t a bad movie, actually — it painted a pleasant picture of small-town Irish life, and a pretty accurate picture of in a struggling band (blown gigs, equipment failures, getting ripped off by promoters, inane personal conflicts). What I didn’t like was the soundtrack — classic soul covers performed by contemporary studio goons. Not that it was all that bad; I suppose the performances were about as good as those you might get from a good cover band at any local bar, but nothing worth a moment of your time when the far superior originals are available. Unfortunately, the soundtrack went on to become a substantial hit (even generating a follow-up), which grated on me then and still does — I hate the image of all those Gen X’ers and yuppies shelling out for an album of watered-down soul covers when they wouldn’t be caught dead buying Otis Redding. Sigh. The music critic for the local newspaper agreed, and suggested in his review of the Commitments album, that if people really wanted to hear Irish soul music, they should pick up the latest album by The Pogues.

GOLDEN HITS OF THE 80’s

They say nostalgia runs in ten-to-twenty year patterns- that is, what was popular in one era will always enjoy a revival ten-to-twenty years later. Some truth there; the seventies were swamped in ’50’s nostalgia (‘Happy Days’, ‘Grease’), the late eighties brought in a wave of 60’s flashbacks (‘Big Chill’, ‘The Wonder Years’), and the 90’s have treated the ’70’s as the decade to look back on. That can only mean that a yearning for the Reagan era isn’t far behind (shudder!). It’s starting already- ‘Golden Hits Of The 80’s’ collections turning up on late-night TV. God help us.

I think I’ll make my own ‘Golden Hits Of The 80’s’ album. The stuff I was listening to. The last vestiges of 70’s punk, the first glimmerings and full flowerings of the American indie scene: The Gun Club, Green On Red, Black Flag, Husker Du, The Replacements, The Pontiac Brothers(!), Social Distortion.   Aah, those were the days. It won’t have a lot of British rock from that era, though. The 80’s were the end of the UK as far as Rock’n’Roll went, as far as I’m concerned. None of this is meant as any kind of chest-thumping ‘America-first’-ness… I just hated all that mopey Smiths/ Echo And The Bunnymen/ U2/ The Cure stuff; all burbling synths and treated guitars and strained attempts at soulfulness, all fashion and stance and not a shred of real feeling. But there was ONE band to come out of the UK in the 80’s who did understand what rock’n’roll music was supposed to be, what real ‘soulfulness’ sounded like. And that was The Pogues.

IRISH SOUL STEW (PART TWO)

The Pogues as Irish soul music. I like that. It sounds right. It fits, in the same way that Gram Parsons’ description of country as ‘white soul music’ fits. The Pogues music could be called soul; not in sound, but in feel, in sensibility, in emotional commitment. Or you could call it Rock’n’Roll music, or rock music. None of these would necessarily be inaccurate (or necessarily accurate either, if you want to split hairs). Of course, at the time, people often referred to them as ‘folk music’.

Superficially, I guess they were. Their music basically a sped-up, amplified and attituted-up take on Irish folk music of the Clancy Brothers/ Dubliners sort. Superficialities only go so far. They were never really a folk band in the purest sense. There was always too much Bo Diddley in their backbeat, too much Clash in their attack. Neither were they simply a parody of Irish music, a high-speed punk rock joke band with accordions. They used Irish music as a well to draw from, much as The Stones used Chicago blues; they took its form, its depth of feeling, its melodicism, its romance and longing and every other quality you want to hang on it, and wed it to their own roots in punk and high-powered pub rock, and came up with something uniquely their own. John Lennon once referred to the blues as ‘a chair’, in respect to its relationship to rock’n’roll music. Irish music was The Pogues’ chair.

Of course, the first ones to deny them a seat in the Folk Club would be the members themselves. Folkies reviled them. Folkies revile anyone who doesn’t play by their rules. It’s the most insular, tradition-bound faction of popular music, on both sides of the pond, as near as I can tell. There’s still grizzled old veterans’ wandering around Greenwich Village, anxious to tell anyone who’ll listen what a no-talent-asshole Bob Dylan was/is. Dylan was reviled for mimicking Woody Guthrie, then for not mimicking Woody Guthrie; for playing protest songs; for turning away from protest songs; for playing the electric guitar- for not playing by the damn rules! Of course, it’s the ones who break the rules who achieve greatness, and there’s no greater crime or surer ticket to condemnation by your peers than being the most talented and ambitious one around. Anyway, Dylan was never really a folkie anymore than The Pogues were.

So the folkies reviled them. Somewhere in the archives there’s a radio broadcast wherein a heated altercation between Noel Hill of the venerable folk band Planxty and several Pogues ensues. It apparently began with Hill’s assertion that The Pogues were “a terrible abortion of Irish music” and quickly slid downhill:

Noel Hill, however, laboured his case and it was at this stage that Andrew went for an unexpected Grundy, and said: “I think it just comes down to sex. I mean, are you a better fucker than me!” The session continued in similar style for another half-hour, and eventually ended with the contemptuous Cait being branded “a pig”. She replied with five seconds of suitable snorts.

Man, I wish I could get my hands on a tape of that! Meanwhile, others condemned them as being a kind of racist joke, perpetuating the stereotypical image of the Drunken Irishman. And Richard Thompson, ever the contrarian, dismissed them for being too reverent in their take on traditional music! None of this seems to have phased The Pogues any; in the UK, they became stars.

ZEN AND THE ART OF ROCK’n’ROLL FANDOM

The Pogues as Irish soul band. How do you justify that one? Maybe this way:

They regenerated into an all-time stupor at Hull Tiffany’s, on March 25, after being subject to the unlimited generosity of Nick Stewart – a Glaswegian whom they had first encountered at Manchester Hacienda just three weeks before. Being a terminal fan of John Lee Hooker, Howlin’ Wolf, The Velvet Underground and Tom Waits, Nick felt an immediate affinity for The Pogues.

Does that last sentence make sense to you? It does to me. In fact, it makes so much sense to me that I was actually thrilled when I came across it. It articulates the inarticulate-able. What do The Pogues have in common with two of the most primitive, toughest of blues legends, the most celebrated avant-garde/ Rock`n’Roll band ever, and the poet-laureate of down-and-out street lunatics (okay, the Waits connection’s a bit easier to see)? For that matter, what do Hooker and Wolf have in common with The Velvets? Or The Velvets with Waits? Nothing and everything, I guess. It’s just that someone who likes Hooker and Wolf AND The Velvets probably like Waits and The Pogues, too.

I could, I suppose, sit up all night (and probably many other nights, too) trying to put my finger on what it is that links these things. Hell, I might even pull it off. Robert Pirsig asked what ‘quality’ was while teaching college English in Montana in the 60’s. He managed to pin it down to something that people recognized when they encountered it (his students almost unanimously concurred on when ranking papers in terms of which ones were “better”) but could not define. Well, Pirsig’s search for a definition of ‘quality’ led to mental breakdown, electroshock therapy, cross-country motorcycle trips and eventually the book Zen And The Art Of Motorcycle Maintenance. Pirsig is a lot more educated than myself, and much more equipped for dealing with such questions, so you’ll forgive me if I don’t try to equal his achievement. But I will take a little stab at making sense of a statement like the quote above.

There is something I hear in traditional or tradition-rooted music; that is, specifically, blues, a lot of jazz, folk music (of any nationality but especially American or British, which I happen to be far, far more familiar with than that of any other cultures), country, gospel, reggae, rockabilly, ’60’s soul music, roots-rock or what the charts now refer to as ‘Americana’, traditional Mexican or Tex-Mex border music (which I’ve recently gotten heavily into) and other things. To be honest, I don’t know if it’s something that’s actually there or just something I put there in my mind, a validation because the music is (or is based on music that is) old and celebrated and “legendary” (and I’ve been accused of exactly that kind of psychological projection, especially for my penchant for preferring Lightnin’ Hopkins to hip-hop music), but I hear it all the same. Something like a deep well of feeling and emotional commitment (’emotional commitment’, now there’s some pretentious critic-speak if I ever heard it) that an artist can dip into and draw from. And when I hear it, especially in the context of something that I deem as ‘good’, it turns my head and makes me listen.

It’s a quality I don’t hear in a lot of avant-garde or ‘punk’ or what I think of as ‘white pop’ music (which in my mind would be things like NRBQ or The Hoodoo Gurus, just to name two), but the lack of it does not necessarily diminish those kinds of music (hey, I’m a big fan of NRBQ, and The Hoodoo Gurus, and lots of ‘punk’ and avant-garde-type music as well), but it’s a good quality to have. For me, it’s a kind of anchor to the music; it gives it staying power. For me, it means that while I am always up for hearing Richard Thompson, Howlin’ Wolf, Hank Williams, Buddy Holly, The Stones, Otis Redding, Tom Waits, Southern Culture on The Skids or John Coltrane (all of whom have this something) I have to be in the right mood to want to listen to The Sex Pistols (who were great, but lack this aforementioned something).

In any case, if this something, this quality exists (and since I perceive it I guess it does- and others perceive it too, I think), it is something that can be found in Hooker and Wolf and The Velvets and Waits, and in The Pogues, too. And that makes sense out of the quote. At least, as much sense as I’m able to articulate about it.

MORE GOLDEN HITS OF THE 80’s

The Pogues were definitely a part of the 80’s for me. Even if the 80’s were a terrible decade for Top 40 music, underground music was a rich, fertile haul back then, and for me, The Pogues were superstars. The first I ever heard of them was a review of the Pair Of Brown Eyes single in Spin. Actually, it wasn’t the review that got my attention, but the photo of Shane MacGowan, dressed in Napoleonic pirate gear and showing off his infamous ghastly grin (later immortalized by Mojo Nixon in “Shane’s Dentist.”). The caption read

“Shane MacGowan comes from an ugly place, has an ugly face, and has recorded a great single with The Pogues,”

which makes it the finest piece of writing I ever encountered in the mostly execrable Spin.

Back then, the general line on The Pogues was that they played punked-up, sped-up versions of Irish traditional music. Actually, on their first album (Red Roses For Me), I suppose that’s not too inaccurate. I never got especially hot and bothered about Red Roses, which was hard to find and I never heard until its 1988 re-release. Despite their boundless energy and good humor (especially Down In The Ground Where The Dead Men Go, which worked excellently for clearing out parties), it now sounds like demos for what would come later. By Rum, Sodomy And The Lash and the Poguetry In Motion EP, they’d found their true voice. The band had gelled into an endlessly inventive ensemble that could find each songs unique qualities and then make the most of them. MacGowan had turned into a brilliant, plainspoken songwriter and possibly even more brilliant singer, using his ragged voice and slurred phrasing as an instrument to express himself, much as any great blues or, yes, soul singer would. By If I Should Fall From Grace With God, they were even better; MacGowan’s writing became almost mythic, the band’s delivery almost cinematic in its sweep, building each number into a work of great drama and power; the sort of rare album without a single forgettable track.

But then things began to slip. I anxiously awaited the release of Peace And Love the following year, but when it arrived, I was disappointed. Something was missing. Part of it was that the other Pogues were contributing more in the way of material. Yet the songs by Terry Woods and Phil Chevron were largely consistent with MacGowan’s both lyrically and musically, and Woods’ Streets Of Sorrow and Chevron’s Thousands Are Sailing had been highlights of Grace. Meanwhile, MacGowan was still at full strength, delivering several fine songs, especially the overpowering USA. But somehow, the album failed to hang together… as good as most of it was, it never really added up to the sum of its parts.

Things went from bad to worse, as MacGowan simply went AWOL from the band’s US tour with Bob Dylan that fall. A Rolling Stone piece described MacGowan as a down-and-out drunk whose legendary habits had caught up with him. The Pogues seemed to fade from the scene.

Hell’s Ditch finally appeared the following year, with little fanfare (at least in the States). Conventional wisdom has it that Hell’s Ditch is a failure, but I myself thought of it as a fine return to form. Understated compared to their peak period of 1985-1988, but MacGowan seemed back on top again, contributing some of his best songs yet, from the grand drama of Lorca’s Novena to the (here we go again) ‘Irish soul’ of Ghost Of A Smile. Me, I was looking forward to more great music from The Pogues.

It didn’t happen. When The Pogues finally toured the States, close to a year after HD’s release, MacGowan was again not with them (“Shane MacGowan will not appear” read the newspaper ad for the show). Joe Strummer ostensibly stood in for the absent Shane, though in fact the entire band took turns at the mike. Strummer is one of my old heroes, but he couldn’t quite fill MacGowan’s shoes (amusingly enough, Strummer had also appeared with them at their SF debut in 1987, filling in for an injured Phil Chevron. Of the three times I saw The Pogues headline, only once did they have the full band). This time, Shane was gone for good. The Pogues soldiered on for a few more years, releasing two well-intentioned but less-than-classic albums. MacGowan duetted with Nick Cave on a hilarious version of Louis Armstrong’s Wonderful World and plotted a solo career.

Finally, 1995 brought The Snake, MacGowan’s first solo album with his new band, the vengefully named Popes. While there was much to like about The Snake, it lacked the greatness of his old band. The Popes could imitate The Pogues, but not duplicate them. Great bands depend on gestalt. The Popes simply lacked the kind of imagination and ambition to turn simple songs into full-blown epics (and The Pogues needed MacGowan’s inspiration to produce great work). Also the switching from straight rock rocked-up Pogues imitations was jarring and gave the album an inconsistent feel. Still, MacGowan remained a popular figure in the UK. As the Pogues quietly folded, he released Crock Of Gold in 1998.

ROCK’n’ROLL PADDY

I attended the Guinness Fleadh Festival; a full day of music, almost all of it excellent, chock full of artists I liked. The evening ended (for me, anyway) with a performance by Shane MacGowan and the Popes. It had been ten years since I’d seen MacGowan, and I was excited but trepidatious. I’d been less than enthralled by his solo work and, by all accounts, his legendary abuses hadn’t abated (like their forbears, The Popes have taken to playing sans MacGowan when necessary).

MacGowan came on close to an hour late (Typical. It was close to 90 minutes the first time The Pogues played SF). He was led on by a roadie or assistant who stayed by his side throughout the show, passing him lit cigarettes. He clung to the mike stand just to stay vertical. He garbled out his songs and made his usual unintelligible introductions (which sound something like “thizzongscauldwarrgleemaffftaweebagrrf”). When he mysteriously vanished in mid-set, many of us wondered if he’d keeled over (he returned after a brief Popes instrumental, fresh drink in hand). The Popes, true to my expectations, played with enthusiasm but suffered from not being The Pogues (not an unfair criticism, I don’ think, when they’re clearly intended to stand in for the originals). Given how good The Pogues had been even when bad, it added up to a disappointment. MacGowan’s voice was ragged (even by MacGowan standards). None of this phased the mostly Irish (and mostly loaded) crowd, who tipped over a bleacher in honor of their hero.

Then, shortly after returning with his fresh drink and struggling through Lost Highway (not the Hank Williams song), MacGowan and the Popes jumped into a Pogues set with If I Should Fall From Grace With God, and as Shane slurred and snarled his way through the lyric, you could hear just a little bit of the old magic there, a hint of redemption, a sign of what drew you to him in the first place.

If I sound overly critical, it’s because I think MacGowan is a rare talent, a brilliant songwriter and outstanding singer, and it saddens me to see him lionized for his sad personal state. And he is. Drop by the Pogues Usenet group and make some comment about his unfortunate physical state and see how fast the flames fly. There appears to be a not inconsiderable faction of fans for whom MacGowan’s long out-of-control alcoholism is some kind of badge of honor, an inherent part of his ‘cool’. Just a few nights ago, I was killing time in a used bookstore. The young Deadhead-type behind the counter was blasting The Pogues. I heard him say to his girlfriend:

“It’s so cool to know this guy was really shitfaced drunk when he recorded this. Listen! You can totally hear him slurring his words!”

I used to think so too, I guess. I didn’t think it was ‘cool’, but I did think it was funny. Part of the pleasure of seeing The Pogues perform was watching MacGowan stumble around and slur his words. Just like I used to find Roky Erickson’s mental instability funny (when introducing a friend to his music, I always had to mention that Roky was ‘really insane’ and not just pulling an Alice Cooper act), and Johnny Thunders’ junkie-cool “I don’t give a fuck attitude.” Actually, I don’t think that kind of attitude is unusual for a guy in his 20’s, especially one who enjoyed his indulging in his own vices whenever possible.

So maybe it’s just a maturity thing. No, I didn’t become a teetotaler or enter a 12-step program; just settled down. At 33, getting loaded now seems like an inconvenience rather than anything to be happy or amused about. And Roky’s just a sad ghost of a man. And Thunders is dead. And MacGowan’s descent doesn’t strike me funny at all. Maybe someday we’ll be seeing his obituary. Or maybe not; he’s stuck around this long (well, Thunders lasted a lot longer than most of us expected, too). Or maybe he’ll pull himself out of it. All I know is, he’s a great talent and the price of living up to his shambling image has been a ton of brilliant music that he could have been making, and me, I think that’s too high a price to pay. Way too high.

Some Pogues-related links:

In The Wake Of The Medusa   Paddy Rolling Stone  The Parting Glass   Pogues Facebook Page

ALBUM REVIEW: THE RUMJACKS- ‘Live In Athens’ (2019)

The glorious Rumjacks are back with their second release of 2019 an excellent live recording of their November 2018 gig at the Piraeus 177 Academy in Athens, Greece! 

After their critically acclaimed stripped back acoustic album Live In London Acoustic Sessions The Rumjacks release another compilation to celebrate their tenth anniversary. 2018 saw The Rumjacks become somewhat of a European hit. A tour lasting almost the entire year saw them perform in pretty much every European country from East to West and North to South. Their album of that year Saints Preserve Us was also hailed as their best since their incredible debut album Gangs Of New Holland. The album would go on to receive the #1 album of the year voted unanimously by all the London Celtic Punks admins. Crowds on the tour saw them selling out venues regularly and performing at some of the biggest festivals around. The band continue to go from strength to strength helped no doubt by their down to earth attitude and consistently good songs and live performances.

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.

So it was that The Rumjacks rolled into Piraeus 177 Academy in Athens on November 3rd 2018 to play one one of their biggest ever headline shows to date. The atmosphere in the venue that night was electric and the band went on to play one of their best sets of the entire tour in front of an appreciative crowd that seemed to know the words to every song. Thankfully the entire show was captured and has been released as The Rumjacks first ever live album release. Featuring twenty-one songs split fairly evenly between their very earliest days and their latest album. Four songs come from their first two EP’s while five tracks each from Gangs Of New Holland and Sober And Godless with four from Sleepin’ Rough making up the bulk of the songs.

Kicking off with ‘Plenty’ the first thing to strike you is the absolute authenticity of the recording. Having seen The Rumjacks a stack of times I can confirm that the sound is as perfect as you could hope for and is definitely the next best thing to actually being there. Its all here from Frankie’s somewhat strained tin-whistle on ‘Kirkintilloch’ to Johnny’s in between song banter consisting of shouting at the audience! All the best songs from their current and back catalogue there is no filler whatsoever. As hard as it is to pick the best tracks here some of the ones that stood out for me included the catchy as feck ‘Cold London Rain’.

“If you wait for me here, I’ll return with a joy for your sorrows,

A cure for your heart & a wee drop to soften the pain,

And no matter the mark that we make on each others tomorrows,

I will sing to the glory of you and your cold London rain.”

Soon after the ska tinged ‘Kathleen’ and ‘Spit in The Street’ tumble after one another and hidden away right in the middle of the album is the song that broke them to the world ‘An Irish Pub Song’, now sailing up to 60,000,000 (that’s sixty million) views on You Tube! I remember sitting in Bootsy Brogan’s in Fulham with Guy from Neck the day the Ireland football team were playing someone or other (go easy I’m 50!) up the road at Craven Cottage and this came on in the middle of a random selection of Irish classics. That was the moment i realised The Rumjacks were going places. The Greek crowd go mad as soon as  they realise as Frankie starts the intro on acoustic guitar.

(fan video of ‘The Reaper And Tam McCorty’, ‘The Bold Rumjacker’, ‘Uncle Tommy’, ‘Jolly Executioner’ and ‘Saints Preserve Us’)

Another great song that here sounds utterly fantastic is ‘The Bold Rumjacker’ the highlight of their debut release Hung, Drawn And Portered. The song always give them a chance to muck around and they don’t disappoint here turning the ska and calypso tinged song into something special. A couple of their fastest songs next with ‘Uncle Tommy’ and ‘Jolly Executioner’ before the Celtic-Ska ‘Saints Preserve Us’ keeps the atmosphere at its highest possible point. The only disappointment on the album is that it does strip away all the friendly banter from Frankie mainly but also Johnny too confining them to just the occasional shouts of encouragement or the introducing of, at the time, new drummer, Pietro Della Sala, to the masses. They play an awesome version of ‘The Black Matilda’ and wrap things up with a string of Rumjacks best and most popular songs before ending with the classic Irish folk song ‘I’ll Tell Me Ma’ which saw them end with another song taken from their debut release.

(another great fan video of ‘I’ll Tell Me Ma’ as filmed on the night)

So while not a massive fan of live albums this gets a double thumbs up from me solely because it captures the gig so completely. Its a warts an all performance of a band that really knows how to put on a great show. With such a fantastic back catalogue it will always be hard to please everyone but this is as a comprehensive compilation of their best songs as you could wish for. With their touring schedule second only to none (perhaps Ferocious Dog maybe?) they are sure, as long as you live in Europe that is!, to rock up near to you sooner or later so get this album to whet your appetite for when the day arrives!

Buy Live In Athens  iTunes  Google

Contact The Rumjacks  WebSite  Facebook  Twitter  Instagram  YouTube  Soundcloud

Discography Hung, Drawn & Portered EP (2009) * Sound As A Pound EP (2009) * Gangs Of New Holland LP (2010) * Crosses For Eyes 7″ (2012) * Blows & Unkind Words 7″ (2014) * Sober & Godless  LP (2015) * Sleepin’ Rough LP (2016) * Saints Preserve Us LP (2018) * Live In London Acoustic Sessions LP (2019) * Live In Athens LP (2019) *

NEW SINGLE RELEASE FROM LOUIS RIVE ‘THE STATE OF THE NATION’

Brand new single from one of our favourite artists the Catalonian based Scots singer-songwriter Louis Rive. Together ‘The State Of The Nation’ with the B-side ‘In The Shadows Of Big Ben’, takes a critical look at the double standards of living in Great Britain in an age defined by Brexit.

Scottish singer-songwriter, based in Barcelona, Louis draws on all aspects of folk music from the traditional ballads of the barroom to the modern day tale-tellers and poets. Influenced by The Pogues, Hamish Imlach, Matt McGinn and The Corries, to name but a few, Louis has set out to continue the grand tradition of the storytelling musician. His debut album, The Cheap Part Of Town, featured here last year and even went as far as #2 in our Top Ten Folk And Trad releases of 2018. The album was a truly wonderful and original half hour plus in the company of a singer-songwriter that deserves to more widely heard. Telling 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.

“Folk music is storytelling. Storytelling is poetry. Poetry is songwriting when you can’t play the guitar. Collecting stories of people and places and putting them into song is what I do. I’ve met every type of person there is to meet, especially through my work over the last decade. These are their stories, the stories of the street.”

The new single is available across all digital platforms and ‘The State Of The Nation’ aims to capture one of modern life’s most mysterious of traits, that of being Scottish in the modern day, and what relevance, if any, that moniker has any more. It’s nostalgic in a pointless way, and fairly lacking in optimism, so at least analogous with the general experience of being from north of the border.

The ‘State of the Nation’ is about the UK. It’s about being Scottish and it’s about living in Europe during a time of uncertainty. It may not be feel-good, but it might make you think, something that’s been fairly absent in the UK of late, in the wake of the great Brexit divide. In the wake of his critically acclaimed debut album and fresh from a summer of festival appearances across the UK, including Black Deer Festival and the Edinburgh Fringe, Louis’ new single provides a soundtrack to a land at odds with itself.

THE STATE OF THE NATION

Two-hundred years being wrapped snug in tartan
 Made to sing ‘God Save the Queen’
Your forefathers say ‘Be a proud son of Scotland’
But in this day and age what do they mean?
We’re all rebels and princes, fighters and lovers
 Feeling on top of the world
Oh the few who will feature on the pages of schoolbooks
And the many who’ll never be heard
 We’re solving the mystery without any proof
Oh enough of your lies, won’t you tell me the truth?
Are we up to our necks in the blood of old Jock Thompson’s bairns?
All the sugar, tobacco, cotton, molasses
Looking at history through rose tinted glasses
Nemo me impune lacessit, and other such joys
Be you Scottish or British or English or Irish
Tick the box for your colour or creed
Cultural appropriation on a packet of biscuits is the only real reference I need
From Ossian’s diaries to the Highland Societies
Inclusion behind padlocked doors
But the word ‘Caledonian’ was coined by the Romans
Just to mark out the mad bastards up north
Is it ‘yes’ is it ‘no’, is it getting beaten 3-0 at home?
Is it a pregnant teenager at the end of a phone?
But she hasn’t the time to read ‘Rob Roy’ nor ‘Ivanhoe’
Nothing to do so go out for a pint eh?
The blue-blooded bowler hats shout 1690 Next generation take heed and sharpen their swords
All suited and booted all dressed to the nines
In a Royal Stewart kilt from some factory line
‘Made in China’ hiding away under a plastic cockade Is it brains over brawn?
Is it link over lorne? Is it choosing the right football team?
The echoed frustrations in a half-empty Hampden With Gemmill, Dalgleish and Gordon McQueen
How do you feel about god or the devil? The ‘Flowers of the Forest’ for sale?
The young ones will pays for their parents’ transgressions
While the old ones rehash the old tales
Night by 15:30, cold mince and tatties
A wink to the lads and a toast to the lassies
A night at ‘Her Majesty’s Pleasure’ to round it all off
The blue and the white on a sky of slate grey
The grovelling politicos with nothing to say
But it’s hard getting by given neither the time nor the day
Hey for ‘Bobbin’ John’, hey for cockolorum
Tha tighin fodham, fodham, fodham
Oh well you take the high road and I’ll take the low
The ‘Skyscraper Wean’s’ got nowhere to go
Now the blue paint’s all smudged on the face
Of the star of the show
(you can stream/download State Of The Nation below for just £2)

Download State Of The Nation  Bandcamp

Contact Louis Rive  Facebook  Instagram  Spotify  Twitter  YouTube  Soundcloud

NOVEMBER EPISODE OF THE CELTIC PUNKCAST #32 OUT NOW

The Winter’s well and truly here and Christmas is just around the corner. Warm yourself up with The Celtic Punkcast #32. Follow the link below for an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world.

Stream live or download to listen to later and enjoy!

Hi everyone. Yes I know I’ve been bloody slack lately with getting shows out but fear not! I’m back with an absolute cracker of a show this month. Plenty of new music and a few new bands, I hope you guys think it’s worth the wait. Oh and by the way, to celebrate the 10k download mark I’m running a competition where I’m giving away some Celtic Punkcast merch. All you have to do is tell me the very first song I ever played on the show back in episode one via email (celticpunkcast@gmail.com) and you’re in with a shot! Oh and there are some new stickers and hats going onto the shop very soon as well. Enough plugging merch, here’s the tunes:

DROPKICK MURPHYS – ‘The Lonesome Boatman’

GREENLAND WHALEFISHERS – ‘The Letter’

SHANGHAI TREASON – ‘Devil’s Basement’

THE FIGHTING JAMESONS – ‘One More Drink’

THE MAHONES – ‘Is The Bar Open Til Tomorrow’

AIRES BASTARDOS – ‘Drunken Sailor’

FLOGGING MOLLY – ‘Life Is Good’

KRAKIN’ KELLYS – ‘Wild Rover’

THE GO SET – ‘Rolling Sound’

BASTARD BEARDED IRISHMEN – ‘What A Life That Would Be’

THE SHILLELAGHS – ‘Let Me Go’

DREADNOUGHTS – ‘Jericho’

FOX N FIRKIN – ‘Falling’

MICKEY RICKSHAW – ‘Keep Afloat’

THE CLOVERHEARTS – ‘Always Monday’

THE HOLLOW POINTS – ‘Pieces Of Eight’

THE STANFIELDS – ‘Afraid Of The World’

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

THE CELTIC PUNKCAST #32

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here. In August they did a Special Edition to celebrate our tenth anniversary with a episode dedicated to the bands here that helped form and shape the London Celtic Punks from 2009-2019.

SINGLE REVIEW: FEROCIOUS DOG- ‘You?!’ (2019)

English working class Celtic-Folk-Punk. The Levellers meets Billy Bragg meets The Pogues.

One of the most down to earth bands you are ever likely to encounter Ferocious Dog are the band most likely to break out of the scene and go onto bigger things. That they have achieved it all without any sort of backing and all on their own merits is simply incredible and their journey continues to bigger and better things and we are all invited along for the ride. Strap yourselves in!

It’s been a tough couple of weeks for Ferocious Dog with two long time members with guitarist Les Carter and the multi talented John Leonard (who played an array of instruments like the 5-String banjo, tenor banjo, mandolin, guitar (of course!), bouzouki, tin-whistle, uilleann pipes and accordion!) both announcing they would be leaving the band in the same week. No doubt it was the Dogs ferocious touring schedule that helped contribute and I find it incredible the amount of gigs they play. It truly takes some dedication and a hell of a lot of energy to keep up with them. Not the best news but they have been here before and with the right replacements the band should be able to continue where they left off. As ever with FD they love to keep their fans involved and no sooner had Les and John said they were off then the guys who were coming in were announced. Ryan Brooks joining on electric guitar as well as our good friend, and a man who has featured on these pages several times, Johnny Edwards joining on the several instruments he plays.

You?! is the first track to be released off their forthcoming new studio album due in early 2020. Released on 11th November 2019 the song peaked at #7 in the iTunes Singer/Songwriter Charts and almost made the Top 100 in the overall charts too. The video for the song explains the close relationship between the band and their fans and it is true that no matter how often you see them (and i have seen them a lot!) they put their all into every show. All the elements that make the band special are here with fast and furious fiddle thrashy guitars and a solid folk base while Ken’s lyrics are incendiary and as ever on point politically. About staying true to your beliefs and standing up for what you believe in! If you have never seen or heard this band then leave your cave and check them out on either record or live. They are that rare breed where they capture their live sound perfectly on disc.

Buy You?!  Google  Apple

Contact Ferocious Dog  WebSite  FacebookPage  FacebookGroup  Twitter  YouTube

Discography  Ferocious Dog (2013) * Ferocious Dog 3 Piece Acoustic (2014) * From Without (2015) * From Without Acoustic (2017) * Red (2017) * Fake News And Propaganda (2019) *

Pivotal to the ethos and drive of Ferocious Dog is the sad fate of Ken’s son Lee. Lee served in Afghanistan from the age of 18, and upon rejoining civilian life took his own life in 2012 at the age of just 24, unable to overcome Post Traumatic Stress Disorder stemming from seeing one of his friends being shot dead by a sniper. Lee is commemorated in the Ferocious Dog songs ‘The Glass’, ‘Lee’s Tune’ and ‘A Verse For Lee’. This gave rise to The Lee Bonsall Memorial Fund which raises money and awareness for various causes close to the bands heart. Lee’s story was featured in a BBC documentary Broken By Battle in 2013. It was Lee that actually named the band as a child.

Lee Bonsall Memorial Fund  Facebook

ALBUM REVIEW: CROCK OF BONES- ‘Celtic Crossbones’ (2019)

Alt Folk, Irish, Trad, Celtic.

Celtic Crossbones the debut album release from Crock Of Bones the hottest new band on the London Irish Folk and Trad circuit. 

Hot on the heels of their debut EP, Nasty, Brutal And Short, comes the debut album release from Crock Of Bones. Formed this year out of various members of other groups most notably LOCKS, Red Eye, Lost Revellers and rockabilly outfit The Obscuritones. So quite a diverse bunch of musicians but with links back to Celtic-Punk through the brothers Bryne and their band Pitfull Of Ugly who played energetic punked up versions of Irish folk songs through Hackney and North London in the early 90’s. Here they ply a much more traditional route though but with the same punk rock attitude they have always have. The five songs from Nasty, Brutal And Short are included on Celtic Crossbones alongside five new tracks of radical interpretations of Irish folk.

Crock Of Bones- (back) Mike Byrne, Marian McClenaghan, Jim Wharf (front) Hugh Byrne and Caitlin Roberts

Celtic Crossbones kicks off with the self penned number ‘Just One Of Them Things’ a slow swirling number with fiddle and accordion leading the way while Hugh sings of lost love. A great voice but his Dublin accent now has a wee bit of a Cockney twang about it! Next is one of the best songs ever written about the Irish on this side of the Irish sea, ‘Hot Asphalt’. Ewan MacColl (no stranger at all to these pages!) was famous for chronicling the life of the working classes and who better than the Irish road building gangs of the 50’s and 60’s. The camaraderie of these gangs of Irish workers is reflected in the comical goings on of a gang of poor Paddies digging up the road.  Somewhere along the way a policeman falls in a pot of boiling asphalt and the gang cover up his death!

“I’m thinking, says O’Reilly, that he’s lookin’ like old Nick
And burn me if I am not inclined to claim him with me pick
Now, says I, it would be easier to boil him till he melts
And to stir him nice and easy in the hot asphalt”

Played in the same style as the Dubliners famous version it’s the best version I have heard in a good while. ‘The Magnificent Eight’ is another self penned number Hugh wrote about one of his old bands Ella And The Blisters, a rootsy tootsy band of misfits that split up in 2016. The song is dedicated to all the jolly fine former members, Gabby, Sam, Luigi, Wayne, Caitlin, Richard, Sarah, Brian, Tom and Nathaniel and ‘The Magnificent Eight’ is a fine tribute to them. Banjo heavy and the tale of a band that almost nearly crossed the path into bigger times. ‘Ferry’ is a sad mournful song with great lyrics about a long distance relationship about a couple saying goodbye at the ferry terminal that comes to an end with the great line “waiting for a voice on a landline telephone”, long before the invention of mobile phones. Bands like Crock Of Bones don’t have to do much if they don’t want to. There is a huge market in London for Irish and traditional music but Crock Of Bones don’t want to be one of them bands that just churn out the covers and it’s the many self-penned numbers on Celtic Crossbones that interest me the most. Modern subjects wrapped up in auld music like on ‘Nothin Worse’ the best song on the album here. Great lyrics and accompaniment from the rest of the band. Neither fast nor slow but one of them foot tappers/thigh slappers that trad Irish folk is famous for. Grand stuff altogether! The instrumental ‘Swallowtail Jig’ is next and while there’s not an awful lot of choice on the Crock Of Bones You Tube channel (it’s the only video!!) pop along and have a look yourselves!

‘TASTHTGP’ is next up and TASTHTGP is a short way of saying ‘Talk about shit things happening to good people’ and a decent sense of humour is needed for anyone in a band. It’s a slight song but well intentioned. Next up is the song that alongside ‘Hot Asphalt’ chronicles best the life of a working class Irishman in Britain in the 50’s and 60’s, ‘McAlpine’s Fusiliers’. Of course not all dug the roads but many many did including my own Grandfather before he settled in on the railways with a shovel in his hand for 40 odd years. Most came from the countryside of Ireland to cross the Irish sea to work long and hard hours in tough jobs and their only respite came from a few beers after work. Written by Dominic Behan the title refers to the construction company of Sir Robert McAlpine who exploited employed mainly Irish workers.

“They sweated blood and they washed down mud
With pints and quarts of beer
And now we’re on the road again
With McAlpine’s fusiliers”

The song ends withe the refrain “And if you value your life, well, don’t join, by Christ with McAlpine’s Fusiliers” and judging by the broken bodies and bent backs of many of the ones who who use to while away the hours in the Irish pubs of my home town it was good advice. We are nearing the end and time for a real Irish legend of a song, ‘Follow Me Up To Carlow’. We even wrote a recent article specifically about this and its origins and many covers. A very old song recounting the Battle of Glenmalure in 1580 where us Irish had a rare victory over the English invaders! Its a great rabble-rouser of a song and has a couple of lines that contain some of the most vitriolic of any rebel song. Crock Of Bones give it plenty of oompf and it’s a joy to belt out the words at the top of your lungs! The album comes to an end with the traditional instrumental songs ‘Cooleys Reel/ Mountain Road’. Cobbled together nicely and owing a lot to The Dubliners as catchy a tune as has ever been written and just the ticket if you’re looking to give the floor a good beating!

(You can stream Celtic Crossbones on the Bandcamp player below before you invest your hard earned in this great wee release)

You can catch Crock Of Bones playing very soon live for London Celtic Punks on Friday 22nd November with local lads The Disinclined at The Oak in Kingston-Upon-Thames. as usual our man GREENFORD BHOY will be spinning the discs and getting the mood in order playing all yer favourite Irish-Celtic-Folk-Punk-Rock’n’Rebel in between the bands and till the landlord kicks us out! The venue is only twenty minutes on the train out of London and just five minutes from Kingston station. The gig is **FREE** so expect a Friday night of hot Irish jigs, reels, foot stompers and lyrical folk. Not an opportunity to miss I tells you! 

Buy Celtic Crossbones  FromTheBand

Contact Crock Of Bones  Facebook  Soundcloud  YouTube  Bandcamp

PREMIERING HERE TODAY! DEBUT SINGLE/VIDEO FROM NEW CELTIC-PUNK BAND SHANGHAI TREASON

Shanghai Treason are a new Yorkshire based Celtic-Punk five-piece who plan to traverse the darker, heavier, side of the genre. Expect breakneck performances complete with banjo, accordion and hard hitting rock rhythm section; fit to inject a jolt of action into any event.

On tour this December playing a series of charity gigs for Musicians Against Homelessness they release their debut single today and you can watch the video exclusively here!

Let’s Shanghai Treason!

Its always a great day at London Celtic Punks Towers when we hear of another band active on the scene. Today we are very happy to introduce you to a cracking band from South Yorkshire called Shanghai Treason. Fast paced Punk-Rock with some of the best banjo you’ll hear this side of the Atlantic. Doffing a cap to Celtic-Punk stalwarts the Dropkick Murphys at their heaviest it’s banjo heavy and all the better for it!

Shanghai Treason vocalist Sam Christie said to us

“It’s a fierce fire cracker of a debut, marking our intent early on. We’ve been working on this project for the best part of a year so to have it come into the light is a total joy!

Lyrically the song is about one of those nights out which get a bit out of hand. Where it feels like anything is possible!”

You can catch Shanghai Treason playing around the country next month on a tour sponsored by Musicians Against Homelessness, a organisation set up by former Oasis guru Alan McGee. Since setting MAH up in 2016 more than 1000 bands have played special MAH benefit gigs in the UK. All money raised goes to Crisis and the excellent work they do especially at this time of year.

SHANGHAI TREASON DECEMBER TOUR

Wednesday 18th Sneaky Petes Edinburgh

Saturday 21st Jakaranda Liverpool

Sunday 22nd West Street Live Sheffield

Saturday 28th The Fulford Arms York

Sunday 29th The Crofters Rights Bristol

(More details and support bands for the gigs can be found on Shanghai Treason’s Facebook page)

Contact Shanghai Treason 

Facebook  YouTube  Instagram  Twitter  

ALBUM REVIEW: THE NARROWBACKS- ‘By Hook Or By Crook’ (2019)

New York Irish Music

The Narrowbacks are back with their third album of Irish-American Celtic-Rock and conceivably their best yet! If Joe Strummer, Shane MacGowan and Bruce Springsteen survived a drinking session through the 5 boroughs, the hangover would be called The Narrowbacks. Fire it up!

nar·row·back /ˈnæroʊˌbæk/ [nar-oh-bak]
–noun Slang.
1. Disparaging. an Irish-American.
2. a person of slight build who is unfit for hard labor.

Across the major cities of the Irish diaspora you will find one (or two if your lucky!) band that comes to totally represent the Irish of that city. Like the Dropkicks in Boston, the Mollys in LA, The Wakes in Glasgow and The Bible Code Sundays and Neck in London these bands are a rallying point to the Irish community and help to keep alive the past, present and future of that community. The painful history of tragedy and hardship became a sense of pride and celebration that today across the world the Irish community is flourishing. Even though their are several bands that could lay claim to to the title of NYC’s most prominent Irish band and with competition from greats such as Shilelagh Law or Black 47 The Narrowbacks with this their third studio album By Hook Or By Crook have nailed the honour with this flying colours.

In a city where everyone is fighting for space the the working class Woodlawn area of the Bronx remains to this day a predominantly Irish area, the neighborhood is still referred to as ‘Little Ireland’. Young Irish still flock to the area on their arrival to the States due to the area hosting both the Emerald Isle Immigration Center and the Aisling Irish Community Centre as well untold amount of pubs and construction companies where many of these newly arrived Irish can find work. It was in Woodlawn that the Irish-Americans that form The Narrowbacks grew up. Formed in 2010 as the brain child of a future banker and a drop out bartender as a drunken joke that soon enough developed, under popular demand for them, into the next big thing on the New York Irish music scene. Taking their name from the slang name historically used to describe a Irish-American who was considered too soft to do hard physical labour.

The Narrowbacks left to right: Reilley Vegh – Fiddle * Fionn McElligott – Electric Guitar * Barry Walsh – Acoustic Guitar/Banjo/Mandolin * Seamus Keane – Lead Vocals * Anthony Chen – Bass * Chris Moran – Drums * Pat Keane – Button Accordion

The Narrowbacks pursuit to take over the NYC Irish music scene arguably began when Black 47 called it a day back in 2014. The undisputed ‘Kings Of NY’ were a Celtic-Rock band, formed in 1989 by Larry Kirwan and Chris Byrne taking their name from the the summer of 1847, the worst year of the ‘Great Famine’ in Ireland. With them out of the way the scene was set for some new blood and following their debut album, Fire It Up in 2013, they really came into their own with the EP After Hours and their second album release Arrogance And Ignorance in 2016 the year that also saw them opening for the likes of Dropkick Murphys and Flogging Molly. The album peaked at #2 in the London Celtic Punks Best Of 2016 album chart so much did the assorted wastrels here rate it!

So The Narrowbacks are back and they have a lot to live up to. Arrogance And Ignorance was one of my favourite albums and is still regularly given an airing over at London Celtic Punks towers. The Christmas themed ‘Prodigal Son’ is particularly glorious. An auld fashioned Christmas song about an Irish mammy waiting for her off-the-rails son to come home. Capable of bringing a tear to the eye its nay on impossible to make a truly unsentimental Christmas tune but The Pogues and The Narrowbacks have done it. Based in singer Seamus Keane’s pub in Woodlawn, Keane’s Bar And Restaurant, where music is supplied seven days a week by up-and-coming Irish and Irish-American musicians the band are not just leading the cities music scene but are also helping to make it flourish with their support of other artists.

Tribal drumming and distortion kicks off By Hook Or By Crook with the title track and soon, after only forty seconds, comes to an abrupt end and ‘Streets Of Woodlawn’ takes over and was the first single released in advance of the album. Instantly giving a sense of London’s own Bible Code Sundays due in no small part to the prominence of fiddle and accordion it’s a rip-roaring song the kind of track that gets you screaming at the top of your voice along with the band or a singalong down at the pub smacking your glass on the bar shouting along with the Bhoys “In the streets of Woodlawn”.

Over in a flash of under three minutes The Narrowbacks are not hanging about and the addition of the excellent fiddler Reilley Vegh has given the band that little bit extra buzz. Next up is ‘Tripping Up The Stairs’ and Reilley again shines and his contribution really rounds off the bands sound nicely. The song ticks along nicely with Seamus having perhaps reigned in the ‘gravelyness’ of his vocals. Maybe he’s given up smoking!?! The song ends with a fab trad fiddle solo showing their are no boundaries here and ‘On The Radio’ they have one ot the albums stand out tracks. As catchy as hell with a great chorus and infectiously fun the song gives the whole band to shine individually while not disturbing the flow of the song.

So far its been fun fun fun but as anyone will tell you its not all fun being Irish and ‘All I Know Is Woe’ is the song to bring down the mood, but only a wee bit as the music is still catchy as hell and completely uplifting. While the Bible Codes never really passed into Celtic-Punk remaining firmly embedded in the London Irish pub and trad scene it’s great to hear The Narrowbacks thrash out a bit and ‘Delirium’ is the track to do it in. Still with both feet firmly in Irish music the song has a bit more bite to it and even sounds louder than the other songs here!! The song even touches on that most Celtic-Punk of themes that of the pub and alcohol. On an album as strong as By Hook Or By Crook it seems a wee bit unfair to point out the better tracks but ‘Jackson Notes’ is certainly one of them. Again as catchy as a New York Yankees baseball mitt it’s a rollicking good ride with great vocals from Seamus alongside the whole band stepping up to the plate a great chorus to top it all off. We are nearing the end and nay sign of any ballad yet and ‘Sackcloth And Ash’ is not one either. A more folky approach here despite Fionn’s thrashy guitar, Chris’ drums and Anthony’s rumbling bass best attempts to keep it rocking. The longest song here at nearly five minutes it never outlives its welcome and is, here’s that word again… catchy! The folk instruments are supplied by Patrick on accordion and Barry on both banjo and mandolin as well as Fionn on fiddle. ‘Last Call’ carries on in similar vein with a folky base. Talking of life on the working class streets of NY and not everyone is a king in the US of A. Another great song giving the album a strong ending as ‘Bitter End’ brings down the curtain on By Hook Or By Crook. As Seamus rallies his friends together in a song about how friendship and family determines who we are and tells us to “hold our heads high”. A fantastic ending to an outstanding album.

Ten songs that, all penned by the band themselves, comes in at just over thirty minutes. With seven members the production could get a bit messy but it is as clear as crystal and all the various instruments from folk to rock are clearly balanced along with Seamus vocals. Whoever mixed and produced the album deserves a tip of the hat for such a fantastic job. While The Narrowbacks are probably not a ‘celtic-Punk’ in the traditional sense they are common among Irish-American bands in that they keep one foot in the trad folk scene and come across as a Folk band playing Punk/Rock songs. In these days with the Irish community in the States seemingly at last happy in it’s role in American life bands like those that inhabit the Celtic-Punk and Rock scenes play an important part in keeping the community grounded and to not to forget its past and what others went through to give them the confidence they have today. Seamus Keane sums up the Irish-American community in in his own inimitable way

“Irish America in 2019 is its own thing altogether. One part Donald Trump, two parts Civil Service, construction and pubs, mix in equal parts GAA and AOH, finish with three parts Wolfe Tones. A contradictory recipe for a terrible conversation at Thanksgiving Dinner.”

By Hook Or By Crook gives Arrogance And Ignorance more than a good run for its money and the songs fly past in an whirl and show a growing confidence The Narrowbacks have in themselves. How they are not more widely known is a mystery to me but the Irish around the world love Irish-America (we are all secretly obsessed with it!!) so hopefully this album will receive them the exposure they so greatly deserve. Destined to be at the higher end of this years Best Of Album chart By Hook Or By Crook takes you instantly to the smoke filled bars of Katonah Avenue. Places built on the blood, sweat and tears of generations of Irish and Irish-Americans who still keep a flame alive in their hearts for a place that many will never see.

Buy By Hook Or By Crook  CDbaby  Apple  Amazon

Contact The Narrowbacks  WebSite  Facebook  Instagram  YouTube  Bandcamp

(The Narrowbacks live set opening for the Dropkick Murphys during their St. Patrick’s residency at The House of Blues in Boston in 2016)

EP REVIEW: KRAKIN’ KELLYS- ‘Irish Tribute’ (2019)

Celtic Skate Punk, beer and bar fight !

What happens when traditional Irish Rock n’Roll meets American Punk music? Here the Krakin’ Kellys take six Irish folk music classics and unite punk-rock riffs with Gaelic-inspired melodies. Angry microphones, greasy bass lines meet bagpipes, flutes and accordion for a drunken party which will leave everyone pumped up!

Since forming in 2017 Krakin’ Kellys have its fair to say taken the Celtic-Punk scene by storm. Their debut album from last year was a double winner in the London Celtic Punks Best Of 2018 lists romping home with the Best Debut Album and the Best Album Readers Pick as chosen by the readers of the Blog (nearly 39% of the total vote!). It was a breath of fresh air to the scene with its energetic blend of punk rock and accordions and bagpipes. Allied to this was a bunch of absolutely fantastic videos that the band released that showcase a band at the very top of their game. In fact we only said
“It’s not often I use the words this is a must have album but this is a must have album!”
about one album in 2018 and it was the Krakin’ Kellys Promised Land. Full of energy and bounce and humour. There’s no revelations about politics here and no songs about nuclear war and I can only say thank the heavens. Sometimes music needs to take our minds away from the daily grind. Music to drink to, to dance to, to meet folks and make friends and on Promised Land Krakin’ Kellys delivered us quite a unique Celtic-Punk album.
(You can download/stream Promised Land at the Bandcamp link below)

Krakin’ Kellys hail from the city of Namur in Belgium. The city is the capital of the self-governing Walloon Region which was created, largely along language lines. Wallonia consists of the French-speaking provinces of Hainaut, Liège, Luxembourg, Walloon Brabant and Namur. There is a burgeoning independence movement in Wallonia that seeks to split Belgium into Dutch speaking Flanders in the north and French speaking Wallonia in the south. As is usually the history behind the conflict is complicated so I think I better go on with the review and leave the controversial stuff alone!

Krakin’ Kellys from left to the right : Olivier Drèze (Drum) * Stephan Mossiat (Bass) * Pierre-Yves Berhin (Accordion) * David Leroy (Lead Vocals) * Matthieu Hendrick (Guitar) * Rémi Decker (Bagpipes & Whistles )

The EP begins with possibly the best known Irish song of all time, ‘The Wild Rover’. The song is about a utter wastrel of a man who spends his life drinking and carousing before coming to the realisation he has wasted his life and returns to the home of his parents and promises to reform his ways. The origins of the song are vague and thought to originate via Ireland, Scotland or from the fishing industry but there’s no arguing that it is indeed the most popular Irish song of all time. The Kellys play it as a rock ballad with the amazing chorus the highlight. Pierre-Yves’s accordion and Rémi’s bagpipes supply the Celtic instrumentation while the rest of the band keep the heavy sound of their previous releases intact while still playing a glorious homage to this wonderful song.

As I have mentioned recently sometimes the best of videos are recorded in pubs (the natural home of all Celtic-Punk) with a crowd of friends enjoying themselves and ‘The Wild Rover’ fits the bill perfectly. Take a couple of minutes to check it out as it’s another in Krakin’ Kellys long line of great vids. See how many band t-shirts you can spot. I lost count at a dozen! Next up is ‘The Foggy Dew’ a song about the glorious 1916 Irish uprising against British rule in Ireland. The song has become pretty popular in the Celtic-Punk scene of late due in main to its Celtic-Punk friendly air. Again its done very much in the Krakin’ Kellys style and David’s vocals may divide people along the lines of those who are expecting someone crooning but KK are a Punk band at the heart and I think they fit perfectly. Raspy and semi-shouty they are nothing if not passionate. Time for a more ‘trad’ approach next as the Bhoys mix up three songs you may not know by their names but will from the airs. Of course Thin Lizzy made ‘Whiskey In The Jar’ a international smash hit back in 1973. The song morphs into ‘The Kesh Jig’, an old traditional Irish tune. It’s popularity is attributed to The Bothy Band who recorded the song on their debut album in 1975 and then another traditional song ‘Morrison’s Jig’. Here the band push their trad side to the limit while still remaining at heart the skate-punk band they are. Here again Pierre-Yves proves he’s one of the best accordion players in the business. Half way through now and it’s time for a couple of Dubliners songs starting with Free The People’. Although performed and released by The Dubiners the song was in fact written by Phil Coulter and relates to the struggle for racial equality in the USA and the struggle in the northern 6 counties of Ireland against British occupation and discrimination against Catholics.

“What does it profit him
The right to be born
If he suffers the loss of liberty?
Laws were made for people
And the law can never scorn
The right of a man to be free
We are the people
And we shall overcome”

The Kellys play the song as normal but with a heaviness that belies whatever version you have previously heard before. Next is a mention for a familiar name here on the London Celtic Punks site, that of Ewan MacColl the writer of  ‘Champion At Keeping Them Rolling’. The Dubliners recorded the song in 1972 and perhaps because it was the last recordings of the original line up the song is often thought to be written by them but Ewan was a master of songwriting and telling the story and tribulations of working class life.

“I am an old-timer, I travel the road, I sit in me wagon and lumber me load”

The song speaks of a long distance lorry driver and contains everything you need to know about Ewan. Humour, anger, social injustice and more humour. Again it’s not a song that needs much doing to change it to a Celtic-Punk song, none of the songs The Dubliners recorded do! So onto the last song and the second song from Phil Coulter. ‘The Town I Love So Well’ was written by Phil Coulter, renowned musician, songwriter and record producer about his childhood in Derry city, a place at the centre of Irish resistance to British rule. The song begins with the simple tale of his upbringing in a place filled with warmth and love before ‘The Troubles’ began and Derry became a place plagued with violence. The songs final verse includes a message of hope for a “bright, brand new day”, saying “They will not forget but their hearts are set / on tomorrow and peace once again”. Phil Coulter is also responsible for one of the most beautiful songs ever written, ‘Scorn Not His Simplicity’ about the birth of his first daughter with Down’s Syndrome and later died aged four. Take another minute or two to check out the song here as sung by Luke Kelly. Anyway back to the Krakin’ Kellys and they go out on a high! Beginning as a acapello version with the band led by David bagpipes come in and it soon erupts into as class a Celtic-Punk song you will ever hear. Fast and furious and full of passion.

Six songs and over twenty minutes of one of the very best bands around in the scene at the moment. Krakin’ Kellys are an interesting band for a number of reasons. Their output is regular and of a very high standard alongside their videos which are always worth several viewings and here they show a love and respect for source material that you would not expect for a band from the heavier side of Celtic-Punk. One of the favourite (if not my actual favourite) bands of the assorted London Celtic Punks collective we are all gagging to see them live and hopefully appear alongside them in one of their fantastic videos!!

(You can stream Irish Tribute on the Bandcamp player below)

Buy Irish Tribute  FromTheBand

Contact Krakin’ Kellys WebSite  Facebook  YouTube  Instagram  Twitter

EP REVIEW: FOX N FIRKIN- ‘Hey Ho! We’re Fox n Firkin’ (2019)

Australian Celtic-Punk band Fox n Firkin have a new EP out on Folk Til Ya Punk Records which i n their own words “fuses traditional Irish instrumentation and melodies into blistering catchy punk rock”

It seems like absolutely bloody ages since we had a release in our greasy mitts all the way from Australia but patience is a great virtue and eventually you know one will roll in… and be well worth the wait to boot! I’m delighted to see Brisbane’s beloved Celtic-Punk rockers Fox n Firkin are back with their first release since their critically acclaimed album No Vacancy from, and it’s hard to believe it was so long ago, in 2016.

‘Hey Ho! We’re Fox n Firkin’ is the bands fourth release since forming in 2012 and as drummer Robbie says of the EP

“The new EP is kind of a tribute to ourselves, giving ourselves a pat on the back for making it this far and not killing each other.”

We rant and rave about the Aussie Celtic-Punk scene and though it seems quiet at the moment you just know that any minute a band is gonna burst out with something that nails the ethos of Celtic-Punk in a way that only the Aussies can do. They have a really original sound that comes I think from having only four members and while Adrian is responsible for most of the ‘Celtic’ sound playing mandolin and banjo fellow band mates Andrew, Leigh and Robbie keep the Punk melodies flowing but with an added unmistakable Gaelic base. Fiercely independent they self released their first couple of EP’s but have recently joined up, and have found the perfect label to support them in, Folk Till Ya Punk Records. The record label run by The Dead Maggies out of Tasmania has become the focal point for Celtic/Folk-Punk in Australia and the list of bands on their rota is impressive by anyone’s standards. 

Fox n Firkin left to right: Andrew Boyle – Guitar/Vocals * Robbie Fraser – Drums/Vocals * Adrian Kay – Mandolin/Vocals * Leigh Mitchell – Bass/Vocals

Here on the new EP their may be only four tracks but what a four tracks they are. Kicking off with ‘Falling’ and its a feel good skanktastic start to proceedings as Adrian’s mando gets an early work out to a ska based track that chugs along quite nicely with guitarist Andrew taking on the vocals and I may be the only Celtic-Punk fan around who isn’t a Ska fan but the Aussies do have a good take on it. Think of The Rumjacks various forays.

This is followed by ‘Sail Away’ and to be honest this is what I am here for! Top rank catchy as fecking hell Celtic-Punk played at speed and with good humour. Adrian sings this time and it’s a happy go lucky drinking song designed to get you off your bar stool and on your feet. Music at home in both the pub and the arena. Music to stir the spirits literally!!!

The boys have a much harder edge than the opener would suggest and give it good reign here. The #1 song here though is up next and is Fox n Firkin‘s amazing tribute cover of The Cranberries classic song ‘Zombie’. They love an unusual cover and here they do perfect justice to the well known and much loved song. Released back in 1994 and was written by Dolores O’Riordan in response to the tragic IRA bombing in Warrington in northern England that killed two young children, Johnathan Ball and Tim Parry.

“Another mother’s breakin’
Heart is takin’ over
When the violence causes silence
We must be mistaken”

The song was undoubtedly powerful and though criticised by some for it’s partial attitude to the war in Ireland at the time the song has gone down in history as without doubt one of music’s most outstanding protest songs. Dolores O’Riordan sadly passed away in January 2018 aged only 46. A tragic loss to the world of music. Here it takes a few moments before you realise what you’re hearing and its the mandolin that gives it away. Andrews sings vocals again and they are again perfect as the Bhoys punk it up but not in an inaccessible way and keep the tune of the original. Utterly brilliant.

Without doubt the EP’s standout song drummer Robbie says of the track

“We just can’t stop ourselves! We end up wasting half of our rehearsals blasting out ridiculous covers that don’t make sense and then before you know it, we are in the studio recording them! This is the 3rd Fox n Firkin record with a cover on it. Zombie is a great song but I’m sure we can all agree it has been butchered many times over. I’m so happy to finally have the opportunity to butcher it ourselves!”

The EP comes to a close with the gloriously uplifting ‘Hey Ho! We’re Fox n Firkin’ and the story of being in a “fooking punk rock rock band” is told in a tuneful catchy mosh pit filling tune that again will have you diving for the dance floor. Thirteen minutes of guaranteed class Celtic-Punk from a band that are not content to sit on their laurels. Let’s just hope they keep turning out the tunes and we’ll forgive them the gap inbetween!!!

Discography To Hell and Back EP (2013) * Roppongi EP (2014) * No Vacancy LP (2016)
Buy Hey Ho! We’re Fox n Firkin  Here
Contact Fox n Firkin  Facebook  Bandcamp  Soundcloud  YouTube

OíCHE SHAMNA SHONA DAOIBH! HAPPY HALLOWEEN!

Halloween, aka Samhain, was first celebrated in Ireland, around a thousand years ago. It was regarded as ‘The Celtic New Year’ coming from the name of a month in the ancient Celtic calendar with the festival marking the end of the summer season and the end of the harvest. The Gaelic festival became associated with the Catholic All Souls’ Day, and has influenced the secular customs now connected with Halloween.

To find the origin of Halloween, you have to look to the festival of Samhain in Ireland’s Celtic past. Samhain had three distinct elements. Firstly, it was an important fire festival, celebrated over the evening of 31 October and throughout the following day. The flames of old fires had to be extinguished and ceremonially re-lit by druids. It was also a festival not unlike the modern New Year’s Day in that it carried the notion of casting out the old and moving into the new. To our pagan ancestors it marked the end of the pastoral cycle – a time when all the crops would have been gathered and placed in storage for the long winter ahead and when livestock would be brought in from the fields and selected for slaughter or breeding. But it was also, as the last day of the year, the time when the souls of the departed would return to their former homes and when potentially malevolent spirits were released from the Otherworld and were visible to mankind.

‘Halloween’ taken from the recent Greenland Whalefishers album ‘Based On A True Story’.

SAMHAIN AND ITS PLACE IN THE CELTIC CALENDAR

The Celts celebrated four major festivals each year. None of them was connected in anyway to the sun’s cycle. The origin of Halloween lies in the Celt’s Autumn festival which was held on the first day of the 11th month, the month known as November in English but as Samhain in Irish.

The original Celtic year 

Imbolc: 1st February, Beltaine: 1st May, Lughnasa: 1st August, Samhain: 1st November

The festivals are known by other names in other Celtic countries but there is usually some similarity, if only in the translation. In Scottish Gaelic, the autumn festival is called Samhuinn. In Manx it is Sauin. The root of the word – sam – means summer, while fuin means end. And this signals the idea of a seasonal change rather than a notion of worship or ritual. The other group of Celtic languages (known as Q-Celtic) have very different words but a similar intention. In Welsh, the day is Calan Gaeaf, which means the first day of winter. In Brittany, the day is Kala Goanv, which means the beginning of November. The Celts believed that the passage of a day began with darkness and progressed into the light. The same notion explains why Winter – the season of long, dark nights – marked the beginning of the year and progressed into the lighter days of Spring, Summer and Autumn. So the 1st of November, Samhain, was the Celtic New Year, and the celebrations began at sunset of the day before its Eve.

THE ORIGIN OF HALLOWEEN’S SPOOKINESS

For Celts, Samhain was a spiritual time, but with a lot of confusion thrown into the mix. Being ‘between years’ or ‘in transition’, the usually fairly stable boundaries between the Otherworld and the human world became less secure so that puka, banshees, fairies and other spirits could come and go quite freely. There were also ‘shape shifters’ at large. This is where the dark side of Halloween originated.

Apples

Samhain marked the end of the final harvest of the summer, and all apples had to have been picked by the time the day’s feasting began. It was believed that on Samhain, the puca – Irish evil fairies (see right hand column) – spat on any unharvested apples to make them inedible.

To ward off the evil let loose at Samhain, huge bonfires were lit and people wore ugly masks and disguises to confuse the spirits and stop the dead identifying individuals who they had disliked during their own lifetime. They also deliberately made a lot of noise to unsettle the spirits and drive them away from their homes. The timid, however, would leave out food in their homes, or at the nearest hawthorn or whitethorn bush (where fairies were known to live), hoping that their generosity would appease the spirits. For some, the tradition of leaving food (and a spoon to eat it!) in the home – usually a plate of champ or Colcannon – was more about offering hospitality to their own ancestors. Just as spells and incantations of witches were especially powerful at Samhain, so the night was believed to be full of portents of the future.

The Dropkick Murphys performing a cover of The Misfits ‘Halloween’ live at the Enmore Theatre in Sydney on 20th October 2011.

DOWNLOAD A FREE BOOK ON HALLOWEEN

The National Folklore Collection, which is managed at University College Dublin, has published a free booklet for Halloween. It explains the origins of Halloween and explores old Irish tales, legends and customs. You can download it (pdf 950Kb) here: Dúchas – Halloween.

ALBUM REVIEW: THE SHILLELAGHS- ‘Ripples In The Rye’ (2019)

The Shillelaghs are an Irish-Canadian band hailing from Calgary. With this their second studio album they deliver some hard hitting and original Gaelic tinged Celtic-Punk which takes me back to the glory days of the scene!
If there’s one thing we can’t seem to get enough of its band in Europe with the word ‘Bastard’ in it and in North America bands with the word ‘Shillelagh’!! At least though Bastard is easier to spell as i can think of at least four bands with different variations of shillelagh. It’s got to the point where I’m not sure what the correct spelling is but seeing as these guys and a gal from Calgary are very much in touch with their Celtic roots then I think its easy to presume this spelling is the correct one!

The Shillelaghs from left to right: Lisa Graham – Piccalo * Andrew Shannon – Bass Guitar * Dave Anderson – Vocals * Greg Devine – Accordion * Ryan ‘Van’ VandenBerg – Drums * Kyle Libbus – Guitar

The band took the well worn route to Celtic-Punk having formed out of various local punk bands in 2006 and unusually for a Celtic-Punk band those members are still intact and driving forward. You just cannot beat a settled and established line up. This would lead to the release of their debut album in 2011, Wastedly. It took another four years for them to follow this up and in 2015 the eagerly anticipated Bury Me At Sea landed at shore and gave The Shillelaghs uniformly great reviews across both the Celtic-Punk world and further afield too. Voted into #14 in our Best Of 2015 the album also made the top-ten of the sadly deceased (and buried at sea) Celtic-Folk-Punk site.
(Have a listen yourselves and stream the The Shillelaghs debut album Bury Me At Sea below on the Bandcamp player)

So thirteen years after coming together, and nine after their debut album, the original band are still together and pumping out what I would call ‘traditional North American Celtic-Punk’. Here The Shillelaghs have recorded ten outstanding original tracks for Ripples In The Rye and as vocalist and songwriter Dave beautifully puts it

“reaching out to the past to tell us of it’s struggles, only to find ourselves reflected back – hope and acceptance in the face of loss, and the power to enjoy ourselves in spite of it – being burdened with knowledge, and the internal power to throw off the chains of guilt – the immortal adventure of memory forged with your compatriots by your side, and the journey yet to be written…”

Ripples In The Rye starts with ‘Relentless’ and that’s the sound of classic (or traditional) Celtic-Punk invading your ear. Kicking off with some some pounding drums a piccolo (flute) grabs your attention and chugging guitar before Dave dives in on vocals that may divide some but I love them. On the growlier side of things these are punk vocals for a Folk-Punk band. The song keeps a steady pace except for an interlude broken by Kyle and a wicked little guitar solo. This is Celtic-Punk and so most of the subject matter tends to be of the serious though hidden behind a wall of tomfoolery and shenenigans and a ‘reet good time’ and while that tends to be true there’s always a stream of black humour throughout and The Shillelaghs don’t disappoint on ‘Drunk On A Loading Dock’ which has all the things I just mentioned in a song that flies past in just 123 seconds!! Very nice accordion solo here too (from guest Greg Devine who also helped with the production for the album too. My hat is tipped to ye!) and I would have enjoyed a bit more of that to be honest. ‘From Your Mind’ slows it down a bit with more accordion giving it at times a Cajun feel while the band support with a Ska-ish beat. Dave’s vocals here soar and prove there’s a lot more to it than just shouting in harmony. ‘Old Growth Soul’ begins gently with acoustic guitar before taking off in several directions. Influences galore here to the point that it’s hard to put your finger on them. Punk at times and Folk at others it’s a strange wee number though also strangely familiar. More than half way through and no sign of a ballad yet and ‘Let Me Go’ speeds along very nicely. A song about death is always a surefire hit and it’s the album’s standout track for me as everything combines perfectly for a song steeped in Celtic-ness in both music and lyrics. Another short song of only just over two minutes these Shillelaghs don’t hang about do they!

Released as the bands first ever official video (come on gang you got to keep up) and also the lead single from the album it’s accompanied by a video that is perfect in it’s simplicity. Just a band performing in front of their mates in a bar. That is the perfect Celtic-Punk video. So an album of just over half an hour for ten songs shows they keep it snappy but they take a longer route next on ‘Along The Road’ and it doesn’t disappoint either. The arrangements are a bit more elaborate but aye I agree with you guys keep it punky!! The songs are coming at us now and ‘Pale Horse’ is fast and furious and leans more towards a straight Punk song while ‘Street Pirates’ takes the tune from it’s name and though their are distinct genres of Pirate-Punk and Pirate-Metal it’s almost that ballad I was after but I think I’d have to call it a Pirate-Rock ballad. Cool as ever and catchy as hell with great accordion with a killer chorus that leads us nicely into the last song of Ripples In The Rye and ‘Blackthorns’ takes us out in style with another song of ‘traditional North American Celtic-Punk’. Dave sings achingly and bursting with emotion (as he does throughout the album) while the band come together for a song that is lead beautifully by Lisa on the piccalo.

I have spoken here about a kind of ‘traditional’ album. A traditional sound for a Celtic-Punk band. Well that doesn’t mean the likes of the Dropkicks and the Murphys it means the sound of bands like The Shillelaghs who have distilled the sound of their ancestors with the sound of modern (though not always that modern) music to make something that is both meaningful and to be enjoyed to the upmost. The Shillelaghs are a band that can take the serious and the fun and put them together to give a glorious riot of a good time. Ripples In The Rye is released on November 2nd and is available for pre-sale at the links below so don’t delay and get in there as quick as you can. In fact as quick as a Shillelaghs standout track will do.

(you can stream some of the songs from Ripples In The Rye on the Bandcamp player below)

Buy Ripples In The Rye  Vinyl-FromTheBand  Download  Google

Contact The Shillelaghs  Facebook  WebSite  YouTube  Bandcamp  ReverbNation

EP REVIEW: THE FIGHTING 69th- ‘FAMOUS FOR NOTHING. TRIBUTE TO THE DROPKICK MURPHYS. VOLUME 2 (2019)

Back again for more it’s Celtic-Punk’s most prolific artist the Buffalo, New York based ‘One Man Band’ The Fighting 69th release their second tribute to Celtic-Punk’s #1 band this year. Five more songs given an affectionate twist and again available as a free download.

Was only in September we reviewed Volume 1 of the Fighting 69th tribute EP to the Dropkick Murphys and already hot on its heels lands Volume 2! Again the songs chosen are a mix of the more famous and perhaps some lesser known songs as well and give Raymond ample opportunity to show off his amazing musicianship for he plays every instrument here including piano, bagpipes, tin whistle, drums, bass guitar, electric guitar… all played by the man himself including vocals too!

We went into how the band first formed back in 2007 in our review of Volume one here and even a bit of history of who the original Fighting 69th were and where the band took their name from. So rather than repeat ourselves head over there and read up on some proud Irish-American history and also grab yourself the first Volume of this series for free. The EP starts with ‘Paying My Way’ from the rather cooly received last album 11 Short Stories Of Pain And Glory. On reflection the album has grown on me and ‘Paying My Way’ has gone onto become a staple of their live shows, as well as ‘Blood’, so perhaps it’s worthy of another listen. Next up is ‘Ten Years Of Service’ from the Murphs second studio album The Gang’s All Here (this is also the album that featured the Bhoys version of The Fighting 69th). It was Al Barr’s first album with the group and ‘Ten Years Of Service’ was the first big exposure of him as the new lead singer. I think Ray tries a bit too much punk rock snarl here on his version but there you go.

“Who’s gonna save us from this lonely picket line,
10 years of service but I’m still not worth your time.
And I’ve seen men give their lives,
and heard the stories that they tell of how they labored
for this company which sold it’s soul to hell”

Not strictly a Murphys song but they did record ‘The Green Fields Of France’ on their best selling album The Warriors Code from 2005. Graced by just about every Irish artist worth their salt it was actually written in 1976 by Scottish folk singer-songwriter Eric Bogle, reflecting on the grave of a young Irishman who had died fighting in the First World War. A sad song and suitably played here. Now to perhaps the fans most favourite Murphys song ‘Kiss Me, I’m Shitfaced’. Played at every gig since they wrote it it’s usually the start of their encore and the beginning of bringing the curtain down on a sweaty night of Celtic-Punk rocking! Featuring on Blackout the fourth studio album released in 2003. The EP comes to an end with another song from their last album and its another live favourite in ‘Blood’ and it’s a pretty decent cover of the original with plenty of piping! The Fighting 69th show that none of the Murphys songs are beyond them and end on the EP on a glorious high!

(You can listen to Famous For Nothing below on the Bandcamp. It’s available as a  free download but chuck a price of the ‘Black Stuff’ over if you can afford it. Now get downloading!) 

Download the EP FromTheBand  Contact The Fighting 69th  Bandcamp  YouTube  Instagram

ALBUM REVIEW: DONNY ZUZULA- ‘Chemicals’ (2019)

Donny Zuzula has worn a lot of hats and walked a lot of miles.

Having spent a decade as the guitarist, singer, songwriter for the Michigan based Celtic-Punk trio The Tosspints, Donny Zuzula’s debut album takes us through every aspect of his life. Dark, sad, heartbroken tunes, poetically sung from the soul and layered with guitars and harmonies.

The Tosspints are a strange band within the Celtic-Punk scene. Not only are they the only trio in the scene, being made up by the Bros. Zuzula, Donny and Zak accompanied on drums by John Johnson, but they are also not really much of a Celtic-Punk band in that they have no Celtic instrumentation. It is true though that they somehow manage to convey the feel of a Celtic band better than most with just bass, electric guitar and drums. Donny who is the main writer for The Tosspints is a singer-songwriter in the old school meaning of the term. Not some pampered puppet singing achingly of experiences they have never or will ever know. Celtic-Punk is dominated by several themes that cross from continent to continent especially among the children of the diaspora- Loss and emigration, heavy drinking, heavy working and death, solidarity, religion, class pride, an gorta mór (the great hunger) all bleed into the modern day working class Irish-American experience. Donny had a knack back then (a must listen to album is The Tosspints excellent album The Privateer from 2015) of capturing this way of life and here on his debut solo album he continues in much the same way. Donny chose to record a solo album rather than another Tosspints album because

“this solo venture is more of an exercise in writing alone to explore more versatile styles that wouldn’t normally be courted along with the band. A little more folk influence and a little more explorative of personal topics than when writing is done with the band, this album is just different enough to be something new, but just familiar enough that fans of previous work should feel right at home.”

Donny served time in the military overseas and these experiences alongside growing and living in Saginaw, until recently the most dangerous places in America! Once a thriving and successful town by the late 20th century, industry and its once-strong manufacturing presence had collapsed leading to increasing unemployment and crime. This hard nosed, working class background runs through The Tosspints music. It’s also an area of America with long historical links to Irish emigration with Irish emigrants responsible for building the areas many canals and even the areas connection with Irish nationalism has always been closely linked with the Labour movement in which Irish-Americans were among the earliest organizers and leaders. As the band say about themselves

“living through the school of hard knocks, brought to bear from war, loss, degradation, and hard drinking. A band created entirely by a family who has had to make it through life the hard way and use their experience to create songs about the more distressed side of being human”

Donny Zuzula first album is Chemicals, the much anticipated follow up to The Privateer and as ever Donny draws from not from cliches but from the very life of a man who has seen and experienced things we can only dream about. From being a war veteran to fatherhood, Donny takes us on a ride that incorporates Folk-Rock and Punk as well as honest to goodness blue collar working man’s music. Introduced to music through his fathers love of Neil Young, Donny takes a harder edged route and while stopping short of Punk it has the same appeal as The Tosspints and will I am sure be welcomed by fans of that band.

The album begins with ‘Alive’ and the Neil Young comparison is still OK but also crossed with the great Bob Mould. Donny’s vocals still rock and his range is extraordinary and conveys the emotion of the songs perfectly. This is no guy going through the motions. The song is catchy as hell as can be expected and sets the scene for an album that continues to impress me on each play. ‘Another Shot’ veers into that 80’s Post-Punk sound that saw Punk’s not afraid of complicated guitar riffs and more elaborate set ups.

“I crossed a line today
I marched to battle and on my way
It’s just a memory
But feels like it’s all happening again”

The words here seem so personal that it kinda feels funny to attempt to make sense of them from the outside. They speak in such a way that I would recommend looking up the lyrics on Donny’s Bandcamp page. ‘Never Go Back’ slows things down akin to a rock ballad but no cheese while ‘Empty And Gone’ comes up with a delicate Country-rocker. ‘Nothing Left To Say’ takes us back to Mould territory and an excellent rocking tune that gives Donny amble opportunity to show off his vocal range.

Catchy as hell and a guaranteed favourite that leads nicely into ‘Any Other Day’ and if the words here don’t strike you in the gut then there is nay hope for you.

“It’s getting awful late
And my urge to medicate
Has surpassed my will to use the skills
That keep me from the bottom of the bottle”

The final three songs of Chemicals show Donny in reflective form as he turns again to the influence of Country music though wrapped up well in punk attitude. Slide guitar on ‘Turn Away’ makes it the more obvious tune but on ‘Sleep Is For The Weak’ the influence is just as great but more accessible.

“I tell that bottle
all my hopes and my dreams
I tell that bottle
all that’s happened to me
I tell that bottle
the way that I really feel
that bottle understands me
in a way you never will”

Leading the way to the albums closing tune and the albums standout song, ‘Chemicals’.

I would compare Donny in a lot of ways to Bryan MacPherson who has featured on London Celtic Punks pages perhaps more than any artist. Like Donny, Bryan’s life has seen ups and downs and his songwriting draws you right into his soul. We are not voyeurs in their life and they neither hold up their experiences as a vehicle for their music it is much more the other way round and the music becomes the way to express themselves. Where others may play up to events in their lives Donny, and Bryan too, has that ability to draw you into his life through their music. It is something incredible and a talent that very few have and many more think they have but don’t! Chemicals is many things. It is gritty and heartfelt as well as passionate and inspiring and the words are powerful. Chemicals deserves to be heard…

(You can stream Chemicals on the Bandcamp player below)

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EP REVIEW: GYPSY VANNER- ‘Five Distilled Celtic Punks’ (2019)

The brilliant debut six track EP release from Argentinian Celtic-Punk band Gypsy Vanner. A band dedicated to the fusion of traditional Irish music and rock, with the aim of converting traditional songs to rock and vice versa.

The last couple of years have seen quite a decent Celtic-Punk scene kicking off in Argentina. At the forefront of the scene have been Raise My Kilt with a couple of extremely well received releases behind them as well as newer bands like Aires Bastards who have not long released their debut album and the band we are featuring today Gypsy Vanner. All three bands are located in the Argentinian capital of Buenos Aires and, as is typical in the Celtic-Punk scene, they often play and work together to make the scene a welcoming place. As we often say- #OneBigCelticPunkFamily.

Their are many historical links between the Celtic nations and South America but for the Irish it is often Argentina that is held closest to our hearts. It was the place that most Irish settled during the 19th and 20th centuries in a non-English speaking majority country. Added to this the vast amount of Welsh farmers who flocked to the country in the 1860’s. Encouraged by the Argentinian government up to 5,000 people arrived to populate the part of the country on the Southern tip now known as Patagonia. In the early 1800’s, heavy industry, coal, slate, iron and steel, were beginning to take over the Welsh heart lands and rural communities began to disappear. Many Welsh patriots believed Wales was being absorbed into England so many turned to the ‘New World’ in an attempt to preserve Welsh language, culture and traditions. At first these communities struggled to survive in conditions markedly different to those back home but soon the resilience of this remarkable Celtic nation within a nation began to succeed to such a point that the Argentinian authorities felt threatened enough to end the teaching of Welsh within their school system though it always remained, as at home in Wales, the language of the home therefore ensuring its survival. Even now

“Each year in late July and early August, flights arrive at London airports carrying folk from South America. Many of these visitors experience difficulty in understanding the English spoken to them at passport control, however once they have travelled along the M4 motorway and crossed the border into Wales, destined for wherever the National Eisteddfod is being held that particular year, they find that they can communicate fluently with the locals.

The visitors in question have travelled 8,000 miles from the Welsh speaking outpost of Patagonia, on the southern tip of Argentina. The fascinating history of how these visitors from an essentially Spanish speaking country, also come to speak the ‘language of heaven’ dates back to the first half of the 19th century.”

So Celtic traditions and music are not unheard of in Argentina and the Celtic-Punk scene is a vibrant and exciting part of that, especially in the capital. Here on their debut release Five Distilled Celtic Punks the band play a variety of well known Irish classics both old and new alongside a classic of Punk Rock! The EP kicks off with the much maligned, these days, ‘Galway Girl’. Written by alternative Country star Steve Earle in 2000 and tells of meeting a beautiful black-haired blue-eyed girl in Galway. In the intervening years the song has gone stratospheric and has become a regular fixture for every single bloody busker and singer-songwriter in Ireland and beyond! Of course despite being butchered by untold artists it is Steve Earle’s version that is the songs high point and I am glad to say that Gypsy Vanner’s version belongs with the latter  in the Celtic-Punk hall of fame. It’s given a real Punk-Rock boost but still manages to keep its Celtic roots intact. Silvio’s vocals are raspy and hoarse and the perfect foil for the music. He also plays the uillean pipes and as anyone into Celtic-Punk will know that always makes for a special kind of music. They follow this song up with a lesser known one ‘True Love Knows No Season’ about an Irish gunman inKansas City in the days of the old west. A beautiful ballad best known for Planxty’s recording but here Gypsy Vanner give it the Dropkick’s treatment and turn into a full blown Celtic-Punk classic. Absolutely brilliant!!! They give it a Country twist for ‘Colours’ with some excellent banjo from Guyon accompanying a pure full on thigh slapper!

We back in familiar territory next with a couple of Celtic-Punk classics beginning with ‘South Australia’ and as you can imagine form my review so far it is putty in their hands and they chuck us out a fantastic version that leads us nicely into ‘The Irish Rover’ and the Bhoys go for it as only this song deserves with the whole band having a good go at the vocals! A sure fire dance floor filler everywhere you go I am sure it’s no different in Argentina either.

Five Distilled Celtic Punks comes to an end with a song from one of my favourite bands, Social Distortion’s ‘Prison Bound’. SD have literally just finished an extensive tour in the States with Flogging Molly and their ‘Country-Punk’ sound has always been popular in the scene. Here Gypsy Vanner save the best for last and turn the song into another full blown Celtic-Punk classic. A utterly brilliant ending and played at much the same speed as the original it has plenty of Gypsy Vanner stamped on it to make it their own.

So there’s my thoughts and I am only gutted to have come across the EP so late considering it was released back in March on St. Patrick’s eve. The production here is absolutely exemplary across the whole EP though no information on who was responsible but I tip my hat! There is at the moment some quite incredible music coming out of the continent of South America and beyond the bands from Argentina we mentioned earlier we are eagerly awaiting the new album from Mexican Celtic punkers Batallón De San Patricio and absolutely anything that Brazil’s The McMiners or Lugh put out so be sure to stay tuned and check them all out soon.

(You can listen to Five Distilled Celtic Punks on Bandcamp before you hopefully buy it!)

Buy Five Distilled Celtic Punks  FromTheBand  CDbaby  Amazon

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OCTOBER EPISODE OF THE CELTIC PUNKCAST #31 OUT NOW

The Winter’s well and truly here and the rain hasn’t stopped for a bloody fortnight so if you’re in need of warming your cockles then The Celtic Punkcast #31 will do just the job. Follow the link below for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world.

Stream live or download to listen to later and enjoy!

Hi everyone, welcome again for another month. And i have to say a massive THANK YOU to everyone who’s listened to the show because I just saw I’ve hit 10,000 total downloads! Can’t believe it and I’m so grateful to everyone who’s given the show a go! As we push towards 15k downloads we’ll start with the following playlist.

THE LANGERS BALL – Justin’s Favourite

CALICO STREET RIOTS – A Course For Home

HAPPY OL McWEASEL – ‘Break Them Bones’

SELFISH MURPHY – ‘Shades Of Green’

THE BABES – ‘Condemned’ 

THE NARROWBACKS – ‘On The Radio’

CRAIC – ‘Cleveland’

LISTENERS CHOICE: MATTHEW BLACK

NECK – ‘Star Of The County Down’

THE REAL McKENZIES – ‘Northwest Passage’

THE CURRENCY – ‘888’

FRANK TURNER – ‘I Still Believe’

SHILLELAGH LAW – ‘The Way We Do Things Here’

THE GOBSHITES – ‘Guinness Boys’

THE PEELERS – ‘Bastard Of The Bunch’

THE DANGEROUS FOLK – ‘Spike It Up’

DUST RHINOS – The Day After The Night Before’

MR IRISH BASTARD – ‘Black Eye Friday’

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

THE CELTIC PUNKCAST #31

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

Check out the London Celtic Punk interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. Also worth checking out was the special article written by Gareth for people who haven’t yet experienced the joys of Celtic-Punk so find Bring Your Mates To The Hooley: A Starters Guide To Celtic-Punk here. In August they did a Special Edition to celebrate our tenth anniversary with a episode dedicated to the bands here that helped form and shape the London Celtic Punks from 2009-2019.

ALBUM REVIEW: SONS OF CLOGGER- ‘Return To The Stones’ (2019)

West Midlands based Sons Of Clogger are an alternative four piece band with a huge sound fusing Punk, Indie, Rock, Metal and Folk. Their full blooded invigorating music has been captivating crowds and listeners in many countries and as our man in the States T.C. Costello finds with the release of Return To The Stones their second full length album they are set to continue doing so…

About a year ago, I found myself at the Ragged Bear Festival in Warwickshire. This two-stage festival seemed tailor-made for anyone who’s ever been to a London Celtic Punks show, tailor made to anyone who loves a sea chantey as much as a moshpit, and indeed tailor made me. The Whipjacks’ played of some the speediest Celtic-Punk I’ve ever heard downstairs, and Greenman Rising, who organized the festival, brought their hardcore folk tradition to modern audiences on both stages.

Another highlight of the festival was Sons of Clogger. This Staffordshire foursome’s sweaty basement show felt like a folk session from long ago but unstuck in time, with traditional melodies and story teller lyrics over an rhythm section straight out of the ‘80s punk scene in London. Adding mandola, low-D tin whistle and a 12-string acoustic guitar created a sound evocative of pre-Christian Britain, a bit of ‘80s Camden Town, and an Irish Session.

Needless to say, it came as a massive surprise to me that the band’s first full-length album starts with a distorted guitar riff. And this album, indeed, is full of surprises – so much so that this review may warrant a spoiler alert. With ‘Return To The Stones’, the band continues to blur the lines between the ancient and modern, the Folk and the Punk, and even more genres.

After the unexpected electric guitar on the opening title track, the full band comes in with 4/4 rock groove a bit reminiscent of The Clash. I was wondering where the folk aspect of the band had gone. But as soon as DaveO’s vocals kicked in, I had my answer.

“We’re heading for the Northern Lights

From town to town with you right by my side

Oh Yeah, Bring me that girl today”

He croons with the command of a storyteller and the fury of punk, narrating a tale of the Callanish Stone Circle in the Outer Hebrides during Pagan times. The Narrator is a mother who had visited the stones 10 years previous to ask for a daughter. She is travelling to the stone circle again to thank the stones, this time with her daughter, now of course ten-years-old.

More definitive folk elements sneak into this song, too, but I don’t want to spoil the surprise.

The second song of the Album, ‘London Town’, also takes you back in history, though not nearly as far, and tells of decadent underground cults amongst the gentry in London. The band writes, “Over the last 300 years, underground gentry have worshipped various cults: Some celebrating homosexuality, some devil worship, and some even to this day celebrating the death of King Charles I!”

“Subterranean location

Was shattered and prosaic

It earned its reputation

Was full of old posh rakes

With lavish cars and fat cigars

Certain gentry found

I’ll meet you at the serenade

Down in London Town.”

Once again, this song is driven by electric guitar and the Band’s tight rhythm section, but adds folky vocals and even a bit of mandolin over the main guitar riff.

Next comes ‘Harrignton And Boots’, a punky number a bit reminiscent of The Cockney Rejects, and tells of punks who have gone to serve in the military.

“My Brothers they said to me,

What happens if we die?

Better think about the last words that we’ll say.”

And the last words are the chorus:

“Bury me with me Harrington and Boots.” It’s “The Harrington Jacket and Doc Marten Boots worn by punks past and present,” The band writes, “It’s a soldier’s last wish to be buried in his true identity, not as a soldier, but the true honor of a lifelong punk.”

With the fourth Track ‘Ragged Bear’, the band’s folkiness is unambiguous. Starting with a vocals-and-mandola intro, the full band doesn’t come in until a minute in, and when it does, there’s a big, tin whistle lead with the bands ‘80s punk rhythm section still going strong.

The karmic tale starts with an abused bear, left in a horrible state, only to be healed by the devil, who sent the bear to take revenge on the humans who mistreated him so, and I challenge any listener not to shout “The Bear! The Bear!” along with the chorus. The Into of ‘Running Out The Guns’, blurs the line of ancient and modern a bit more, with an intro powered by a heavily echoed guitar and tin whistle, which gives into a big, tin whistle breakdown a bit reminiscent of Flogging Molly. The hard rocking, seafaring tune covers the tradition of the plight of sailors’ lives:

“We’ll bring ye Hell on the seas’ great swell

We are the devil’s sons.

While ye lye and the breast of thy own sweet maid

We’ll be running out the guns.”

Next comes a trio of love songs. ‘On The Road’ is a guitar effects-heaving ode to long-distance love with a big chorus, and ‘Traveling Fair’ has a haunting, droney arrangement and tells of a collier’s son running away to be with a green-eyed Romani Gypsy girl, which ends with an jig that’s somehow reminiscent of The Clash.

Finishing the trio is ‘Punk Rock Girlfriend’, a hard rocking number that makes me think “hey, i know her!” every time I hear it.

She’ll shave her hair, give you the stare

She’s hanging with the punks

When you see here dancing, she’s dancing near the front

Piercings of silver rings and green and purple hair

She’s my punk rock girlfriend!”

Having met her at a couple festivals, these lyrics as far as I can tell are 100% accurate.

Closing out the album are ‘Beautiful Dream’ and ‘Goodbye’.

‘Beautiful Dream’ is an anti-war song with a nice jangly electric guitar-and-mandola wall of sound. The lyrics seems hopeful but also self-consciously naive with the chorus,

“No more war, Just love / Is a beautiful dream”

‘Goodbye’, the album’s closing number starts with a cinematic-sounding intro, powered by floor toms, spacey keyboards and sparse piano work. It builds to a hopeful song about moving on on life:

“I’m holding on, to something that’s killing me

To something that’s thrilling me

I’m changing things, you were my everything

Ain’t nothing can be the same

‘Cause I’m leaving tonight.”

The band writes “It’s a goodbye to a love that’s lost; it’s a goodbye as in lost life; it’s a goodbye as in leaving drug or alcohol addiction.” A fitting hopeful ending to the album.

‘Return To The Stones’, is an unpredictable journey, full of alluring settings, powerful stories and a colourful cast of characters. If you want folk and punk fused in a way that would even surprise the most loyal readers of London Celtic Punks, look no further.

Buy Return to the Stones  CD- FromTheBand  Amazon

Contact Sons Of Clogger  WebSite  Facebook  Twitter  Instagram  YouTube

2019’s Ragged Bear Festival will be held on the 25th and 26th of October at The Crew and Queen’s Hall, conveniently locked in the same building in Nuneaton, Warwickshire.

Cheers to our good friend and comrade T.C. Costello for the review and you can keep up with his antics across the globe by checking him out here Facebook  Bandcamp  Twitter  YouTube

NICK BURBRIDGE AND HIS TOP TEN INFLUENTIAL ALBUMS

To say we are overwhelmed to be able to publish this feature on his Top Ten Influential Albums by the the legendary Nick Burbridge is an understatement! Encompassing everything inbetween Folk to Celtic-Punk it’s a glorious ride through some famous and legendary artists and some little known outside the communities they hail from. Second gen Irish singer-songwriter, Nick has been playing Irish-influenced acoustic music since his teens influencing countless others, including in their own words, The Levellers. His band McDermott’s 2 Hours were among the first to ever think of combining punk and Irish folk so he is a trailblazer among the Celtic-Punk scene but also so much more as well. 

No time to waste so put the kettle on, crack open some biscuits and save the next couple of hours…

Andy Irvine & Paul Brady- ‘Self-Titled’ (1976)

When I was asked to name ten indispensable albums on Facebook some time ago, I decided to work from the late sixties to the millennium, and pick out those most influential on my development as a musician and songwriter, and end where I began, as it were. The first album I chose was this one. It’s a classic of its kind, melding yet never losing the distinctive characters of two of the most innovative and enduring musicians working in the Irish traditional idiom. There’s not a song on it I can’t still recall to memory, give or take a verse here or there, and the quality and range of the musicianship and arrangement, while capturing the essence of Planxty, somehow has an irresistible intimacy the full band doesn’t quite match, though they were perhaps the best of their kind.

(As Andy Irvine says this is Mr. Bradys classic. “Oh, me and my cousin, one Arthur McBride As we went a-walking down by the seaside Now, mark what followed and what did betide For it being on Christmas morning…” )

The Copper Family- ‘A Song For Every Season’ (1971)

This box set was, unexpectedly perhaps, essential listening for the punk-folk band I was in, when we lived in the red light district of Mainz one summer in the mid-seventies. We sang a few Copper songs a capella in our set – the Germans loved them. I spent fifteen years growing up in Rottingdean, Sussex, and I guess that’s as authentic a connection as you can get to this unique family who’ve kept alive a whole tradition on their own initiative, and are rightly recognised for it across the world. Their singing is rough, genuine, heartwarming, and eccentrically tuneful. I’m proud we introduced our audiences to their material, among chaotic jigs and reels and rebel songs. Once again, while I often forget what I’m meant to be doing these days, I can still remember almost every line, such was their influence on me.

(The whole Box-Set of four albums on You Tube. ‘Tater Beer Night- Spring’, ‘Black Ram- Summer’, ‘Hollerin’ Pot’- Fall’ and ‘Turn O’ The Year- Winter’. Nearly three hours long!)

The Bothy Band- ‘After Hours’ (1979)

There are so many unforgettable albums by Irish traditional bands who pushed the form in all directions in the 70s, and influenced countless more to follow suit. I guess The Bothy Band stand in the vanguard, and this album with its driving sets of tunes, and exquisitely sung ballads, live yet virtually faultless, is indispensable to anyone trying to understand just why this music is so effortlessly infectious, exhibiting a musical intensity few others come close to, always ready and able to form the soundtrack to a particular phase in someone’s life. It did mine. It has long been an immeasurable influence.

(You Tube seems to have started allowing whole albums on their site these days. While I’m not too sure of the legality lets just sit back and enjoy)

Dick Gaughan- ‘Handful Of Earth’ (1981)

Dick Gaughan made Handful of Earth on the way back from a major nervous breakdown. And there is something not working within ordinary tramlines here. His errant but extraordinary guitar accompaniments weave their way under an utterly compelling voice, as if to make a world turned upside down both inimitable and unforgettable. The choice of songs is faultless. Gaughan, whatever his fate, will always remain a mighty force. Those who do try to imitate him simply don’t have whatever it is that comes from wherever it does…

(Dick’s folk masterpiece album in full, unabridged on You Tube)

The Pogues- ‘Rum Sodomy & The Lash’ (1985)

By the mid-80s folk and punk had well and truly fused. Much as I think ‘Iron Masters’ by The Men They Couldn’t Hang May may well be my favourite track from the era, I don’t think any such album surpassed this one. Too much academic writing has attached itself to the formidable Shane MacGowan opus, and The Pogues’ irregular but compulsive sense of Irish identity. All I want to say is that I hope their influence on my work hasn’t been too obvious – I’ve tried to pay them the greatest compliment by sowing their seeds as deep as I could in wherever my songs take root, in the hope that what hybrid growth occurred would be as substantial and organic as possible, and not some hasty GM copy of their timeless and outstanding work.

(Which one to choose? How about ‘Sally MacLennane’ from British TV in 1986)

The Waterboys- ‘Fisherman’s Blues’ (1988)

This would probably appear on the all time list of anyone involved in folk-rock music. They call some albums seminal – Fishermen’s Blues epitomises what it means. Like Van Morrison’s Astral Weeks it simply has an originality, authority and impact reserved for those who find themselves, by design or accident, at the cutting edge, and who have the courage to take the task on without flinching. From the monumental to the simply made, tracks etch themselves into the memory. I keep them there, and bring them out from time to time. I always will.

(Absolutely cracking live version of the album’s title track)

Wolfestone- ‘Unleashed’ (1989)

I was travelling to play at Reading Festival when someone put this album on in the van and immediately I realised this band were truly fellow-travellers – and there was much to learn from their blending of traditional music with good original songwriting, where sensitive guitar playing had a central part. They weren’t The Waterboys, but they had the same sense of attack, and an obvious love of what they were doing. Perhaps the least known of the albums chosen, this should need no introduction – it is, in its own way, a classic.

(Nick is right. A band I hadn’t come across before but as this whole feature is about introducing us all to good music I’m glad I found it here. The opening track of ‘Unleashed’ from 1992)

Levellers- ‘Levellers’ (1993)

The band didn’t tell me they were putting my song ‘Dirty Davey’ on this album – but they were well aware of my attitude to ‘folk’ music: it’s common property, as far as I’m concerned, whatever the source. And that isn’t why I chose this record over, say, Levelling The Land. It seems to me a broader, more ambitious production, without losing its roots. It was released about the time my young son made a short film for a BBC Children’s television programme, about how much the band meant to him, and had seen him through some rough years. They were, you might say, at their height. Their legendary Glastonbury headline spot was soon to come. They had successfully entered the mainstream without squandering their gifts. And those gifts are abundant here. I should say I’ve always felt privileged that they cite me as a main initial influence. The fact that they’re still working now says it all.

(Nick Burbridge performing with the Levellers in 2004 live on stage at Buxton Opera House doing his own song!)

Eithne Ní Uallacháin- ‘Bilingua’ (Initial Recording 1999- Posthumous Release 2014)

While she was in the midst of putting down vocals for this album Eithne killed herself. Working with what they had, and eventually fighting through their grief and misgivings, the musicians in her family and others released it fifteen years after her death. It’s an irresistible recording, centred round the most evocative female Irish traditional singer I have ever heard. Whether tackling old Gaelic pieces or fronting tales of her own battles with darkness and her sharp visions of light, it’s impossible to listen to her without being deeply moved – especially if much of her inner torment feels as deeply shared. We should all be indebted to those who loved her at first hand, who have kept her memory alive. It’s not discourteous to say that, through her music, I have found my own love for her. It will not die.

(“But grief can be translated from the light into the darkness; In the belly of the shadow with all its shades digested. Its true colours will unfold.”

(In 1998, Eithne returned to Shaun ‘Mudd’ Wallace’s Homestead studios to record a solo album. Ní Uallacháin’s vocals were completed and much of the music was arranged, but the album was not released. Eithne died in 1999 and her son, Dónal, took residence at Wallace’s studio as an assistant engineer, and during times when the studio was not booked worked with Wallace on the album. Due to contractual issues with the original record label, the album was not released until 2014,15 years after its recording and 14 years after mixing was completed. The album was titled Bilingua and was released with Gael Linn, who released Eithne’s first album, Cosa Gan Bhróga.)

Finbar & Eddie Furey- ‘First And Last’ (1968)

If I’m sometimes cited as an influence on certain others, forced to pick one album that influenced me most, it’s this one. It marks the beginning of a fifty year long journey so far, and whenever I listen to it, even now, I find it impossible to skip through. It represents everything good about Irish music. The instrumental playing is (apart from one or two odd passages) fearless and full of guile; the singing has both a tender and a punkish edge; the arrangements are often ornate and yet always seem gritty and spontaneous; and of course Ted Furey’s sons were born into an authentic travelling family, and it’s immediately audible. I was glad to cross paths with the duo once upon a time in Germany, when side-stage at Ingelheim festival Finbar (rightly, I’m sure) called the band I was in ‘a pile o’ shite’…I took it as a compliment he’d bothered to listen… That a wider family group went on to make a big name covering more commercial, and sometimes questionable material is neither here nor there, in my opinion. Good luck to them. I’ve been fortunate enough to be recognised as a poet, and where songs are concerned, use the idiom of my grandfathers to carry as complex and penetrating a vision as I’ve been able to pursue. But, in contrast to what often seems to masquerade as what it’s not, this is the real thing. The 1968 recording also forms the first half of The Spanish Cloak: The Best of the Fureys (1998) – available on all the usual selling and streaming platforms. On we go…

(Eddie’s first song was written by Scottish TV producer Gordon Smith. The words are set to the traditional Irish air ‘Buchal an Eire’)

Nick continues to produce great music and his last album, under the name of his original band, McDermott’s 2 Hours – ‘Besieged’ was not just featured on these pages but positively drooled over by our man Francis! On the album he is accompanied by members of both The Levellers and the Oysterband and showcases his work as not just a musician but also, in the best Irish tradition, as a poet, playwright and novelist as well. Available as a limited edition two CD set including a Best of compilation, Anticlimactic but you can buy several versions including the download direct from Nick here and also available from all streaming services inc. Spotify, Amazon etc here. You can contact Nick Burbridge over at his WebSite and Facebook. Thanks to Nick for taking his time out to pen this great feature ‘Go raibh maith agat’.

ALBUM REVIEW: THE FILTHY SPECTACULA- ‘The Howl Of The Underclasses’ (2019)

Twisted gypsy punk, revved up pirate shanties, dark folk, ska, punk, dark cabaret, Southern gothic, a bit of steampunk, a bit of darkness, a bit of coarse music hall banter and a lot of drunkenness. The second full-length album from The Filthy Spectacula with thirteen more songs of death, debauchery and drinking that are sure get you dancing.

The story of The Filthy Spectacula begins on a dark and stormy night in late 2014 when a group of vagabonds meet to swap stories, drink absinthe and make music. They were on to something and took to travelling around and making new stories together. Some got left at various ports along the way, but other riff-raff were eagerly waiting in the shadows to join this travelling circus. They released their debut album a couple of years ago Thrup’ny Upright which is available from the band but you can also get a free sampler of the album containing three tracks at the Bandcamp link below.

Details on The Filthy Spectcula are sketchy but having wowed audiences across Britain and played alongside this countries (and Canadas) best Folk-Punk bands as well as having been asked by Ed Milliband to “turn it down please” it seems nothing can slow down this marauding crew of lyrical lunatics. The Howl Of The Underclasses kicks off with the gloriously ramshackle ‘The Dirty Dog’. Fiddle and accordion are shoved up front and Mr E’s vocals lead the way with a eastern flavoured tune that we may call ramshackle but is from it in reality. Tuneful and as catchy as syphilis the album is peppered with references to the sea, death, debauchery and drinking and songs that would get even the stoniest of faces (me) smiling and the leaden of feet (also me!) dancing. Telling of one of London’s dingiest drinking dens.

” We who drown our sorrows in this dirty hole can forget brighter tomorrows”

Next up is my favourite of the album and the Eastern approach has gone for a more traditional folk-punk tune it is UNBELIEVABLY catchy and if catchy is the word that all record reviewers hate the most their really is no alternative . ‘Bedlam Hallelujah’ has such a great but dark ‘ska-ish’ beat it is sure to get you moving. The times that The Filthy Spectacula inhabit are those of Victorian slums and serial killers stalking the London streets and times when everyone drank Gin and did they must to survive. Oh Cynthia’ is a twisted love song and that word from earlier rears its head again. Mr E has a very distinctive vocal style that fits perfectly and the band flit from gypsy to ska to new wave effortlessly. Women And Children First’ is the cry of the shipwreck where men were and are still expected to stay on the sinking ship.

“If it’s you or I I’m going to stay alive”

A very nice accordion solo from The Blacksmith is followed by a fiddle solo from Miss Tea and already a quarter of the way through and every song has been outstanding. What the album lacks for in ‘Celtic-ness’ (this is after all a Celtic music site) does not take away from the album at all and would be up the street of the majority of our readers. ‘Our Dirty Little Secret’ returns to to the East and has a sort of Cossack feel to it and you can imagine men with folded arms bouncing up and down to this song about prostitution and grave robbing. It is thought that roughly 80,000 women were working as prostitutes in London alone during the Victorian era. On ‘Rum’ they pay tribute to the sailors drink of choice. Rum was routinely given to sailors right up to the 1970’s on Royal Navy ships. ‘Casanova With A Social Disease‘ finally sees the band in Celtic-Punk territory and by heavens they rock it. A short, sharp and sweet rocker with a nice bit of black humour

“I’m not loves young dream, I’m not as I seem”

The Hearse Song’ slows it down and that black humour is evident again and with a wee nod to The Pogues too. 

The Filthy Spectaular left to right: Lord Harold- Drums, Red Wine, backing shouting * Miss Tea- Fiddle, herbal teas, backing howling * Mr. E- Lead Vocaliser, Guitar, Absinthe, good looks and talent * Shady H- Bourborn, Bass, backing shouting * The Blacksmith -Accordion, Rum, backing grunting

We are back on the oceans again and Tyrants of the Seven Seas’ is just Mr E and acoustic guitar and tells of the excitement of piracy. For many it was an escape from from the cruel conditions on board merchant and navy ships and a chance to be treated as equals in a time when the working classes were seen as a separate race. One Step Closer’ is a heavier number despite its bouncy ska beat the accordion gives it an appropriate dark feel. She Wants Me (Dead)’ has a Poguesy feel circa Hell’s Ditch with it’s strong accordion lead and dark lyrics. 

Seas of Stupidity’ is another standout and they closing down the album well with the albums rockiest song.. A real foot stomper this one and catchy as hell! So that just leaves Dear Judas’ to bring down the curtain on The Howl Of The Underclasses and at nearly six minutes its the albums epic. A risky strategy seeing as even though the albums songs all hover around four minutes one thing you could say about them is that they are punchy and don’t tend to overstay their welcome. Well the same can be said of ‘Dear Judas’ and they carry on where they left off. On listening it seems much shorter and the punchiness is still evident and ends the album superbly.

The Howl Of The Underclasses is not all what I was expecting and I was very pleasantly surprised and they are now at the top of my list of bands to catch live. Capturing perfectly the filth, smoke and destitution of the city their was no happy ending for many in Victorian London but with a soundtrack of The Filthy Spectacula and an endless supply of Gin and Rum it would ease the pain a wee bit!

Buy The Howl Of The Underclasses CD  Download

Contact The Filthy Spectacula  WebSite  Facebook  Soundcloud  ReverbNation  YouTube

THE BABES RELEASE ‘LITERALLY A SINGLE’

Hardcore-Crust-Celtic-Punk-Rock!

Totally unique London band The Babes invented their own genre and there really is no other band like them. Hardcore Anarcho-Punk with bagpipes!

Celtic-Punk’s most hardcore band The Babes are  a pretty busy band so how they found the time to enter the studio I don’t know! They originally formed out of friendships made at the IMW sound engineering school in East London but a few comings and goings (it wouldn’t surprise me if they couldn’t keep up with The Babes heaving touring schedule!) including quite a long time as a 3-piece of drums, bagpipes and bass they have recruited Adriano on electric alongside Matt Ren Ex on bass, Animal on drums and Colombian born Mao Holiday on bagpipes and lead vocals. The song is called ‘Condemned’ and ‘Literally A Single’ is the name of the release and is sung almost entirely in Spanish. This will be the first of two singles The Babes will be releasing and buying the single directly from the band’s website will help them to press ‘BIG & HUGE’ their follow up album to Greetings From London from two years ago. The Babes are a DIY band and have always recorded, mixed, produced and mastered their songs themselves. In the near future the song will be made available on various platforms but we at London Celtic Punks always recommend to try and buy directly from the band. The few pennies that the likes of iTunes and Amazon let spill from their grubby little fingers won’t pay to help release the album so support the band by buying direct from them. As the boys put it 

“Thanks for your support and keep rockin’ XXX The Babes”

I AM NOT CONDEMNED
 
CONDEMNED A un pasaporte sin salida
CONDEMNED Del sagrado corazón
CONDEMNED Con sus políticos corruptos
CONDEMNED Y policías lame culos
CONDEMNED Divididos por estratos
CONDEMNED De su profundo letargo
CONDEMNED Duélale a quien le duela
CONDEMNED Son felices comiendo mierda
 
I AM NOT I’M NOT CONDEMNED
 
CONDEMNED Olvidan falsos positivos
CONDEMNED Y se halagan secando ríos
CONDEMNED El campesino olvidado
CONDEMNED Está Pidiendo paz a gritos
CONDEMNED El temor es su religión
CONDEMNED Y la guerra su grandeza
CONDEMNED Yo recuerdo carros bomba
CONDEMNED Mientras ellos generan amnesia
NO NO NO I’M NOT
NO NO NO I’M NOT
NO NO NO I’M NOT
NO NO NO I’M NOT CONDEMNED

The Babes left to right: Mao Holiday- Bagpipes, Vocals * Adriano Eretta- Drums * Alberto Kiri Pesco- Guitar * Matt Ren Ex- Bass *

As we said before in the review of their debut album Greetings From London The Babes may not be everyone’s cup of tea in the Celtic-Punk scene but for far too long we have feasted on the luscious sound of mandolins and fiddles and lilting Irish airs but sometimes you just need something to bang your head to. Their energy is boundless and infectious and proves again that just as you think the Celtic-Punk scene is all played out something comes along and pushes itself into view.
Buy Condemned (and Greetings From London)  FromTheBand
Contact The Babes  WebSite  Facebook  YouTube  Twitter  Instagram

SINGLE REVIEW: BATALLON DE SAN PATRICIO- ‘Familia/El último En Partir’ (2019)

The international flavour of Celtic-Punk continues apace with the first official release from Mexican Celtic punkers Batallón De San Patricio. Named after the famed St. Patrick’s Battalion of Irishmen who fought in the Mexican army during the Mexican–American War of 1846–48 this release further cements the friendly links between our nations.

The time has come and before too long if you ask me for the first official single from Batallón De San Patricio. Titled ‘Family’ it’s the first release from their upcoming debut album Brothers Of War that will be coming out later this year. They chose to call the song ‘Family’…

“because for us the Family is first. We invite you to enjoy our song with a beer in hand, whether you like it or not, help us share! So other people may like it or they may not… The idea is that the Battalion is heard wherever. ! Let the green wave grow!”

Batallón De San Patricio were formed in Guadalajara, the capital and largest city of the Mexican state of Jalisco, very recently, back in July 2017 and are now beginning to come into their own. Formed in honour of a great friend of theirs Jorge who sadly passed away in 2017 they have one previous release a six-track Demo in September of last year which you can check out below on the Bandcamp player.

The band have a strict honour code and strongly believe in brotherhood, honesty, dignity and respect. Batallón De San Patricio’s slogan is and always will be ‘Family First’. The music is part of their lives and the people around them and to remember those no longer with us. Brothers Of War will be released on all main platforms so keep an eye on these pages for our review and the release date.

Lyrics (Spanish)

Somos la legión mas grande de la región, Somos los primeros de la generación Los piratas mas buscados de esta gran nación, Y por nuestras cabezas, ofrecen un millón.

Lyrics (English)

We’re from the land the biggest legion, The very first on this generation, The most wanted pirates on this big nation, So then for our heads, they offer a million.

The band have also just released their new video for ‘Last To Leave’ only a few days ago so here that is in all it’s glory. Taken from their imminent debut album Brothers Of War the song is dedicated to all those who have lost a loved one. To all who have gone through difficult times and despite all adversity have continued to keep their chins up.

 

The bands main goal is to spread the Folk-Punk genre, heavily influenced of course by both Irish and Celtic culture, mainly in Guadalajara and in the surrounding regions. Maybe one day overseas. These are the kind of bands that Flogging Molly should be getting to play the Salty Dog Cruise so if any of them are reading or anyone who has any influence then you know what to do folks!

Contact Batallón De San Patricio  Facebook  Bandcamp  YouTube

To celebrate the imminent release of their debut album we will have a large feature on the history of the St. Patrick’s Battalion, who the band are named after, and their gallant history. Famous throughout Mexico and the Irish diaspora many songs have been written about them but we need to keep their history alive so our feature will include the background to their forming right up to their tragic end. Let’s face it there’s no need for a ‘spoiler alert’ when talking about tragic ends and Irish history!! Subscribe to the Blog or join the London Celtic Punks Facebook page to keep up to date.

ALBUM REVIEW: ANGRY McFINN AND THE OLD YANK- ‘Songs of Whiskey, Women & War’ (2019)

Two Finns, A Yank and three Japanese making Irish flavoured tunes in the craziest city in the world.

A group of drunken musician from all over the world who met up in Tokyo to play aggressive Celtic-Folk-Rock telling tales of drinking, relationships and war.

Angry McFinn And The Old Yank were formed in the Japanese capital of Tokyo in May 2014 by Irish-American Dean Lewis. Dean had grown up listening to a sweet mixture of Appalachian country music and The Beatles. From the age of five he was writing poems and songs so fast forward to the adult Dean and he could be found in the famous bars and clubs of the Sunset Strip in Los Angeles. Then after a visit to Tokyo and falling in love with the city he turned his back on his old life and packed his bags and set off for a new life. Settling into his new life playing the occasional solo gig he had continued to write songs and so it meant to sense to start thinking of playing them so one night in 2014 near the famous Nihonbashi Bridge, Dean was chatting to an auld friend, a Finn named Petja Marttinen. Now despite knowing Petja for years he had never mentioned before that he was a classically trained musician who had even spent time in Ireland playing jigs and reels in local Irish bands. So as they chatted over a few pints of Guinness Dean asked Petja if he knew anyone interested in playing traditional Irish and American folk music with an attitude? Petja quietly said, “I know someone” and so Angry McFinn The The Old Yank was born that very night. Over the next few years the band grew quickly and with the the band now consisting of a stable and regular line up of Dean Lewis on acoustic guitar and lead vocals, Petja Martinnen on mandolin and fiddle, Yosuke Iwanaga on fiddle, fellow Finn, Petteri Pussinen on electric guitar, Nobu Kimura on bass guitar and Giant Sakimura on drums and bodhran. Regular gigs around the city saw their reputation flourish and so it was time for them to get some recording done and the result has been their debut album Songs of Whiskey, Women And War.

(Opening their set at their spiritual home the What the Dickens pub in Tokyo. May 2018)

The album begins with ‘Seamus’ and from the very off you know what’s coming over the next three quarters of an hour. Gaelic fiddle over fast paced Irish tinged folk music that builds and builds and gives plenty of scope for some audience participation too. I bet this goes down well at live gigs. The song tells of Seamus T. O’Malley a brave son of Ireland from Boston who took his fight to the Germans in WW2 and kicked everyone’s arse but still ended up answering to a French girl in France. Another sad one next with ‘Bitter’ but wrapped again in a joyous romp of a song and told with a bit of black humour of a relationship breakdown. The fiddle is more reserved here leaving the mandolin to take the lead alongside Dean’s great vocals. His love of Appalachian country shines through and here on ‘Bitter’ where the music is clearly influenced by Country music it works absolutely perfectly which is not to say he can’t belt out a Celtic-Punker with the best of them!

The pace returns with ‘Making Whiskey’ and the tale of making the “water of life” again its influenced by Country but the Gaelic is never too far away. It’s catchy stuff and reminds me of fellow Japanese bands The Cherry Coke$ and Royal Shamrock and even though the style of music is different they all play with a wild abandon that is a joy to listen to. That said on ‘Burn’ they slow it right down and as we know no Celtic-Punk album is complete without a couple of sad ballads! Adding in some heavy guitar licks and some fantastic fiddle alongside Deans mournful voice keeps the toes tapping (or thigh slapping in my case) while the songs builds towards the end and ends loud and proud. One of the highlights of the album without a doubt. ‘Never Was Your Friend’ starts off slow but soon kicks into another Celtic knees-up with more bitter tale of life and the shite you have to put up with just to get by. The album’s only cover is up next and is a good choice in the wonderful anti-war song ‘Mrs. McGrath’ with its fantastic chorus. Recently made famous by The Boss himself (here on You Tube) on his 2006 roots album We Shall Overcome. Brought to the USA during an Gorta Mór (the great hunger) in the mid-19th century the song is soon adapted as a marching song by Irish soldiers fighting in the American Civil War.

The version here sails closely to both the Bruce Springsteen version and the more traditional folk standard. An excellent song that portrays the horror of war and its effects with Dean’s voice on the album never better than here. ‘1017’ is next and we are back into the Celtic/Country fusion that has worked so well for Angry McFinn And The Old Yank so far. The mystery of the opposite sex is explored while Dean plays in a bar wondering where all the years have gone. Again its a sad song wrapped up in a real stomper of a tune. One of the outstanding things about this album has been the songwriting and it’s clear that Dean’s experiences across continents has paid dividends. On ‘Sally’ while the song has more than a tinge of Flogging Molly about it to my ear it’s the lyrics that really got me so no excuses for re-printing them all here so you can sing along to the video.

(The video for ‘Sally’ is a early versions of the track on the album. The song here represents the band before fiddle and electric guitar added to the mix)

“Sally, my lovely one, where have you gone? Fair thee well my chosen son, now here’s your gun. We marched all through the winter time. Summer has now come. But Sally, my lovely one is gone. Sally, my chosen one, you’ll not reckon’ me. I’d like to think when we were young that you’d have married me. But a hussar’s blade took away my smile and a dragoon my left eye. Sally, my lovely one, goodbye. Take me away, to the rolling hills of old. Take me away, to where the winter is never cold. Take me away, to the sunlight in her hair. Take me away, take me away from here. Sally, my broken one, I ask one thing of thee. If you’ll do me this one kindness, my soul will be set free. Tell my kin, tell all of them, to drink to me in Hell. Sally, my lovely one farewell. Take me away, to the cherry blossom spring. Take me away, to where my love, she wears my ring. Take me away, to where the guns they ring no more.. Take me away, to where she waits behind my bedroom door. The things I used to do with you, the summer rains, the morning dew. The long walks in the fields of green the way you used to dance and sing. They took away your soft caress, replaced it with a gun and death. They took away my light of day, now only pain and sin remain. So not the part I longed to play, a false flag led me far astray. They took my heart, took my name, and took away every damn thing that day. They took you away.”

We are sailing up to shore and the penultimate song ‘Whiskey & Blood’ is the album’s second ‘ballad’. A it of epic as at just over six minutes it’s the longest song on Whiskey, Women And War but the vast majority of songs here all hover around the four and half minute mark giving them plenty of scope to develop. A slow song that belies it’s length and seems over far too quickly leaving us with just ‘Pirate’s Life For Me’ to wrap the album up. Another one that’s a bit of a epic at five and a half minutes and winds proceedings up nicely with a lively and jolly sea bound number.

Angry McFinn And The Old Yank left to right: Yo Iwanaga – Fiddle * Petja Marttinen – Mandolin *  Dean Lewis – Vocals/Acoustic Guitar * G’ian Sakimura – Drums * Nobu Kimura – Bass * Hubert Benke – Electric Guitar * (electric guitar on album was – Petteri Pussinen)

Loud and brash but often quiet and reflective Angry McFinn And The Old Yank have produced an outstanding debut album and though it makes for an emotional ride it’s also played for fun with I am sure audiences cheerfully singing along and relating to the songs. Watch out for these Bhoys they are going places!

Buy Songs of Whiskey, Women And War  CDbaby

Contact Angry McFinn And The Old Yank  WebSite  Facebook  YouTube

EP REVIEW: JAY MOODY- ‘Pub Songs On Palafox’

FREE DOWNLOAD!

Roots Music with No Reservations.

Jay Moody is a Native American/Irish folksinger from Pensacola, Florida. He describes his eclectic sound as Creolized Roots Music. Irish folk influenced by swamp blues and pub-rock, with hints of Caribbean rhythms and Celtic melodies.

One of the things we set out to do with this site when we started was to promote new music. When I say new music I mean of course music that had just been released as one glimpse at ‘modern’ music shows it is nothing of the sort. Nothing is new anymore and anyway seeing as Celtic-Punk has one foot in the past anyway the idea of it being ‘new’ seems a little strange to me. So we have a sort of informal policy to only review releases that have recently come out. We have on the rare occasion gone against this policy but only a small handful of times and only when the release is new to us and worthy of a review as is the 2013 debut EP of Jay Moody. Jay has been performing as a singer-songwriter for most of his adult life. Raised in a large, Native American/ Irish family, he is a member of the Cheroenhaka (Nottoway) Tribe, he learnt his first guitar chords at his father’s knee who was also a gigging musician having cut his teeth singing on city streets, beaches, and campfires throughout the Gulf-coast. Raised in a Navy family, Jay’s youth was spent moving around various maritime communities while always returning to his home in Florida

So it was that back in June, 2013 Jay released this small collection of songs Pub Songs On Palafox, a solo EP that was intended to capture the raw energy and sound from his time busking in the urban setting of his home in downtown Pensacola, Florida. Palafox is the name of the main strip in downtown Pensacola, and that’s why the EP is named as he was singing pub songs on Palafox. Simple really! Four songs recorded in the raw as a live-air production that captures the energy and sound of a solo performance busking downtown in competition with the sounds of a bustling city street. This EP may have been designed as a way to drum up some work but he soon found work getting in the way and so began a few years away from the music biz until recently and Jay has major plans going forward including new music and more releases to come. The EP begins with a couple of songs from the Great Irish Songbook with the great drinking song  ‘Dicey Reilly’ kicking things off. The fictional (though no doubt based upon real person!) account of a life ruined by the drink. A song about a alcoholic Dublin prostitute is probably not the sort of thing you’d be wanting children to sing along but I remember well singing along with this as a young nipper. Written by the great Irish patriot and writer Brendan Behan the songs jolliness belies its more serious subject matter and has long been a staple of the Irish folk scene and a firm audience favourite. Jay gives it plenty of ‘oompf’ and sings it straight but with power and no end of passion.

This is followed by another Irish favourite and again ‘Black Velvet Band’ is a dark song about infatuation, deceit and injustice that many would know but not realise the subject matter was so awful. In fact a mate of mine told me his Mammy used to sing this to him at bedtime! Telling of a young man who has the misfortune to fall in love with a thief who tricks him into holding a stolen watch. As this is a Irish folk song he is caught of course and sentenced to seven years penal servitude and sent away to Van Diemen’s Land now known as Tasmania. Again Jay plays it with a power and his strong vocals are the most stand out thing here. Though he sings loud and almost a shout it also a gentleness that keeps it’s feet firmly in Irish folk territory. The pub may be the venue to hear these songs and Jay has the kind of the voice that can cut through the rowdiness and the chatter that sometimes afflicts the solo performer in a Irish pub! Next up is the first of Jay’s compositions and ‘Looks Like Jesus’ shows Jay has a great talent for songwriter. Peppered with imagery from the Southern atmosphere he calls home the  rockabilly-blues influences fit perfectly and again its hard sometimes to think its just Jay and a guitar.

The EP comes to an end with the cheeky ‘Miss Constance’, a naughty Caribbean-styled tune about the perils of younger women. A style of music known in Jamaica as ‘mento’ it predates and has greatly influenced ska and reggae music. Known for topical lyrics with a humorous slant sexual innuendos were also common as they are here if you listen closely! So this EP may be an amazing six years old but seeing as Jay has made it available as a ‘Name Your Price/Free Download’ then their is no reason not to get yourself a copy. It may even inspire Jay to get his arse into gear and record some more. It may be six years since Pub Songs On Palafox came out but you can still find Jay performing in intimate venues throughout the Southeastern United States. Deeply influenced by both his Irish and native roots as well as folkfunkblues, pub rock and Country with more than a touch of Caribbean rhythms to keep the Irish/Celtic melodies company Jay is a original artist and anyone who can breathe new life into songs that are so familiar is a great talent.

(hear Pub Songs On Palafox on the Bandcamp player below!)

Download Pub Songs On Palafox  Bandcamp

Contact Jay  WebSite  Blog  Facebook  YouTube  Twitter  Instagram

SINGLE REVIEW: LORETTA PROBLEM (featuring Juha Lagström)- ‘The Waltz Of My Drunken Dream’ (2019)

Wow! What to say except that Finland’s Loretta Problem have hit the jackpot here with their new single. I think it’s  no exaggeration to say it’s a song that The Pogues would have been proud to record! Featuring Juha Lagström on vocals ‘The Waltz Of My Drunken Dream’ is perhaps Loretta Problem’s most influenced Irish folk song and I can’t wait to hear more of them! 

Loretta Problem have featured on these pages several times in their past with their Scandinavian/ Celtic flavoured punk rock and back in the beginning we even had them labelled as “not one of the most prolific bands in the celtic-punk scene but certainly one of the more interesting”. Well we will have to change that I think. They may still be one of the more interesting and innovative bands around in the scene but the last few years have seen more than regular releases hitting our doorstep/e-mail tray seeing them fit more in the last handful of years than the previous two decades!. Formed in the tiny Finish town of Vaasa in 1994 and yes Finland may be more famous for death-metal but such is the booming popularity of Celtic-Punk that you’ll always find one band representing everywhere and for Finland it is Loretta Problem. All the Nordic countries seem to have healthy alternative music scenes and appear to be much more open to each others music. Loretta Problem have released one album and a handful of singles in their time together which spread over those two decades plus may not be much but for well over a decade Loretta Problem took a back seat while the various band members were working on other projects like families or in other bands. Getting together to play every now and then at the odd gig or festival the band eventually regrouped and Loretta Problem have now become a permanent fixture on the music scene in their home country and, with every release, further afield too.

I sit and drink through rainy days
And after all what can I say?
Not sure ’bout God but when you pray
Pray for me too
Pray for me too

I lose out babe, reeled from the start
I’m lost, my love, somewhere in my heart
Please keep your faith, stay as you are
Shine like a star
Shine like a star

We waltz till the dawn under darkening skies
The steeples keep silent, the wind’s blowing by
Your eyes bring the light upon this falling night.
The ragged silver screen
of my drunken dream
…my drunken dream

One  for the road, one for yesterday
One more for hope and for this sad day
Not sure ’bout God but when you pray
Pray for me too
Pray for me too

We waltz till the dawn under darkening skies
The steeples keep silent, the wind’s blowing by
Your eyes bring the light upon this falling night.
The ragged silver screen
of my drunken dream
…   my drunken dream
….  my drunken dream
….. my drunken dream

One listen to ‘The Waltz Of My Drunken Dream’ will I am sure be more than enough for you all to fall in love with Loretta Problem though it is quite the departure from their usual fare. Punk rock with fiddle and the odd Celtic flourish is normal but here they try something new and by Christ it has worked! With the devilishly good looking Finish actor and singer (and former bandmate) Juha Lagström on vocals and aided by visiting musicians Lauri Kotamäki on accordion and Petri Judin on tin-whistle the song has an unmistakable Poguesy air to it but without any attempt at being a copy of them. Juha’s voice is strong and powerful and he cuts a more than menacing figure in the excellent accompanying video too.

Buy Download  Apple  iTunes

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SEPTEMBER EPISODE OF THE CELTIC PUNKCAST #30 OUT NOW

Here in the UK the Summer is well and truly over and the gloom has arrived so time for our monthly visit to the other side of the world and the land of everlasting sunshine and the new edition of The Celtic Punkcast. Take your minds off the weather and follow the link below for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world.

Stream live or download to listen to later and enjoy!

G’day again everyone. Another month, another podcast episode. September already, where has this year gone? I have some great music for you all to enjoy, from right around the world including the first Japanese band I’ve played on the show and the featured band are personal favourites of mine, the recently reformed band from Michigan in the USA The Kreelers. Here’s the track list:

HELLCAT MAGGIE – ‘Coppermill Jigs’

SHAMBOLICS – ‘The Banshee’

THE KILLIGANS – ‘Empty Streets’

THE MOORINGS – ‘Friendship’

THE TEMPLARS OF DOOM – ‘Leaving Of Liverpool’

GREENLAND WHALEFISHERS – ‘Waiting’

PADDY AND THE RATS – ‘Red River Prince’

FEATURED BAND: THE KREELERS

‘Barnyards’

‘Ordinary Many’

‘Six 7’

THE FISTICUFFS‘Johnny O’Reilly’

THE REAL McKENZIES – ‘The Massacre of Glencoe’

BASTARDS ON PARADE – ‘The Drifter’

LEXINGTON FIELD – ‘The Hitchhiker’s Guide Out Of Suburbia’

THE STUBBY SHILLELAGHS – ‘Drink You Pretty’

CELKILT – ‘The Road That Takes Me Home’

THE CHERRY COKE$ – ‘Rise Again’

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

THE CELTIC PUNKCAST #30

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

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

ALBUM REVIEW: THE WALKER ROADERS- ‘The Walker Roaders’ (2019)

The origins of Celtic-Punk go back to a handful of bands but without a doubt it was the seminal London-Irish band The Pogues that the whole genre owes most to. Here Graveyard Johnnys Callum Houston runs the rule over the most long awaited album in the scene of recent years. Pogues accordionist James Fearnley teams up with members of the only other two Celtic-Punk bands that have come close to The Pogues in both popularity and influence, Flogging Molly and the Dropkick Murphys, to form The Walker Roaders. The pre-album release campaign was masterful but can the album live up to all the hype…

To anyone who is not aware of The Walker Roaders they are a new super group fronted by James Fearnley (accordionist of The Pogues) with Ted Hutt (founding member of Flogging Molly, producer for Gaslight Anthem, Tiger Army, Bouncing Souls etc etc), Marc Orrell (founding member of Dropkick Murphys) and additional musicians Kieran Mulroney (Low and Sweet Orchestra), Brad Wood (producer of Smashing Pumpkins) and Bryan Head (Dick Dale). It’s going to be hard to talk about The Walker Roaders without mentioning The Pogues.

The Walker Roaders were a street gang when James Fearnley was a kid growing up in Manchester who would slit your thumb with a knife if they came across you and felt like it.

The influence is clearly strong yet it is very much welcomed. It just goes to show how much of a contribution James’ playing had on The Pogues sound The album kicks off with “Lord Randalls Bastard Son”. This track is sure to win anyone over on the first listen. The pace is fast, the melodies strong and the words potent. James’ voice is sturdy, bold and northern as they come. He sings with strength and clarity giving every word importance and making sure not one is to be missed.

In the background I can hear what sounds to be the return of the beer tray, a subtle nod back to the early Pogues years. The second track “Seo Yun” is another fast paced number. The minor melody of the old Irish classic “The Foggy Dew” is tastefully borrowed for the verse but not before it jumps into a resolving singalong major chorus. The underlying Polka beat keeps the track turning and it’s heart pulsing. Following that is the first single from the album “Will You Go Lassie Go”. When I first saw the title I thought instantly it was going to be a cover of the traditional Scottish tune of the same name. It is however an original but has all the ingredients of a timeless ballad in it’s own right. The drums are huge, I can hear them echoing for miles through valleys with only the surging chorus of strumming guitars washing over them. This is a perfect festival song.

Before going any further I just want to state that the lyrical content, musical arrangement and production of this album is of an extremely high quality on each track, considering the members involved I would expect nothing less. “The Story” is a prime example of all those components. The accordion takes prominence and the song flows just as it’s title suggests. At “A Meteor at a Time” we reach the middle of the album and by now we are easing into mid tempo. I feel the momentum gets slightly lost here, although it is yet another great song I imagine it maybe more of a slow burner for some people. On my first few plays of the album “Old Tar Road to Sligo” was my first ear worm. It’s lively introduction and 6/8 swing takes me right back to the “If I Should Fall from Grace with God” glory days. The song structure meanders in some interesting directions but it is never far from returning to it’s source. I have to amid I did do a quick search on the price of Winnebago camper vans. “The Blackbird Only Knows One Song” stays in 6/8 timing which is proving to work very well. Here the vocals and lyrics take the helm held a float on waves of heavily reverbed banjo, accordion, guitar and crashing drums. “Here Comes The Ice” has to be my personal favourite. It bears a strong nostalgic feel with wit that will have you smiling and honesty that could almost bring you to tears. The song is joint together nicely with a repetitive catchy guitar riff.
To finish the album off on form we have “Turned out Nice Again”. Kicking straight in with a powerful melody played by the tightly combined accordion and whistle combination once again echoing back to that classic Pogues sound. Could there possibly be the additional of a special guest musician on this track? As a huge Pogues fan I have seen many similar bands pop up over the years but I have rarely been satisfied, there has always been something lacking. This album offers some kind of closure to that void. I really hope that this is just the beginning for The Walker Roaders, I would love to see the band take to the road. The album has been well worth the wait, the sound is timeless and the lyrics read like a novel. I’m sure lots of people will be looking for a hard copy of the album, I too want to keep this forever.
”Walker Roaders came together totally organically, A bit of fun really. The result of James, Marc and myself getting together to hang out and write songs. Then it became a mission to take Celtic music to another level!”- Ted Hutt on how the Walker Roaders came to be
Buy The Walker Riders  Stream or Download
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Thanks to Callum Houston for the great review and who better to review a banjo heavy album than someone who knows his way round a banjo! Callum’s fantastic debut EP Gravities was released just last month and was reviewed on these pages here. As part of the wonderful Psycho/ R’n’R Welsh trio the Graveyard Johnnys he has played just about every corner of Europe and now resides in Brittany but will be over visiting in December anday d will be doing a select series of shows including a special London Celtic Punks date that you should definitely keep your ears open for!! December tour dates  Thursday 5th- The Anchor, Wingham * Friday 6th- Frosty’s Bar, Kenton, Harrow * Saturday 7th- Seamus O’Donnell’s Bristol * Sunday 8th The Star – Fishponds. Check Callum out on Facebook  Bandcamp  YouTube

EP REVIEW: THE FIGHTING 69th- ‘Barroom Heroes. Tribute To The Dropkick Murphys’ (2019)

Buffalo, New York’s ‘One Man Band’ The Fighting 69th release their tribute to Celtic-Punk’s #1 band. Six songs given an affectionate twist and available as a free download.

We have to go back to 2007 to the origins of The Fighting 69th. Three seventeen year old mates in a friends basement were sick to death of playing pop punk covers and decided to go back to their collective Irish roots and try something radically different. Over the course of the next several years band members would come and go at regular interval, numerous shows were played and even one or two festivals.
(The first album from The Fighting 69th from October 2008 Dublin Calling. Re-released for its 10th anniversary. Eat, Drink, and listen to The Fighting 69th)
The Fighting 69th would eventually throw in the towel and call it a day in 2011. The boys taking a break from the music scene until original band member, and principle songwriter, Raymond Ball decided he missed all the fuss and decided to pick up the flag and carry on from where it fell. Since the bands resurrection Raymond has single handedly carried the band on numerous releases over the last few years including six (!) this year alone. All are available from The Fighting 69th Bandcamp page as Free Download/Pay What You Like donation. This means you can download them all for nothing but if you can afford it then do the decent thing and leave enough for a couple of pints. Among this years releases are tributed to The Pogues and to recently deceased Irish-American musician Joe Dady as well as this one to the Murphys. Six songs that avoid the Murphys greatest hits and see Raymond playing every instrument as he bashes and brawls his way through better known songs such as the title song and ‘Finnegans Wake’ as well as lesser known ones as ‘The Burden’ from 2005’s The Warrior’s Code and ‘Cruel’ from 2011’s Going Out In Style. The other songs are sort of inbetween with ‘Rose Tattoo’ and the Christmas themed ‘The Season’s Upon Us’. It’s all done in an affectionate way and it shines through that Raymond is an enormous fan. The music is definitely from the punky side of things and that will I am sure please DKM’s fans with several instruments on display showcasing Raymonds talent. Bagpipes, tin whistle, drums, bass guitar, electric guitar… and more all played by the man himself including vocals too!

THE FIGHTING 69th

The name The 69th Infantry Regiment, or the ‘Fighting 69th’  embodies the melding of Irish-American Culture, the precious preservation of heritage, the limitless abilities of immigrants and the preservation of a long and distinguished connection between Ireland and the United States. The name The Fighting 69th was bestowed on the Regiment by Confederate General Robert E Lee and embodies epic and legendary actions of the most famed military Regiment to grace the pages of our history books. Honouring the ideals of loyalty, honour and freedom.

The history and world famous achievements of The Fighting 69th illuminates the pages of Irish American history.

 

Initially an Irish Heritage Unit, comprised of Irish immigrants, who had escaped from an Ireland of vicious hunger, disease, injustices and failed rebellions. People who had lived under the Penal Laws which denied them their rights to freedom in their homeland. They set about a new life in The United States, a land of promise and freedom. These brave men set about supporting the ideals of freedom, a sense of passion for a cause defending the rights of others, an experience they were familiar with defending those who could not defend themselves. The Fighting 69th embodies a greatness of spirit and faith in each other that has forever insured their rightful place as one of the most historic military Regiments in US, and modern world, history. Their proud history is interwoven with that of Ireland, The Fighting 69th embodies its Irish Heritage but also the heritage of all immigrants. They have preserved some of the most wonderful Irish traditions, preserving the eternal bond that is forever enduring and unbreakable between Ireland and The United States. The Fighting 69th are at the tip of the spear of preserving Irish Heritage in the United States, the majority of their traditions and emblems holding a deep rooted connection to Ireland.

(you can listen to Barroom Heroes below on the Bandcamp player but don’t forget it’s a free download so get downloading!) 

Buy the EP FromTheBand  Contact The Fighting 69th  Bandcamp  YouTube

SINGLE REVIEW: CALICO STREET RIOTS- ‘Through The Storm’ (2019)

After a eight year hiatus Calico Street Riots are properly back and with a vengeance! Two new tracks with more promised on the way. Through The Storm carries on where they left with Celtic-Punk packed with passion and enthusiasm.

Calico Street Riots are a six-piece folk punk band hailing from the wonderfully named (and quite apt!) Gravesend in Kent. Formed in 2008 they shot to fame with the release of their debut EP From The City To The Shores from way back in January, 2011. One song on that EP perfectly captured the imagination of the worldwide Celtic-Punk scene and ‘A Drink And A Fight’ introduced the band to a worldwide audience. That EP is now available a free/pay what you like download and you can stream it on the Bandcamp player below.

Several gigs around town including supports to the Greenland Whalefishers at the, now sadly long gone, Gaff and a headline show at the spiritual home of the London Celtic Punks in Tottenham at Mannions. The band went quiet soon after though reforming every now and then to play locally around Kent and though it may have seemed like they had given up the towel was never quite thrown all the way into the ring. The success of Boomtown festival has also contributed to the rise again of Calico Street Riots with various members of the band heavily involved in the organising and the promotion of the festivals dedicated Irish stage, the Shamrock Bar. Calico Street Riots playing every year at the festival to a new crowd of adoring Celtic-Punk fans.

Calico Street Riots live at this years Boomtown, with guest bodhrán player Gilbert, from left to right: Nick Whiteoak – Bass * Tage Wood – Acoustic Guitar * Laura Felstead – Violin * Dave Irving – Electric guitar & Vocals * Dave Felstead – Drums * Nat South – Accordion *

So it was that this year and again set to storm Boomtown the band booked a handful of gigs as a warm up for the festival and even announced the release of their first new songs in over eight years. Though only two tracks Through The Storm has been worth the long wait and will win them over both new and old fans alike I’m sure. First track ‘A Course For Home’ speaks of a sailor returning home after months away at sea.

“Before I’ve had a chance to breathe I feel the storm surround me
But as the stars burst through the clouds I see the way to go
As each step towards the wheel steadies the ground beneath me
I feel the wind upon my skin ready to take me home”

A not too uncommon theme in Celtic-Punk the song has a certain influence from The Dreadnoughts and singer Dave handles the vocals with ease. Also like The Dreadnoughts they are not afraid to mix up genres and traditions and with some Eastern sounding accordion accompanying a Gaelic fiddle while the rest of the band give it plenty of oompf keeping it fast and furious. They have lost none of their passion for their music I am delighted to hear.

The other song here is ‘Broken Bones’ and this time it’s a much more ‘traditional’ Celtic-Punk track. The major influence here is The Pogues as distilled through Flogging Molly. The song may be about a prisoner or then again maybe not but the lyrics are clever and make your brain work. Another real foot-tapper with again Dave shining on vocals while Laura on fiddle and Nat on accordion also shine on the folky instruments. The whole gang come together to belt out the chorus

“We won’t always have to run
So catch your breath before it’s gone
And when I fix these broken bones
I’ll walk with you to never be alone”

and the song is over in a flash and left me wanting much much more from them. The production is excellent so hats off to the engineer Paul West at Awesome Source Studios for a job very well done. Hopefully Calico Street Riots have learnt their lesson now and won’t be going off again for another eight year break in a hurry! Passionate, intelligent and rowdy as hell Celtic-Punk is sometimes hard to come by down here in the south of England with just The Lagan and Neck thinly spread so to have the Riots return and back at their best to is the most exciting thing to have happened this year and I can’t wait to catch up with them.

(you can hear Through The Storm on the Bandcamp player below)

Download Through The Storm  FromTheBand  iTunes  Amazon  

Contact Calico Street Riots  Facebook  Instagram  YouTube  Bandcamp

THE SOUND OF AN UNDERGROUND. REBEL MUSIC DOCUMENTARY

A short documentary film about rebel music in Ireland, directed by Declan McLaughlin and John Coyle featuring commentary and performances from Declan McLaughlin, Gary Óg, Eileen Webster, Terry ‘Cruncher’ O’Neill and Joe Mulhearn.

 

Throughout Ireland’s long history of struggle for independence, each of the various uprisings has generated its own collection of songs. The tradition of rebel music in Ireland dates back many centuries, dealing with historical events such as uprisings, describing the hardships of living under oppressive British rule, but also strong sentiments of solidarity, loyalty, determination and support the political dreams of the generations who sought an independent nation.

As well as a deep-rooted sense of tradition, rebel songs have nonetheless remained contemporary, and since 1922, the focus has moved onto the nationalist cause in the north of Ireland. However, the subject matter is not confined to Irish history, and includes the exploits of the Irish Brigades who fought for the Republican side in the Spanish Civil War, and also those who fought during the American Civil War.

Irish rebel music has occasionally gained international attention. The Wolfe Tones’ version of ‘A Nation Once Again’ was voted the number one song in the world by BBC World Service listeners in 2002. Rebel music has often courted controversy with successive Irish governments banning it from the airwaves in the Republic of Ireland throughout the 1980’s. More recently, Derek Warfield’s music was banned from Aer Lingus flights, after an Ulster Unionist politician compared his songs to the speeches of Osama bin Laden. However, a central tenet of the justification for rebel music is that it represents a long-standing tradition of freedom from tyranny.

THE REBEL COLLECTIVE

Thanks for the The Rebel Collective for posting the video to You Tube. They run a monthly music based podcast that features various guests of a rebel nature. Getting to know some of their favourite songs and the songs that helped shape the artist they are today, and hopefully gaining a bit of insight into their background and influences.

Support The Rebel Collective. New badge £4 plus £1.50 orders via Pay Pal to: therebelcollective@hotmail.com

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EP REVIEW: SINFUL MAGGIE- ‘Good Enough For Rock’n’Roll’ (2019)

Sinful Maggie are back with a new release. A 3-track EP of top quality accordion punk rock’n’roll out of Dorset…yarr!

Sinful Maggie disclaimer: It’s not our fault if you’re too much of a moron to see the irony and humour in this song. It’s not designed to be offensive or derogatory to anyone but the members of the band. That said, feel free to take offence, it’s your right as a human…moron or not.

I thought i better start with that just in case anyone has come to this web site by mistake and gets offended by something in this review. Of course our usual readers are made of much firmer stock and are, I am certain, all blessed with a decent sense of humour. Formed in 2014 Sinful Maggie have, especially within the last eighteen months or so, blazed a path through the English punk scene and for once it is truly deserved. Being based right down in the south-west could easily hamper a band with no ambition but instead they have risen to the challenge and can be found on most weekends rolling up and down the motorways of England to play gigs in every corner of the country.

Sinful Maggie left to right: Charlie Draper– Guitar, Lead Vocals * Briony Ireland– Accordion * Ollie Beaton– Drums * Russ Draper– Bass, Vocals.

One of the things that we must also add at this point is that despite having an accordion player in Briony (who also played in the now defunct Dorset band The Devil’s Rejects who raised the flag for celtic-punk in Dorset) they do not see themselves as a Celtic or Folk-Punk band

“we try and avoid the Celtic punk ‘banner’ if you like. Really we see ourselves more as a punk band that opted for an accordion instead of another guitar. We’re not really influenced by folk or anything like that so we try and avoid it so people aren’t misled”

though that’s not to say we wouldn’t accept them to the Celtic-Punk team!!!

The EP starts with the title song and ‘Good Enough For Rock’n’Roll’ and its full throttle from the start and if you have never heard punk accordion then now is your chance. Charlie’s tuneful though punky vocals keep the music flowing with nods to Rancid and even more ancient ’77 style punk bands.

Now here’s where the disclaimer comes in and I got to admit when I first heard this I couldn’t contain myself and nearly spat me kidneys out laughing! Ask any folky band and they will always tell you that they are labelled ‘Irish’ by people (look at Mumford And Sons for heavens sake!) and and called it in adverts despite being as Irish as Tony Cascarino! ‘We’re Not Fuckin’ Irish’ is the perfect riposte to this and will I hope have you laughing along with them. A great song with some hilarious lyrics and again heads down punk’n’roll that flies past in a fury getting faster and faster. Great stuff. I love this song so much I got the words off them so you can sing along to the video.

I was sitting in a bar
Drinking just after a show
When a guy comes up to me and says
“you kids are far from home
See, I used to live in Dublin
And I’d see bands like yours each night
With tin whistles and accordions
Singing The Rare Auld Times”
Now I sit and listen to him
As polite as I can be
But my anger starts to grow
Somewhat irrationally
My grip grows tighter on my glass
’til I smash it on the floor and scream
We’ re not fuckin’ Irish!
Sling that bastard out the door!

Russ he’s bass player and he’s stubborn as a mule
He’s had many nights out on the town with Guinness as his fuel
I’ve seen him with a broken heart and suffering from shock
When a girl came up after a show and said “I love your Celtic rock”
Briony plays accordion an Irish instrument you’d say
Well actually it’s German from the 19th Century
And yeah she’s got a temper (fuck off)
See? That’s what I mean
So don’t tell her we sound Irish she’ll rip out your fucking spleen

Ollie is our drummer and he’s loves an Irish jig
He wants to wear a scally cap but his heads too fucking big
He loves an Irish whiskey or shamrock in his beer
He was in the British Navy but he swears that he’s not queer
Charlie’s got guitars it’s the talent that he lacks
I can play like Gary Moore if Gary Moore was high on smack
He’s too fat to be Thin Lizzy, too old for teenage kicks
He’s not as bad a Bono but I still think he’s prick

Call us what you want
We’re not fuckin’ Irish
Call us what you will
We’ll tell you what’s true
I ain’t shippin’ up to Boston
Who the hell is Ronnie Drew
We’re still drunken lazy bastards
But we’re English through and through

Now you might think that we’re racist
I assure you that not true
We love those Irish bastards
Honestly we do
They haven’t had it easy
And to their resilience we will toast
But we’re from fuckin’ Bournemouth
That’s in England on the coast

The EP ends with ‘Lazy Is As Lazy Does’ a reggae infused number again with some funny and insightful lyrics and one thing this band is not in need of is a funny bone. A little over halfway through Sinful Maggie decide to kick out the jams as it were and bring the curtain down with what they are best at. Fast 110mph punk rock. Their may only three songs here but at almost fifteen minutes long it shows a band that’s not afraid to stick to two or three minute blazers but experiment with longer songs giving them much more depth both live and on disc.

Released on 2nd august Good Enough For Rock’n’Roll is now available on Amazon, Spotify, i-tunes, Deezer etc pretty much all of them but if anyone would like a physical copy then you should message the band directly through their Facebook page. All the money from the EP is going into a pot to help them record their next album later in the year so lets see some action folks!

Buy Good Enough For Rock’n’Roll  CDFromTheBand  Download- Amazon 

Contact The Band  Facebook  Soundcloud  Twitter  YouTube

THE CELTIC PUNKCAST PRESENTS THE LONDON CELTIC PUNKS 10 YEAR ANNIVERSARY SPECIAL

Aw shucks them lovely people over at The Celtic Punkcast have gone and done a special edition of the show featuring ten of our favourite songs handpicked by our resident DJ Greenford Bhoy. All bands that we have grown up and grown with and very close to our hearts. Thanks to them all and here’s to another 10…

Follow the link below for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world.

Stream live or download to listen to later and enjoy!

Hi everyone and welcome to a special bonus episode of the Celtic Punkcast, celebrating ten years of service from the lads over at the London Celtic Punks site! The fine crew from London Celtic Punks have given me a list of songs too play and without further adieu here they are:

THE BIBLECODE SUNDAYS – ‘Disorganised Crime’

THE WAKES – ‘Never Again’

ANTO MORRA – ‘London Irish’

THE LAGAN – ‘A Song For Jim’

BLACK WATER COUNTY – ‘Under Skies Of Black And Blue’

NECK – ‘Everybody’s Welcome To The Hooley!’

THE ROUGHNECK RIOT – ‘Ignorance Is Easy’

MATILDA’S SCOUNDRELS – ‘Bottles Of Rum’

THE CRAICHEADS – ‘Greeting From Another Land’

CLAN OF CELTS – ‘Please Don’t Send Me Home’

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

THE CELTIC PUNKCAST  LCP EDITION HERE

Check out the special London Celtic Punks 10 year anniversary badge and t-shirt (almost sold out!!) available from the club shop at https://the30492shop.fwscart.com/

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

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

ALBUM REVIEW: THE WHIPJACKS- ‘This Wicked World’ (2019)

“We’re The Whipjacks and we’re just having fun”

This Wicked world is the brilliant debut album from a relatively new band to the Celtic-Punk scene. Based in Worcester in the English Midlands and heavily influenced by the major scene greats they are more though than just following others as here they deliver an album of quality high tempo Celtic Folk’n’Punk. 

Pounding drums, driving bass, screeching guitar, melodic mandolin and partial nudity. These are the things that energetic Midlands based five-piece The Whipjacks intend to bring to venues around England and based on their debut album they should be entertaining crowds for quite some time. If they aren’t near you right now, you can be damn sure they are coming… soon!

Their debut release was Scoundrels And Rogues, a 4-track EP, including a radio edit of the title song, which came out in early 2017. Original compositions of high tempo Celtic-Punk with catchy tunes that belies that The Whipjacks are basically a punk band but with a  mandolin player but in the right hands and with the right tunes a folk instrument can transform any band into something much greater. Here Arran’s playing makes that difference.

So just over a year later saw the release of This Wicked World and a catalogue of mishaps here at London Celtic Punks that saw it filed in our spam folder for ages and then lost, along with 100’s of hours of music when my laptop went bonkers. Finally though we are ready to deliver our verdict and I’m guessing that most will have already decided which way I have gone from the over enthusiastic opening paragraph!! Well yes it’s true I absolutely love it and I’m not ashamed to announce it from the rooftops!

Again, as on Scoundrels And Rogues all the tracks here are original compositions. No room for ‘The Wild Rover’ here I am glad to say. The shadow of the ‘Big Bands’ does loom over them somewhat and partly it’s because of their name and similar style to one band in particular but The Whipjacks plough their own furrow and it helps I suppose to be tucked away in a quiet backwater like Worcester to develop their own style and sound. The album opens with ‘Forever Free’ and from the off it grabs you with Tim wielding his guitar in a similar style to how The Skids once did while Dean’s strong vocals are both tuneful and punk rock. It’s a well chosen start to the album with a catchy beat and a song that leads directly into one of the albums highlights with Arran getting his first chance to shine on the mandolin and  ‘Sundown Devil’ has tinges of good auld fashioned country’n’western mixed into proceedings and a great chorus and a nice sense of cheeky humour too.

“She’s a devil when the sun goes down, my friend, I love it when she goes down,

Innocent and sweet when you pass her on the street but a devil when the sun goes down”

‘Push On’ is a short piratey number that still embraces The Whipjacks sound coming across like a punk sea shanty before the album’s title song ‘This Wicked World’ and a real Celtic-Punk epic. Lasting over five minutes the song dives and lifts and swirls throughout and while not quite a ballad it certainly slows the pace nicely. So far it’s been a sort of generic ‘Celtic’ sound The Whipjacks have employed but finally on ‘Hero’ we can nail down a ‘Gaelige’ influence and what a song. Nowhere on This Wicked World does Dean’s voice sound so good as on here and its a mark of the band that my favourite tracks from the album are so diverse but then the Bhoys go for it and finish the song with a real CeltPunk flourish. The next song is the one they chose to release as the album’s single and is without a doubt the #1 song here. I may love a ballad or a trad folk reel or two but give me a foot-stomping fist in the air dance floor filler any day of the week and I’m in heaven. ‘All My Pains (Are Self Inflicted)’ is that song! Catchy as hell and a guaranteed audience favourite I am sure.

With ‘The Ballad Of Jack Cade’ we are set for a bit of a history lesson and I must say how impressed I am with the current trend of bands singing sings like this that don’t just entertain but also tell a tale too. English history is full of such stories and while many of the ‘middle-class left’ would have us self-flagellating ourselves over slavery or some such event from the past they are more than happy to ignore the history of the ordinary people of this island of rebellion and struggle. Jack Cade was the Irish born leader of the 1450 rebellion against King Henry VI. Although put down ruthlessly it led to the War Of The Roses which in turn led to the breakdown of Royal authority. Having been accused of murder and fled to France he returned in 1450 emerging as the leader of a Kentish rebellion. His forces defeated the royal army at Sevenoaks in June and two weeks later he entered London, where he executed the hated Lord Treasurer. Eventually run from the city the government persuaded most of the rebels to disperse by offering them a pardon, but Cade continued his resistance. Wounded and captured near Lewes on July 12, 1450 he died while being transported to London. The song itself is a catchy folk led number that The Levellers would be proud of. One thing the Celtic-Punk scene can’t get enough of is more rap style numbers and on ‘L.S.D’ The Whipjacks deliver. It’s not quite the House Of Pain but again their sense of humour shines through before ‘Song For A Swine’ and a quick barroom ballad played out to the sound of a pub piano with Dean and gang crooning along before the album’s curtain comes down with the energetic  ‘Farewell To The Ladies’ and a song that again raises both a smile and a fist!

So having made themselves a firm fixture on their local music scene and with a ever growing list of gigs further afield it’s now time for them to come to the attention of the wide Celtic-Punk community. With a scene as partisan as the Celtic-Punk scene it’s hard to get people in this country to look beyond the likes of the Murphys and the Mollys but all the time their are bands like The Whipjacks flying the flag for Celtic infused Folk-Punk with shedloads of both attitude and really good songs. This Wicked World is thirty-five minutes of infectious sea bound anthems. Music to forget your vows and bring a smile to your face and joy to your heart as well as pain to the soles of your feet!

Buy This Wicked World  cdBaby  iTunes

Contact The Whipjacks  WebSite  Facebook  YouTube  Bandcamp  Soundcloud

Join the crew of local favourite Roderick the Rambunctious as he looks back on his wrestling career to date.

EP REVIEW: THE TWO MAN TRAVELLING MEDICINE SHOW- ‘They Say I Don’t Write Love Songs’ (2019)

Back again it’s the band with the longest name in Folk-Punk (and possibly the most members) with another release of original music. Dorset’s finest Folky-Americana-Country-Punk band The Two Man Travelling Medicine Show’s new EP is out now on Musical Bear Records.

The Two Man Travelling Medicine Show are back again with their brand new EP and four all new tracks recorded entirely in a barn in North Dorset! Now this being the Summer it’s a wonder they have found the time as this is most definitely their time and one look at their list of gigs past and present the last few weeks shows a band that has crisscrossed the South of England playing just about every festival imaginable! Formed in Dorset in 2016 The Two Man Travelling Medicine Show have steadily grown in stature and popularity over the following years due in no small part to their hectic touring(no mean feat for a band that sometimes has up to ten members!) and they have added to their great reputation as a live band with a well received album and several EP’s of their own original compositions. Their debut album, Weeding Out The Wicked, came out in 2017 and has been followed by three quality EP’s in the following couple of years, Float Your Boat, A Snake’s A Snake and Oh Me Oh Mi. Releases that all capture The Two Man Travelling Medicine Show sound perfectly. American bluegrass and Americana butting heads with quaint auld English folk. A quintessential English folk group that could have been born at the heyday of Folk-Rock in the mid-1970’s and takes in influences from those halcyon days before redefining them and bringing them bang up to date.

The first of the EP’s quintet of songs is the title track ‘They Say I Don’t Write Love Songs’ and follows on in what I now think of as the traditional The Two Man Travelling Medicine Show way. A catchy thigh slapping driving beat accompanied by the sounds of more instruments then you could possibly take in all at once though the duelling banjo and fiddle shine through. The vocals from Mark are as usual strong and powerful and the words talk about how love changes us. Theirs a a nice slow break in the middle which gives the song a chance to build up and come back strong and yeah I really love it!!! They follow this swiftly with the glorious ‘Raise My Glass’ and a hoedown country stomper that is guaranteed to get audiences up and doing that famous dance scene from Seven Brides For Several Brothers! A typical drinking anthem that sees the band really go for it and if I have ever had any criticism of The Two Man Travelling Medicine Show it is that they sometimes are too restrained and ought to just to bloody well go for it like on ‘Raise My Glass’. A heartfelt cry from the heart in praise of all that’s good in a difficult world. They move away from their usual Summery/bouncy style with ‘Hanging The Bells’ which has a much tougher bite to it and comparisons to New Model Army leap out at you with the acoustic guitar and fiddle pushed to the fore over a song about getting away from the drudgery of life, or as singer Mark says 

“a song about the impossible, wonderful dream of awakening from the nightmare of history; to a dog’s life away from the grinding forces of politics”.

The EP comes to an delicate end as fiddle player Alison Jay takes over on vocal duties for ‘Teenage Dreams’ for this slow paced number on the danger of surrounding yourselves in nostalgia. The song drifts along beautifully before speeding up ever so slightly towards the end and again the amazing banjo playing and a-plucking shines a light on all the band do.

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

As already stated this band can sometimes reach up to double figures so getting them down on record so vibrantly is no mean feat I can assure you and here on They Say I Don’t Write Love Songs they have the talent of fellow Dorset musician Charlie Draper to thank. Having already featured here on the London Celtic Punks site as vocalist/guitarist of Sinful Maggie (we will be reviewing their new release in the next week or so) Charlie has done a utterly brilliant job of capturing the energy and passion of the band whilst losing none of their trademark knock out Folk-Punk choruses. Though they don’t make it particularly easy to hear them play outside the South-East it might be worth your while YOU seeking them out!

Buy They Say I Don’t Write Love Songs mark1lyons@icloud.com 

The EP is released on Friday 16th August and sadly there is no pre-order or links but as soon as they become available on release I will add them here.

Contact The Two Man Travelling Medicine Show  Facebook

Musical Bear Records  WebSite  YouTube  Facebook  

SINGLE REVIEW: THE WORKING CLASS SYMPHONY- ‘Berdiri Bersama/Memories’ (2019)

A double single release from one of the best bands from a non-English speaking country and The Working Class Symphony play a brand of Celtic-Punk that is totally influenced by Irish traditional folk music. If only more Irish bands played with this much passion!

As we have stated many times before Celtic-Punk has become a truly international scene with some unlikely communities taking up the baton and one of the most unlikely is the country of Indonesia. As strange as it may seem for a Muslim country they have one of the best (arguably the best) Celtic-Punk scene in the entire world. Music played with passion and with absolutely amazing ability from some brilliant musicians but its not just the music that makes the Indonesian Celtic-Punk scene so utterly fantastic it’s the morals and ideology behind it. Life is tough over there and they have adopted Celtic-Punk not just for the joyous romp that it is but also the camaraderie and spirit of friendship, loyalty and working class pride that bands like the Murphys have instilled in it from their start.

Their are several great bands in Indonesia, many of whom have featured on these pages, but the perfect way to find out more about his great scene is through our review of Wind From The Foreign Land- Indonesian Celtic Punk Compilation from 2014, a compilation of fourteen Indonesian bands, which also features our band of today The Working Class Symphony. Founded in 2010 in Surakarta, a couple of good friends (one a drunk and the other a musician!) were working in an internet cafe listening to Irish pub song compilations and inspired by the music it sparked up the idea to get together with some other friends and play similar music. When this became a solid group shortly afterwards it was then decided that they take the name The Working Class Symphony.

 

BERDIRI BERSAMA

We just the other day came across both of these releases at the same time and though they are separated by just a week we thought we’d feature both together. The first track is ‘Berdiri Bersama’ and is sung in Indonesian. A tale of unity through adversity and togetherness. The music is straight up Celtic-Folk and with strong, clear and passionate vocals from Ican, who also plays a mean tin-whistle. With the song meandering off into folk the Bhoys bring it back and chuck in some drums and electric guitar and the song suddenly takes a more upbeat sound. Catchy as hell and utterly brilliant!

A long road to accompany
Every step of footing
with friends spend the night
singing and laughing happilyForget all the
important differences we can keep together
when we toast To
enjoy a pleasant bright night

Break the barrier, get
rid of all the differences,
here we stand together
we continue to work

Break the barrier Remove all the
obstacles
here we stand with
us I will continue to work,You, him and them
together, face the world hard,
unite, determination, keep on going,
to keep guarding each other

Break the barrier, get
rid of all the differences,
here we stand together
we continue to work

MEMORIES

The second track is this time sung in English and ‘Memories’ is also soaked in Irish whisky and tradition. The talent on display here is incredible from fiddle to accordion to the more usual ‘punk band’ instruments. A virtually acoustic band that kicks up more of a storm than most ‘proper’ punk bands do… and sung in near perfect English this time.

So there you have it a couple of cracking folk tinged Celtic-Punk songs from one of the best bands going. The good news just continues though and you can get these songs as a ‘Name Your Price’ download. This means if you are short then you can get them for free. Yes for bugger all!! Some of you may be a bit skint but we’d ask you to remember that Indonesia is a poor country and these guys need the support of the worldwide Celtic-Punk scene to keep the music flowing so chuck them the price of a Guinness or two if you can. Their goal in all this is to make music that is uplifting for others and their is surely nothing as noble as that. God Save The Working Class !!!!!

Download  Track 1 Track 2 

Contact The Working Class Symphony   Instagram  Facebook  YouTube  Bandcamp

ALBUM REVIEW: STEVE IGNORANT’S SLICE OF LIFE- ‘Don’t Turn Away’ (2019)

‘Anarcho punk legend’ Steve Ignorant returns with his new acoustic project Slice of Life follow their 2014 debut ‘Love And A Lamp-Post’ with a new collection of eleven songs titled ‘Don’t Turn Away’. Accompanied by Carol Hodge, Pete Wilson and Pete Rawlinson as the Slice Of Life our man Anto Morra discovers Don’t Turn Away may be mellow, but the emotions and feelings are definitely not…

ABOUT STEVE

Steve Ignorant is a singer/songwriter and artist. He co-founded the anarcho-punk band Crass with Penny Rimbaud in 1977. After Crass stopped performing in 1984, he worked with other groups including Conflict, Schwartzeneggar, Stratford Mercenaries, Current 93, and US punk band Thought Crime, as well as occasional solo performances. Steve is also a wood sculptor and volunteer on the Sea Palling Independent Lifeboat, has written his autobiography –All The Rest Is Propaganda- and has worked as a traditional Punch and Judy performer using the name Professor Ignorant.

In 2007 he performed Crass’s entire Feeding of the 5000 album live at the Shepherds Bush Empire and throughout 2010-2011 presented The Last Supper, touring/celebrating the songs of Crass around the globe, ending with a farewell gig at Shepherds Bush Empire in November 2011. In 2013 Steve and Paranoid Visions decided to record an album. The result ‘When …?’,  a hybrid of styles, all with a nod to early 80s anarcho-punk. They now perform live on special occasions. Steve is now performing with his new band Slice Of Life. A far cry from the aggression of Crass, nevertheless compelling with powerful songs delivered in an acoustic style.

Debut album Love And A Lamp-post was released on Overground records in late 2014, surprising many with its honesty and change of style for Steve. A new bassist followed in early 2015, along with new songs and extensive touring all over the UK, as well as dates in Finland, and festival slots at Rebellion, Wickerman and Something Else A Bit North.

The opening title track tells you exactly where Steve Ignorant is coming from, if you don’t all ready know.  A bloke that just wants to walk his dog Evie in a better and more just world than the one run by the ‘dodgy toupee’ wearing war mongers we have at present.  ‘Your Day Will Come is’ a beautifully aggressive delivery to ‘Bully boys & laddies’ that take joy in acts of sadism that Karma will come for them. Oh, how I hope he’s right!

‘The Right Way’ is a joyful rant from the perspective of the pig-headed male we’ve all met down the pub, and occasionally as we get older, believe we may have become.

(“Anyone that has suffered a loss or has to deal with depression and/or despair YOU are not alone”)

I’ll apologise if I have misinterpreted what is being said in the next song ‘S.A.D.’ but it felt to me like quite a cathartic out pouring of grief with an advisory instruction to get bereavement counselling of any sort if required! Steve’s delivery, the backing and melody on this song brought to mind David Bowie, Lou Reed and even a touch of Leonard Cohen.

‘Slaughterhouse’ is a return to the short sharp shock 100% punk Mr Ignorant is known and loved for.  A message to assert yourself, read between the lines and make sure you believe before you commit. ‘The Story Continues’ is a lyrical punch in the guts. Tragically beautiful, depressingly true and perfectly said. ‘Song For Myself’ is a bleak celebration of getting to an age that you’re expecting the bells to toll for you, but hoping they’ll continue to ring out for you instead so you can enjoy home comforts and having another pint. ‘Diffrability’ a statement of what set him apart from the rest.  I think the one word missing in this song is integrity. ‘Stretford Blue’ is a dig at all those that have become masters of marketing revolution,  those Punk icons that have become the very corporate Hippies they told us not to trust. ‘Good Intentions’ this record just gets better. A melody we’ve heard a million times before but with a lyric so refreshing and courageous.  I can’t think of any other artist that could approach the dangerously sensitive subject of gender politics in a song today and treat it with such balance, gentleness and anger in equal measure. ‘Whistle Down The Wind’  the perfect closing track calling us to arms in order to protect our world, our rights and the values we have to hold on to because ‘This is our world’.

Well that’s the lyrical content dealt with. Musically it can be summed up very briefly as beautifully sparse, classy and clever arrangements with fantastic performances and musicianship by all concerned.

Much the same can be said of the sonic quality.  The production values are also second to none.

I don’t get a lot of time to do reviews these days but when the opportunity came up to review Steve Ignorant’s Slice Of Life’s new album I couldn’t resist.  As I get older I become less forgiving and many of the singers and bands I really looked up to, have become very stale and turned out to be complete arseholes and continue to scratch a living from nostalgia! So that is what gives Steve Ignorant ‘Diffrability’.    Back when I was a youngster Crass were vital, scary and not remotely commercial or easy to listen to.  I was more in love with the idea of them and the graphics they produced, than the music they made and would be much more likely to put Elvis Costello or Stiff Little Fingers on my turntable.

I think Honey Bane’s ‘A Big Piss Off To The Music Buis’ EP was the only record on the Crass label that got played regularly by my teenage self.  I loved it and am pleased to say I still have my original copy.

Steve Ignorant is still fighting the good fight and, unlike almost all of his contemporaries, has not sold out by continuing to tour or churning out the same stuff he was doing 40 years ago.

My older self loves nothing more than hearing songs about stuff that matters and this ticks all boxes. It’s Sleaford Mods meets Dr John Cooper Clarke, for Southerners and The Streets for people bored of those Hip Hop beats.

When I look at the Music Industry today and those Punk pioneers of radical change, it’s like it never happened! So I’m kind of delighted that Steve Ignorant is still here to prove it did happen. It was important and there was much more too it than loud music, screaming, leaping up and down and gobbing at each other  even if that was what was a lot of fun when we were young.

Buy Don’t Turn Away  CD- FromSteve  CD/LP-OvergroundRecords

Contact Steve Ignorant’s Slice Of Life  WebSite  Facebook  Instagram  Twitter

Don’t Turn Away is released on Overground Records which gives us a nice chance to plug Rock’n’Reel ,run by the indomitable Sean Magee, who occasionally works for Overground. It’s the UK’s best selling eclectic music magazine featuring all manner of Roots, singer-songwriter, Folk, Rock, World and Blues since 1988.  WebSite  Facebook

AUGUST EPISODE OF THE CELTIC PUNKCAST #29 OUT NOW

Well here in the UK the sun came out with a vengeance burned everything in sight and has now disappeared since. Typical Summer weather for us in fact. The good thing is the TV keeps promising us a scorching month so we will have plenty of opportunity for some good auld fashioned moaning! Stay happy in the heat with this months Celtic Punkcast. Follow the link below for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world.

Stream live or download to listen to later and enjoy!

Hey everybody, welcome to the August 2019 show, hope everyone is keeping well and is ready to listen to some great music from 5 different continents and countries as diverse as Australia, The USA, Brazil, Indonesia, Canada, Finland, Germany, France, Scotland and Ireland. This month features a listeners choice, and it’s from Matthew Dodd and a whole heap of kick arse songs. Track list is below.

Check back later in the month for an extra episode of The Celtic Punkcast where we will be featuring an extra special edition celebrating the 10th Anniversary of London Celtic Punks with a bunch of hand picked tracks from the London Celtic Punks Disc Jockey extraordinaire Greenford Bhoy.

THE McMINERS – ‘County Cross’

CAPTAIN TRACTOR – ‘Up The Hill’

CATGUT MARY – ‘Shag On A Rock’

CUTTHROAT SHAMROCK– ‘Down On My Luck’

FLOGGING MOLLY – ‘Salty Dog’

THE O’REILLY’S AND THE PADDYHATS – ‘Boys On The Green’

ALESTORM – ‘Shipwrecked’

 

Listeners Choice by Matthew Dodd:

THE IRISH ROVERS – ‘The Orange And The Green’

THE BLOODY IRISH BOYS – ‘Going Back To Ireland’

DROPKICK MURPHYS – (F)lannigan’s Ball

 

CELKILT – ‘The Best I Can’

THE DIRTY GLASS – ‘Good Morning Eli’

REDHILL RATS – ‘Older’

THE PORTERS – ‘We Call It Punk’

BENNY MAYHEM – ‘Bulwer Street Waltz’

COCKSWAIN – ‘Come Have A Drink With Me’

FINNEGANS HELL – ‘Shane MacGowans Grave’

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

THE CELTIC PUNKCAST #29

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

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

REMEMBERING HUGH THE GREAT O’NEILL IN SONG

Concluding our short series on celebrated figures from Irish history immortalised in song. Today is the turn of Aodh Mór Ó Neill (anglicised as Hugh The Great O’Neill), 3rd Baron of Dungannon and 2nd Earl Of Tyrone.

For our third and final part of the series we have opted for a song that is an instrumental but one whose air is as well known as any in Irish history. The song was rediscovered by the great Seán Ó Riada who was the single most influential figure in the revival of Irish traditional music during the 1960’s before his untimely death at 40 in 1971. Subsequent investigation shows it first appeared in Edward Bunting’s A General Collection of the Ancient Music of Ireland in 1809 and an earlier version titled ‘O’Neill’s Riding’ was included in Stanford’s Complete Collection Of Irish Music in 1787.

(the legendary Cork born composer and arranger of Irish traditional music Seán Ó Riada performs ‘O’Neills Cavalry March’)

Born in 1550, Hugh O’Neill (Aodh Mór Ó Neill) was the second son of Mathew Ceallaigh the illegitimate son of Conn Bacach O’Neill who had submitted to Henry VIII in 1542 and was regranted his lands with the English title 1st Earl of Tyrone.

Mathew Ceallaigh had been murdered by his half-brother Shane the Proud O’Neill who also drove the elderly Conn out of Tyrone and into the Pale in 1559 where he died not long after. Mathew had two sons, Brian, recognised by the crown as the next earl, and his younger brother Hugh. Shane the Proud had by now, in the tradition of his Gaelic ancestors, resumed the Celtic title The Ó Neill and is suspected of having Brian O’Neill murdered close to Newry whilst he was en route to London to assume the title of Earl. The English, fearing also for the life of the young Hugh removed him to the safety of London. Hugh was reared from the age of nine as an English noble in London until 1567, when he was returned to Ireland and placed in the safekeeping of the Lord Deputy of Ireland Sir Henry Sidney.

(the most ambitious project relating to Hugh O’Neill is the 2018 concept album Nine Years Of Blood released by Dublin folk-metal band Cruachan, pronounced ‘kroo-a-khawn’)

In 1568 Hugh was declared Baron of Dungannon and then in 1585 he was also declared 2nd Earl of Tyrone by Elizabeth I. He was to all intents and purposes a loyal and trusted servant of the Crown. He aided the English during 1580 in the suppression of the second Desmond rebellion and supported Sir John Perrot in his campaign against the Antrim MacDonnells in 1584. For this he was rewarded by Elizabeth I when in 1587 he was granted a patent to his grandfather’s Tyrone properties which were now controlled by his cousin Turlough Luineach who styled himself The Ó Neill.

(Godfathers of Celtic-Punk Horslips took the tune and put it to their 197? hit ‘Dearg Doom’)

In 1593 Turlough stood down as the chief of the clan thereby allowing Hugh to be invested with the title The Ó Neill. The ceremony was performed in the traditional way and on the sacred stone at Tullaghogue in 1595 witnessed by all the major Ulster clans. For some years prior to his inauguration, Ó Neill had played a cat and mouse game with the English.

(One of the truly great exponents of the art of playing the Uilleann pipes Paddy Keenan on his 1983 album Poirt an Phíobaire)

In 1591 he had eloped with 20 year old Mabel Bagenal the sister of Sir Henry the Marshall of the queen’s army. He helped arrange the escape from prison of Red Hugh O’Donnell along with Art and Henry MacShane O’Neill. Unfortunately Art froze to death during the escape in the winter of 1591 and the others were led to safety by Feagh MacHugh O’Byrne. Ó Neill had at first aided the English in their 1593 campaign against the Maguires of Fermanagh. The English were led by Hugh’s resentful brother-in-law Bagenal. Hugh Maguire was Ó Neill’s son-in-law and when Ó Neill suddenly withdrew his support Bagel was left dangerously exposed.

By 1595 O’Neill was to commit his first act of resistance to the English when he overran the fort at Blackwater and destroyed the bridge. This is the first event in what is known as the nine year war. From this time O’Neill perfected a system of conscription that included the richest noble to the poorest peasant. This new force was known as bonnachts and he had them trained in modern warfare. Even his gallowglasses laid down their great axes in favour of the arquebus. Ó Neill then defeated English armies led by Bagenal at Clontibret in 1595 and at the Battle of The Yellow Ford in 1598 where Bagenal was killed. Queen Elizabeth sent over the biggest English army to enter Ireland. Though it numbered 17,000 men led by Robert Devereux the Earl of Essex, it was to prove ineffectual and in 1599 Essex made a treaty with O’ Neill which was not to Elizabeth’s liking and she replaced Devereux with Lord Mountjoy.

(Scottish legends Silly Wizard perform O’Neills Cavalry March from So Many Partings)

In 1601 Mountjoy was able to capture the Spanish army sent to help O’Neill at the town of Kinsale. After the Battle of Kinsale it was a turning point for O’Neill. English forces were spoiling the lands in Ulster and causing starvation there. Hugh O’Donnell had left for Spain to try for more help but died there suddenly. Recognising that his cause had failed O’Neill sought a pardon and in 1603 Elizabeth ordered Mountjoy to open negotiations with all the chiefs involved in the rebellion. She died in the interim but Mountjoy concealed this from O’Neill.

Accompanied by Rory O Donnell, brother of Red Hugh, O’Neill presented himself to the new King James I. The Irish were received graciously and O’Neill was confirmed in his title and estates. However, back in Ireland the government continued to challenge O’Neill’s authority, particularly over his feudal rights the principle dispute being over the O’Cathains. In 1607 he decided to take this to the King but was warned secretly that he was to be arrested. Instead of going to London, O’Neill and O’Donnell, along with their families and followers numbering around 99 people took ships from Rathmullan in Donegal and were driven by strong winds into the Seine. This event would become known as the Flight of the Earls. The Earls and their families made their way over land to Rome where they were welcomed in 1606 by the pope. King James saw this flight as treasonous and O’Neill was declared an outlaw in 1613 by the Irish parliament.

A tablet set in the floor of the church of San Pietro, Montorio, marks the burial-place of the bones of Hugh O’Neill, Earl of Tyrone.

The parliament of Ireland outlawed O’Neill in 1613 and he later died in Rome on 20 July 1616 leaving behind a large number of legitimate and illegitimate children. Hugh O’Neill was buried in the church of San Pietro in Montorio, beside his son, also Hugh, Baron of Dungannon, and his brothers-in-law, Rory and Cathbarr O’Donnell. The inscription on his tomb is brief and was recorded by the historian, Father C.P. Meehan in 1832. During renovations to the church in 1848 the tombstones bearing the epitaphs of the Baron and O Donnells were carefully set in place again but the flagstone bearing the inscription on O Neill’s tomb was lost and a replica set in place at the behest of His Eminence, the late Cardinal Tomas O Fiaich, bearing the original inscription, can now be seen. The inscription reads

“D.O.M. HIC QUIESCENT UGONIS PRINCIPIS O NEILL OSSA”

Translated, it reads, “HERE LIES THE BONES OF HUGH O’NEILL, PRINCE or CHIEF

  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING FIACH MacHUGH O’BYRNE IN SONG  here
  • REMEMBERING RODDY McCORLEY IN SONG  here

REMEMBERING FIACH MacHUGH O’BYRNE IN SONG

The second in our series on celebrated figures from history immortalised in song and covered by both Folk and Celtic-Punk bands. Today we turn to the great Irish hero of Fiach MacHugh O’Bryne one of the greatest leaders in Irish history.

Memorial to Fiach McHugh O’Byrne, Glenmalure, County Wicklow

The song ‘Follow Me Up To Carlow’ recounts the struggle of Irish clan leaders against British rule in Ireland in the 16th century. The central figure in the song is Fiach MacHugh O’Bryne (1534 – 8 May, 1597) who fought the British army for thirty years during the reign of Queen Elizabeth I. The song celebrates his feats in battle and though thought to be from the time it was actually written 200 years later by famed Irish poet Patrick Joseph McCall, who also wrote the great patriotic ballads ‘Boolavogue’ and ‘Kelly The Boy From Killane’ among others. The song ‘Follow Me Up To Carlow’ is one of the most famous Irish folk songs and celebrates the defeat of the English army at the Battle of Glenmalure in 1580.

Lift MacCahir Óg your face brooding o’er the old disgrace
That black Fitzwilliam stormed your place, drove you to the Fern
Grey said victory was sure soon the firebrand he’d secure;
Until he met at Glenmalure with Fiach Mac Hugh O’Byrne.

Chorus:
Curse and swear Lord Kildare
Fiach will do what Fiach will dare
Now Fitzwilliam, have a care
Fallen is your star, low
Up with halbert out with sword
On we’ll go for by the Lord
Fiach MacHugh has given the word,
Follow me up to Carlow.

See the swords of Glen Imayle, flashing o’er the English Pale
See all the children of the Gael, beneath O’Byrne’s banners
Rooster of a fighting stock, would you let a Saxon cock
Crow out upon an Irish rock, fly up and teach him manners.

From Saggart to Clonmore, there flows a stream of Saxon gore
O, great is Rory Óg O’More, sending the loons to Hades.
White is sick and Lane is fled, now for black Fitzwilliam’s head
We’ll send it over dripping red, to Queen Liza and the ladies.

Fiach MacHugh O’Bryne (Fiach Mac Aodh ÓBroin) was the son of the chief of the O’Byrnes of the Gabhail Raghnaill. His sept, a minor one, claimed descent from the 11th century King of Leinster, Bran Mac Maolmordha, and was centred at Ballinacor in Glenmalure, a steep valley in the fastness of the Wicklow mountains. Their chiefs styled themselves as Lords of Ranalagh. The territory of the Gabhail Rabhnaill stretched from Glendalough south to the Forest of Shillelagh in Wexford and west to the borders of present day Co Carlow, an area of some 150,000 acres. Resenting the greed and cruelty of the Elizabethan adventurers and settlers, Fiach would raid their villages and kill or drive them out. He was appalled at the ruthless cruelty of the stewarts Thomas Masterson and Sir Henry Harrington and in 1580 went into open rebellion when Masterson summarily executed many Kavanagh clansmen.

(Perhaps the greatest ever version of ‘Follow Me Up To Carlow’ by the legendary Planxty included here with lyrics to sing along to)

Other clans joined with Fiach and when James Eustace, 3rd Lord Baltinglass, angered by the treatment of the Catholic Old English also rebelled and joined with him. The English were appalled at this, already Munster was in turmoil as the Earl of Desmond was in rebellion and in the north the O’Neills were moving also against the English.

(The song as covered by new north London Irish folk group Crock Of Bones on their debut EP ‘Nasty, Brutal And Short’. Incidentally the singer was named after Hugh O’Bryne)

An army of 3,000 men were sent into the Wicklow Mountains but O’Byrne and Eustace were waiting for them in Glenmalure. Over 800 English lost their lives at the Battle of Glenmalure and the rest fled back to Dublin. The following year the English offered terms, Eustace refused and fled to Spain but Fiach and the other clan chiefs accepted and were pardoned.

(Irish-American band The Young Dubliners from California performed one of the earliest Celtic-Punk versions of the song)

In 1592 Hugh Roe O’Donnell, with brothers Art and Henry MacShane O’Neill escaped from Dublin Castle. The breakout had been planned with the help of Hugh Mór O’Neill and the escapees fled to the safety of Glenmalure. It was a severe winter and Art died from exposure and was buried in O’Byrne land but Fiach was able to transport Hugh Roe and Henry away to safety.

(The Tan And Sober Gentlemen from Snow Camp, North Carolina)

The English spent a long time collecting heads and plundering, they spared few. In April, Russell again went hunting for Fiach who once again escaped. His wife Rose however was captured and sentenced to be burned to death. The sentence was not carried out.

(Jim McCann’s version was the first time I ever heard ‘Follow Me Up To Carlow’ when he bought me this album on tape when i was on holiday)

Lord Deputy Russell was to spend the next year unsuccessfully scouring the country for Fiach. However O’ Byrne’s luck was to run out. A traitor in his camp gave information to Russell that Fiach would be in Ballinacorr on 8th May 1597. The Lord Deputy was able to surprise him and captured him in a cave. There he was hacked to death and decapitated with his own sword.

(folk-metal version titled The Marching Song Of Fiach MacHugh from Irish band Cruachan)

Fiach MacHugh O’Byrne’s corpse was cut up, and for months hung on pike staffs on the wall over Dublin Castle drawbridge. Several months later, the pickled head was presented to the council secretary at London by an English adventurer, who was disappointed to find that the head-silver due on O’Byrne had already been paid in Ireland. The queen was said to have been greatly angered that

“the head of such a base Robin Hood was brought solemnly into England”.

(There’s no better way to end this article than with my own personal favourite and the version by Dublin Celtic-Punk band Blood Or Whiskey)

  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING HUGH THE GREAT O’NEILL IN SONG  here
  • REMEMBERING RODDY McCORLEY IN SONG  here

REMEMBERING RODDY McCORLEY IN SONG

A short series exploring some of the figures from history immortalised in song and covered by all your favourite Folk and Celtic-Punk bands. You’ve sung the song but do you know the rich history behind the words? Today we celebrate Roddy McCorley, a young man executed back in 1800. He has been immortalised in both the written word and song and 200 + years after his death we are still here celebrating his life with the many versions of the great song written about him.  

The Rody McCorley Memorial, Toome. “I gcuimhne Ruairí Mhic Thoirealaigh, a chrochadh annseo as a bheith páirteach i nÉirigh-Amach 1798. Iad siúd a d’éag ar son na hÉireann go mairidh a gcliú go deo.” “In memory of Rody McCorley who was hung here for his part in the 1798 uprising. May the honour of those who died for Ireland last forever.”

Roddy McCorley was the son of a miller and was born near Toome in the parish of Duneane, Co Antrim. and was a participant in the 1798 rebellion led by the United Irishmen. A few years before the rebellion Roddy’s dad was executed for stealing sheep. These charges are believed to have been politically motivated in an attempt to remove a troublesome agitator at a time of great social unrest. Following his father’s execution, his family were evicted from their home. There is uncertainty as to whether McCorley was actually actively involved with the Presbyterian United Irishmen or the  Catholic Defenders.

(the version that brought the song back into Irish folklore)

After the rebellions defeat, he joined a notorious outlaw gang known as Archer’s Gang, made up of former rebels and led by Thomas Archer. Some of these men had been British soldiers (members of the Irish militia) who changed sides in the conflict, and as such were guilty of treason and thus exempt from the terms of amnesty offered to the rank and file of the United Irishmen. This meant that they were always on the run in an attempt to evade capture.

(The Dubliners version in their own inimitable style as sung by Ciaran Bourke) 

These were treacherous times and Roddy McCorley paid the price when betrayed by an informer he was arrested and tried by court martial in Ballymena on 20 February 1800. He was sentenced to be hanged “near the Bridge of Toome” in the parish of Duneane. His execution was carried out on 28 February 1800. His body was then dismembered and buried under the gallows, on the main Antrim to Derry road. A letter published in the Belfast Newsletter a few days after McCorley’s execution gave an account of the execution and how McCorley was viewed by some. In it he is called Roger McCorley, which may have been his proper Christian name.

“Upon Friday last, a most awful procession took place here, namely the execution of Roger McCorley who was lately convicted at a court-martial, to the place of execution, Toome Bridge, the unfortunate man having been born in that neighbourhood. As a warning to others, it is proper to observe that the whole of his life was devoted to disorderly proceedings of every kind, for many years past, scarcely a Quarter-sessions occurred but what the name of Roger McCorley appeared in a variety of criminal cases. His body was given up to dissection and afterwards buried under the gallows…thus of late we have got rid of six of those nefarious wretches who have kept this neighbourhood in the greatest misery for some time past, namely, Stewart, Dunn, Ryan, McCorley, Caskey and the notorious Dr. Linn. The noted Archer will soon be in our Guard-room.”

In 1852, McCorley’s nephew Hugh was foreman of the construction of a new bridge across the River Bann at Toome. Hugh recovered his uncle’s body and on 29 June 1852, buried him at Duneane parish graveyard.

(one of the best recorded versions of the song by American folk legends The Kingston Trio)

See the fleet foot host of men
That speed with faces wan,
From farmstead and from fishers cot
Along the banks of Bann,
They come with vengeance in their eyes
Too late too late are they.
For young Roddy McCorley goes to die
On the bridge of Toome today.

Up narrow street he steps
Smiling, proud and young.
About the hemp rope on his neck
The golden ringlets clung
There was never a tear in his blue eye,
Both sad and bright are they,
For young Roddy McCorley goes to die
On the bridge of Toome today.

When he last stepped up that street,
His shining pike in hand,
Behind him marched in grim array
A stalwart, earnest band.
For Antrim town, for Antrim town,
He led them to the fray,
And young Roddy McCorley goes to die
On the bridge of Toome today.

There was never a one of all your dead
More bravely fell in fray
Than he who marches to his fate
On the bridge of Toome today.
True to the last, true to the last,
He treads the upward way,
And young Roddy McCorley goes to die
On the bridge of Toome today.

Ethna Carbery

Roddy’s role in the 1798 rebellion was passed down by word of mouth and it was in a poem/song written 100 years after the rebellion by Ethna Carbery that he was claimed to have been one of the leaders at the Battle of Antrim. The song was published in 1904 two years after Ethna’s death as part of a collection of poems titled The Four Winds Of Erin. Despite this lack of evidence Roddy McCorley became a major figure in nationalist-republican martyrology due to this song. Recently evidence has been unearthed by historian Guy Beiner as to his involvement in the rebellion that had been hidden due to the change in the  Presbyterian faith from nationalist to unionist. 

(as with everything Irish music related their is always a link to the great Shane MacGowan)

The song was re-popularised in the 1950’s when it was recorded by giants of the Irish folk scene The Clancy Brothers and Tommy Makem and The Dubliners. In the folk music revival of the 1960’s it was recorded by the The Kingston Trio and many more up until Shane MacGowan and The Popes recorded a version for The Snake in 1994 and it’s popularity has blossomed since then being recorded by several bands with in the Celtic-Punk scene with a knowledge of their history and roots.

(the latest version as recorded by Irish-American band The Templars of Doom on this years Hovels Of The Holy album)

The Roddy McCorley Society   Irish Music Daily  Irish Folk Songs

( there’s even a Psychobilly version from the great psycho German band Pitmen!)

  • If the tune is familiar but not the song that may be because the melody for Roddy McCorley was recycled in 1957 for the more familiar song ‘Sean South Of Garryowen’.
  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING HUGH THE GREAT O’NEILL IN SONG  here
  • REMEMBERING FIACH MacHUGH O’BYRNE IN SONG  here

SINGLE REVIEW: CAPTAIN JACK’S ARMY- ‘Dance Together’ (2019)

Swedish band Captain Jack’s Army take in influences from Celtic-Rock, Swedish and American Folk, Ska, Reggae and just about every other genre that is guaranteed to put a smile on peoples faces. ‘Dance Together’ is the first of four singles coming our way this year so expect energetic, foot stomping anthems where smiling is contagious.

When the time Is right and you starting to grow
It’s time for you to step In to the zone
When your life has turn and you not feeling old
No time for you to sitting alone
Cause when the day turns to night and your life Is going, and
you trying to get over what you lost
It’s time to let go and reach for the sky

(chorus)
We Better dance together

Drink It up it’s time, time for the show
No turning back, let’s hit the floor
Bring It back and start moving your feet
The night Is yours just follow the beat
Cause when the day turns to night and your life Is going, and
you trying to get over what you lost
It’s time to let go and reach for the sky

Formed in 2011 in Linköping in Sweden five close friends came together with an idea to start a new band they could have fun with. All were involved in local punk and metal bands and the idea was to try something different from what they were used to playing. Having realised they were all big fans of the Dropkick Murphy’s and Flogging Molly it became obvious the direction they wanted to take. So it was that Captain Jack’s Army came into existence as a tribute band playing songs from the Murphy’s and the Molly’s. They band played their first gig in March of 2011 in Norrköping and having gone down an absolute storm they knew their next step must be to change focus from being a covers band to being their own band and go all in with Captain Jack’s Army. The following couple of years saw them build up both a decent following and also a solid reputation for their exciting live gigs. Having played the tribute circuit for a couple of years they finally got their first release under their belts with the One For All single which was soon followed by the Royal Arms EP which led to successful tours of Germany and the Czech Republic.

In 2015 the band mirrored that of their idols the Dropkick Murphys when they were approached to write and produce a song for the Linköping Ice-Hockey Club that would be used in the arena at every home game. The song ‘Drömmar gror vid Stångebro’ is still strongly associated to the city of Linköping and has racked up more than half a million streams on Spotify. Band members have come and gone, as they tend to do with Celtic-Punk bands, but the core of the group has remained and stayed true to the ideals that they had in the first place. In 2017 a couple more releases followed, including a Christmas song in Swedish called ‘Julen’ where four members alternated singing the verses for the first time. At home they have supported internationally known fellow Swedish Celtic-Punk band Sir Reg many times as well as other scene giants like The Rumjacks and Street Dogs. Which brings us up to 2019 and after successful returns to Czech Republic and Germany, to play the Hörnerfest Festival in Hamburg, the band decided to put out another EP with the novel approach of releasing one song at a time. After ‘Dance Together’ will be the original Captain Jack’s Army compositions ‘Insane’, ‘Say My Name’ and ‘Sail Away (With Me)’ songs that gather in many diverse influences but still keep the essence of Captain Jack’s Army. Today’s release ‘Dance Together’ is a happy-go-lucky tune which really does fulfil all the promises they make about getting you up on your feet and smiling. With seven members of the band backed up here on trumpet (which always accompanies Celtic-Punk really well I always think) the sound is full and the combination of Celtic and Ska is a real winner. Pär’s vocals are clear and just the right side of raspy and pure Rock’n’Roll while the band chime in and help with the ‘Whoa Oh Ohs’ during the chorus. Keep an eye on us or Captain Jack’s Army for the future releases. The four songs that will make up the EP promise, and will deliver I am sure, songs to make your arses move and dance to the groove.

That’s what Captain Jack’s Army is all about. Let’s just Dance Together.

Contact Captain Jack’s Army WebSite  Facebook  Spotify  YoutTube  Instagram

ALBUM REVIEW: THE DISINCLINED- ‘Sing’ (2019)

The debut album from South-West Londoners The Disinclined, ageing purveyors of folky, punky, gypsy tales.

The debut album from The Disinclined comes hot on the heels of their debut single, Sing And Create, which we gave the thumbs up to last December on these pages. Both the tracks from then are re-recorded here and if anything have been improved upon with a much better production. The Disinclined were formed in 2014 after being recruited to do a few covers at a 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 around South-West London especially Kingston. They’ve all been in many diverse sounding bands since the mid/late 80’s with Dave and Tim playing together in This Wind Thing and Vicious Hippy till they 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. These days 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 here on Sing they have delivered an album that is chock-a-block full of them.

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

The album begins with ‘Death Is Just A Consequence’ and the unusual sound of the melodica starts a mournful dirge that is soon livened up with a ska beat and chugging guitars and a nice fast pace. It’s a wind instrument with a small keyboard on top that when blown into that makes a sound pitched half where between harmonica and clarinet. Next up is ‘We Have To Pretend To Be Zombies’ with a cool 60’s vibe to it and The Disinclined show that lyrically they can write both clever and tongue in cheek.

“Management is the source of our ills / Compulsory fun. And we have to look thrilled / Idiotic and dumb, they’ve forgotten to think / And the theory they have has started to stink / She turned to me and said / “Have you seen ‘Sean of the Dead’? / We have to pretend to be Zombies” \ Zombies….”

Next is one of their signature tunes ‘For The Good Of Us All’ and its at this point that you realise that even though they may flit from genre to genre they somehow manage to still make it sound like The Disinclined. Quite a feat for a band that manages to avoid any sort of pigeonholing.

( an early version of ‘For The Good Of It All’ recorded at The Cricketers, Kingston)

Rocky and punky in parts and a real toe-tapper as the song morphs into ‘Urban Hermit’ and the first appearance of trumpet and fiddle gives the song a real bite. In fact they are looking to introduce a full time fiddle player into their sound so if you’re interested then get in touch with them. The song is played at a slowish pace with touches of Eastern Europe and the sound is layered upon sound making this my favourite track from the album. A real slow burner of a song that builds and builds into something grand before slowing right down again. Next up is a re-recorded version of ‘Create’ from the 7″. This song has appeared in several forms but every time they take it away and fiddle with it it comes back better than before. The ska beat is back but not of the happy, giddy sort that gets on your wick! ‘No Thanks’ has a certain Anarcho-Punk influence and the, as ever, interesting lyrics speak of the selfishness of man I think.

The Anarcho influence appears again on ‘Just Us’ and the song has some outstanding guitar

“Take your chance and count the cost / Roll the dice, your fingers crossed / See who’s won and see who’s lost / Who’s left standing when the music stops / Who’s left standing when the music stops \ Just Us! Just Us! Just Us! Just Us!”

Time now for the other song from the 7″ to get a re-working and ‘Sing’ again adds something so much more to the original version. Beginning with drums and some crunching bass lines from Matt before Tim joins in with the melodica again and one of the catchiest songs here that I was hoping would explode a bit more but just keeps itself in check. ‘Sing’ is pretty damn catchy and Tim’s laid back vocals fit perfectly (they are The Disinclined after all) as the song builds and builds while the lads still manage to sound super laid back about it all. We are coming towards the end and ‘Jack’ is another great song telling of a ‘lothario’ and what happens when the looks and the charm inevitably fade. This brings us onto what could be called their signature tune and 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 ‘Disinclined To Acquiesce’ is clever and intelligent music and Sing takes in a multitude of influences from far and wide, from punk to gypsy folk and thrash metal to prog rock, moulding them into some very catchy pop music.

Sing was released just a couple of weeks ago and was recorded at Gravity Shack in London with Jess Corcoran as engineer and producer. The vinyl album is a joy to behold and looks absolutely beautiful with some stunning artwork from good friend of the band Keith Slote. It’s a great album that will appeal to people, and not just fans of the band, on many levels. The different styles and influences loaded onto Sing take nothing away from the band who still manage to make everything sound so natural. For those fans of the band they will be extremely pleased that the songs they recognise from live sets are not just replicated but even bettered but I think Sing is well worth taking a punt on for anyone and sit back and enjoy!

(you can stream Sing on the Bandcamp player below before you buy it!)

Buy Sing  FromTheBand

Contact The Disinclined  Facebook  Bandcamp

The official record release gig for Sing is next Thursday at The Fighting Cocks. One of London’s best venues if you have never been before you in for a treat! The Fighting Cocks is at 56 Old London Road, Kingston KT2 6QA. Trains from Waterloo, Clapham and Vauxhall and only a short walk from Kingston station. Admission is a paltry £3 and the evening kicks off at 8pm. Support is from SUCKIN’ DIESEL a new traditional Irish music group headed by Brendan the lead singer from local Celtic-Punk favourites The Lagan. Featuring yer man himself and anyone else he can round up in the meantime. Kicking off the night will be Kingsley Beat. Made in Madchester. Raised in Acton. Generated by Beats. Mad for Melody, Melody Mad. Facebook event here.

JULY EPISODE OF THE CELTIC PUNKCAST #28 OUT NOW

The Summer is almost here and any day soon the sun will be splitting the pavements while we all moan about hot it is and start praying for rain. Not though The Celtic Punkcast where every day is a scorcher! Follow the link below for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world.

Stream live or download to listen to later and enjoy!

G’day again everyone, back again with another podcast. July already! This year is halfway in the books and there’s some great music coming out from across the globe. Great show again this month, with Canadian band The Stanfields being the featured artist and some new tunes from a few bands as well. Let’s dive into the song list.

KILMAINE SAINTS – ‘Quick March’

THE DREADNOUGHTS – ‘Poutine’

THE PUBLICANS – ‘Dublin Stagg’

THE YOUNG DUBLINERS – ‘We The Mighty’

CAPTAIN JACKS ARMY – ‘Just Dance’

ORTHODOX CELTS – ‘I Wish You The Very Worst’

THE KREELERS – ‘Saints And Sinners’

 

FEATURED ARTIST: THE STANFIELDS

‘Fight Song’

‘The Road To Guysborough’

‘Ship To Shore’

 

THE RUMPLED – ‘Grace O’Malley’

BLACK TARTAN CLAN – ‘Standing Strong’

SYDNEY CITY TRASH – ‘Aiming To Sin (Unscrew The Whiskey)’

GYPSY VANNER – ‘South Australia’

THE MUCKERS – ‘Let’s All Go To The Bar’

FIDDLERS GREEN – ‘One Fine Day’

THE TOSSERS – ‘Aye Sir’

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

THE CELTIC PUNKCAST #28

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

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

CLASSIC ALBUM REVIEW: VARIOUS ARTISTS- Rebel Voices. Songs Of The Industrial Workers Of The World

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The Industrial Workers of the World blazed a path in American history and its influence is still felt widely today. The ‘Wobblies’ and music were interwoven helping to build morale, promote solidarity and lift the bleak spirits of the working-class during the bleakest days of American history. Here are twenty of those songs that can still lift our spirits decades later.

Welcoming into the union those that others shunned, the Wobblies from the start were the labour movement’s pioneers and innovators, unionising hundreds of thousands of workers previously regarded as “unorganizable”. The Wobblies, the name given to members of the IWW, at their peak in 1917, numbered near 200,000 but state repression, competition from other unions and the inevitable split led to a decline in membership that has seen this once great organisation become a mere shadow of itself. The IWW organised the first sit-down strike (Schenectady, 1906), the first major auto strike (Detroit, 1911), the first strike to shut down all three coalfields in Colorado (1927), and the first ‘no-fare’ transit-workers’ job-action (Cleveland, 1944). With their imaginative, colourful and world-famous strikes and free-speech fights, the IWW wrote many of the brightest pages in the annals of working class history.

Wobblies also made immense and invaluable contributions to workers’ culture. All but a few of America’s most popular labour songs are Wobbly songs and IWW cartoons have long been recognised as labour’s finest and funniest.

The IWW’s Use of Music

In their struggle to promote these politics, the IWW was a singing union. In the period between 1910-1960 the songbook ‘The Little Red Songbook’, which is still in print, was regarded by many workers as one of their most beloved possessions besides, of course, their red IWW membership cards. The songbook was one of the most important documents and its songs were sung in numerous situations: around hobo campfires, in boxcars, in Wobbly halls, in the streets, on picket lines, at strike rallies, in court, on the way to jail and in jail. The songs were a crucial aid in recruiting new members, and they were important in building a sense of fellowship and in keeping spirits up in hard situations. Paul Garon writes in his book ‘What’s The Use Of Walking If There’s A Freight Train Going Your Way? Black Hobos And Their Songs’ that a mixed group of hobos sitting around a campfire would be more likely to sing Wobbly songs than Blues, Country or Vaudeville songs. This tells us something about the popularity these songs enjoyed.

from ‘Music And The IWW: The Creation Of A Working Class Counterculture‘ by Rudolf TB

Rebel Voices. Songs Of The Industrial Workers Of The World was released on Flying Fish Records formed in the 70’s by Bruce Kaplan. Use to releasing left field folk music the label had split from the more famous Rounder Records who were more reluctant to release leftfield albums like this compilation. The presence of Utah Phillips looms large here. A combination of activist, organiser, songwriter, singer, and storyteller, there are few performers who can put across a song such as ‘The Two Bums’ as well as he could.

The album also combines its participants into various small groupings and a big ensemble finale, an idea that works just as well in an album sequence as it has on many folk festival stages. There are several numbers originating with Joe Hill, needless to say, but also a grand Malvina Reynolds cover by Faith Petric and a terrific take on the classic ‘Hallelujah, I’m a Bum’ by Bob Bovee. Besides delivering its intended messages, this collection also puts the spotlight on some fairly unknown performers in a context that brings welcome thematic strength and emotional power to their work.

Rebel Voices is an amazing collection of stories and songs, that gives a perfect history of working people. The songs call for solidarity is as relevant today as it was when the songs were originally written. The music provides a feeling of being connected, and makes you want to sing along. No matter what your interest, but especially if it’s the history of the labour movement, this is a wonderful and thought-provoking collection of music.

Tracks
1. Preamble to the IWW Constitution
2. Organizer – Jeff Cahill
3. Little Red Hen – Faith Petric
4. Which Side Are You On? – Bob Bovee
5. Two Bums – Utah Phillips
6. Banks of Marbles – Fred Holstein
7. Put It on the Ground – Marion Wade
8. Popular Wobbly – Eric Glatz
9. Song of the Rail – Mark Ross
10. Hold the Fort – Bruce Brackney
11. We Have Fed You All a Thousand Years – Bruce Brackney
12. Ain’t Done Nothing If You Ain’t Been Called a Red – Faith Petric
13. Hallelujah, I’m a Bum – Bob Bovee
14. Boss – Utah Phillips
15. Preacher and the Slave – Jeff Cahill
16. Mysteries of a Hobo’s Life – Mark Ross
17. Stung Right – Fred Holstein
18. Jo Hill’s Last Will – Kathy Taylor
19. Mr. Block – Utah Phillips
20. Power in the Union

The Wobblies impact has reverberated far beyond the ranks of organised labour. An important influence on the 60’s New Left, the theory and practice of direct action, solidarity and ‘Class-War’ humour have inspired several generations of activists and are a major source of ideas and inspiration for today’s too. Indeed, virtually every movement seeking to “make this planet a good place to live” (to quote an old Wobbly slogan), has drawn on the IWW’s incomparable experience. The songs here are from the twentieth century but their relevance to current times invites us to explore the conditions that inspired their creation. In the face of oppression, these songwriters bravely took a stand. Such courage and heroism is immortal, such heroes should be celebrated and their songs can and still do lift our spirits.

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* many many thanks to Zero G Sound for their invaluable help on this album and others in the Classic Album Review series. We have no rivals only friends so be sure to go check out their fantastic site here

 

ALBUM REVIEW: FIDDLER’S GREEN- ‘Heyday’ (2019)

The year is 2019 AD. Musicland is occupied by casting show idols, faceless plastic pop and declining music sales. Well, not entirely… one small band of musicians still hold out. For almost 30 years, Fiddler’s Green have been at the forefront of the resistance. How you say? Playing rocked-up Irish music as a German band!!

Formed in Germany in 1990, Fiddler’s Green have recently released their latest album Heyday. This is their 14th studio album since their inception. As if that wasn’t a massive achievement, they have also released a further five live albums, one EP and four DVD’s during the same period earning them the reputation as one of the best live acts in Germany. They must be one of the hardest working bands on the scene. Heyday was released earlier this year and contain a total of 15 crackin’ tunes.

“This is not an anthem

This is a real rebel song

This is not an anthem I know i’m right and you are wrong

We don’t need your story ‘Bout death or glory

Nothing you believe in

The good old ways

In the bad old days

That’s nothing

Nothing we believe in”

As accordionist Stefan Klug reminisces

“The so-called rebel song is an integral part of Irish culture, and if you want to combine Irish-influenced music with a statement, it’s natural to write a contemporary rebel song. Aside from that, the Irish also cultivate the tradition of drinking songs, which we also feel very close to”.

Fiddler’s Green self-proclaim their music as ‘Irish Speedfolk’ which is a pretty accurate description. Heyday is full of high tempo whiskey infused folk songs from start to finish. Their musical style is fairly unique and I was finding it difficult to draw comparison to other bands within the genre. This of course is a good thing. A few stand out tracks on the album are ‘One Fine Day’, ‘The Freak Of Enniskillen’, ‘Heyday’, ‘Limerick Style’ and ‘Steady Flow’. The pace is slowed down a little on ‘Together As One’ and ‘Better You Say No’ however these are still two excellent tracks. The band is currently made up of: Ralf ‘Albi’ Albers on vocals, acoustic guitar, bouzouki, mandolin and banjo, Pat Prziwara on vocals, electric and acoustic guitar, bouzouki, mandolin and banjo, Tobias Heindl on violin and vocals, Stefan Klug on accordion and bodhran, Rainer Schulz on bass and Frank Jooss on drums and percussion.

“Cheer up! Cheerie up, the worst is yet to come Cheer up!

Cheerie up, you shall overcome Cheer up!

Cheerie up, ’cause you’re nobody’s fool

It can only get worse, so buck up, play it cool!”

Fiddler’s Green have a very well-established reputation in Celtic Punk / Folk / Speedfolk scene which has been earned through consistent hard work. Here you get fifteen songs lasting forty odd minutes. As long as they keep churning out albums of the same quality as Heyday they can look forward to a bright future also. With Heyday sitting pretty at #7 in the German album charts as I write this then Fiddlers Green can rightfully claim to be one of Germany’s most successful bands. Stefan reminisces again about the band early days.

“Of course we notice what’s happening around us, and there are lots of struggling musicians. We were really fortunate in gaining more and more success over time”

Keep up the good work and hopefully we will be able to catch a show in the UK sometime soon.

Buy Heyday  From The Band

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EP REVIEW: CALLUM HOUSTON- ‘Gravities’ (2019)

Acoustic Alternative Folk Rock.
Made in Bretagne. Inspired in Ireland.

I first became aware of Callum Houston a few years ago when I was spending another rainy day off work trawling through YouTube and settling again on a couple of hours of videos of my new favourite band The Graveyard Johnnies. Watching away further evidence if it was ever needed that I have indeed turned into my Grandad was my eyes were drawn to their awesome guitarist Callum’s tattoo of an Irish harp on his arm. Grandad could spot an Irish connection at 100 yards and could name any famous person with even the smallest of Irish roots. Not many will know this but my BIG love besides Celtic-Punk is Psychobilly which is the bastard love child of both Rockabilly and Punk and The Graveyard Johnnys are that rare thing in the Psycho scene of being a young band but also massively popular, headlining most of their gigs. Not one to keep this to myself I rushed off a message to the band and found out that indeed Callum was Irish but was also living in Brittany and allied to that The Graveyard Johnnys were based in south Wales it makes them probably the most Celtic band in existence!

Born in Bristol before his family washed up in Carrigaline in Cork when young Callum was the tender age of 4 his formative years were in Ireland before a move back to England at 15 and then a return back to Ireland to Dublin to study Irish music. As he says

“Cork will always be home, it’s not where your born it’s where you grow up and learn about life.”

Callum was back again in England when he read The Graveyard Johnnys were a guitarist down so Callum jacked in his job and moved to Wales, sleeping on the floor in the band practice room for five months till he found somewhere to live. These were wild times with the Johnnys touring non stop all over Europe and it was on one of these tours whilst playing in Paris that Callum met his partner. They would go on to have a child and he moved to Paris to join them. He began playing regular solo gigs in Paris many Irish bars as well as busking on the Metro to earn a living. Later on they moved to Brittany where the standard of living is better (and cheaper!) and the where the culture is very similar to that of Ireland. The Breton people are very proud of their Celtic roots and Callum felt at home. He now performs regularly throughout Brittany and France playing anywhere from Irish bars to Bistros to street corners as well as jetting back and fourth to Wales to play with the Graveyard Johnnys.

Gravities is Callum Houston’s debut release and the striking photo on the sleeve of the EP is not actually of a young Callum at all but of his Grandad on the Houston family farm in Donegal. The record begins with the title track and while their are only slight signs of the Rock’n’Roll and Irish folk that Callum usually plays you can hear in these original compositions how he manages to make his living playing Irish ballads around the bars of Brittany. Here he takes a more contemplative turn and the lyrics like the music are thoughtful and clever. Their may be none of the urgency associated with the music that Callum usually plays but that’s not to say its soft or throwaway. It may be gently played acoustic music but it comes with more than a edge of something a lot harder. Callums acoustic guitar is aided by banjo and what sounds like a cello making a great combination that would more than sound at home across both a busy pub or a quiet intimate bar. These are the kind of songs that cut across the noisy chatter of a pub and demand attention. ‘Sink Or Swim’ takes a similar route and again that menacing edge to it keeps it from sliding completely into the folk section. Callums voice with its gentle Cork lilt is perfect for this and you can see why he’s made a success of playing solo gigs. Catchy and upbeat and perfect for them toe-tapping moments.

On ‘Euroline’ the tale is of travelling back and forth across Europe, of times spent waiting and waiting for trains and coaches. Told with humour and played with gusto the song again hits the spot and over four minutes is allowed plenty time to develop. In fact at fifteen minutes the four songs here fly past much quicker than you may expect and on ‘City Of Lives’ the EP comes to an end with the records standout track. At times dark and slow and menacing before busting into life as a catchy foot stomper.

Gravities was mixed and mastered by Jacky Cadiou At The Movies Studio, Brest and was released at the end of last month. It’s available on download and also as a compact disc that comes with a few free gifts and is only €5. So about a quid a song! Having grown up listening to traditional Irish music and spending most of his adult life touring across the world with Punk and Country bands Callum has developed a unique and original style. A talented songwriter and musician and with fans spanning genres from punk to trad folk it would be a shame if this record somehow fell into the mid way ground between them.

(you can stream Gravities on the Bandcamp player below for free but it’s only £4 to download so put your hand in your pocket Celtic-Punkers!)

Buy Gravities  FromCallum

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EP REVIEW: CROCK OF BONES- ‘Nasty, Brutal And Short’ (2019)

Alt Folk, Irish, Trad, Celtic.

The debut release from Crock Of Bones the newest band on the London Irish Folk and Trad circuit. 

I first met the Brothers Byrne oh maybe twenty odd years ago. Having not long moved to London from the northern wastelands I was surrounded by Irish at home but the only ‘proper’ Irish I knew were everyone’s Mam and Dads so I was in no way prepared for quite how Irish London was back in the early 90’s. Every pub and street corner seemed on loan from the Emerald Isle itself and as I slowly immersed myself into the London punk scene I found that was no different either. Every band seemed to have an Irish connection and with any Celtic-Punk scene years off it was down to the punk scene for this plastic paddy 2nd gen Irishman to get his kicks. Living in Hackney back then punks were ten’a’penny and it was impossible to just take a wander up to the shop without bumping into someone you knew and their was a good chance that person would be Irish! Among the bands active in north London at the time that were mixing up Irish folk and punk were The Daltons, Brassic Park and Under The Gun but the best of the bunch were Pitful Of Ugly. Featuring Hugh and Mike (the Brothers Bryne) and their drumming Kiwi bus driver mate Jason they played loads round Hackney, especially at the famed Acton Arms, home of punk rock in London for a few years around 1995. Pitful Of Ugly played a few of their own songs in among some classic Irish folk songs and tunes that the Bhoys speeded up and tampered with. It was great stuff (so it was!) and though very popular they didn’t quite get the breaks to take them out of the Hackney punk ghetto. Fast forward a few years and every now and then I’d bump into the Bros. and even bought a CD of Hugh’s new band The Obscuritones, a rockabilly group he was playing guitar in. Next thing I heard was recently when I received a email from a new band LOCKS and there was Mike with his double bass. Once again I was suitably impressed (they are well worth checking out by the way!) and we fell back in contact. So that was it until Mike starting dropping subtle hints about a new project I would be interested in and 2019 has seen it unveiled as the traditional Irish folk band Crock Of Bones and needless to say their record of being in bands I love shows no danger of being overturned!!!

So not having strayed far from Hackney in the intervening years Crock Of Bones were born this year in North London and Nasty, Brutal And Short is the bands debut release. The Bros call it “a description of the Irish we first made friends with when we emigrated to London”. The rest of the groups members, whose backgrounds stretch back to 90’s celtic-punk, gypsy jazz, dark folk and rock, include a fellow member of LOCKS, Marian McClenaghan on fiddle, Jim Wharf from the band Red Eye on banjo and guitar  and Lost Revellers Caitlin Roberts on accordion alongside Hugh on lead vocals, guitar and fiddle and Mike on double bass.

Crock Of Bones- Mike Byrne, Marian McClenaghan, Hugh Byrne, Caitlin Roberts, Jim Wharf.

So with a pretty diverse line up what is the new approach that Crock Of Bones can bring? Well as Hugh says

“This time we’re using traditional instruments, fiddle, accordion, banjo, guitar and double bass and three vocals to get the same energy and power as we used to get from distorted guitars.”

and their is a certain unpolished feel to it all and when I say that I in no way at all mean that in a bad way. What I mean is that it’s universally agreed that Irish music is best played down the pub and in that environment a certain amount of ‘ramshackleness’ is not just tolerated but actually required to give it that authentic feel. The five songs here swing from ballads to full-pelt foot-stompers and though their trad numbers are well played its their original numbers that that impressed me the most.

The Nasty, Brutal And Short EP kicks off with the first of the original numbers ‘Just One Of Those Things’ and its a slow swirling number with fiddle and accordion leading the way while Hugh sings of lost love. He’s got a great voice and the Dublin accent now also has a wee bit of a Cockney twang about it! Next up is one of the best songs ever about the Irish on this side of the Irish sea. Written by Ewan MacColl (no stranger at all to these pages!) and made massively popular among the Irish diaspora chiefly by The Dubliners and then The Wolfe Tones. The song tells of the comical goings on among a gang of Irishmen digging the road up in Glasgow and laying the ‘Hot Asphalt’. Somewhere along the way a policeman falls in a pot of boiling asphalt and the gang cover up his death! Played in the same style as the Dubs the song is quick and catchy and dare I say it as almost as good a version as I have heard but for the best version of all time then check out New York cities 1916 and their version here it’ll knock yer socks off!

“‘Tis twelve months come October since I left me native home
After helping them Killarney boys to bring the harvest down
But now I wear the gansey and around me waist a belt
I’m the gaffer of the squad that makes the hot asphalt”

Following this is the EP’s second original number ‘Ferry’ and anyone of a certain age will remember the trip back and forth to Ireland on the ferry from Fishguard or Holyhead over to Ireland in the Summer. Packed to the absolute rafters like cattle we ran around like maniacs till we collapsed on the floor and slept in corridors while our Mams and Dads sat in the bar drinking and, depending on whether we were coming or going, talked of Ireland in either glowing or disparaging terms. Hugh writes a great lyric here about a long distance relationship about a couple saying goodbye at the ferry terminal. It’s a sad mournful song that comes to an end with the great line “waiting for a voice on a landline telephone”. Next they kick up a bit of a storm with two tunes cobbled together nicely ‘Cooley’s Reel/Mountain Road’ and I love these kind of instrumentals. Owing a lot to The Dubliners they are as catchy a tune as has ever been written in music and if you’re looking for full-pelt foot-stompers then this and the EP’s closing track, ‘Follow Me Up To Carlow’, are the ones for you. An old song celebrating the defeat of an army of 3,000 English soldiers by Fiach MacHugh O’Byrne (any relation?) at the Battle of Glenmalure in 1580. The air dates back to then and the words to Patrick Joseph McCall in 1899. Its a great rousing rebeller and Crock Of Bones give it plenty of oompf and i recommend looking up the words as theirs not many more… err… ‘descriptive’ Irish songs and it’s a glorious joy to be belting them out at the top of your lungs believe me!

(You can stream Nasty, Brutal And Short on the Bandcamp player below before you invest your hard earned in this great wee release)

So an amazing addition to the London Irish scene and well worth the cost of the download. The band have plenty of expertise about them but as I said it’s just the right side of being not too professional and it’s all the better for it. This is the same music our Mams and Dads once listened to in smoke filled boozers packed with fellow immigrants a generation or two back but Crock Of Bones have given it a subtle modern twist and the energy and passion is self evident. Be sure to check them out live in concert around London.

Buy Nasty, Brutal And Short  FromTheBand

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THE RUMJACKS LIVE IN LONDON- ACOUSTIC SESSIONS

In February 2019, The Rumjacks arrived in London town at the You Tube Space Studio in Kings Cross, and recorded a set of stripped back acoustic versions from their back catalogue. Where once the band would have been at home among the dirt and grime of Kings Cross station where untold amount of Scots disembarked over the years with little more than the clothes on their back it’s now a shiny gleaming soulless example of the new London. The songs were drip fed to us one at a time over the course of the next ten Fridays and here we present them all together. The recordings are now available for download across the usual platforms, links at the bottom.

The Black Matilda

Plenty

A Fistful O’Roses

Bar The Door Casey

My Time Again

Cold London Rain

Kathleen

The Leaky Tub

The Bold Rumjacker

Barred For Life

Director / Producer – Phil MacDonald * Director of Photography – Archie Guinchard * Sound Engineer – Paddy Fitzgerald * Editor – Phil Macdonald

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EP REVIEW: 6’10- ‘Where We Are’ (2019)

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 back in 2014. Gerard Melon discovers life isn’t just circle pits and spitting on sweaty crowds. Here’s a band that is a little more laid back and thought provoking.  

So here we have it, a new EP of six original tracks from Chicago’s 6’10. Many of you will know this band as Tobin from Flatfoot 56 ‘s side gig. This EP follows on from 2014’s The Humble Beginnings of a Roving Soul, and Flatfoot’s Vancouver Sessions where some of the band’s best tracks were reworked utilising traditional instruments and giving the tracks a more ‘folky’ sound. 6’10 were created by Tobin to explore the musical influences that he grew up with, folk, Americana, bluegrass and other ‘traditional’ styles of acoustic music. There aren’t really any other band members, more like regular collaborators and then specialist instrumentalists. This all leads to a more laid-back sound compared to Flatfoot, but still with the heart that we would expect from them.

 It kicks off with an ‘intro track’ of Tobin singing solo and with no instrumental backing called ‘The Old Man’. It’s a gentle introduction to the EP with the song being about an old man who wants an audience for his songs. Up next comes ‘Nam’, a livelier tune that probably would fit in on a Flatfoot album (and after all the waffle I spouted in the first paragraph!!!). It’s (obviously?) about Vietnam and tells the story of a nineteen-year-old getting drafted and sent out to fight; he wins a medal but is shunned when he comes home. (Dunno if his name is John Rambo!) Next up is ‘It’s All Been Said Before’, which has a very singalong catchy chorus, but this betrays the seriousness of its message, which basically is telling us to look at things from other people’s points of view instead of just repeating what’s been said before. Next up is ‘The Isle’, a cracking track which has religious undertones and gives Tobin’s voice a great work out. It’s very upbeat and the message (of redemption?) is very uplifting. For me personally, the next track ‘The Promise’ is the standout track of the six (don’t get me wrong they’re all top quality!) but this one is a real gem. It starts with a slide guitar sound that instantly brings you down south (think of the movie Southern Comfort), it’s very atmospheric as it builds up to the vocals first from Tobin and then Vanessa and then both together with the music gradually growing. It’s a love song that I can’t do justice to with writing, so I will just say listen to it! The final track is ‘Just Say Hi’ and it’s a two hander with Tobin and Vanessa singing a ballad about a man who needs to be more decisive if he is going to win a girl’s heart. It has a very intimate sound, just a guitar and the two singers as if it was recorded at home and not a studio, this adds to its appeal and is a warm sound to close out the disc.

This is a cracking little release from Tobin and his friends, that carries-on the great work from the first album. It’s a shame that it is only six tracks (including intro) because I’m sure we all would have welcomed more. I would definitely recommend buying it and encouraging a few live performances on this side of the pond. You can get it through the 6’10 Facebook page where you can also see what they’re up to.

(you can stream Where We Are before you buy it on the Bandcamp player below)

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ALBUM REVIEW: 13 KRAUSS- ‘Redención’ (2019)

Spanish Celtic-Punk band 13Krauss may be part Dropkicks and another wee part Molly’s but 100% Celtic-Folk-Punk!

Redención is the third studio album (all independent releases) from Zaragoza based Celtic-Punk band 13Krauss. They were delivered kicking and screaming on 8th December 2012 and a year later they released their first demo Atlántida (available here for free download) which they followed up later that year with their debut album Seguir En Pie, which went on to to garner some great reviews from around the worlds Celtic-Punk media. This album was succeeded by The End Is Nigh in and again was met by universal acclaim from the scene and even went on to reach the dizzy heights of #17 in the London Celtic Punks Best Of 2016 awards. Not bad at all in a year when all the big hitters of Celtic-Punk released album’s. The band were formed as a straight up, heads down Punk-Rock band but after attending a concert by the legendary Real McKenzies it was decided to spice things up a bit and with the addition of accordion, fiddle and bagpipes a new Celtic-Punk band was set to hit the streets!

The album kicks off with ‘Dark Times’ and from the very start its fast and energetic Celtic-Punk but still tuneful. It’s a punk of course but Viktor’s banjo leads the song from beginning to end in a way that reminds me a bit of English band Mick O’Toole. 13Krauss tend to slip between English and Spanish in their songs and they do again on Redención with the majority in Spanish but Mario’s vocals are clear as a bell and Punky enough for the music too. On ‘Verte Perder’ Mario is joined on vocals by Pimen Tonazo from the Catalonioan band Milenrama for a punk rock duet and again the energy is in yer face! The pace they set only lets up briefly for the next track ‘Maggie Dickson’. The first release from the album back in March.

The song begins with some amazing fiddle from Guillermo with an Eastern European feel to it before the band kicks in and Mario tells the tale of the execution by hanging of poor Maggie. A cracking song that is one of the album highlights and even includes a bit of local flavour too showing that 13Krauss are not one trick ponies. We love to see bands taking in from influences from home and they are at it again on the next track ‘Años Perdidos’ which includes a nice bit of manic country style fiddle. They need to hang onto Guillermo he is one of the best fiddle players in Celtic-Punk I think. On their first album they were done and dusted in just over twenty minutes while on The End Is Nigh they expanded to just under thirty minutes and I have always thought they have rushed things along too much. Here though they have got the balance perfect with no compromise with the pace of the songs with nearly the whole lot played at breakneck speed but with plenty of room for them to be expanded on and the great news is that with the added depth to the songs they still never get tired. They leave the punk behind now for ‘Love At First Gig’ and a humorous look at a punk rock love affair and a song with its tongue firmly in its cheek with a Hillbilly/C’n’W tune that again shows some real quality in the musicianship of 13Krauss. Outstanding! With ‘Mary Tempestad’ we are back again in Celtic-PUNK territory and the albums longest song. Where once this would have flown by the Bhoys take their time and the song is another album standout. The album’s only cover has been well chosen and is a staple of Celtic-Punk bands around the world and for a good reason as ‘Star Of The County Down’ lends itself very well to being ‘punked’ up. Here the song is of course done brilliantly and I’m sure is a real crowd pleaser when played live. They slow it down again now for ‘El Sendero’ and while I cannot tell you what they are singing about I can tell you it is sung and played with passion and is one of them songs for raising a pint to the air and holding onto your nearest and dearest tightly. The bagpipes from the earlier releases are missing on Redenciónbut the album doesn’t suffer for it as on ‘Voces Quebradas’ where the dual sound of banjo/fiddle more than makes up for its absence. Gang vocals rule and here is a great example of them on my favourite tune here. We are heading towards the end and so far their hasn’t been a single weak song with ‘Mil Pedazos’ another standout kicking off with SLF style guitar before settling into a catchy Celtic influenced punk number before the curtain is brought down with perhaps the Dropkick Murphys influenced ‘Sinners & Liars’. The intro to the song anyway as before too long the song shoots off into traditional Irish folk and what I can say except a song you can well imagine Luke Kelly belting out with The Dubliners.

As usual in Celtic-Punk is it possible for the more folky fans to appreciate Redención and the answer is yes. I may have made it sound like Hardcore Punk but as fast as it is it is always accessible and catchy and the folk is always to the forefront in both melody and instruments. A great album that captures both the essence of Celtic music while never losing their Spanish identity and both work extremely well together. They may have once appealed more to fans of the Dropkicks but as they have progressed through their career 13Krauss have never towed the line and continue to do their own thing and that includes moving away from the more obvious DKM/Celtic-Punk sound to something that is both original and utterly brilliant!

(you can stream Redención on the Bandcamp player below before you buy it!)

Buy Redención  FromTheBand  (Download/CD)  iTunes

Contact 13Krauss  Facebook  YouTube  Bandcamp  Twitter  Instagram

Act I: Slow Down

Act II: Don’t Feed the Goblin

Act III: En mi Ataúd

ALBUM REVIEW: SETH MARTIN AND THE MENDERS- ‘Live At No Country: An Introduction To Seth Mountain’ (2019)

Our close friend TC Costello has toured all over the world and spent quite some time in Korea so he was the perfect person to put pen to paper on the new album from Seth Martin that fuses Americana and American Folk with traditional Korean music. 

Singer, songwriter and folklorist based Seth Martin has been honing a rare sound for the last decade, travelling back and forth between between his native US and adoptive home of South Korea, absorbing Korean traditional music into his already rootsy American sound.  For some time, he’s been hosting shows throughout Korea where he’s strummed his banjo and guitar alongside musicians playing traditional Korean instruments, all while leading bi-lingual singalongs. He works for Seong Mun-Bakk Mountain school, a Korean traditional music school in the mountains nearby Seoul.   He’s even taken his primary school-aged students on a tour of America’s Pacific Northwest.
One of the most memorable nights of music I had in Korea was a concert he organised with his students and some local, mostly American, folk musicians in Seoul.  His students performed, Pansori, Korean drum-and-vocals storytelling music and and samul nori, Korean drum music, which sounds a bit like 100 bodhrans caught in a thunderstorm! We foreign folkies played songs from our backgrounds.  I did some American tunes, an Irish immigration ballad, and tried a Gypsy-Punk reworking of a Korean indie hit.  These shows he organised brought together people of different ages and backgrounds who would otherwise never meet, let alone end up performing alongside one another.  At these occasions, Martin created a melting pot of folk music that was unlike anything else in the massive capital city.

the great Pete Seeger

On the third of May this year, on what would have been Pete Seeger’s 100th birthday, Martin  released a live album, Live at No Country: An Introduction to Seth Martin, and I could imagine no better introduction to Martin nor a more fitting tribute to Mr. Seeger.
The album starts with the Korean folk song ‘Bird, Bird, Blue Bird,’ a lament on the death of Jeon Bung-Jun, a farmer who became a rebel leader in 1894 during  time of growing Japanese influence – though 16 years before Korean became a proper colony – It’s a complicated political situation that I don’t care to get into now. ‘Bird, Bird, Blue Bird’ is a song I’ve known for a few years, but had no idea it was about Mr. Jeon. That’s because much of Korean folk music is heavy in nature metaphors.  Martin fully embraces nature metaphors in his English songwriting on this album, too. The gentle lament features Martin on Banjo and Kim Jungeun on Janggu, an hourglass-shaped traditional Korean drum, as well as a chorus of vocalists. Contrasting with the mellow opening track is Martin’s jaunty rendition of ‘Motion of Love’, set to the tune of the American folk song, ‘Shady Grove’. It is mediation on wanting all the narrators actions to be fore the good of all mankind, a motion of love.  It’s originally by Bill Jolliff and is inspired by John Woolman, a 19th century Quaker, anti-consumer and abolitionist (someone who wanted to end slavery in America as soon as possible). For me, the highlight of the song is a nearly two-minute breakdown during which Martin only bashes out only one chord on banjo with with whooping and hollering that would put Shane MacGowan to shame.  The instrumentation features Kim Jungeun again on Janggu and Zoë Youngmi Blank on violin.

Next, Seth performs a medley of two introspective love songs: ‘I Still Love You’ and ‘Pushmipullyou’. After that, he grabs a another song from Korea’s tragic history with a rendition of ‘Mother, Sister (Let’s live by the River)’ – I added the brackets.  The song was by Kim Sowol, a famous – and famously hard-to-translate – Korean poet and journalist who worked during the Japanese occupation, and he seems to have taken his own life at the age 32. He follows Kim’s poem with the original anti-war song, ‘Feeling so Cold’, telling of a soldier returning home after seeing, and indeed committing, unspeakable wartime atrocities. While it seems to fit the narrative of an American soldier returning after the Korean War or a Japanese solider’s return after the occupation, Martin says it’s not specifically about Korea, though “it fits certainly in that narrative.” After the heavy subject matter, Martin follows with a an another song about returning home, though not without darkness. ‘Winding Down’, is a reflection upon return home and seeing familiar roads, mountains and rivers.

True to Mr. Seeger on his birthday, Martin provokes a full audience sing-a-long, both with ‘da da da’, and the simple refrain of

“I am winding down my old road again. I am winding down.”

True to the theme of nature metaphors, he speaks of the old river:

“And old river, old river, can you still make things new?

And old river, do you remember all the things i said I’d do?”

Next, on ‘Children of Sod’, Martin sings what he describes as “A love Song to the Tancheon River” in Korea.  He asks at the beginning and end of the song:

“Don’t we all feel better when

The smell of dirt clings to our skin

Pervades us, loves us

And waits for us to ask it to come in?”

‘The Ballad of Eric Gardner’ channels the likes of Woody Guthrie, Phil Ochs, and of course Pete Seeger with a song about Eric Garner, famously choked to death by a New York City police officer after he was allegedly selling cigarettes illegally.  In a hard-to-listen-to but powerful song, Martin sings:

“After Garner stopped resisting, well the cops just stood there watching

they picked his pockets and they rolled him on his side

Several minutes slowly passed

EMTs they came at last

No CPR, they said he still was breathing then

An hour later Garner’d never breathe again”

With ‘Looking for the Leatherwinged Bat’, in a shocking reversal of nature metaphors, Martin takes an old English Folk song about different species of birds’ courtship rituals, and takes most of the birds out of the song.  Instead it becomes a less-than-flattering walk through an America consumed by corruption poverty and pollution, replacing the birds with such characters a bigoted billionaire,  a police officer harassing kids and “the dog at the top of the pile.”

Martin follows this with ‘If I Had my Way’, by Blind Wille Johnson:

“If I had my way

If I had my way

If I had my way, oh lodry, lordy.

If I had my way, I’d tear the whole thing down.”

The closing number of the live show is medley of ‘Arirang’ and ‘Rooster’. ‘Arirang’ is by far the most popular folk song in Korea.  There are countless variations of the song, and Martin uses a version known as ‘Lonely Arirang’, which he describes as

“a celebration of the relationship between the Korean people and the Korean landscapes that have sustained them for millennia.”  But for a more global appeal, Martin calls the song “a challenge to all listeners to not forget this unity that comes from an ancient relationship to the land.”

‘Rooster’ is an original instrumental and, without getting too much into music theory,  has a melody that fits remarkably well with Korean traditional music. The jaunty banjo and “Yap-da badabum” singalong are hard to not smile to.

Following his live album are some songs recorded around Korea, and highlights include Utah Phillips’ ‘Trooper’s Lament’, based on Phillip’s time in the Korea, and ‘God Bless The Grass’, originally by Malvinia Reynolds, which keeps to the nature metaphors:

“God bless the grass that grows through cement.

It’s green and it’s tender and it’s easily bent.

But after a while it lifts up its head,

For the grass is living and the stone is dead,

And God bless the grass.”

Live At No Country: An Introduction To Seth Martin will easily be one of the most unique albums you’ll hear this year.  Many foreign musicians in Korea learn some Korean music while over there, myself included. But with me, It’d be a Korean folk song or a Korean punk cover in the middle of my more-Western set, and I’d describe as nothing more than a Westerner’s version of a Korean song. With Live At No Country, Martin fuses his command of American folk with his love of Korean folk to create something new. This album, while inspired by the old and traditional music, is truly a new and original experience.

(you can stream Live at No Country: An Introduction to Seth Mountain on the Bandcamp player below)

Buy Live at No Country  Bandcamp

Contact Seth Martin  Facebook  LastFM  Bandcamp  YouTube

You can catch TC Costello live at the moment over here in the UK as he is doing a bunch of dates with his friends The Brandy Thieves as well as a load of solo dates including a special London Celtic Punks show at The Lamb in Surbiton in SW London. TC will be supported on the night by Suckin’ Diesel a new traditional Irish folk band featuring current and auld members of The Lagan and headed by Lagan front man the mega talented Brendan O’Prey. All happening on Monday 17th June live at the best boozer in the area The Lamb just a couple of minutes walk from Surbiton station which is only 20 minutes from Waterloo. Live music begins at 8pm and ends at 11pm. Entrance is **FREE** you lucky devil’s so you can spend more on the lovely beer on sale at The Lamb.

More details available over at the official Facebook event here.

For TC’s other dates then go check on his Facebook page here.

JUNE EPISODE OF THE CELTIC PUNKCAST #27 OUT NOW

Despite internet problems out there in the Outback our good friend Gareth is back with another of your favourite Celtic-Punk podcasts. Follow the link for over an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from around the world.

Stream live or download to listen to later and enjoy!

Hi again everybody, welcome back to the Celtic Punkcast. Unfortunately I was a bit late getting this episode out due to circumstances beyond my control but hopefully you’ll think this months show is worth the wait because there’s some killer music in this one, including some new tracks from some European artists and the return of Listeners Choice. Track list is below and don’t forget i’m selling t-shirts and stickers on Facebook too.

SELFISH MURPHY – ‘After Crying’

THE PORTERS – ‘The Rising Of The Moon’

THE FATTY FARMERS – ‘The American Dream’

BLOOD OR WHISKEY – ‘Time Over Time’

FLATFOOT 56 – ‘Penny’

THE CLAN – ‘Rebel Town’

THE RAMSHACKLE ARMY – ‘One Tree Hill’

 

LISTENERS CHOICE – ERIN KELLY

Celtic-Punk listener, Hockey lover, GB Packer aficionado, and crazy cat lady!

DROPKICK MURPHYS – ‘I’m Shipping Up To Boston’

THE REAL McKENZIES – ‘Stephens Green’

RAISE MY KILT – ‘The Wild Rover’ 

 

AMADAN – ‘Another Brass Rail’

CRAIC THE LENS – ‘Play White Noise’

PIPES AND PINTS – ‘Fist Of Defiance’

THE LUCKY TROLLS – ‘Dirty Old Jack’

BLACK RAWK DOG – ‘Shine And Fun’

THE DRINK HUNTERS – ‘Warriors Soul’

FLATCAPS AND FISTICUFFS – ‘Royals’

Thanks for listening, much more to come!

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

THE CELTIC PUNKCAST #27

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

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

ALBUM REVIEW: PIPES AND PINTS- ‘The Second Chapter’ (2019)

One of the best known, most popular and most travelled bands in the the Celtic-Punk scene Pipes And Pints from Czech Republic are back with their third album and a radically different sound!

Pipes And Pints are definitely one of the better known Celtic-Punk bands around so it was a bit of a shock when I sat down to do this review that I realised The Second Chapter is actually only their third album release. Their debut album Until We Die coming out in 2009 and the follow up Lost And Found in 2012. So what have the Bhoys been doing during that time? Well the answer is of course touring. One of the busiest bands in the scene a moment never seemed to pass at one point that I don’t see a tour poster packed with Pipes And Pints dates invading my FB timeline. They even made it over to these shores a few times with performances at Rebellion festival and a rather unfortunate (but still pretty damn amazing!) St. Patrick’s Day London Celtic Punks show at Mannions in Tottenham when the tube network went down and their was travel chaos in London like I had never seen before at that time.

Formed in Prague in 2006 the guy whose inspiration got Pipes And Pints started on the road was the self taught bagpiper Vojta Kalina. He had dreamt of a band that would make Punk and Folk its home in equal measures with the idea of combining all the elements of good old fashioned Rock’n’Roll and Punk with the sound of some glorious Highland bagpipes. This combination served them well in the early days as they played all over Europe and at Europe’s biggest alternative music festivals. The pipes were an integral part of their sound and they were not just a punk band with a piper tacked onto them. Their first release, a Demo, back in 2007 took the punk rock sound to the extreme and won over legions of fans at home while their first single the self titled EP from the following year contained the track ‘City By The Sea’ (here) which went viral across the scene and, until The Rumjacks and their multi-multi-million viewed ‘An Irish Pub’, was one of the most watched Celtic-Punk videos on the internet. This set the scene for their debut album and they celebrated the release of Until We Die with a tour that took them across Europe, Russia and the UK for the next two years. This version of the band featured Californian Syco Mike on vocals who had scrapped plans to return home from Austria and moved to Prague with only his dog Tequila to his name just to join them.

Pipes And Pints left to right: Vojta Kalina- Highland Bagpipes * Ondra Balvin- Bass * Travis O´Neill – Lead Vocal/ Banjo * Lukas Vincour- Drums * Ivo ‘Rafan’ Traxmandl – Guitar

The second album Found And Lost was recorded with well known Californian producer Darian Rundall (Pennywise/ US Bombs/ Suicidal Tendencies) and again the heavy sound of the band didn’t neglect Vojta’s bagpipes. Released towards the end of 2012 the album was very well received by both fans and critics alike winning many awards back home and universally applauded within the Celtic-Punk scene too. The years of touring took their toll and following some band changes including Mike moving back to the USA the group took a two year hiatus before returning. The first signs of life of the new Pipes And Pints was the release of a video for ‘Raise Our Flag’ in November 2017 and featured the new voice of the band in Travis O’Neill a singer/songwriter from County Sligo, Ireland who had washed up in Prague as a member of the, now defunct, 5 Foot Assassins. Incidentally Travis also performs as Travis O’Neill And His Cardinal Sins and are well worth checking out in their own right.