EP REVIEW: BRAVE THE SEA- ‘The Murders Three’ (2020)

The brand new E.P from Newark, OH Celtic Punk band, Brave The Sea sees them take on three traditional folk tunes or as they say “murder them” in the classic Brave The Sea style.

Now the first thing to note is that Brave The Sea don’t actually come from near they sea. That’s not to say they don’t have saltwater running through their veins though. We have to go back to the Summer of 2015 when four friends in the small industrial town of Newark, Ohio decided to get together and form a band with the aim to cover everything from trad Irish tunes to well chosen covers of the more famous Celtic-Punk bands. Originally called A Pirate’s Life and unsurprisingly they played it Pirate style! A year later they had enough material under their belt to release an album and decided to shift course and become Brave The Sea. That album titled A Pirate’s Life in homage to their original roots as a band saw the light of day in 2017. This was followed last year with The Kraken and again highlighted their unique sound and Celtic-Rock riffs.

The state of Ohio, like everywhere in North America, has strong links back to the auld country and their are over 1,500,000 people of Irish descent there. The Irish in Newark are served well by Ohio Irish-American News and the towns multiple Irish bars (the oldest surviving being McGovern’s Tavern opened in 1936 and still thriving) present the most obvious connection. Irish culture and traditions have played an important role in Newark since the Irish first came to the city escaping An Gorta Mór in the mid-nineteenth century settling for its burgeoning industrial connections.

Brave The Sea from left to right: Dennis B.- Drums * Mattie T.- Mandolin/ Guitar/ Vocals *  Will John- Accordion * Vito G.- Vocals * Matt B.- Guitar * R. Boggs- Bass *

The boys were set for a great series of St. Patrick’s shows, including three in the Celtic-Punk capital of Boston, till you-know-what reared it’s ugly head and forced them to cancel everything so the EP’s release has been a bit subdued. Hopefully this wee review will help rectify that, if only in a small way. On their previous releases they have concentrated on their own material but here on The Murders Three they take on (“murder”) three well known traditional songs kicking off with ‘Old Maui’. This has become a bit of a staple among the Celtic-Punk community with it often sung acapello. The song can be traced to records going back to the mid-19th century and tells the story of a whaling ship returning to Maui in Hawaii after a long season of whaling. To be honest I was dreading another acapello version but Brave The Sea steam straight into

“once more we sail with a northerly gale through the ice and wind and rain”

it and its a fast and furious ride through 180 seconds of fast Celtic-Punk/Metal that sticks closely to the tune despite the furious drumming and Vito’s gruff shouty vocals. Tremendous and a guaranteed floor filler I would imagine. Next up is ‘Bully Boys’ and at first hear it sounds like another mid-19th century sea shanty but is in fact a song written by the Newfie Bros. of Great Big Sea, for the 2010 Russell Crow film Robin Hood. Again the melody remains the same but Brave The Sea throw their all into the song and make it a real foot stamper. The EP ends with the famous Irish rebel song ‘Come Out You Black And Tans’. Normally this the song that the band walk out to at live gigs and here they play a great rabble rousing version with the beautiful voice of local singer/songwriter Bonnie Humble kicking things off and some great mandolin plucking from Mattie. This song has seen a renaissance recently especially in Ireland, reaching #1 in the music charts, as it became the focal point for the campaign against the traitorous Irish government’s bold (!) idea to commemorate both the Royal Irish Constabulary and Dublin Metropolitan Police two forces famed for their brutality during the Irish War of Independence. The very idea was soon put to the sword and ‘Come Out Ye Black And Tans’ gained a very welcome second lease of life.

The songs were recorded and mastered by: Tim Waters at Radio City Records and as usual for Brave The Sea the amazing artwork was supplied by Omnigraphicon. In common with a lot of bands with intended releases this month their plans have had to be radically altered and with no gigs to promote the single its up to us and you to help the fella’s out. Send them a couple of quid for the EP and lets keep Celtic-Punk on the one road!

Buy The Murders Three CD’s- Here  Download- Amazon

Contact Brave The Sea  WebSite  Facebook  YouTube  Instagram

NEW SINGLE FROM THE PLACKS ‘MY DEAREST FRIEND’

A new release from a band making BIG waves in the Celtic-Punk scene. Based in the Scottish Highlands and Islands The Placks play a dynamite mixture of Celtic infused Punk Rock and Folk, with melody, mirth and message.

Proper CELTIC Celtic-Punk from the Celtic Nations. The Placks hail from deep in the Scottish Highlands and you can’t get much more Celtic than that! ‘Our Dearest Friend’ is the follow up release to their debut ‘Rebellious Sons‘ from last year. Four original songs of proud Scots folk with Punk Rock guitars. That single reached the dizzy heights of #6 in the ‘LCP Best Celtic-Punk EP/Single Of 2019‘ and launched The Placks on a road that will see them reach the very top of the Celtic-Punk ladder. The video for ‘Our Dearest Friend’ was filmed almost entirely at The Royal Marine, on the banks of the beautiful Holy Loch, in January. They announced their arrival on the scene with two sets supporting The Rumjacks at their sell out Scots homecoming gigs in Glasgow and Edinburgh earlier this month that were very well received plus an appearance on the 5th volume of the Celtic-Punk compilation album Raise Your Pints alongside many of the big hitters of the scene. Plenty to get excited about from The Placks with a full studio album promised later in the year.

Every year we meet back up on the date you went away

We always have a chair for you at our table with your mates

We always buy your favourite drink and place it by your chair

We gather to remember you and a say a little prayer

*

Our dearest friend, our dearest friend, drinking of you, our dearest friend

*

Every time I lie awake, late at night in bed

I listen to the wind outside and the raindrops overhead

I think about that fateful day that tore our world apart

We may not see you anymore, you’re forever in our heart

*

Our dearest friend, our dearest friend, drinking of you, our dearest friend

*

As we grow old and turn to grey and our sons they grow to men

Our daughters all grow up too quick and the seasons turn again

We always wonder what you’d be like with us growing old

To us you’ll be forever young and your story always told

*

Our dearest friend, our dearest friend, drinking of you, our dearest friend

Our dearest friend, our dearest friend, our dearest friend, our dearest friend, drinking of you, our dearest friend

Download My Dearest Friend  Here

Contact The Placks  Facebook  Twitter  YouTube

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

Top quality shenanigans from The Placks set supporting the mighty Rumjacks. ‘The Kings Of Old Argyll‘ live at The Audio, Glasgow Saturday 7th March 2020

DAVE LALLY R-I-P

With the kind of coincidence he would love London Celtic Punks pay tribute today on what would been his 34th his birthday to Dave Lally. A friend and comrade for many years Dave passed away just before St. Patrick’s Day. A sad loss for his family, his many many friends and all who ever came into contact with him. He was always there for advice and encouragement and could always be relied on to buy a LCP t-shirt or 3 at Christmas time! The London Irish have lost one of their best.  A ‘dearest friend’ to all he met. God bless you Dave.

BONUS CELTIC PUNKCAST ALL AUSTRALIAN EPISODE OUT NOW

Well the world is in lockdown… or should be. Their are signs the current crisis will bring out the best of people lets just hope so. Salute to those keyworkers who are helping the place to keep running, including my Mammy, sister and my Mrs.

To help ease the pain our mate Gareth in Oz has put together a ‘Special Aussie’ edition of The Celtic Punkcast. An hour of the best and most influential Australian Celtic-Folk-Punk out there!

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

 

G’day everyone, look I know we’re all a bit down at the moment, especially the way the world is and us all being in self isolation and social distancing and all that, so I thought a bonus podcast might help us deal with all the shit going down. So what better time than now to do an idea I’ve had for months, an all Australian special! I actually did an all Australian show on Blues & Roots Radio once and have been keen to do a podcast version, so here it is! Lot’s of old favourites, some you haven’t heard before on the show and a BRAND NEW track from The Dead Maggies! Also, please note, all these bands are (or were) based solely in Australia, hence why The Rumjacks and The Cloverhearts missed out despite being awesome bands. Anyway here’s the tracklist:

THE DEAD MAGGIES – ‘Lacey’s Redemption’

THE RAMSHACKLE ARMY – ‘Rue The Day’

HANDSOME YOUNG STRANGERS – ‘Limejuice Tub’

ROARING JACK – ‘Destitution Road’

THE BOTTLERS – ‘Hades Way’

THE GO SET – ‘The Rising Tide’

BENNY MAYHEM – ‘Song For Absent Friends’

MEDUSAS WAKE – ‘Hobart Sailor’

SHAMBOLICS – ‘Pogue Mahone (Kiss My Arse)’

THE CURRENCY – ‘Victoria Rose’

CATGUT MARY – ‘Paddys Lantern’

MUTINY – ‘Bligh’

SIBIN – ‘Run Johnny Run’

THE DANGEROUS FOLK – ‘Shipping Up To Brisbane’

THE GOOD SHIP – ‘Seven Seas’

FOX N FIRKIN – ‘Waltzing Matilda’

CELTIC PUNKCAST AUSSIE SPECIAL

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.

EP REVIEW: THE CLOVERHEARTS- ‘The Sacred’ (2020)

The second EP from one of the brightest new bands in the Celtic-Punk scene has descended! The Cloverhearts follow a great tradition of Italian bands that capture perfectly what Celtic-Punk is about. 
Only a few months after their debut release The Sick took the Celtic-Punk scene by storm The Cloverhearts return with another blockbuster EP. Like their debut its six original tracks that pull in influences from around the scene and their obvious affiliation to The Rumjacks sound is not just down to Sam their Australian singer but one that doesn’t overpower their own sound. The Sick came a very respectful 4th in the London Celtic Punks Top Ten EP’s/Singles Of 2019 for last year. Not bad at all for a release that had only been out a matter of weeks before the Poll took place.
(you can stream The Sick on the Bandcamp player below)
So The Cloverhearts stick to exactly the same format for The Sacred. Six songs all original compositions and they even come in at virtually the same length of time (only one minute short!). The EP begins with the single ‘Caught Ya In A Lie’, basically a ‘Pop’-Punk song with some fantastic bagpipes laid on top. When you have a piper that is good as Chiara is then it makes perfect sense to fit the songs around her piping. The Folk melodies are left at the dock as The Cloverhearts concentrate on their harder edge and Punkier sound. Catchy as hell melodic Punk and definitly the right choice to lead the EP.

A song about people trying to get the better of you and the consequences of lying. A great start to things that they follow up with the pipes heavy ‘Drunk Tank’ where Sam tackles that most prevalent of Celtic-Punk subjects! On ‘I’ll Be Home Soon’ they showcase a whole raft of genres with Celtic and Country among others. The most folky of all their songs so far but still that melodic Punk attitude. Sam’s vocals are great and unusually for Celtic-Punk he makes absolutely no attempt at a Shane MacGowan drawl but croons away magnificently! A very personal song for Sam about never feeling at home after a lifetime spent living in Australia, Singapore, England and Italy. They return to harder material on ‘Walk’ with plenty of band “Wo-Oh” chants and chugging guitar and a cool chorus it’s a class song that at four minutes has plenty of time to develop. It leads us nicely into ‘Gutters To Graves’ another catchy number and though I may be making it sound like I’m reviewing the same song six times The Sacred is a very diverse sounding EP. It all revolves around the tight melodic Punk sound with Sams clear as crystal vocals and Chiara’s excellent piping. I wouldn’t come to The Sacred perhaps as a lover of Celtic music but if you like your Punk well played and gimmick free then The Cloverhearts are a band that you will love. The last song here ‘Where Did We Go Wrong?’ just goes to show how wrong I can be with a song that revisits the Celtic/Country sound from earlier but much more blatantly and I bloody love it!!

So another successful release but tempered with the sad news that their most ambitious tour to date has had to be cancelled due to the current medical crisis in Italy. A tour that would have took them to Germany, Czech Republic, Austria and around Italy so hopefully it will be re-scheduled soon. Their are some utterly fantastic Italian bands around and its good that The Cloverhearts have found their niche among them. A bunch of bands that fit nicely together with all them sounding just that bit different from each other. A while back I went to a Psychobilly all-dayer and it got a bit boring but a all-dayer starring The Cloverhearts, The Rumpled, The Clan, Uncle Bard And The Dirty Bastards, Tullamore and Dirty Artichiokes  would be one hell of a gig. Any millionaires out there give me a shout!!
(Stream The Sacred before you buy it on the Bandcamp player below)
Buy The Sacred EP  FromTheBand  AppleMusic
Contact The Cloverhearts  Facebook  YouTube  Twitter
Black Dingo Records  WebSite  Facebook

ALBUM REVIEW: FINNEGAN’S HELL- ‘Work Is The Curse Of The Drinking Class’ (2020)

The new album from Sweden’s Finnegan’s Hell takes Ramones flavoured Celtic drinking songs and chucks them in the mixer with Hillbilly Country, Folk-Rock, metal, Swedish Folk and even Reggae for an intoxicating brew for St. Patrick’s week!

I first became aware of Finnegan’s Hell when I was exposed to the video for their excellent version of The Dubliners ‘The Molly Maguires‘. Dressed in pit gear and with sooty faces the boys ran threw 2:24 minutes of hyper energetic Celtic-Punk that has long sailed past 1,000,000 views. The boys nailed the song and it has become one of a handful songs that constantly pops up across the media whenever Celtic-Punk is mentioned. Formed in 2010 from members from the Swedish towns of Malmö, Lund and Gothenburg the Bhoys prepared for their debut release by getting in as many gigs as possible. The self titled EP features their YOU Tube hit as well as two traditional Irish Folk standards and a couple of self-penned songs which certainly put Finnegan’s Hell on the European Celtic-Punk map. The following year they recorded ‘The Boys In Green Will Conquer‘ for a competition on Irish TV to find a suitable anthem for the Ireland team for Euro 2012. This led to them being described brilliantly as

”They’re hard to describe, but just imagine a blend of Metallica and the Kilfenora céilí Band and you’d be about right.”

in the Irish media. The following year they again achieved a internet sensation when they released ‘Drunken Christmas’. Voted #1 ‘Christmas song of the year’ by Swedish music magazine Gaffa the video has passed 300,000 views and led to them signing for Heptown Records. Next up was their debut album and Drunk, Sick And Blue was released to great fanfare. Well received across the Celtic/Folk-Punk media as one of the best Celtic punk releases of the year its ten tracks flew past at only twenty-three minutes. The albums songs were a mix of self-penned, trad Folk covers and some re-recorded tracks including the definitive version of ‘The Molly Maguires’.

Live the band continued to gig relentlessly across Europe and was awarded with being voted “best foreign band” at the huge Woodstock Festival in Poland in 2015. They have played Ireland several times and even visited London back in 2017 unbeknown to us. The next big event in the recording history of Finnegan’s Hell wasn’t to be till four years later in 2018 with the release of their follow up album Life and Death. This time the album contained all self penned tracks based around the theme of life and death. A roller coaster ride from the cradle to the grave and those four years playing the songs live before recording showed a band that had perfected their sound. Since then they have signed for Wild Kingdom Records and this week sees the release of Finnegan’s Hell’s third album the wonderfully titled Work Is The Curse Of The Curse Of The Drinking Class.

Finnegan’s Hell left to right: Reverend Mick Finnegan * Pabs Finnegan * Old Roxy * Ace Finnegan * Cozy Finnegan * San Finnegan *

It is the album’s title song that kicks the album off and ‘Work Is The Curse Of The Drinking Class’, modestly sub-titled “probably the best drinking anthem in the world”, is a short, fast and downright furious Celtic-Punk belter. Their sound is dominated by the banjo and accordion, a sound that has influenced bands across Europe from England’s Mick O’Toole to the Dutch band Drunken Dolly. It was the unfortunate Irish dramatist and novelist Oscar Wilde,  who famously said “work is the curse of the drinking class” and here Finnegan’s Hell expand on his theory.

“My old man said to me When I was a little boy,
Son, work is over-rated in work there’s little joy
Then he’d pour himself a whiskey and he’d light his favorite cigar
We’d always hear him singin’ as he headed down the bar”

Over 100 years later people still find themselves in situations where their work is interfering with their alcohol consumption!

Alongside the release of Work Is The Curse Of The Drinking Class is the release of a special Finnegan’s Hell beer (a Porter of course!) in co-operation with a local brewery. The next song up was the first single from the album ‘Six Feet Under’ released in February.

“My throat is dry like the desert sand
My thirst is growing beyond my command
I know that I’m dying, my time’s running out
Oh Lord, won’t you buy me just one more stout”

Another drinking song and ye better get use to them as this album is for the dedicated drinker. No lightweights here. The fastest song on the album just over two minutes long and even though you might want Finnegan’s Hell to take it easy they flatly refuse to.

The video was directed by Swedish filmmaker Michael Ek, who got his inspiration from Jim Jarmusch’s zombie film The Dead Don’t Die. They take a rather odd turn next with their Shane MacGowan tribute ‘Whiskey, Rum, Gin And Wine’. Absolutely bloomin’ hilarious and catchy too. Kind of 60’s-ish but with Metal influences too it’s a great song and shows that you can veer from the Celtic-Punk path if you got the tunes and these Bhoys certainly have the tunes. Their may be no Gaelic blood running through Finnegan’s Hell’s veins but you wouldn’t know it with ‘The Promised Land’. Tin-Whistle starts proceedings and accordion drops in before the gang turn up. The most Irish of the album’s tracks and the story of an immigrant leaving home for a better life. Like the Celts the Swedes know all about the sadness of emigration. In the early 19th and 20th centuries the USA was a magnet for the rural poor all across Europe with about 1.3 million Swedes leaving for the USA and a better life. In 1890 the U.S. census reported a Swedish population of almost 1,000,000. All the songs as you would expect for a Celtic-Punk lean heavily on their Celtic instruments and a healthy dose of humour and ‘Friends And Foes’ is a great example of this. Slower than usual but no less heavy and it’s what passes for the quieter moments here where Finnegan’s Hell Metal influences come to play. ‘King Of The Bar’ is standard Celtic-Punk with tin-whistle leading and a breakneck speed while ‘The Last Dance’ has an Eastern European feel to it and while this is usually provided by fiddle and accordion here it is the banjo that does the job. A testament to their excellent banjo plucker Mick. On ‘Tokyo Town’ they slow it down again and Pabs vocals here are great. Half shouting half crooning. We heading towards the end and ‘Parasite’ tells of a relationship that comes to an end. When Finnegan’s Hell formed in 2010, the band made a vow to only sing about three things: life, death and alcohol and so they have strictly stuck to that pledge. So it is that they end with ‘When I’m Dead’. This is what passes for a Finnegan’s Hell ballad but no surprise at all it’s not yer typical one. Hard and heavy and all the subtleness of a clout round the ear though the change of tempo is great and really rounds the album off well.

Work Is The Curse Of The Drinking Class does not ‘invent the wheel’ that is true. What it is though is a fun filled half an hour of quality Celtic-Punk that is for getting pissed to and having a laugh and their ain’t enough bands around like that trust me. Music like this is best experienced with others but here the transfer to record is done astoundingly well. The production is perfect and with so many instruments competing that is some achievement.

Buy Work Is The Curse Of The Drinking Class  (CD/Vinyl)- From The Band  Download- Here

Contact Finnegan’s Hell  WebSite  Facebook  Instagram  YouTube

BEANNACHTAÍ NA FÉILE PÁDRAIG ORAIBH WITH THE DEADLYS

Happy St. Patrick’s Day  / Beannachtaí na Féile Pádraig oraibh!

(ban-ock-tee na fay-lah paw-rig ur-iv)

A very happy (and merry!) St. Patrick’s Day to all our readers with Irish roots or not. Well it’s not our purpose to bring you down on the most joyous of days but I have found myself increasingly irritated by something this year. With St. Patrick’s Day falling on a Tuesday our ‘friends’ in the pub industry seem to have taken it upon themselves to change the date of St. Patrick’s Day to the nearest Saturday. Complicit in this seem to be whoever does the Facebook events and publicity for literally dozens and dozens of Irish pubs and gigs across the world who ought to know better. Yeah call it a St. Patricks gig but the actual date is the 17th and only gigs on that date are St. Patrick’s Day gigs. Sorry if that means you won’t be able to maximise as much profit as you imagined but there you go. Of course this is all just another step along the road of finally removing any vestige of ‘real’ Irishness from the day and turning it into one unholy mess of alcohol abuse and consumption. Well I’d be the biggest hypocrite out there if I didn’t mention I don’t remember ever seeing a sober midnight on the 17th of March since i was at school but another thing that bugs me is the way every pub and music venue jumps upon the Irish bandwagon at this time of year. Sod these places. Spend your hard earned in real Irish places. Ones that support Irish culture and the Irish community all year round. Dust off the auld Eire/GAA/Celtic top or even your bloody leprechaun outfit and whatever you choose to do be proud of your roots if you got ’em. If you ain’t got them then come join us anyway everyone is welcome at this hooley. If possible try and spend some of the day in the company of family and elder members of our community and raise a glass, whatever your poison, to the sky for those who you love who are no longer here with us. Sláinte.

“No enemy speaks slightingly of Irish Music, and no friend need fear to boast of it. It is without a rival. Its antique war-tunes, such as those of O’Byrne, O’Donnell, MacAlistrum and Brian Boru, stream and crash upon the ear like the warriors of a hundred glens meeting; and you are borne with them to battle, and they and you charge and struggle amid cries and battle-axes and stinging arrows.”

Thomas Davis. 14 October 1814 – 16 September 1845

So have a grand St. Patrick’s Day today and sing along with The Deadlys from Arizona with a track from their forthcoming album. A celebration of the Irish all over the world. We as a nation have overcome so much hardship to stand proud like we do today. St Patricks Day is the day we sing it loud and proud!  Available for download. Spotify/iTunes/Amazon and all the usual digital platforms.

With fire in your eyes, burning bright
The fight in your hearts was strong
For every woman and every man
Who fought the Black and Tans
Sing it loud and sing it proud tonight
*
Here we are on St Patrick’s Day
The gangs all here and we’re here to say
We can take a hit and we never quit
Sing along with me…..
*
From Dublin down to Kerry
Up to Galway bay
The ghosts of so many
So many sailed away
To a land of hope and glory
from a land torn in two
Now the bells of St Patrick’s
Are ringing out for you
*
Here we are on St Patrick’s Day
The gangs all here and we’re here to say
We can take a hit and we never quit
Sing along with me……
*
When Irish eyes are shining
the whole world shines with you
When Irish eyes are smiling
The whole worlds smiling too
*
Here we are on St Patricks Day
The gangs all here and we’re here to say
We can take a hit and we never quit
Sing along with me…..

Facebook  YouTube  Instagram  TheDeadleysShop  Spotify 

ALBUM REVIEW: THE WILD IRISH ROSES- ‘Full Bloom’ (2020)

The Wild Irish Roses are a true family band.
Mom, Dad and 8 kids. They live in New Paltz, NY
Josie Rose (21) sings, plays banjo
, mandolin, penny whistle, viola. Michael X. (dad) plays guitar. Kristi (mom) sings, plays bass. Hanna (23) plays bodhran. Evelyn(18) sings, plays concertina, accordion,viola. Penelope (16) sings,plays Guitar, and tambourine. Aenghus (13) drums. Lazarus (11) harmonica.

Now this is some band and also the perfect time to review them with St. Patrick’s Day just a few days off. Full Bloom is the fourth album release from The Wild Irish Roses an Irish-American family from New Paltz which is a small town in aptly named Ulster County located in the state of New York, about eighty  miles north of New York City. It’s a small place but with plenty of places to get a cold Guinness and even to learn Irish at the local school it’s a place where the Irish-American community have never forgotten their roots.
The base of the band is a group well known to readers here and that is The Templars Of Doom for it is the Templars singer /songwriter /bassist Mike whose five eldest (of eight!) children make up The Wild Irish Roses. His fellow Templar Scott Benson assists on bagpipes, tin-whistles and flute. Mam (Kristina) and Dad cut their teeth in Brooklyn based post-punk band The Astro-Zombies in the 90’s while during the 2000’s they were in The Brian Wilson Shock Treatment who released 8 albums up to 2010 so music is the blood of this prolific family. On the last Roses album, Fill Yer Boots, Man!, it featured an incredible twenty one songs while here they manage only a paltry seventeen but they continue in much the same vein with songs flying past you as faster than you can keep up with them. The album was recorded in the family’s home studio, their renovated barn, and released on Poe Records.
Full Bloom begins with ‘Garry Owen’ a famous Irish drinking song dating back to Limerick in the late 1700’s. It was adopted by the  7th Cavalry and is said to have been the favourite of General George Armstrong Custer who heard the song among the Irish troops and liked the beat so it was used as a marching song. Mike takes on vocals here giving it a Templars feel while the family supply backing vocals. The album sees three sisters take turns at singing lead and on ‘An Incident At Sea’ it is Josie, who also plays pipes in the Templars Of The Doom, who sings her own composition.

Her voice reminds me of Jacqui McShee from Pentangle while the song also has that 1970’s British folk feel to it. This is followed by a brief tin whistle and flute interlude before we are treated to the song that I feel has given Pentangle a place in music history. ‘Will O’Winsbury’, a traditional Scots ballad dating from 1775, is sung by Evelyn-Marie and while much different to the Pentangle version in fact I think it even improves on it. In conversation with Mike though he says they came to the song through Anne Briggs who in turn got it from Johnny Moynihan of the legendary Sweeneys Men. With three bagpipers in the family it’s no surprise to find the pipes featuring heavily here and the first of three bagpipe reels ‘The Atholl Highlanders’ is next and no wonder it use to put the fear of God into people! Evelyn-Marie returns to sing a beautiful acapella version of ‘Let No Man Steal Your Thyme’, a a traditional folk ballad used to warn young people of the dangers in taking false lovers. First documented in 1689 it’s another link to the wonderful Pentangle’s appearing on their debut album in 1968. ‘The Adventures Of A Young Rose’ is an interesting track sounding in part like an Aussie western song as wellas a Celtic foot stomper. Now their previous albums have been significant (as have the Templars Of Doom) for their use of covers that you just wouldn’t expect and here they throw in Sweet’s ‘Fox On The Run’ sung brilliantly by Penelope Ann (only 15!). I LOVE Sweet and this versions sure does them justice.

Another instrumental ‘The Gael’ follows. The song written by Dougie Maclean featured in the 1992 blockbuster film ‘Last of the Mohicans’ and is adapted from fiddle to bagpipes and again stirs the blood like no other instrument on earth can. ‘Rumple- Pye The Troll’ sees Mike taking vocals over a silly song about an imaginary (?) friend. ‘Jenny Nettles’ is another pipes instrumental and has a punky feel to it despite is being purely acoustic (the true mark for a LOUD band if you ask me!). ‘A Rogues March’ like most here has an interesting back story being the song played in camp when  dishonoured soldiers were drummed out of camp on their way to punishment. Here the entire Rose family of ten combine to sing accompanied only by the beat of the bodhran. We are back in Celtic-Punk territory next with ‘ICC Home (Hudson Valley Irish Cultural Center)’. The battle to build an Irish centre was a long one but in the end a successful one and here the Roses pay tribute to a place that will provide a warm and welcoming place for all who want to share in the great Irish-American experience. Polly Vaughn’ is an old Irish folk song about a boy out hunting who accidentally kills his true love. We are rounding the bend now and Armstrong’s Last Goodbye’ is better known these days as ‘The Parting Glass’ and contrary to popular opinion is in fact a Scots song. Sung at the end of a gathering of friends and more recently at funerals it’s been recorded by just about every decent Irish artist.

The album (sort of) ends with a cover of the Velvet Undergrounds ‘All Tomorrow’s Parties’. Bagpipe heavy and with Josie and Evelyn on vocals it doesn’t disappoint. Well that should be it except for a bonus track which is basically the family Rose three bagpipe players going to town on ‘All Tomorrow’s Parties’ which also turns out to be one of the album’s highlights.

Well what to say. Besides the obvious achievement of it being so special thanks to it being such a family endeavour it does also stand on its own two feet as well. The music sometimes has the feel of Prog-Rock at times alongside the utter abashed Celtic/ Irishness of the music. Always interesting The Wild Irish Roses have a very unique take on Irish music and on an album full of maudlin sad ballads sat next to full on Irish foot stompers they carry it off with ease. I have revisited this album several times since i first sat down and listened to it and each time I hear something different and I have no doubt that if I was to write this review again in a year it would be completely different.

(you can stream Full Bloom on the Bandcamp player below)

Buy Full Bloom  FromTheBand  (CD or Download)

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ALBUM REVIEW: PADDY WAGGIN- ‘Race To The Bottom’ (2020)

The debut release of seven originals and a Pogues cover from Paddy Waggin a new Celtic-Punk Rock outfit straight outta East Vancouver, BC.

Canadian music use to be a regular feature on these pages but has been relatively quiet the last couple of years so it’s great to be able to feature a band that is just setting sale! Paddy Waggin are a gang of Irish-Canadians hailing from Vancouver in British Columbia. East Van, as it is known, has traditionally been known as the first port of call for many immigrant communities from the Irish and Welsh in the early days of settlement right up to the modern day. Historically, it was a more affordable area and the home for mainly working class people thought the rapid increase in housing prices and gentrification that is affecting pretty much all cities is destroying much of the areas character. Still the auld world is still well represented with the WISE (Welsh, Irish, Scottish, English) Hall, The Celtic Connection newspaper and The Irish Sporting and Social Club all thriving alongside the Irish pub scene.

Paddy Waggin left to right: Andrew Whyte- Guitar * Aidan Carroll- Lead Vocals/ Songwriter * Rob Stewart- Percussion * Jonny ‘Needles’ Poliquin – Bass/shrieking *  Philip Meyer-  Accordion * Johnny ‘BBQ’ Jandara – Banjo/ Mandolin/ Harmonica * not pictured Bourton Scott- Fiddle and Lisa Ronald- Tin Whistle *

So a new band kicks off or so we thought. A debut release ought to signify that but Paddy Waggin have been playing on and off for more than twenty years, mainly as singer Aidan’s St Patrick’s day project. Aidan in fact was born in Dublin but grew up in Canada while others in the band come from Irish and Scottish backgrounds and, accordion player, Philip is of Dutch descent. So a long wait to get that debut release out but they have delivered a craicing album of eight songs, all but one an original and a cover of one of the best songs in Celtic-Punk. Race To The Bottom begins with ‘Gilding The Liffey’ a fiddle and banjo led song about an imaginary trip taken by the band to Dublin to play music and party. The music is upbeat and jolly and Aiden’s vocals slip perfectly in alongside.

The Bhoys keep it up with ‘Broken Teeth’ a song telling of the perils of getting old and about the joys of youth and partying till the early morn but those things soon catch up with you and “Now I’m getting on in years” those days are well behind them. The music is still fast paced and only two songs in and you get the impression that Paddy Waggin are a band to kick yer boots to. The video for ‘Broken Teeth’ is utterly fantastic too so be sure to check that out.

‘Davy Jones’ is not dedicated to the sadly missed singer from The Monkees but a tragic tale of lost love. Davy Jones is the name given to the mythical resting place of drowned mariners at the bottom of the sea. The first source that mentions Jones’ locker is in 1803

“…seamen would have met a watery grave; or, to use a seaman’s phrase, gone to Davy Jones’s locker.”

The longest song here at just over three minutes it’s what I would call a thigh slapper! Nice chorus and I’m wracking my mind to find a band to compare them to but I’m coming up short. The Pogues influence looms large but they don’t sound like them if that makes sense. ‘King Of The Faeries is one hell of a tune with a ‘piratey’ edge to it and shows that Paddy Waggin are not just in it for the free drinks with a spot of trad Irish though dedicated to the misfortunes of one of the bands mates who got caught on the wrong side of the law. Another trad influenced song is next up with ‘Paddy Traddy Rad’ about an Irish fella the life of the party. Proper acoustic Celtic-Punk with just Johnny ‘Needles’ bass amplified Paddy Waggin sound like they kick up a hell of a storm.  ‘Race To The Bottom’ is a Country influenced song that is super catchy and as the guys say a “tune for East Van people about East Van” leading into ‘Dirty Looking Up All Night’ which keeps the boots kickin’ about the so called ‘Walk Of Shame’ where people end up staying out (!) after a night on the lash and have to walk home in the morning in their evening finery the next day.

That Pogues influence shows up nicely on Race To The Bottom’s final song the Pogues standard ‘Streams Of Whiskey’. Written by Shane MacGowan about a night out with Brendan Behan the famed Irish writer and drinker… thinker. Paddy Waggin play an outstanding version very very close to the original and I’m sure if they ever need the money another life as a Pogues tribute band awaits them.  

The album’s official release is on St. Patrick’s Day- March 17 but it is already available on the band’s Bandcamp site (see below for link) but if you wish to avail of a hard copy of the CD then you’ll have to contact the band. The great artwork is by Fenix Ashborn and it was recorded at home in East Van by Larry Lich at Eagle Ears studios. Paddy Waggin are definitely a band to enjoy life to. Eight foot stomping songs, mainly original tracks too, to beat the floor up to. Checking out a few songs on You Tube they have a tremendous live show with their own catchy as feck original songs with the odd auld Irish tune thrown in alongside. Their sound is infectious and, I am sure,  more than able to get their audience dancing and singing along. Here on Race To The Bottom they have captured their live sound pretty well and though well rooted in traditional Irish folk their Rock and Punk influences keep them from becoming too safe. A welcome addition to the Canadian Celtic-Punk scene and a band I look forward to hearing a lot more from.

(you can stream Race To The Bottom on the Bandcamp player below)
Download Race To The BottomFromTheBand  DistroKid
Contact Paddy WagginWebSite  Facebook  YouTube  Soundcloud

MARCH EPISODE OF THE CELTIC PUNKCAST #36 ‘SUPERSHOW’ OUT NOW

It’s March so it’s Springtime and also the month of the Celtic patron Saints days so a ‘special’ double length episode of Celtic-Punks #1 podcast has landed. Two hours of the best darned music in Celtic-Folk-Punk that you will find!

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

Dia duit everyone and welcome to the third annual Celtic Punkcast March Supershow, 2 hours (give or take) of some of the best versions of classic songs by some of the best artists the Celtic Punk/Celtic Rock/Folk Punk genre has to offer. Bands from across the globe performing songs you may have grown up listening to to celebrate the Celtic celebrations in the month of March. Here’s the songs, enjoy!

CHARM CITY SAINTS – ‘Atholl Highlanders’

FIDDLERS GREEN – ‘The Night Pat Murphy Died’

GRASS MUD HORSE – ‘The Rocky Road To Dublin’

KILMAINE SAINTS – ‘Man You Don’t Meet Everyday’

ORTHODOX CELTS – ‘The Wearing Of The Green’

THE BLACK TARTAN CLAN – ‘Amazing Grace’

THE LAGAN – ‘I’ll Tell Me Ma’

THE PEELERS – ‘Tim Finnegan’s Wake’

THE RUMJACKS – ‘McAlpines Fusiliers’

WILD COLONIAL BHOYS – ‘God Save Ireland’

AMADAN – ‘Johnny Jump Up/Swallow Tail Jig’

BODH’AKTAN – Black Velvet Band’

CRAIC – ‘Drunken Sailor’

FIFFIN MARKET – ‘The Wild Rover’

GYPSY VANNER – ‘The Irish Rover’

KRACKIN KELLYS – ‘Foggy Dew’

SELFISH MURPHY – ‘Molly Malone’

THE GOBSHITES – ‘Nancy Whiskey’

THE LANGERS BALL – ‘The Star Of The County Down’

THE PUBCRAWLERS – ‘All For Me Grog’

THE TOWN PANTS – ‘Seven Drunken Nights’

ALTERNATIVE ULSTER – ‘Danny Boy’

BLAGGARDS – ‘Leaving Of Liverpool’

DROPKICK MURPHYS – ‘Peg O’ My Heart’

FINNEGANS HELL – ‘Galway Races’

HELLCAT MAGGIE – ‘Whiskey In The Jar’

NECK – ‘Fields Of Athenry’

ST. BUSHMILLS CHOIR – ‘The Molly Maguires’

THE KREELERS – ‘Orange And The Green’

THE O’REILLY’S AND THE PADDYHATS – ‘Black And Tans’

THE SKELS – ‘Waxie’s Dargle’

YOUNG DUBLINERS – ‘Auld Triangle’

AULD CORN BRIGADE – ‘Boys Of The Old Brigade’

BRACE YOURSELF BRIDGET – ‘Raggle Taggle Gypsy’

THE POGUES & THE DUBLINERS – ‘The Rare Old Mountain Dew’

THE CELTIC PUNKCAST #36

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: OGRAS- ‘No Love In The City’ (2020)

The second full length studio album from Celtic-Rockers Ogras from western Norway.

Their distinct sound mixes trad Irish music with rock and punk and a twist of Balkan with superb tales of the macabre and the best songwriting I’ve heard in a long time. 

Of all the countries in the world famous for their Celtic-Punk output one of the more surprisingly famous ones is Norway. This is thanks to the legendary Greenland Whalefishers who have taken their particular brand of Pogues influenced Irish-Punk across the globe to every continent in their 25+ year history. It was bound to have an effect on the locals and back in 2009 the seeds were sown for the band that would become Ogras. The band hails from the Romsdal area of Norway, and have just one album behind them, the promising Compadre in 2018. Celtic-Punk can be different to a lot of other genres in that with a few tweaks to the set and the addition of a few covers most bands can find live work every week of the year thanks to the massive Irish pub world. This can mean that bands tend to concentrate less on recording than maybe straight up punk bands do who play live a lot less. Even so two albums in eleven years is pretty slow but admittedly then again two in three is very impressive!

Ogras left to right: Filip Eidsvåg- Drums * Knut Voldset- Electric Guitars, Banjo, Harmonica * Paul Solåt- Vocals, Guitar, Main Songwriter * Pål Elnan- Trumpet/ Keyboards/ Mandolin *  Aleksander Eidsvåg- Fiddle * Thomas Dahle- Bass *

Based where they are they get to play in just about every conceivable kind of venue, especially barns! Starting off as a three piece they soon gathered more members and now their are six of them who can handle up to twelve instruments on stage whilst performing a combination of circus show, revival meeting and drunken Irish-pub night! here on their new full length album, No Love In The City the band have recorded nine original tracks, showing a range of influences from catchy, Celtic and Balkan inspired Punk-Rock, to smoldering folk-ballads and full blown party anthems.

I was going to just do a straight forward review of the album but just as i was about to start the band began releasing a track-by-track description of the history behind each song so I’ll try and incorporate those here as well. The album begins with the title track ‘No Love In The City’ and while we may be looking for a Greenland Whalefishers connection Ogras have much more in common with bands like The Fighting Jamesons or The Young Dubliners and their Irish-American rock sound. This is a band that would go down a storm at Get Shamrocked! Paul’s vocals are spot on and capture that perfect space between ‘Tom Waits’ and showman crooning! No Love In The City tells of the wandered. We weren’t all born to exist in the city and the song is dedicated to travelers everywhere. The next song ‘Showmen’s Rest’ was the third song released here as a single. A fast paced Punk tribute to entertainers long gone and the deadly Hammond Circus Train Wreck of 1918. In a quiet cemetery outside Chicago called Showmen’s Rest lies a mass grave of clowns, strongmen, and acrobats who died in one of the worst circus tragedies in history when 86 circus performers were killed. I love songs like this that tell us of long forgotten history and I’m kind of surprised Chicago folklore extraordinaire Kevin Flynn hasn’t told this fascinating story before. ‘Children of Dust’ carries on in the same vein a catchy foot-tapper telling of the children of those who travel. Ogras love of the macabre and circus life continues in ‘Running Wild’. A wonderful song telling the story of twins, one of whom dies at birth while the other blamed by his mother for his death. A never ending feeling of guilt keeps him running till he eventually finds circus ringmaster Darius, a recurring character throughout the album, but will it be enough for him to stop running. A upbeat rocker with great fiddlework followed by ‘The Mighty Atom’. The Mighty Atom appeared on the cover of Ogras debut album and became a world famous strongman in the early 20th century. Born Joe Greenstein he was small and sickly as a child but he trained and trained to become one of the world’s best known strongmen, bending horseshoes with his bare hands and biting the heads off nails. The song is heavily influenced this time by Balkan music with a Eastern flavoured fiddle and brass.

We slow down a tad for ‘The Devils Dance’, a swirling eastern-ish electric ballad about a women who finally breaks free from her manipulative and violent lover. He continues to hunt for her determined to make her dance the devil’s dance again? Half way through the song speeds up and really comes into its own. ‘Black River Falls’ is the shortest song and possibly the fastest and yet still manages to fit in a well told story into its two and a half minutes! The song is based on the 1973 book ‘Wisconsin Death Trip’ by Michael Lesy based on a collection of late 19th century photos and clippings from gruesome times in Black River Falls (Jackson, Wisconsin) in the late 1800′ where unemployment and illness had lead to crime, depression and a high number of unpleasant incidents. Needless to say its a high octane Celtic-Punk romp that leads us nicely into ‘Torture King’ about the current craze for tattoos.

Beginning as a maudlin sad ballad Gaelic fiddle is the catalyst for the band to step it up and go a bit crazy! The album ends with the powerful ‘For Gloria’ the bands tribute to the strong women who spread joy, take care and protect their families. We raise our glasses to you, ladies! A great way to wrap things up and their is something great about hearing a trumpet pop up in the middle of a Celtic-Punk album! A punch bowl of hard hitting Irish folk mixed with electric guitars and that trumpet!

The album was released on St. Valentines day- 14th February and was recorded in the renowned Norwegian recording studio of Ocean Sound Recordings. Though originally on CD and download No Love In The City will be released on vinyl at the beginning of April. No Love In The City came as a complete surprise to me. Expecting wild Poguesy style Irish Folk what we actually get is on of the most imaginative and novel Celtic-Punk records of recent years. With it’s tales of circus strong men and disasters and bleak dark themes all wrapped in music that stays firmly in its own lane with influences from the American scene that we don’t often hear in Europe and from the East that Ogras incorporate into their own sound. A truly magnificent record and one that be can already be guaranteed to be one of the albums of the year.

Buy No Love In The City Here (iTunes, Apple, Spotify etc.,)

Contact Ogras  WebSite  Facebook  YouTube

EP REVIEW: THE KILMAINE SAINTS- ‘Off The Wagon Acoustic Sessions’ (2020)

The Kilmaine Saints are back! One of the best Celtic-Rock bands Irish-America has ever produced with a seven track acoustic EP that includes two new songs and five re-imagined Saints classics.

This explosive, high-energy Celtic rock band from Central PA will lift your hearts, your spirits, and your pint when you’re not looking!

Well what to say about the Kilmaine Saints? One of my favourite bands and one that all the writers here would agree is and has been one of the best and not only that but it is widely agreed that when the definitive history of Celtic-Punk is put to paper then the Kilmaine Saints will have one or maybe two of the best Celtic-Punk albums and maybe even a third as well!
Formed in Central Pennsylvania when two members of the Harrisburg Pipe & Drum with a mutual love of the flourishing Irish-American Celtic-Punk scene decided to kick something off with the aim of getting them free beers at local St. Patrick’s Day shows. Well from small acorns they have blossomed into a band that has always stood just a small step away from Celtic-Punk stardom. One of only a few American bands whose fame has translated into overseas success and it’s no surprise to occasionally spot a Saints shirt at gigs over the years. Others in this league would be The Tossers, Mickey Rickshaw or Flatfoot 56. One of the scenes most consistently good bands they have released four albums, a live album and a couple of EP’s with the most outstanding of all being their debut in 2010 The Good, The Plaid, And The Ugly which Paddyrock called “the BEST Celtic Rock release of 2010 hands down!” and introduced me, and many others, to the Kilmaine Saints thanks to the now long gone Paddy Punx web site.
This was followed up  a couple of years later with Drunken Redemption which made the top ten of all four leading Celtic-Punk web-sites for 2012. Five years of intensive gigging led to the release of their last studio album and Whiskey Blues And Faded Tattoos really exploded the Saints back onto the national scene. With over seventeen songs they managed not a single duffer and from the first seconds to last dirge of the bagpipes it remains, along with The Good, The Plaid, And The Ugly, one of the albums any Celtic-Punk fan must seek out.
Now a band needs a good set of releases to achieve this level of attention but in their beginning it is their live shows that sees people coming back for more and even though separated by hundreds of miles of ocean one of the things I have consistently read about is the Saints and their high-octane, blistering, high-energy live sets that keep people singing along, stomping their feet, lifting their pints and shouting for more. So the two come together and top of that the people in the band have always taken an interest in the scene and not just in how it can help them which is something that we here appreciate especially.
So history lesson delivered and what does 2020 give us? Well another drawback to being so far away from the main home of Celtic-Punk is bands can go quiet on you and you don’t always get to realise why so with a couple of years of quiet I was delighted to receive Off The Wagon from band guitarist  Rich. Quickly adding it to my phone I played the EP’s seven songs about a dozen times and then sat through the whole Kilmaine Saints back catalogue at the weekend to remind me what a utterly fantastic band they are. Their albums have tended to be a solid mix of amped up Irish and Celtic classics with extremely good compositions of their own thrown in as well. It has to be said though you can be a great band playing covers, and especially if you do something with them rather than being just a standard cover, but to go further you need strong songs of your own and this is what sets The Kilmaine Saints apart. Here though on Off The Wagon they have gone for a acoustic setting. Not that it doesn’t still mean it can be as noisy and raucous as most thrash metal bands but that the progression of the Kilmaine Saints is far is far from over yet!

Kilmaine Saints left to right: Bill Brown- Pipes, Whistle, Bouzouki * Jon Heller- Bass/Pipes * Tommy Leanza- Drums * Liz Mallin- Fiddle * Rich Lipski- Mandolin, Banjo, Acoustic Guitar * Brendan Power- Vocals * Erich Arndt- Guitar *

The EP’s seven songs consist of five older tracks re-imagined and two completely new ones. The EP begins with a new one the title track ‘Off The Wagon’. With a tune flitting from a Walt Disney favourite to an Irish jig the song flies through in just over two minutes and is typical Kilmaine Saints. These guys can write a serious song and have done many times but its the love of a good time that dominates and their sense of humour shines through here. Next up is a song where the serious nature of the lyrics (the poor Irish arriving in the USA during the Great Hunger and the prejudice they received) belies the jaunty tune that accompanies it. Something you often find in Irish music. ‘Painting Paradise Square’ first appeared on their debut album and was written by former band member and multi-instrumentalist (tenor banjo, bass, mandolin) Frank Aponte.
“I suffered to get here and I’m not going to leave
And if you knock me down, you’d best be sure I’m dead
‘Cause when I get back on me feet, and I promise you that I will
I’ll steal your life and use your blood to paint Paradise Square!”
‘With Regrets’ is next up from Drunken Redemption and while the original was a full throttle Celtic rocker about a wastrel of a man and attempting to make sure his son doesn’t follow the same roads as him. The song is a beautiful ballad with great mournful fiddle work from Liz. Great heartfelt lyrics and Mayo born vocalist Brendan’s great voice is accompanied by Liz to great effect. A real choker of a song. ‘MacGowans Wake’ is not a tribute as I had originally thought to the Godfather of Celtic-Punk but a loving salute to a friend of the band Eddie McGowan.

Eddie was a very proud Irish-American born in Baltimore, Maryland and was a founder member of Celtic-Rock band Dublin 5 who shared many’s a stage with the Kilmaine Saints. Eddie MacGowan was a

Eddie MacGowan 1969-2018 RIP

friend, musician and father who on February 5, 2018, lost his nearly four-year battle with Amyotrophic Lateral Sclerosis (ALS). His energy, humor, generosity, love and friendship will be deeply missed by the multitude of people who have been lucky to know him. He made everyone he met feel like they mattered to him, and they truly did. He gave everything he had to family and friends. Those who loved him have set up a foundation the Eddie MacGowan Foundation so please take a look. Funds raised through their activities will be donated to organizations that supported Eddie through his illness and that continue to support patients with similar disabilities. A sad loss for the Irish in America. Another beautiful choker of a song and following this we are back again to their last album for ‘Pennsylvania’s Finest’ what you might call a ‘American Rebel Song’. Again the original was a barnstormer of a song fast, furious and full of righteous anger, rousing the masses to remember the War Of Independence.

“And all the world shall know, Americans are free
Nor slaves nor cowards we will prove, And England soon shall see
We’re Pennsylvania’s Finest,
And we will proudly fight our hearts are strong our aim is true,
We’ll stand up for our rights”
The English making friends wherever they go since 1776!! Played here with with an ever such slight ska-ish beat but with much the same tempo of the original. Their last album provides the last two tracks here with the marvellous ‘Whiskey Blues And Faded Tattoos’ leaping out at you as the standout track. A superb song carefully crafted and here presented in such a beautiful way. The lyrics are amazing and a positive call to sort ourselves out. 
“Don’t waste another night, getting lost in your pint
Wasted memories of wasted yesterdays
Get up off the bar stool Get your boots on the ground
You’ll never reach the top at the bottom of a round
‘Cuz age is just a number not the sum of our mistakes
Always search for new tomorrows Always hope for better days”

The EP ends with ‘Golden Pen’ and a perfect way to leave with another great song Liz wrote about the death of a friend’s Mother. A great EP that shows the amazing talent of a band that is not resting on its laurels and hopefully new material will be following soon. The Celtic-Punk scene needs The Kilmaine Saints.

(Whiskey Blues And Faded Tattoos- not the acoustic version as featured on Off The Wagon but what the hell you get the drift and I bloody love this song!)

The Kilmaine Saints are equal parts Irish swagger, Scottish pride and whiskey. Their usual explosive Celtic-Rock has taken a back seat for now but is sure to return. The scene in America is still standing strong and bands like the Saints have now begun to influence a new breed of band setting out and it’s fair to say that there’s not much better bands to take that influence from. The Kilmaine Saints have become over the years a focal point for not just their local Irish-American community but nationwide too. A band that captures what it is to be Irish in America today. A symbol for a community that isn’t just there so that TV executives can make gangster programmes about them or TV series taking the piss out of their religion. The Irish community is still very much alive just like, thank heavens, The Kilmaine Saints.

Buy Off The Wagon Acoustic Sessions  FromTheBand

Contact The Kilmaine Saints WebSite  Facebook  Bandcamp  ReverbNation  YouTube

The Kilmaine Saints cross the broad Atlantic later in the year to play a series of gigs in the auld country taking in some of Ireland’s biggest tourist attractions. Sadly they won’t be coming to Ireland’s 33rd county (London) so my wait to see them goes on. You can still join them as a fan if you’re in America I think but best to check with them and if you in Ireland or going to be there at the same time (April 18-25) then be sure to find out where they are playing and get along!

The Kilmaine Saints performed the whole of Off The Wagon EP live on Facebook on Saturday 29th February and its a wonderful hour+ of the Saints talking about all manner of stuff and playing the songs. Well worth the watch.

EP REVIEW: THE STANFIELDS- ‘Classic Fadeout’ (2020)

The Stanfields are a folk punk band from Halifax, Nova Scotia, Canada. On Classic Fadeout they have released six original brand new sons for their sixth release all written and recorded within six months!

The Stanfields have been around now for well over a decade having been formed in 2008 and have a very impressive back catalogue with five very well received albums that each have troubled the top spots of the various Celtic and Folk-Punk end of year Best Of polls including ours. Never being one to accept the label of ‘Celtic’ The Stanfields have always travelled under the banner of Folk-Punk and thus far has served them well. Described rather well i think as “the bastard children of AC/DC and Stan Rogers” their music blends working class hard rock with the strands of folk that make up traditional Canadian music with much of it heavily influenced by Scotland and Ireland. The band started out playing cover songs during open mic performances at the Seahorse Tavern in Halifax, Nova Scotia quickly gained notoriety for their rowdy, entertaining performances and with the benefit of a relatively stable line up the boys few years together have seen them traversing the globe even washing up at the Tolpuddle Martyrs festival here in England  for a few years in a row.
Their new release Classic Fadeout is six original songs that span the history of The Stanfields throughout their illustrious career. Opening with ‘Southlands’ definitely the most Celtic influenced song here with a song evoking a long distant past. Next up is ‘Born On The Wrong Side Of Town’ is the kind of song that Bruce Springsteen is singing these days. A sort of Country/ Rock/ Folk mash up that streams along at a grand pace and has the feel that it could (does) appeal to a whole multitude of different genres. I love the idea that bands can make music that will reach the young and the old. After all that is how it use to be. When I was a young kid we use to beg Mum to put music on and now decades later I find myself still listening to that music she introduced me to. One subject I like to hear tackled is the scourge of drug addiction and The Stanfields sensitive and beautiful ‘Breakers In The Dark’ does it superbly.

(Shot at Churchill House in beautiful Hantsport, Nova Scotia)

Right across North America young people are falling foul to this terrible affliction and working class communities are suffering.

“Your eyes tonight are little pins
Looking for a friend
And tell a story locked inside of you
Your lips provide a different spin
One to be believed
If we were strangers on an avenue”

We are half way through and ‘Laser Beam’ may be many miles away from the fast folk and roll of their early days but it shows a maturity in their willingness to never to stand still and always keep moving and adapting. I mean who wants to be like The Queers still singing songs about your Mum finding your porno mags when your fifty! Slow and steady and perfectly balanced and accompanied by a video that I don’t think I have ever seen the like of it while writing for London Celtic Punks site.

Definitely take a few minutes out of your time to watch this incredible video. After that we need a bit of a lift and ‘Rules Have All The Fun’ supplies it with another catchy folk-country-Americana blend.A real foot tapper here among a bunch of songs that are perhaps a bit too on the reserved side.

The EP comes to an end with ‘Good Night, So Long, Goodbye’ the longest track here and a real epic to see us out. The emphasis may have changed from Celtic to Americana but the fire in their belly is the same and music with passion and emotion is what we love here. Classic Fadeout is not yer typical Stanfields release (as they say in their press release “predictably-unpredictable”) but another step in the progression of a band that have achieved much more then most in their time together.

(you can stream Classic Fadeout on the Bandcamp player below)

Buy Classic Fadeout  FromTheBand

Contact The Stanfields  WebSite  Facebook  YouTube  Instagram

Discography Vanguard of the Young & Reckless  (2010) * Death & Taxes (2012) * For King and Country (2013) * Modem Operandi (2015) * Limboland (2018)

ALBUM REVIEW: PATRICKS- ‘Rocky Road To Ireland’ (2020)

“When we need to escape from reality, and it’s not possible to take a trip to the green land, have a couple of glasses of mead instead and fly inside the head to the land we love so much”
Rocky Road to Ireland is the second full length album from Italian band Patricks does much the same thing!

When this album popped through the letterbox I took one look at the cover and thought “Oh, an Irish band” and on putting on the disc inside I was further impressed by this ‘Irish’ band. Came as quite the shock then to find out that Patricks may play top quality Irish Folk-Rock and have all the attributes of an actual Irish band but they hail many miles from the Emerald Isle in the Italian home of famed doomed lovers Romeo And Juliet- Verona. Formed in 2012 in no short time Patricks had played right across the north-east of Italy bringing their energy to both the big stages of festivals and their warmth and joy to intimate small pubs venues. In 2014 and 2015 they went down a storm at the ‘Ireland In Festivals’ in Bologna and Padua, opening for Cisco (formerly the legendary Modena City Ramblers). Their debut album, Tales From Irish Waves, hit the shops in June 2016 after eighteen months of hard work. Recorded at Verona’s Bass Department Studio the album was very well received and led to them being invited to headline the 2017 Triskell Celtic Festival in Trieste and for the last couple of years the main spot on St. Patrick’s Day evening in the centre of Verona making over 3,000 people dance for two hours! Tales From Irish Waves was a collection of Irish folk favourites like ‘The Rising Of The Moon’, ‘Star Of The County Down’ and ‘Leaving Of Liverpool’ all done in Patricks very own individual manner. With over 150 concert behind them, these Veronese continue to impress and with the release of Rocky Road To Ireland international growth beckons.
The Rocky Road To Ireland carries on from their debut album in much the same way. Ten tracks of popular Irish folk songs but this time the collection has a lot less emphasis on the more popular songs and includes instrumentals and even a couple of originals too. You actually get almost twenty here with songs mashed together in a incredibly seamless way taking it as far away from the realm of cover albums as you could possibly get. The album starts with ‘The Kesh Jig / Blarney Pilgrim’ and while it may not be only be Irish music that has songs instantly recognisable without words not many also come with the ability to cheer. As is common with a lot of Irish/Celtic bands in Europe the flute is to the fore here while the band cheerfully get through both songs in under three minutes. Next up we are introduced to Margot on vocals whose beautiful voice leads us through ‘Finnegan’s Wake’ a banjo heavy tune owing a lot to the Dubliners famous version though it sounds a little odd not having Ronnie Drew’s gravelly voice (or even Mike McColgan!) accompanying the song! Next is ‘Spancil Hill’ one of the saddest (and let’s face it the competition is immense!) of all the Irish emigration songs. The longest song here at over five minutes and played upbeat rather than its usual slow and maudlin. Margot’s voice dominates as is usually the case with Irish music (see bands like Runa and Solas). I still remember listening to this song for the first time. I had heard it 100’s of times growing up but the first time I took care to listen to the words brought a tear to my eye the sadness of it all.
“Then the cock he crew in the morning, he crew both loud and shrill
I awoke in California, many miles from Spancil Hill”
Here though the famous last lines are missing and replaced with a different last chorus I had never heard before. Next a bunch of songs unfamiliar with me on paper, ‘ ‘The Butterfly / Golden Stud / The Man Of The House’, but ‘Golden Stud’ was recognisable at least. Accordion, fiddle and flute pushing the boundaries and while at times you do wish they would really really cut loose they still manage to beat up the floor. The Dubliners influence here is not just confined to the album’s title with ‘The Rocky Road To Dublin’ played at a steady pace and seeing as i can never quite keep up with the lyrics here Margot does a wonderful job especially in the chorus about bashing up two Liverpudlians! Another song I wasn’t sure I had heard before was ‘P Stands For Paddy’ but on hearing realised i had heard a version of it by German Celtic-Punk band Fiddler’s Green but whether it was this version, a love song, or the one written by Gerry Carney, a bittersweet tribute to the Irish in England that never made it I can’t remember. Here the influences from English Folk-Rock scene of the 70’s are evident with Patricks sounding remarkably like Steeleye Span in places. The Dubs return with a rowdy pub setting performance of ‘Whiskey, You’re The Devil/The Silver Spear/The Mountain Road’ and a professional sets of reels and jigs ‘Glasgow Reel / Aaron’s Key / Banshee Reel’ before we settle down to a modern day Irish folk music classic. ‘The City Of Chicago’ was written by Barry Moore and made famous by Christy Moore the song is a tribute to those who battled all the odds and made it to relative safety across the oceans during the great Hunger.
“Some of them knew fortune
Some of them knew fame
More of them knew hardship
And died upon the plain
They spread throughout the nation
They rode the railroad cars
Brought their songs ant music to ease their lonely hearts”
A fantastic song that that brings the curtain down but NO that’s not it! For they have squeezed in a bonus track at the end!

‘They’re Taking The Hobbits To Isengard / The Fellowship / The Shire’ are songs recognisable from the Lord Of The Rings films and show a sense of humour that has is evident in all the best Irish folk music. So almost forty minutes of quality Irish folk music as interpreted bu one of Europe’s best Irish bands. The album was recorded, mixed and produced by Max Titi at Maxy Sound Studio in Verona for Maxy Sound and if I did have one mixed opinion on the album I would like the band to follow though it is that they should ‘rock out’ a bit more and really go for it but Rocky Road To Ireland is still a fine album and a great way to start March off which is always traditionally our busiest month at London Celtic Punk for obvious reasons!!

Contact Patricks  Facebook  YouTube  Spotify  Instagram

Buy Rocky Road To Ireland  FromTheBand

NEW SINGLE FROM BLACK ANEMONE ‘STRAIGHT BACK TO HELL’

Celtic-Punk band from Sweden that loves to bring chaos and mischief to the world.

The band started out in 2010 when the front man Mattias wanted to start a new project in High School where most of the soon to be members of Black Anemone were studying music.

” I wanted to mix the sound traditional folk music, mostly Irish trad and fuse it with Punk-Rock.”

He recruited longtime friend Andy on guitar and soon after met Adam on drums. After recruiting some fellow school mates and after a few months rehearsing Black Anemone were formed. They released their first demo in 2011 and later an EP titled ‘”Let The Freak-Show Begin’. In the later part of 2011 Black Anemone started working on their first full length album that came put in 2013. The album, ‘King Of Kings’ was the first step for the band’s quest for world domination! At home they were making waves winning several awards including ‘Best local Act’ and appearing in most of the Celtic-Punk media’s end of year Best Of’s. Though the band has seen many changes from the original line-up the eight piece Black Anemone continue to grow.

”We love to bring chaos an mischief to the world. We like to go a little bit crazy and stir things up”.

(Video recorded and edited by Silversand Studios. Song recorded at Distmaskinen. Mix by Alexander Gabara Master by Ulf Blomberg)

Black Anemone are one of the most sincere bands in the scene. They share a real love for the music that sees them always encouraging others. Themselves they set the bar high as you will tell from watching the amazing video above. Young, edgy and sharp dressed and not afraid to be straight up in your face with their brilliant sing-a-long mix of Folk melodies, Rock’n’Roll sound and Punk feel.

Download Straight Back To Hell FromTheBand

Contact Black Anemone  Bandcamp  Facebook  Instagram  YouTube  Twitter

TEN OF THE BEST PERFORMANCES FROM THE JOHNNY CASH SHOW

John R. ‘Johnny’ Cash February 26, 1932 – September 12, 2003

Songwriter. Six-string strummer. Storyteller. Country boy. Rock star. Folk hero. Preacher. Poet. Drug addict. Rebel. Saint AND sinner. Victim. Survivor. Home wrecker. Husband. Father. Son. and more…

Today is the birthday of the ultimate Rock’n’Roll rebel the one and only Johnny Cash. We have covered Johnny’s life several times so much are we in awe of his life and his musical career so here we are going to concentrate on a short period of his life from June, 1969 to March, 1970.

In 1968 Johnny’s career came back with a bang following the success of his two live prison shows, 1968’s At Folsom Prison and 1969’s At San Quentin A. With his star firmly back in place he was rewarded with his own television show to be called quite simply The Johnny Cash Show. Earmarked as the Summertime replacement for The Hollywood Palace variety show it was short lived but has gone down in history thanks to Johnny and the way he ‘stepped outside the box’ by inviting some of the most interesting and influential artists of the time onto the show.

The first episode aired on June 7, 1969 taped at the historic Ryman Auditorium in Nashville, TN, the home to country music institution the Grand Ole Opry. It had been Johnny’s ambition to play there as a child and he had achieved that dream thirteen years earlier after his chart topping #1 ‘I Walk The Line’. That first episode featured performances by singer-songwriter Joni Mitchell, Cajun fiddler Dough Kershaw and to the shock of many, Bob Dylan. The Johnny Cash Show saw many memorable performances, from the likes of Bob Dylan, Joni Mitchell, Neil Young, Louis Armstrong, Ray Charles, Stevie Wonder and Eric Clapton to a segment of the show called ‘Country Gold’ which had guests as diverse as Tammy Wynette, Merle Haggard, George Jones, Bill Monroe, Loretta Lynn and the Everly Brothers.

The ratings for The Johnny Cash Show were excellent (reaching #17 in the nationwide Nielsen ratings in 1970) and ABC extended the original run from 15 to 58 episodes but the end came early in 1971 after just 22 shows as part of the so-called ‘rural purge’ in which urban executives at all three major broadcast networks eliminated rural and older skewing programs. ABC viewing figures at the time were in massive decline and by cancelling one of their only successes it just goes to show how mismanaged the network was at the time. Never to be repeated it’s a disgrace that the copies of the shows lay unreleased in the vaults. A terrible mistake and we can only hope it is rectified soon. This is why the quality of some of the videos isn’t quite the best. 

To celebrate of Johnny Cash’s 88th birthday we have trawled through You Tube to find you the best performances from The Johnny Cash Show. From his rendition of ‘The Long Black Veil’ with Joni Mitchell to the debut performance of his classic (and possibly THE ultimate protest song) ‘The Man in Black’ every song that left this mans lips meant something to him and to us. A man whose popularity crossed all borders creed, class and colour and was truly loved and cherished by all.

Johnny Cash and Pete Seeger – ‘Cripple Creek’/’Worried Man Blues’

Johnny Cash and Roy Orbison – ‘Pretty Woman’

Johnny Cash and Joni Mitchell – ‘The Long Black Veil’

Johnny Cash – ‘Sunday Morning Coming Down’

Johnny Cash and Louis Armstrong  – ‘Blue Yodel #9’

Ray Charles – ‘Ring Of Fire’

Creedence Clearwater Revival – ‘Bad Moon Rising’

Stevie Wonder – ‘Heaven Help Us All’

Johnny Cash, John Hartford, Vassar Clements and Norman Blake – ‘Bill Monroe Medley’

Johnny Cash – ‘Man In Black’

Johnny Cash  WebSite  Facebook  YouTube  The Johnny Cash Trail  

THE GO-SET LIVE IN LONDON

Finally it sees the light of day! Four years ago in a dingy sweaty packed out basement in Brixton Aussie Celtic-Punk LEGENDS The Go-Set blasted us away. The footage has only just been uploaded so join us for nearly a hour of some of the best Celtic-Punk ever played!

Comrade X

Back in 2016 we got the call from who I cannot remember to ask if we could help out with a band on tour from Australia called The Go-Set. Now being MASSIVE fans it was a chance we could not refuse and we said “F*ck Aye” straight away. I got on the blower to my auld school pal John McCullagh (he of ‘Dance On Your Grave Mrs. Thatcher’) who had not long returned from a decade in Oz himself for the lovely streets of Rossington, northern England. He said aye and then it was a simple task of rounding up The Lagan and Matilda’s Scoundrels as other supports. Matilda’s were yet to hit the heights they were later to reach but even then I knew they were going to go on to bigger things. Not long before the night John pulled out so we roped in another London Celtic Punks favourite the one and only Comrade X to kick proceedings off. The build up to the gig was the same as ever. A friend recommended The Veg Bar in Tulse Hill, south London. Their had been regular Punk gigs there for ages and I had enjoyed a drunken night there that had passed with very little memory of the venue or bands! So the venue was booked. The basement of a vegan restaurant ten minute walk from the centre of Brixton. Flyers were done and handed out at various gigs and in the run up to this gig we hosted a smaller gig at the same venue with The Cundeez bagpipe Punk from Scotland and Black Water County. The attendance that night was OK but did not prepare me for the crowds that would flock to The Go-Set two weeks later on that warm September evening in 2016. To say it was packed would be an understatement. The sweat was dripping off the walls and the 1 (yes one) bog was doing overtime as crowds of Celtic-Rockers flew in and out to get some air. The bands were outstanding and contrary to what Darren of Flat Cap says i thought yer man doing the sound did an excellent job. CX, The Lagan and Matilda’s played great sets of course and then the rest of the night was documented by Darren stood on a chair at the back of the crowd. Does it even need to be said that the bar was drunk completely dry and that when we opened the back door leading to the street to let in some air the off-license next door did a raving trade! The footage has remained hidden for a few years till Darren got sick and tired of me cajoling him to release it no matter what the quality. So here it is in all it’s glory sit back and enjoy the fabulous The Go-Set.

FLAT CAP PRODUCTIONS

In 2016 The Go Set took there Celtic folk punk tunes to the UK, I was taken along for the ride to help out with merch and do a bit of filming. We ended up in Brixton at The Veg bar for this celler dweller of a show! It’s a bit booming to start but the sound guy got to grips with it so stick with it, it was a cracking night thanks to the guys at London Celtic Punks and the support, Matilda’s Scoundrals and The lagan. It’s early Flatcap so don’t judge us too much just soak in the sweaty atmosphere and enjoy The Go Set Live! Thanks for having us along Cheers

The full fifty minute set (Blimey it felt like a lot longer at the time!) and maybe the sound quality aint the best but this wasn’t yer typical venue so I think Darren did a great job considering. Anyway its a shitload better than our offering that has been up for the last couple of years here…

Check out Flat Cap Productions they do a fantastic all round job supporting live music in Australia. They run a printing service that is dirt cheap for bands as well as regular You Tube interviews and all sorts of other malarkey worthy of your suppport.

FLAT CAP PRODUCTIONS

Facebook  YouTube

(more photos from the night are here on Facebook)

LONDON CELTIC PUNKS EXCLUSIVE VIDEO FROM CHINA! GRASS MUD HORSE NEW SINGLE.

Holed up in their apartments in northern China Grass Mud Horse have been keeping pretty damn busy under quarantine and here is their second release, the pirate themed ‘No Prey No Pay’ and an exclusive first viewing of the video too.

Celtic-Punk based in Qinhuangdao, northern China! Singing about living in one of the strangest, most amazing and, at the moment, most dangerous places on Earth. Singing in both English and Chinese, their music is tongue in cheek and in the spirit of the best Celtic-Punk will make you smile! Grass Mud Horse are a punk band based in Northern China fronted by Chris Barry, who also writes all the songs. Originally from Liverpool he now lives in China and was also a member of the Canadian Rock band The Strange. The music is an eclectic mix of various punk styles, including Skate, hardcore, Ska, Celtic and features a diverse array of musical instruments (most also performed by Chris Barry). This is their second release after ‘Christmas Time In China’ and their next release will be a acoustic EP while the lads work on their debut album, Beijing Bikini, which has been delayed because of something I am sure you must have seen on the news!

We’re setting sail once more to raid
The Spanish Kings own gold
We’ll hunt his scurvy rotten ships
And plunder all they hold
We’re setting course with no remorse
We’re as rotten as we’re damned
We’ll spill their guts just cos we must
It’s to fortune or be hanged
*
 No prey no pay
Our code our way
No prey no pay
We fight we slay
No prey no pay
And to the Devil we say
The order of the day
No prey no pay
*
 Prepare to come about
A shot across the bow
The chance to end this now
Strike your colours be a coward
If you stand your ground
You’ll be shark bate when you drown
*
 Throw the boarding hooks
 Draw your cutlass swig a dram
 Prepare to board her men
 Smell their fear drink it in
Lads we’ll soon be rich
while this lot will soon be dead
 We’re setting sail once more to raid
The Spanish Kings own gold
We’ll hunt his scurvy rotten ships
And plunder all they hold
We’re setting course with no remorse
We’re as rotten as we’re damned
We’ll spill their guts just cos we must
It’s to fortune or be hanged
*
No prey no pay
 No prey no pay
Our code our way
No prey no pay
We fight we slay
No prey no pay
And to the Devil we say
The order of the day
 Crack of muskets dying screams
Clash of steel striking bone
 The sweetest sound I know
Blood streams into the sea
Another Battles won and the day is ours again
*

Now the reason for the bands name Grass Mud Horse is that it is the literal English translation of the Chinese term for the animal known as a llama or an Alpaca. In Chinese the llama is named 草泥马 (pronounced Cao Ni Ma.) As Chris says

“Now the reason we chose this for our name, is because if you say “Cao Ni Ma” with the wrong tones…you don’t say Alpaca at all, in fact you tell somebody to go fornicate with their mother.  In addition to this being quite funny, China is of course a land of extreme censorship and to avoid getting in trouble for swearing, young Chinese angrily exclaim “Llama!”, when in fact they mean something else entirely.”

So more proof if it was needed of the global reach of Celtic-Punk, even if Chris is a scouser! It’s hard enough for new bands to make a mark on the scene but when you are living and working in China it’s near impossible so do the guys a favour and download the song and leave them a ‘like’ on Facebook.

Grass Mud Horse  WebSite  Facebook  YouTube

EP REVIEW: HOOLIGAN- ‘Dublin City Rockers’ (2019)

Dublin City Rockers is the 6th release from Hooligan. A new four track EP from these Dublin Punk-Rock hools. Expect thick guitars, hooks and plenty of energy.

Eleven years on from their blistering arrival on the Irish punk scene Hooligan are back again with yet another EP! That makes six now if you’re counting and if your waiting on an album then you will have to wait a little more as they seem more than content to keep pumping out the EP’s.

Kicking off with ‘Punk Rock ‘N’ Roll’ and its a explosive start with a nod to the past glories of Punk especially bands like The Clash or Stiff Little Fingers. Not overcooked  and even chucking in a guitar solo that doesn’t outlive its welcome its a fist in the air singalong that I would have called ‘melodic punk’ back in the day but I think that’s more a term for American bands now but the 1977 tag would suit them well. ‘Dublin City Girls’ is next up and if you recognise it you may be older than you think. Originally released by seminal Dublin blues rock band Skid Row (not the US hair metal band who stole their name!) in 1973 they were fronted by Brendan ‘Brush’ Shiels, Skid Row are famous now for being the first band Phil Lynott and Gary Moore first played in before they formed Thin Lizzy. The song sticks to the same blues rock of Skid Row but with more urgency and made to be louder! Now this EP is only available on vinyl as far as I know so flip the record over for side two and first up is ‘A Gang Like Us’ another original Hooligan number. It’s heads down Punk-Rock with some amazing guitar work from David who also sings and has a particularly good voice for this kind of malarkey. The EP ends with ‘Saturday’s Hero’s’ and signs off with another belter. Slower than the rest but with the same singalong chorus and some great lyrics. Stick two fingers in the air air punk rock as my auld mate Black Mick use to call it. The song winds to a close with the refrain

“Everybody hates us…we don’t care”

ringing in our ears and that can’t be true?!?! The word on the street is that Hooligan have re-located to London these days so hopefully we’ll get a chance to catch up with them soon. Great straightforward Punk-Rock that will have you shouting along after just a single play like me!

Discography Punk Rockers & Hell Raisers (2010) * Prodigal Son (2011) * No Blacks No Irish No Dogs (2013) * Criminal Damage (2014) * Teenage Rebel (2017) * Dublin City Rockers (2019)

Buy Dublin City Rockers  Advance Records  RoughTrade

Contact Hooligan Facebook  Soundcloud  YouTube

SINGLE REVIEW: BRYAN McPHERSON- ‘Berkeley Demos’ (2020)

Bryan McPherson, a fiery, folk-playing, native of Boston Massachusetts was called west to Los Angeles in 2010. Bringing with him blue collared incendiary working class folk music fusing Americana, Folk, alternative and Punk.

One of the highlights of doing this here site is that you can push artists that really made a difference in your life. I first came across Bryan MacPherson when a fellow London Celtic Punk gave me a handful of bootleg CD’s to listen to. To be honest I didn’t give them much of a chance and dismissed them early on as a wee bit lame. How wrong I could be I would learn later. Bryan toured England in 2015 and eventually wound up in London playing at the Goth bar The Devonshire Arms in Camden. It was free so a bunch of us went along and wow I can honestly say I was blown away by both the power and the passion of Bryan’s music. The gig came along after some particularly bad news so it was also a timely reminder to pull my socks up, hold my head up high and get on with it. The night could have gone a lot better with ‘technical’ difficulties mucking up most of the set but I came away that night with a warm feeling of hope and a new favourite singer-songwriter!

“Bryan sings like, we’re lucky he doesn’t own a gun.” -Filter Magazine

Here on his new single Bryan digs into his distant past and releases three tracks from when he first arrived in California around 2010. A decade on they still sound as relevant as ever and incredibly up to date. The opening song ‘East Bay Train’ has never been released before and was recorded with the help of the great Willie Samuels in a session where they were just trying some stuff out. Bryan has the amazing ability to inject into every song his heart and his voice just exudes passion. The following two tracks were both recorded in the shed of Jason White from the Californian bands The Big Cats and Pinhead Gunpowder. He is also a touring guitarist in a little known pop combo called Green Day! Well he must have a better shed than me because both songs sound immaculate. The first of the songs is an early version of ‘Born Again American Blues’. Telling the tale of travelling across the States playing music

“I got a sleeping bag I take it with me wherever I go. I always got a bed. I always got a home. I got the sky for my sky light. Don’t worry mama I’m alright. ‘Cause I was born at night. I was born born born to fight with shadows on the wall.”

The single ends with ‘I See A Flag’ and it’s no exaggeration on my part to say this is one of my all-time favourite songs. At almost seven minutes it’s a song that perfectly captures Bryan McPherson it all his glory. A story told of life- both sordid and hopeful- and love and hate and politics. A world where something better is possible.

“There ain’t no easy way to end this song. I ain’t got no answers ‘cept mountains and fog cuz I seen the buildings built and I watched them crumble. I seen a nation of braggarts stumble humbled I seen money come and go, people live and die, people giving up, standing up to try and all I can hope for is a better today cuz life’s right now and its here I’ll stay. Its here I will sing and here I will pray to a billion gods I hope they all get their way. So lets just tear it all down we can start from scratch. Keep our faces forward don’t ever look back. A place where everybody’s clothed and everybody’s fed and nobody’s dying from a lack of medicine. I don’t understand. I see a flag lowered in the wind”

It don’t get much better than this. Bryan is attempting to survive on the meagre portion that a full time DIY musician makes so he occasionally comes up with novel ways to support himself. This time he has made up bootleg numbered tapes of the single with hand painted covers by Bryan. They are selling quickly and you can pick one up here.

(you can stream Berkeley Demos on the Bandcamp player below)

Buy Berkeley Demos  Bandcamp

Contact Bryan McPherson  WebSite  Facebook  Instagram  YouTube  Spotify

THE BEST SONG EVER WRITTEN!

The debate over what is the best song ever written will linger on and on and on and be debated well into the night by friends and foe alike. Here at London Celtic Punks we are unanimous in our view that it is a song that had been largely forgotten and unknown outside Ireland till the it’s first appearance on You Tube led to its well deserved modern day fame.
Back in 1976 while I was still listening to The Wombles (and a couple of years before I would discover Sham 69) the legendary Paul Brady released an album with the equally legendary Andy Irvine called Andy Irvine & Paul Brady. The whole album is simply outstanding, but there is one song that stands head and shoulder above even the best of the other tracks. Paul plays solo a song that closes the vinyl’s first side (remember ‘records’ and ‘sides’?) that I am yet to hear anyone who has heard it for the first time not comment on its utter brilliance. I am told it’s played in an Open G tuning and for me, someone with no musical talent, it is mesmerising watching Paul’s fingers “bounce on the surface of the strings like dragonflies on the surface of a pond” – guitar tabs for you budding musicians here. Paul’s voice is perfect for the song and the incredible lyrics that contain some serious threats of violence that are eventually acted upon! A Christmas song that is not your typical song! The song was also recorded by Bob Dylan on his Good As I Been To You album of 1992 opening up the opportunity for Pauls superior version to be heard all over again. Dylan had wanted to get out of a contract, but owed two albums so he recorded traditional songs that he liked.

Oh, me and my cousin, one Arthur McBride,
As we went a-walkin’ down by the seaside,
Mark now what followed and what did betide,
For it bein’ on Christmas mornin’
Now, for recreation, we went on a tramp,
And we met Sergeant Napper and Corporal Vamp
And a little wee drummer intending to camp,
For the day bein’ pleasant and charmin’.
*
“Good morning, good morning,” the Sergeant he cried.
“And the same to you, gentlemen,” we did reply,
Intending no harm but meant to pass by,
For it bein’ on Christmas mornin’
“But,” says he, “My fine fellows, if you will enlist,
Ten guineas in gold I’ll stick to your fist,
And a crown in the bargain for to kick up the dust,
And drink the king’s health in the morning.
*
“For a soldier, he leads a very fine life,
And he always is blessed with a charming young wife,
And he pays all his debts without sorrow or strife,
And he always lives pleasant and charmin’,
And a soldier, he always is decent and clean,
In the finest of clothing he’s constantly seen.
While other poor fellows go dirty and mean,
And sup on thin gruel in the morning.”
*
“But,” says Arthur, “I wouldn’t be proud of your clothes,
For you’ve only the lend of them, as I suppose,
But you dare not change them one night, for you know
If you do, you’ll be flogged in the morning,
And although that we’re single and free,
We take great delight in our own company,
We have no desire strange places to see,
Although that your offers are charming.
*
“And we have no desire to take your advance,
All hazards and dangers we barter on chance,
For you’d have no scruples for to send us to France,
Where we would get shot without warning,”
“Oh no,” says the Sergeant. “I’ll have no such chat,
And neither will I take it from snappy young brats,
For if you insult me with one other word,
I’ll cut off your heads in the morning.”
*
And Arthur and I, we soon drew our hogs,
And we scarce gave them time to draw their own blades
When a trusty shillelagh came over their head
And bid them take that as fair warning.
And their old rusty rapiers that hung by their sides,
We flung them as far as we could in the tide,
“Now take them up, devils!” cried Arthur McBride,
“And temper their edge in the mornin’!”
*
And the little wee drummer, we flattened his bow,
And we made a football of his rowdy-dow-dow,
Threw it in the tide for to rock and to roll,
And bade it a tedious returning,
And we havin’ no money, paid them off in cracks.
We paid no respect to their two bloody backs,
And we lathered them there like a pair of wet sacks,
And left them for dead in the morning.
*
And so, to conclude and to finish disputes,
We obligingly asked if they wanted recruits,
For we were the lads who would give them hard clouts
And bid them look sharp in the mornin’.
*
Oh, me and my cousin, one Arthur McBride,
As we went a-walkin’ down by the seaside,
Mark now what followed and what did betide,
For it bein’ on Christmas mornin’

The songs first appearance in print was around 1840 in Limerick as collected by Patrick Weston Joyce, but the roots of ‘Arthur McBride’, however, go right back further to the 17th century, and Ireland’s involvement in the Glorious Revolution (1688), the Nine Years War(1688-97), and especially the Williamite War in Ireland (1689-1691). The song refers to being “sent to France,” which would suggest the Flight of the Wild Geese: when the departure of the Patrick Sarsfield’s Irish Jacobite army were exiled from Ireland to France in 1691.

In the song, the singer and his cousin, Arthur McBride, were out walking when approached by recruiters for the British Army. They try to recruit them into service for the Crown extolling of all they will have both monetary and also the ‘finest of clothing’. Arthur McBride is having none of it and informs the recruiting sergeant that they would not be his clothes only loaned to him and why would they want to join up anyway only to die in France. The sergeant is angry at this and threatens both Arthur and his cousin but they defend themselves by attacking the recruiters with their shillelaghs (a walking stick made from blackthorn that was often used for ‘defending’ oneself!). The lyrics are so descriptive and even chilling- “And we lathered them there like a pair of wet sacks, and left them for dead in the morning.” They then steal their money and in a last show of defiance chuck the recruiters drum into the sea. The website Irish Music Daily has the best explanation for some of the colourful language used in the song.

The whole album is incredible and here from the same record is ‘The Plains Of Kildare’ an old traditional Irish song that with emigration made its way across the broad Atlantic and in the 19th century wound up in the mountains of Appalachia  to become ‘Old Stewball Was A Racehorse’.

FEBRUARY EPISODE OF THE CELTIC PUNKCAST #35 OUT NOW

The latest episode of Celtic-Punks #1 podcast has landed. Over a hour of the best darned music in Celtic-Folk-Punk that you will find!

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

Hey there everybody and welcome to another month of the best celtic punk, celtic rock and folk punk from around the world made right here in Victoria, Australia. I’m really keen for you guys to hear this one, some great tunes from around the world and some new stuff thrown in as well. Plus listeners choice is back for 2020, this month it’s DARREN LANE of Flatcap Productions fame giving us his three songs he wanted to hear. Let’s get into it!

BLACK TARTAN CLAN – ‘The Hero’

IRISH MOUTARDE – ‘Go Away’

SCRUM – ‘Final Victory’

THE DEAD MAGGIES – ‘Charlotte Badger’

THE MUCKERS – ‘Maid Of Amsterdam’

1916 – ‘Back Home In Derry’

DROPKICK MURPHYS – ‘Smash Shit Up’

 

LISTENERS CHOICE: DARREN LANE

THE GO SET – ‘Raise A Glass’

THE RUMJACKS – ‘Barred For Life’

FLOGGING MOLLY – ‘If I Ever Leave This World Alive’

 

JOLLY JACKERS – ‘Blood, Sweat And Beer’

SIR REG – ‘The Underdogs’

THE FATTY FARMERS – ‘Invictus’

YE BANISHED PRIVATEERS – ‘Elephants Dance’

BLACK WATER COUNTY – ‘If Only You Were Here’

PADDY AND THE RATS – ‘The Captains Dead’

THE CLOVES AND THE TOBACCO – ‘Sally O’Riordan’

You can listen to the February 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 #35

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: BODH’AKTAN- ‘De Temps Et De Vents’ (2019)

The seventh album of Bodh’aktan from Québec. Seven rogues fusing elements of Celtic, Rock, Trad, Pop and Punk and the music of the Celtic Nations, especially Brittany and Ireland. With bagpipes, flute, accordion, violin and bouzouki and vocals in both French and English they are a force to be reckoned with!

We are well into 2020 now but we couldn’t let last year go without paying homage to one of the best, and most active, bands in the Celtic-Punk scene. This will definitely be the last review from 2019 and what a great way to bid farewell then with a band that really encapsulates everything that Celtic-Punk should be about. A link from the traditions of the past to both the present and the future. On their last album, Ride Out The Storm, they were assisted by the legendary uileann piper Paddy Moloney of The Chieftains and it was not the first time Bodh’aktan have embraced the ‘old world’ of Celtic music.

Bodh’aktan formed in Québec in 2011 and they have released several acclaimed albums. Regular visitors to Europe, especially, of course, France they are yet to visit the Irish and British isles but as their fame spreads I’m sure it is only a matter of time. The vast majority of their releases have been in their native tongue but they have also had the novel idea of re-recording a couple of albums into English for their Anglo fans. Their new album De Temps Et De Vents has been recorded in French or as one reviewer hilariously described it as a

“return to the language of Molière after an incursion in Shakespeare”.

The Québec flag, the Fleurdelisé (Lily-flower)

Québec is a semi-autonomous region of eastern Canada and is home to 8,500,000 residents. The official language is French and is spoken by the vast majority of residents (78%). The region has a totally different feel to the rest of Canada and French dominates every aspect of life. Within this French culture is a strong Breton influence and their are no shortage of Celtic influenced bands both traditional and modern. The French population of Québec stands at around 30% with the Irish and the Scots making up a further 10% so the Celt identity there is very strong! Their have been referendums about independence in 1980 and 1995 that have been defeated (in 1995 by a margin of only 1%!) and so they remain, for the time being, subjects of the British crown. This led in 2006, to the House Of Commons of Canada passing a motion to recognise the “Québécois as a nation within a united Canada”.

So onto the actual album and De Temps Et De Vents is twelve original songs lasting nearly forty minutes that starts off where Ride Out The Storm left us. They have been moving away from the harder rock/punk sound of their earlier days into a much more Folk and trad style that is instantly recognisable in modern day Celtic-Punk. With all the lyrics in French and being a pupil of the English school system my knowledge of the language is pretty damn basic to non existent! With that in mind I can really only review the music here so please bear with me.

The album begins with the short ‘Ouverture’ a Celtic-Punk heavy intro which starts with drums but with the rest of the band joining in at intervals building up and up and leading straight into ‘Capitaine Deux-Cennes’. My first impression is that Alexandre Richard has a fine voice that really jollies the music along during the fast songs but can also wrap itself around a ballad too. The music is reminiscent of Flogging Molly with its high tempo danceable style. For the album Bodh’aktan added a fiddler and Marc-Etienne Richard’s work is pure excellent shining alongside the rest of the band. Hopefully he will become a permanent fixture. Only a couple of songs in and you are already left with the impression this is the type of album that is for celebrating along to. The tempo does change from time to time with ‘L’orage’ for example when the bagpipes add a sorrowful side to the song. It’s the first ‘slower’ song but played with a heaviness that belies its speed. ‘L’amer’ is a straight up rock number and also one of the highlights of the album with a ‘Wo-Ho-Oh’ chorus that is just ripe for roaring along to!

‘Le Jardinier Du Couvent’ (in English ‘The Gardener Of The Convent’) is a slow beautiful ballad which slowly builds into a wonderful song. Despite not knowing the words it seems full of sorrow and sadness with Alexandre wringing every bit of emotion out of it. Hidden away among the Breton/French influenced tunes is the Irish trad ‘Set Béquate’ played to absolute perfection and a great example of a band that can turn it’s hand to anything. From Celtic-Punk rockers to trad tunes like this they know how to fill up a dance floor and the song speeds along at such an intensity that i’m sure by the end many drinks will have been spilt and many ankles turned over!

‘La Tournée’ is a fast and furious (120 seconds) number that takes in bands like Neck and The Tossers. Banjo heavy and over in a flash before ‘Le Retour’, a bagpipe Celtic-Rock number with a definite Scots feel and not just because of the pipes while ‘Le Dernier Bateau’ is a slower number with very much a ‘epic’ feel to the song. We are nearing the end of our voyage and Bodh’aktan see us out with two of the longest songs on the album. ‘Dans Le Bois’ carries on in in the same vein with an acoustic Celtic jolly wee number while the curtain comes down on De Temps Et De Vents with the amazing ‘Tant Qu’il Restera Du Rhum’ (in English ‘As Long As There Is Rum’!). At over five minutes all Celtic-Punk fans will know the kind of song when i say that its the end of the night, drink has been taken and you find yourself in the middle of the dance floor holding onto a stranger with your fist (or pint) in the air belting out the words at the top of your lungs. A slow heavy swirling way to see things out.

There is literally something here to keep everyone happy. When they ‘punk’ it up they are brilliant and when they ‘folk’ it up they are as well. For an album that varies from genre to genre the album flows magnificently (something I have noticed on their previous albums too) and you barely notice that the last song was a punk or folk number. The music is a joy to listen and the band are absolutely fantastic musicians and although the obvious humour here is lost on me this is a band who put out consistently great music and have done it yet again.

Buy De Temps Et De Vents  FromTheBand  Coop Breizh France

Contact Bodh’aktan  WebSite  Facebook  YouTube  Twitter  LastFM  Soundcloud

Disography Au Diable Les Remords (2011) * Against Winds And Tides (2013) * Tant Qu’il Restera Du Rhum… (2013) * Mixtape (2015) * Bodh’aktan (2016) * Ride Out The Storm (2018) *

(the brand new video for ‘Mick McGuire’ taken from 2018’s acclaimed album Ride Out The Storm just released on January 9th!)

YE BANISHED PRIVATEERS NEW SINGLE ‘ROWING WITH ONE HAND’

Swedish sea-dogs Ye Banished Privateers, th’ most realist pirate band in th’ world are back again wit’ a new single from thar forthcomin’ album Hostis Humani Generis.
Ahoy! So ye be wantin’ t’ go to sea an’ ye don’t be wantin’ t’ end up in Davy Jones’ Locker. Then ye best be learnin’ t’ ways of a buccaneer. Don’t worry I’ll stop that now! Yes the most authentic pirate rock band Ye Banished Privateers continue the build up to the release of their upcoming fourth album Hostis Humani Generis with the release of a new single ‘Rowing With One Hand’. These Swedish marauders of the sea take you through the ups and downs of pirate life! Honest to the bone – the upcoming album tells the unfiltered story about desperation, starvation and war fatigue accompanied by catchy pirate hymns.

Rowing with one hand hey ho
Round and round and round I go
Lassies mourn and seamen flow
Rowing with one hand hey ho
*
Six weeks dry without consent
They all said no so off I went
Left the ship and aimed for shore
a sturdy grip around the oar
*
Yo ho, hey ho – Hey all hands in a row
Man the pumps down below
Yo hey ho – Now we row
*
Rowing in a rowing boat
A trail behind me left afloat
I’ll raise the level of the sea
Enjoying my own company
*
One oar on the deck I stow
Frees next hand to go below
I ain’t going straight for port
Of fantasies I’m never short
*
Yo ho, hey ho – Hey all hands in a row
Man the pumps down below
Yo hey ho – Now we row
*
Some like rowing two and two
Or pass the ore along the crew
Others row in solitude
All dressed up or in the nude
*
Some go left, some go right
In circles rowing day and night
Takes a while to get us there
But timewise we are millionaires
*
My starboard arm as strong and grand
As nimble be my pistol hand
Greasy oil from sperm whale spleen
Keeps my leather nice and lean
*
Rowing with one hand hey ho
Round and round and round I go
Lassies mourn and seamen flow
Rowing with one hand hey ho
*
Yo ho, hey ho – Hey all hands in a row
Man the pumps down below
Yo hey ho – Now we row

PIRATE CODE OF CONDUCT

In order to prevent disputes and to employ a democratic process for ensuring equality and cooperation among the crew, most pirate ships had rigid rules in regard to the division of their spoils and operating procedures. These eventually became known as Articles of Agreement, or Pirate Code…which each crew member was asked to sign or make his mark upon and swear an oath of allegiance. When a rule was breached, the crew was often without pity or remorse in punishing a guilty crew member.

Bartholomew Roberts (Black Bart) was one of the most notorious and successful pirates in the Golden age of piracy, his Shipboard Articles of 1721 prescribed the code of conduct that he and his crew agreed upon as shown below…

I. Every man has a vote in affairs of moment; has equal title to the fresh provisions, or strong liquors, at any time seized, and may use them at pleasure, unless a scarcity makes necessary, for the good of all, to vote a retrenchment.

II. Every man to be called fairly in turn, by list, on board of prizes because, they were on these occasions allowed a shift of clothes: but if they defrauded the company to the value of a dollar in plate, jewels, or money, marooning was their punishment. If the robbery was only betwixt one another, they contented themselves with slitting the ears and nose of him that was guilty, and set him on shore, not in an uninhabited place, but somewhere, where he was sure to encounter hardships.

III. No person to game at cards or dice for money.

IV. The lights and candles to be put out at eight o’clock at night: if any of the crew, after that hour still remained inclined for drinking, they were to do it on the open deck.

V. To keep their peace, pistols, and cutlass clean and fit for service.

VI. No boy or woman to be allowed amongst them. If any man were to be found seducing any of the latter sex, and carried her to sea, disguised, he was to suffer death.

VII. To desert their ship or quarters in battle, was punished with death or marooning.

VIII. No striking one another on board, but every man’s quarrels to be ended on shore, at sword and pistol.

IX. No man to talk of breaking up their way of living, till each had shared £1,000. If in order to this, any man should lose a limb, or become a cripple in their service, he was to have 800 dollars, out of the public stock, and for lesser hurts, proportionately.

X. The captain and quartermaster to receive two shares of prize: the master, boatswain, and gunner, one share and a half, and other officers one and a quarter.

XI. The musicians to have rest on the Sabbath Day, only by night, but the other six days and nights, not without special favour.

Pre-order the new album NapalmRecords  Here

Contact Ye Banished Privateers  WebSite  Facebook  Bandcamp  YouTube

Avast me hearties! Celebrate Talk like a Pirate Day…an international event… tis yer excuse to talk like a pirate e’ery year on September 19th so… gather yer mates an’ watch out fer concerts o’ all yer fav’rit musicians!

LONDON CELTIC PUNKS 2019 READERS POLL WINNER ANNOUNCED!

The votes are in and have been counted and although it’s just a bit of fun really a champion has been declared the 2019 Readers Poll winner!

One of most popular releases of the year and it showed as they romped home as champions quite safely in the end. In true Mickey Rickshaw style they didn’t ask their fans to vote for them and even agreed with us that the #1 Celtic-Punk album of the year was The Walker Roaders. A very talented yet humble bunch of guys with a great future ahead of them. Well done fellas.

You can stream Home In Song on the Bandcamp below before you part with your hard earned. We promise you it is well worth it.

Buy Home In Song- Bandcamp   ArrestRecords (T-Shirt/Vinyl offer)

Contact Mickey Rickshaw  WebSite  Facebook  Bandcamp  Twitter  YouTube  Instagram

A special edition of Home In Song is available from MacSlons Irish Shop featuring seven (!) bonus tracks from their acclaimed 16 Down And Back Again demo from 2013 previously only available as a download.

With nearly 500 votes cast for thirty (plus three that came out in 2018!) different releases from 2019 it’s been a much more interesting Poll than 2018’s for a variety of reasons.The vote was slightly down on the previous year but was spread among a much wider selection of releases and a lot more votes were cast in the ‘Other’ section than ever before too. Early on it looked likely to be a four horse race between early leaders Ferocious Dog, Mickey Rickshaw, Greenland Whalefishers and Pipes And Pints. As time went by The Rumjacks made it a five horse race but Mickey Rickshaw slowly but surely overtook Ferocious Dog at the top and in the end romped home comfortably by over thirty votes.

In fact the actual winner of the Poll was the ‘other’ section with 20% of all votes. They were spread among twenty-one releases but with Ny’ers The Templars Of Doom hitting 19 votes which lifted them into joint 9th place with McDermotts 2 Hours overall and Seth Mountain not far behind on 17 votes giving him 10th position pushing out The Narrowbacks with The Whipjacks, The Rumjacks and Tortilla Flat all just behind.

So onto 2020 we go and several ‘big’ bands are promising new albums so it all seems set to be another exciting year ahead of us in the Celtic-Punk scene so if you are in a band and have something planned be sure to let us know. We can’t review what we don’t hear of and why not consider subscribing (the form is on the left or below depending how you are viewing this page) and you won’t miss any posts.

LONDON CELTIC PUNKS READERS POLL 2018

CLASSIC ALBUM REVIEW: LOUDEST WHISPER- ‘The Children of Lir’ (1974)

Loudest Whisper were an Irish folk rock/progressive folk group formed in the early 1970’s led by singer/songwriter Brian O’Reilly. Best known for their debut album, The Children Of Lir, a folk opera based on the Irish legend of the same name. The original LP release of the album has become one of the most sought after records in Ireland, and ranks among the most rare and sought after records in the world. A glorious mixture of catchy melodies, soaring harmonies and biting acid guitar.

A cult Celtic prog-folk rock band with a theatrical bent, Loudest Whisper started off as another sort of band altogether. Formed in the early 1960’s in the sleepy surroundings of Fermoy, County Cork,  Ireland, by Brian O’Reilly, Michael Clancey, John Aherne and drummer Jimmy Cotter, they were originally known as the Wizards. The Wizards played mostly covers of Beatles, Hollies and Spencer Davis songs and after Jimi Hendrix and Cream hit, the band took a turn into heavier blues territory, changing their name to Loudest Whisper as the 1970’s opened. The band also had some lineup changes, with Cotter leaving and Brendan “Bunny” Nelgian coming in as his replacement on drums. When guitarist Paud O’Reilly joined, he switched over to drums and Nelgian became the group’s lead singer.

Loudest Whisper- Brian O’Reilly, Brendan ‘Bunny’ Nelgian, Paud O’Reilly and John Aherne

It was here that the general direction of the band changed. Brian’s songwriting had always drawn heavily on American folk-rock groups, but he had also been working in amateur musicals staged by a local theater group and finding his attention increasingly drawn to traditional Irish folklore as well. He decided in 1973 to fuse all of these strands and interests together in a Celtic musical based on the legend of the Irish King Lir. The Children of Lir is a famous legend from the Irish Mythological Cycle about the Irish Gods of the Tuatha Dé Dannan. The four children in the tale represent the last of this generation, who are turned into swans by their wicked stepmother. After finally being lifted from the spell they are baptized as Christians before aging rapidly and dying. A sad tale about the love of one family, jealousy, magical spells and a curse of 900 years.

The resulting Children Of Lir premiered in Fermoy on January 7, 1973, as a full-blown stage production, with Ron Kavanagh, a singer and guitarist who had recently joined the band, taking the lead role. With nearly 60 performers involved, Children Of Lir it attracted a lot of attention, leading to the band signing a recording deal with Polydor Records and beginning to record a studio adaptation of Children Of Lir in 1974. Kavanagh left the band midway through the recording of the album version of Children Of Lir, followed by Nelgian’s departure shortly after the LP was released. The U.K. branch of Polydor rejected the LP, so Children Of Lir ended up being released only in Ireland in an extremely limited edition of 500 copies. Further lineup shuffles followed, with Brian taking over more of the singing and Dorgan officially joining as a guitarist and vocalist. Her voice was featured in O’Reilly’s musical, The Maiden of Sorrow, which was staged in 1975. Loudest Whisper toured throughout the late 70’s but recorded very little. Polydor released the band’s second album, Loudest Whisper in 1980, which had an accessible soft rock feel. Again, Polydor did little to support the album and the band issued its next project, Hard Times, which featured a second female vocalist, Bernadette Bowes, privately on the Fiona imprint in 1982.

Loudest Whisper began to dissolve when both Dorgan and Bowes left the group in 1985, although the O’Reilly brothers continued to gig under the name in a variety of configurations, even staging another musical, Buskin’, that same year. A couple of singles followed, but Loudest Whisper were barely active as a band as the 1980s closed. Brian released a cassette album, Spread Your Wings, as a solo project in 1990, with Dorgan helping out on background vocals, and the band was offered a recording deal with the Irish arm of K-Tel Records. Re-recording material from all phases of its career, the band came up with an album called The Collection. A reshuffling at the label led to the album being shelved, however, and it wasn’t officially issued until 1995 on Fiona.

Following the huge success of Riverdance, O’Reilly restaged The Children of Lir with a more folky and Celtic veneer, and a version of this was recorded and released, credited jointly to Brian O’Reilly and Donovan. The Kissing Spell label reissued the original recording of Children Of Lir on CD, following it with the group’s second album, retitled 2, and a near-bootleg quality version of The Maiden of Sorrow drawn from a 1975 live performance. Since the mid-1990’s, Loudest Whisper have been performing on and off with different musicians, including as a trio of Brian O’Reilly (guitar, keyboards, vocals), his brother Paud (drums, backing vocals) and Brian’s son, Oran (double bass). This version of the album is the  CD re-issue released by Sunbeam Records. Tracks 2-14 are the original album while the bonuses include various single B-sides and demos.

DOWNLOAD ALBUM

LINK1 LINK2 LINK3 LINK4(OUTSIDE UK)

DOWNLOAD ALBUM BOOKLET LINK

Buy from Forced Exposure * Amazon * Resident * Apple Music * Spotify *

The Band

Brian O’Reilly – Guitars, Piano, Keyboards, Vocals * Geraldine Dorgan – Guitar, Vocals * Paud O’Reilly – Drums, Harmonies * Mike Russell – Bass * Producer – Leo O’Kelly * Engineer – Paul Waldron

Discography

The Children Of Lir (1974) * Loudest Whisper (1980) * Hard Times (1983) * Maiden Of Sorrow (live album recorded in 1975, released in !995) * Our World (2004) * Blue… Is The Colour of Time (2014)

The Children Of Lir

Information On Ireland * Connolly Cove * Irish Myths And Legends * Your Irish Culture

The full story of The Children Of Lir, as read by the late and great Ronnie Drew…

for more like this…

ANTO MORRA’S NEW ALBUM IN HIS OWN WORDS

Songwriter, performer and multi media artist that believes ‘Life is for laughing and fighting injustice’. Traditional folk songs and punk rock of his formative London years, along with his Irish roots and Norfolk home are the inspiration behind his work.

by ANTO MORRA

Twenty is a compilation of 20 songs taken from 7 CD releases. Late last year I had the idea to put this together to replace the 6 full albums that were available for download and streaming. The reason being that the way music is digitally consumed today is rarely in album form and more often in odd tracks on shuffle. I felt this was making my output very incoherent and so I chose a selection of songs and got them re-mastered to work together as an album and also as individual tracks.

1. NEVER HAD TO SHOUT

The title track of my debut album. Very much in the story telling folk tradition but with 1977 punk sensibilities. Inspired by my love of British and Irish Gangster films, West London and the Clash. The main character is called Jimmy. I used this name because I had an Uncle Jimmy that lived around the Ladbrooke Grove area and had a market stall on Golbourne Road. On one occasion I performed the song at Cecil Sharp House (home of the English folk song and dance society in London) after Thomas McCarthy (an amazing singer of Irish Traditional songs passed on to him by his Irish Traveller family) approached me and questioned me (in a really strong Irish brogue) about who Jimmy was, as he had grown up around the Grove. I explained that I’d used my uncle’s name and even though my Uncle had been dead about 20 years, it soon became very apparent that Thomas had known him. You could have knocked me down with a feather. I don’t use the term ‘amazing singer’ lightly judge for yourself.

2. LONDON IRISH

It’s quite hard to imagine when I wrote this declaration of my nationality, I’d heard of neither the London Celtic Punks or The Biblecode Sundays. Unlike my elder sisters and many of my peers that moved from Catholic primary school onto Catholic secondary (High) School, my Irish identity never really developed. As many of my best school friends were English protestant, Jewish or Black, and one of my best out of school friends was a Turkish Muslim, so I always just felt like everyone was from somewhere else. Dyslexia was not really a recognised condition back then and although I wasn’t a severe case, I was always bottom of the class, angry and disruptive. Inside I thought I’d inherited my stupidity from my Irish parents, who were anything but stupid! The relentless stream of jokes about the ‘Thick Mick’ and my father fitting the stereotype of hard drinking builder, I was always emotionally conflicted about my nationality. It took a long time to confront it but I’m sure a diagnosis of dyslexia in the mid 90’s was a great help!

3. TALE OF THE SLIGO WIDOW

I spent an awful lot of wasted years drinking heavily and smoking cannabis on a daily basis, which made me adore folklore and those acoustic hippy kings like Marc Bolan, Donovan and Syd Barrett , but detest that over produced whispy Irish celtic mystic sound of people like Clannad and Enya. Although by the time I wrote this I thought I was done with writing that sort of weird hippy shit, like the cannabis it hadn’t entirely left my system! I’d like to site two songs that were the inspiration for this the first is Marc Bolan’s ‘One Inch Rock’ and the second is the Donovan’s ‘Widow with a Shawl’ .

4. TIME

I’ve always struggled with anti-social media, I’ve got accounts with the most well known platforms but never got my head around any other than Facebook. I’m still not sure how to fully utilise that to my advantage but sometimes I enjoy just screaming into that void! Some years ago there was a question posed by a FB user asking ‘If you could give your 10 year old self one piece of advice what would it be?’ Of course being dyslexic I never read the part that said ‘one piece’ and so I managed to get a full four verses out of it.

5. WRONG PATH

Like the four previous songs this is from my 2013 debut album and is in the storytelling tradition. Originally titled ‘Sealing fate’ when I started writing it in about 1990 and a song that remained really quite shite for at least 20 years, but following the 2011 London riots it finally became the song I was trying to write. I like to think of it as a re working of ‘In the Ghetto’ by Elvis but with a modern London twist. When recording it I had sung it unintentionally in a mid-Atlantic accent which sounded fine until Percy Paradise put down his slide guitar making my vocals sound hideously American. Rerecording my vocals was easy enough until it came to the chorus where The Woodland Creatures had followed the original ‘Path’ vocal line forcing me to use the American, Irish or Northern pronunciation rather than the London/southern pronunciation ‘Paath’.

6. POETS DAY

Is a working song for a lazy bastard! When I started work on building sites in the early 1980’s, Friday was known as Poets day an acronym for ‘Piss Of Early Tomorrow’s Saturday!’ This is still remembered by people of a certain age and I’m sure applied a lot more occupations than just in the building trade. Workers were paid weekly in cash back then and often on a Friday. Once you had your money in your pocket work was over and the weekend had begun and it was straight into the pub for a few pints and a game of pool or darts. Happy days!

7. WHERE’S DADDY GONE?

Written not long after my father died so consequently my mother hated it, as the Daddy in the song was nothing like my father who never hit any of us or chased other women once married, though he did occasionally stay out drinking. The inspiration for this comes from my love of those Kitchen Sink dramas of the 1960’s combined with all the rhythm and pace of a Leonard Cohen song. It does resonate close to the bone with some people, a friend of mine was quite taken aback by it and how it reflected his home life as a child.

8. CHARLEVILLE (RICKY’S SONG)

This recording is taken from a 2013 compilation cd featuring performers based in East Anglia. Some years ago while tidying stuff at my Mum & Dads house in London, I came across a piece of paper with a poem called Charleville scrawled in biro on it. Charleville is a town on the Cork, Limerick border in the Republic Of Ireland where my mother’s family are from. I asked her about it and she nonchalantly replied ‘Oh Ricky (her brother) wrote that.’ I was astounded not by the poem by just by the fact that one of my Irish relatives had been brave enough to attempt some creative writing. That sort of thing wasn’t for the likes of them! They were as Patrick Kavanagh would say ‘fog dwellers’ – rural types without need for self expression or showing off. I took the poem chopped some out, added an Irish cliché or two, pinch a traditional tune from somewhere and my work was done. There is a different version of the song on my album 16, but I chose this one because I love the understated banjo of Pete Alison and mandolin of Terry Saunders.

9. BLOOD ON THE SHAMROCK AND THE ROSE

This is the song that changed everything for me! I wrote this in the mid 00’s and by the reactions I got performing it in folk clubs, I knew I had to start taking my song writing more seriously and do some proper recordings of my songs. Growing up in London when it wasn’t great being Irish and narrowly escaping two IRA bombings- first in Selfridges 1974 and then the Wimpy Bar in 1981. I lived a mile from Marble Arch and so Oxford Street was where my mate Sean and I would go to play out on a Saturday. On both of the above occasions, we had got home to see the devastation on the News! Not only had we walked passed the Wimpy Bar on that day, but we had actually been inside Selfridges, just before we got the bus home. I could never relate the lovely kind Irish people that I had met and was related too, with the kind of people that could commit these acts of cruel violence. As I got older I started to understand it a little better and was finally able to articulate how I felt about it in a song. I have to credit my Sister Anne for verse three. When she was visiting a friend in Ulster at the height of the Troubles, she was advised if anyone asked her religion she was just to reply ‘I’m not one of them’ in order to stay safe and neutral.

10. GREEN, WHITE AND GOLD

On holiday in Ireland as a child I remember my dad pointing to a flag and saying ‘That is the Irish flag- it’s green, white and gold.’ To which I replied ‘That’s orange Dad.’ ‘No it’s gold, son!’ This contradiction went on for quite sometime until I think I just gave up. Years later I was reliably informed, that despite it representing the protestant William of Orange and his influence on the population of Ireland, Orange is not an Heraldic Colour and so my Dad was right! I wrote this not long after he died, so sadly he never got to hear it.

11. EDITH LOUISA CAVELL

Written and released as an EP in time for the centenary of her execution in October 1915. I was chosen by Norwich Cathedral Chaplin to be included in the Cathedral memorial service, where I performed it live, and the service was broadcast live on BBC Radio 4 to about 1.5 million listeners. A scary but enjoyable experience!

12. BALLAD OF EDITH CAVELL

In early 2014 I started to work with a very over educated man called Gareth Calway. A novelist, poet, playwright and historian who was staging a medieval morality play that he wanted me to be part of. When I had a very informal reading for a part, he told me of another project he was working on which was a book of ballads all based on people and places in the East of England. He was looking for musicians that could take his words and make them songs. I wasn’t keen at first as I hate reading and some of these ballads were really high brow wordy stuff but once I started it became like a runaway train and before I knew it we had an album to record.

13. PATRIOTISM IS NOT ENOUGH

The title track of The Edith Cavell Story EP released for the centenary commemoration. The EP was written on the advice of my good friend and London Irish artist Brian Whelan, who had been commissioned by Norwich Cathedral to do a number of paintings depicting her life and so suggested I write something for the planned events. The songs on the EP are all unaccompanied and linked with concertina and harmonica tunes played by my friend Percy Paradise. The reason for this was not only to respect the folk tradition of unaccompanied singing but also for a feel authenticity as there weren’t many guitars about during the First World War. I have sequenced the three Edith Songs this way because this is how I perform them live.

14. HALF GOD HALF NELSON

I always thought that I was not able to sing harmonies as when I have tried at Folk Clubs it has never been a good experience for anyone, but when recording this the harmonies came quite naturally to me. I’m not sure where I stole the shanty melody but I think it works perfectly when telling Gareth Calway’s tale of Norfolk’s Lord Admiral Nelson.

15. BALLAD OF ANN BOLEYN AND THE BURGLAR

Another from the pen of Gareth Calway. Blickling Hall in Norfolk was once the home of Ann Boleyn and it has been reported that she still haunts the place. In this song her ghost mistakes a burglar for her true love Thomas Wyatt, yet again I’m not sure where I pinched this very traditional sounding melody. My wife Julie’s harmony really pulls this together and it’s one I really love to sing when we are at folk clubs together.

16. ENGLAND

Some years ago I was booked to play in a local Norfolk bar on St. Patrick’s Day and St. Georges Day. As you can imagine St Pat’s was a walk in the park while St. Georges was a struggle, as there are hardly any English songs about how great the country is that aren’t slagging off some other country or praising the Monarchy. I stuck to things like The Jam, The Clash, The Kinks with a few great English Folk songs and got through the evening quite well I’d thought until someone came up after and said he still thought I’d been doing Irish stuff all night, but that’s pub gigs for ya! Shortly after I wrote this song to express what I love about the place. When performing it live I often explain before that it’s about place and you don’t even have to like the English to sing along with it.

17. YOU’RE NOT HERE

Originally called ‘Sadder Than Asda’ was written in the mid 90’s when I was on a painting and drawing course to get an extra £10 benefit on my giro. To get out of the studio on the outskirts of Norwich and get a bit of lunch, we’d visit a huge Asda superstore opposite. I had also started working on music with a band and we were considering names for the band. While chatting with my fellow Art students and shopping in Asda, one of my friends suggested that I should call the band Fountain Head after the cheap fizzy water sold in Asda. I put it to the band and they loved it, so that’s what we were called for our 2 year existance. When I wanted an interesting title for a song I’d written and I played the tearjerker to them some one suggested ‘Sadder Than Asda’, and like the band name, it stuck until I recorded and renamed it ‘You’re Not Here’ in 2017. Originally, recorded on a 12 string acoustic guitar that was removed completely when Kerry Selwin sprinkled her magic on the ivories. I spent a bit of time making this little video for it which is filmed in Balham, South West London where my parents rented a flat and lived for 20 years until my dad died. The shots of me watching TV and sitting by the window were done just before the TV and furniture were sold and the flat was handed back to the landlord.

18. DRAGON

When I first settled in Norwich I ran a record stall in St Benedict Street indoor market, it was a great little place which is sadly no longer there, next to my stall was a tiny hippy kiosk that sold a few ‘spiritual’ things and did tarot card readings. The owner of this kiosk was a bit of a weasley little shit but harmless enough, when he had days off there was another chap that did tarot reading who was a lovely fella that played a mean guitar and had great taste in music. One day when it was quiet one of the stall holders had brought her little boy in and he was chatting to the nice tarot reader who was trying to explain to this 5 year old what Dragons were. It proved to be fascinating listening, together with my love of T-Rex (Futuristic Dragon) and the fact that I was born in the Chinese year of the Dragon all came together in this song.

19. WRECKED ON LOVE

Another song written in the early 90’s and originally performed with Fountain Head. At this point in my life I’d been through several doomed relationships and was searching for some stability, but seemed destined to flit from bedsit to squat to family sofa. Far too many drugs and/or booze was being consumed and much too much early Marc Bolan and hippy shit was being listened too, but it was all worthwhile when a song like this came out of it. It was the first song I ever wrote that had a very folk feel to it. I particularly love the intro my talented friends did on this with flute, harp, cello and fiddle.

20. THE CONSCIENTIOUS ODD DRINKER

The closing song of my debut album was inspired by British soldier Joe Guyton, who refused to fight in the Gulf War, when it had been declared illegal. Also a story my father told me about his time in the Korean War, when one of his regiment in the royal artillery got blown up when a gun jammed. This got me thinking about PTSD and how many returning soldiers can’t deal with civilian life after the horrors they have witnessed. It’s a very sad song but in the Irish tradition of sounding good fun & having a knees up.

Buy Twenty  Vinyl/CD’sFromAnto

Contact Anto Morra Web-Site  Blog  Facebook  Reverbnation  Twitter  YouTube  Bandcamp

NEW SINGLE FROM CALLUM HOUSTON ‘ONCE UPON A TIME IN CARDIFF’

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

Among the first reviews of 2020 is the new single from a relatively new favourite of ours Callum Houston. I say relatively as we have been big fans of his other band the Welsh Psychobilly band The Graveyard Johnnys for years. The last few years have seen Callum move from Cork to Bristol to Wales and then to Lorient in Brittany where he has become a much loved fixture on the Breton Irish music scene playing regularly around the country. His debut single from last year Gravities was a big hit reaching #5 in our recent Best Of 2019 poll. It led to a successful mini tour of England including a fantastic London Celtic Punks gig down at Frosty’s Bar in Kenton. His new single Once Upon A Time In Cardiff came out just last week and keeps up the high standard with a tale of a long forgotten love affair suddenly remembered.

From car to car and bar to bar, underneath the castle lights,
It was the time of year that brings good cheer, there was warmth in the city that night,
Though I talk some junk, I’m a romantic drunk and to you my words fell right,
So we cut the rope, we pushed the boat, set sail into the night

You don’t have to think about it,
Because it’s not for real,
Pay no attention to,
The things that I say or how I feel

From drunken chat in your student flat, the seeds of lust are sown,
Though I never really wanted it to be this way, I just hate to be alone,
Well these poster walls reflect your soul, all the books that you have read,
So I flick through the pages of a magazine, I found beside your bed,

The morning rain is falling down, clears my soul anew,
Cliches keep calling and most of them, most of them are true

And you roll a smoke, I toke, I choke, well never going to do it again,
And there’s hope in your eyes, there is no disguise, let’s leave it at that my friend,
Well you played me a song, I heard it wrong, the words didn’t get right through,
Six years from then, I hear it again, it makes me think of you, that life that I knew.

The track is available from the link below for a paltry Euro. Yes a single Euro! It was recorded at Sleeper Studio, Châteaubourg in Bretagne. Callum was vocals and acoustic guitar and Sleeper Bill was on everything else. Callum will be treading the boards again in London again soon with both The Graveyard Johnnys and as a solo artist so keep and ear out here for any developments.

Download Once Upon A Time In Cardiff   FromCallum

Contact Callum Houston  Facebook  Bandcamp  YouTube  Spotify

EP REVIEW: 1916- ‘Meant To Be’ (2020)

Hailing from upstate NY, Celtic rockers 1916 are an explosive concoction of the modern Irish Punk movement with an original mix of psychobilly which gives 1916 a sound that stands apart from other bands of the genre.

Kicking off on New Years Day with a new EP big fan of 1916 Marv was among the first to buy it and has been listening to it ever since so here’s our first review of 2020!

A couple of years ago on these very pages I first came across the band 1916 from Rochester, New York, when praise was rightly heaped on their last album ‘Far Beyond The Pale’. I immediately ordered their entire back-catalogue on CD, which while talking a little while to cross the pond, has since never been far from my playlists. If you are not familiar with their work (unlikely I know!) then I advise you put that right as quickly as you can. Their cover of ‘I’ll Fly Away’ is one of my all-time favourite tracks along with ‘Ordinary Man’ and ‘Nothing Left to Lose’ from the 2016 album ‘Last Call for Heroes’

Roll forward to late 2019, just before Christmas, and welcome news was received via the auspices of Facebook that 1916 would soon be releasing a new single. True to their word it went live on all digital platforms on 1st January. Now that’s how you start off a new year!

So here we have the new three-track single, every note classic 1916 from first to last. The title track of the single is ‘Meant To Be’ – Full of everything we love from the raw overdriven guitar, the solid drumming driving the track along maniacally, and Billy Herring’s gravelly wistful voice snarling through the words and harmonies.

With hardly time to catch your breath the tempo knob is cranked up a notch and ‘Khaleesi’ follows. Yes it is THAT Khaleesi. This is the condensed story of the mother of dragons from Game of Thrones with a monumentally singalong chorus:

“And it is no, no, NO! Khaleesi

Run those dragons nice and easy!

Far away, when you go far away…

And you will go, go, GO! Khaleesi

Run those dragons nice and easy,

Through the towns of Westeros today.”

Bloody hell. This is a CRACKER of a song. The energy, like most everything 1916 produces, just explodes out of the speakers. It must be an absolute belter live.

The final track is a curious cover and mashup of the old standard ‘Show Me The Way To Go Home’, a song I am only really familiar with due to my dear old mother singing it in a faux drunk slur to indicate she may be very slightly tipsy. Bless her. However, that being said, I prefer the 1916 version all day- thumping upright bass and frenetic drums with soaring guitar work and mob vocals for backing when needed.

(Check out The 1916 Shop for all their merchandise plus the chance to buy their complete discography for $35)

So there you have it, the best way to start a new year. Shake off the Christmas flab and the dire state of the political situation here in the UK. Press play on ‘Meant To Be’, crank the volume up to max lose yourself in a nine minute slab of rollicking psychobilly-tinged folk punk. Completely and undeniably 1916 on top form, I pray it heralds a new album in 2020 as much as I pray that the boys will somehow, sometime, make it across the pond to our shores so we can bask in their glory.

Buy Meant To Be  Amazon  CDbaby

Contact 1916  WebSite  Facebook  Instagram  Bandcamp  YouTube

JANUARY EPISODE OF THE CELTIC PUNKCAST #34 OUT NOW

Welcome to the first Celtic Punkcast of 2020! The scene just keeps on getting bigger and better so here’s an hour of the best in Celtic-Punk, Celtic-Rock and Folk-Punk from all over the world including a song that has certainly been making waves over here on both sides of the Irish sea!!

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

Hi again everyone and I hope your new year has started well. It’s been a busy time for me here but I still managed to get this months show out. I hope you enjoyed the Best Of 2019 special and I’d love to get your thoughts on it, but right now I have a new show with some great music including some brand new tunes and a veteran featured band.     Gareth

THE TOSSERS – ‘The Humors Of Glendart/’ ‘Ingenish’/ ‘On The Fly’

BACKSEAT HOOLIGANS – ‘Drunken Sailor’

CAPTAIN TRACTOR – ‘London Calling’

JOURNEY NORTH – ‘Raise A Glass’

THE DEADLYS – ‘Work To Be Done’

THE WALKER ROADERS – ‘Lord Randall’s Bastard Son’

BLACK ANEMONE – ‘Straight Back To Hell’

FEATURED ARTIST:

THE GREENLAND WHALEFISHERS

’20 Years Later’ / ‘Loboville’

SHILELAGH LAW – ‘And Then We Drink’

THE RAMSHACKLE ARMY – ‘Broken White Lines’

BRUTUS’ DAUGHTERS – ‘Big Fish And Fisherwomen’

 ‘Brave Yankee Boys’

FLATFOOT 56 – ‘We Grow Stronger’ 

THE MAHONES – ‘Nancy Whiskey’

THE WOLFE TONES – ‘Come Out Ye Black And Tans’

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 #34

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.

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2019!

Well here we go again. It only seems like five minutes since I was compiling all the votes into last years Best Of that saw The Rumjacks romping home with Album Of The Year. This year has been a bit quieter on the Celtic-Punk front but as last year was so busy that is perhaps not surprising. That’s not to say their weren’t some fantastic releases as their were plenty and it was still really difficult to come up with the various lists below. Not so many big bands this year so it was left to the lesser known bands to shine but remember this is only our opinion and these releases are only the tip of the iceberg of what came out last year. Feel free to comment, slag off or dissect our lists. As a bonus we are adding the Readers Poll again this year so you can even vote on your favourite release of 2019 yourself. If it’s not listed then simply add your choice.

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

(click on the green link to go where you will find more information on the release)

1. THE WALKER ROADERS – Self Titled

2. MICKEY RICKSHAW – Home In Song

3. FEROCIOUS DOG – Fake News And Propaganda

4. GREENLAND WHALEFISHERS – Based On A True Story

5. BARLEYJUICE – The Old Speakeasy

6. THE NARROWBACKS – By Hook Or By Crook

7. McDERMOTTS TWO HOURS – Besieged

8. PIPES AND PINTS – The Second Chapter

9. THE RUMJACKS – Live In Athens

10. SELFISH MURPHY – After Crying

11. TORTILLA FLAT – Live At The Old Capitol

12. FIDDLERS GREEN – Heyday

13. THE RUMJACKS – Live In London Acoustic Sessions

14. THE WHIPJACKS – This Wicked World

15. 13 KRAUSS – Redención

16. ALTERNATIVE ULSTER – Craic Agus Ceol

17. AIRES BASTARDOS – Self Titled

18. THE TEMPLARS OF DOOM – Hovels Of The Holy

19. THE FIGHTING JAMESONS – A Moment In California

20. ANGRY McFINN AND THE OLD YANK – Songs of Whiskey, Women & War

21. THE SHILLELAGHS – Ripples In The Rye

22. HELLRAISERS AND BEERDRINKERS – Pub Crawl

23. BODH’AKTAN – De Temps Et De Vents

24. HEATHEN APOSTLES – Dust To Dust

25. SONS OF CLOGGER – Return To The Stones’

26. THE CHERRY COKE$ – Old Fox

27. THE FILTHY SPECTACULA – The Howl Of The Underclasses

28. THE POTATO PIRATES – Hymns For The Wayward

29. TC COSTELLO– Horizon Songs

30. THE TENBAGS – ‘Bags o’ Craic’

How to compete with last year? Every single top band in the genre released an album so things were always going to be a bit quieter for 2019. Top spot this year unsurprisingly goes to The Walker Roaders Celtic-Punk super group! With Pogues, Mollys and Dropkicks making up the team how could they possibly go wrong! Everyone’s ‘next big thing’ Mickey Rickshaw came in a well deserved second and Ferocious Dog took third after releasing their best album, for me, since From Without. Greenland Whalefishers celebrated 25 years on the road with their best album for quite a while and what Best Of would be right without some bloody brilliant Irish-American bands challenging at the top too. Pipes And Pints new album with a new singer received acclaim from across the Punk media and The Rumjacks couldn’t follow up last years unanimous victory despite having two album releases (both sort of live) in the top thirteen. Fiddlers Green continue to make consistently great albums and go into 2020 celebrating thirty years together! Good to see homegrown bands The Whipjacks, The Tenbags, The Filthy Spectacula and Sons Of Clogger making it too. The top thirty was made up of thirteen countries from USA, England, Norway, Czech Republic, Australia, Switzerland, Germany, Argentina, Japan, Quebec, Hungary, Spain and Japan.

1. THE LUCKY TROLLS – Self Titled

2. DRUNKEN DOLLY – The Party

3. LORETTA PROBLEM – The Waltz Of My Drunken Dream

4. THE CLOVERHEARTS – Sick

5. KRAKIN’ KELLYS – Irish Tribute

6. THE PLACKS – Rebellious Sons

7. GYPSY VANNER – Five Distilled Celtic Punks

8. THE RUMPLED – Grace O’ Malley

9. FOX’N’FIRKIN – Hey Ho! We’re Fox n Firkin

10. SHANGHAI TREASON – Devil’s Basement

The Lucky Trolls took #1 spot with their brilliant self-titled EP following on from fellow countrymen the Krakin’ Kellys multi award winning 2018. Trust me it would have taken an exceptionally good release to keep The Party by Drunken Dolly off the top spot but that is what happened. Dolly’s excursions over to these shores this year j=has seen them grown in stature and you can’t go to a Ferocious Dog gig without spotting at least a dozen of their shirts. Loretta Problem wowed us with their single ‘Waltz Of My Drunken Dream’ which took us right back back to The Pogues glory days and what about that accompanying video too!! If we had a award for best video then that would have walked it. The Kellys had a quiet year with comparison to ’18 but still managed a respectable #5 and great debut releases from The Placks our sole representative from a Celtic nation (big things are going to happen to this band in 2020 mark my words), Italian/Aussies The Cloverhearts and, from just down the road from my Mammy, Shanghai Treason from Sheffield who only put out one song… but what a song! Eight countries represented from Belgium, Netherlands, Finland, Italy, Scotland, Argentina, Australia and Yorkshire!

AIRES BASTARDOS– ‘Self-Titled’

Argentina is becoming a bit of a hot-spot for Celtic-Punk with not only some well established bands but also some new ones starting up too and with this release Aires Bastardos announced their arrival on the international scene too. Not afraid to dive straight into a folk number after a Cock Sparrer cover they veer from standard Celtic-Punk to Folk and back to fast as hell Punk but in that really accessible way that only Celtic-Punk (and maybe Ska-Punk) bands can do.

1. THE DREADNOUGHTS – Into The North

2. CROCK OF BONES – Celtic Crossbones

3. 6’10 – Where We Are

4. BRYAN McPHERSON – Kings Corner

5. CALLUM HOUSTON – Gravities

6. PYROLYSIS – Daylight Is Fading

7. SEAMUS EGAN – Early Bright

8. LE VENT DU NORD – Territoires

9. DONNY ZUZULA – Chemicals

10. DERVISH – Great Irish Songbook

The Dreadnoughts don’t really think of themselves as Celtic-Punk so I reckon they’d be happier to win this than Celtic-Punk Album Of The Year. A superb collection of sea shanties that is a pleasure to listen to that was always going to be #1. Crock Of Bones representing the London Irish in 2nd with an album of trad folk with punk rock attitude and it’s especially good to hear some originals done in the style of the ‘auld ways’. 6’10 challenged for the top spot as they always do with everything they release and Bryan MacPherson and Callum Houston both produced great releases of singer-songwriter acoustic folk with Irish roots.

Sadly the Celtic-Punk world has shrunk a little regarding Web-Sites. Winners of the last two years the Mersey Celt Punks have been slacking (sort it out lads!) and enjoying their gigs too much to tell us while Shite’n’Onions have been too busy transferring everything onto a different platform and preparing for a bit of a re-launch I expect. Sadly celtic-rock.de have shut up shop after twelve years so it just makes it all the more clear how much we all miss Waldo and his fantastic Celtic-Folk-Punk And More site. As regular as clockwork and all the news that was ever fit (or not!) to print. Closing down the site in its 10th year in March must have been a tough decision to make and so this year we award best Website to Waldo and let it be known that no Celtic-Punk site will ever come close to replacing you. We would certainly not exist without his kind help and inspiration. All the best comrade enjoy your retirement! One welcome addition is Michu and his Celtic-Punk Encyclopedia site from Poland. Worth checking out especially if you are in a band.

We are not alone in doing these Best Of 2019 lists in fact all the major players in celtic-punk do them so click below to check out what they thought.

THE CELTIC PUNKCAST

FOLK’N’ROCK

MERSEY CELT PUNKS

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

This is our 8th year of making these Best Of lists so if you would like to check out out who was where in our previous ones then just click on the link below the relevant year.

Last year we introduced a new feature THE READERS PICK. We had no idea if it would work or not but it was a raging success so we going to do it all again this year. With well over 500 votes cast you lot chose the debut album from the Krakin’ Kellys as a worthy winner. Only the Top Ten albums are listed but there is an option to write in your favourite release or just to send us love… or abuse!

You are allowed to vote twice but not for the same artist.

The Poll will close at midnight on Friday 31st January with the result announced soon after.

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

 Sláinte, The London Celtic Punks Crew- January, 2020

RAISE YOUR PINTS! THE IRISH FOLK AND CELTIC-PUNK WEEKENDER

As we have said before no country this side of the ‘pond’ has taken Celtic-Punk to it’s bosom like Germany has. The thriving Celtic-Punk community there continues to just get bigger and bigger and they now have the music festival they deserve with the inaugural Raise Your Pints Fest in March. Three days of Celtic-Punk and Trad Irish Folk bringing a wee bit of Ireland to the German capital. So if you are looking for somewhere special to go to celebrate St. Pat then read on! 

As the amount of dedicated Celtic-Punk sites on the Web has shrunk the explosion of Celtic-Punk radio and podcasts has been phenomenal! At the forefront of that explosion has been MacSlon’s Irish Pub Radio. Started back in 2009 the idea behind the project was to present fans with ‘a beautiful bouquet of colorful melodies’, somewhere they would be able to discover one or two previously unknown bands. For beginners in the Celtic-Folk-Punk scene it is always a great place to start where the giants of the constantly growing scene rub shoulders with those lesser known bands or ones just starting out.

They have also become popular for their sampler compilation CD’s. Producing the first edition in 2016 and following every year with one that exceeds the previous in quality. They are now taking pre-orders for Volume Five that will hit the streets on St. Patrick’s Day (March 17th in case you didn’t know!) and we’ve seen the line up for it and it’s easily the best one yet!

You can already pre-order the sampler in our online shop: www.macslons-shop.com

So with that all under their belts as well as a burgeoning Merchandise distribution service selling official merch for the likes of The Cloves And The Tobacco, Mickey Rickshaw, 6’10, The Rumjacks and many many more, some only exclusive to MacSlons. They also have a wide range of official MacSlons merch for you to spend your hard earned on too. The full catalogue is on the site and worth a look but make sure you pay your rent first! Now the next step is to take a bunch of the bands found on Raise Your Pints Volume Five and turn it into a music festival.

The festival will happen on St. Patrick’s weekend from Friday 13th through to Sunday 15th March and features an extensive line up of bands each day with artists coming from as far afield as Serbia, Ireland and Scandinavia as well as a superb line up of home grown German artists too. The festival takes place just outside Berlin so is easily accessible from anywhere in Europe and even further afield. The venue is E-Werk Zossen (in English the Zossen Power Station!) situated at Am Nottehafen 4, 15806 Zossen, Germany and the nearest airport is Berlin-Tegel. Zossen is in a beautiful region of Germany just south of Berlin and their is plenty of accommodation available in the town. When looking be sure to look for ‘Zossen’. For example the Weißer Swan hotel is only a very short walk from the venue and still has rooms left (here).

Their is a Facebook event where extra information is available here.

Friday 13th March 2020

KILKENNY BASTARDS

(www.facebook.com/KilkennyBastards)

PADDYS PUNK

(www.facebook.com/Paddyspunk)

THE PORTERS

(www.facebook.com/ThePortersfolkpunk)

FINNEGANS HELL

(www.facebook.com/finneganshell)

JAMES GALLAGHER

(www.facebook.com/TheAtlanticPirates)

Saturday 14th, March 2020

COBBLESTONES

(www.facebook.com/cobblestonesfolk)

MUIRSHEEN DURKIN AND FRIENDS

(www.facebook.com/MuirsheenDurkinAndFriends)

IRISH STEW OF SINDIDUN

(www.facebook.com/irishstewofsindidun)

SIR REG

(www.facebook.com/sirregband)

GARY O’CONNOR AND FRIENDS

(www.facebook.com/Gary-O-Connor-MUSIC-403134693099052)

For the final day of the festival what you will need in you is a good hearty Irish breakfast to line the stomach (simply book when you arrive at the fest) as the idea is to bring down the curtain with a proper auld fashioned knees up with a closing trad Irish music session made up of the musicians playing on Saturday. Having seen the likes of Sir Reg play a trad set before I can tell you are in for a real treat. A great way to end things on a high and a brilliant way to connect fans and musicians. Often seen in Irish pubs musicians sit down and make music together with the audience also invited to participate.

#OneBigCelticPunkFamily

There will be many interesting things happening at the festival with plenty of surprises expected! Their will be also be a tattooists on site from Black Pearl Island studios (www.facebook.com/BlackPearlIslandDelitzsch) with all proceeds going to local charities.

Tickets are available by clicking on the following link:

MacSlons Raise Your Pints Festival Tickets 2020

Tickets for the festival are superb value at under 40 Euros and also included will be a free copy of the new Raise Your Pints CD. You can also get a deal including a special limited edition festival t-shirt.

MacSlons Irish Pub Radio  WebSite  Shop  Facebook  YouTube  Twitter

RadioStream

ALBUM REVIEW: BARLEYJUICE- ‘The Old Speakeasy’ (2019)

Barleyjuice out of Philadelphia are back with their seventh studio album with fourteen never before released recordings featuring ‘Juice members old and new!

Drinking, singing about drinking, singing while drinking, drinking while singing. We never drive while drinking, but we do drive while singing drinking songs, which drives others to drink, giving our drinking songs more drive.

Six studio albums in, as well as a Best Of double CD collection, Barleyjuice have, i am reliably informed, become one of the most popular Celtic bands in the USA. As far as I am concerned though this is the first time I have heard one of their records even though I have come across the name of the band several times while writing reviews for this here site. Their music is of the Celtic-Rock variety but with enough bite for it to cross over into our territory at regular intervals! Such is their regard that they have had songs featured in two of my favourite TV programmes in The Office and King Of The Hill as well as the Sly Stallone film, Driven. Barleyjuice were founded in 1998 beginning as a side project for a couple of bagpipers in the Loch Rannoch Pipes & Drums of Pineville, Pennsylvania. The Bhoys are now into their third decade together and if the previous six albums are half as good as The Old Speakeasy then I have been missing out on something!

(a short promo film featuring American celtic rock band Barleyjuice celebrating 20 years of live performances. Edited by Hiu Yau)

The album itself is fourteen songs coming in at a very healthy fifty minutes and is a smattering of old and new songs including some classic Irish folk songs and some other inspired covers. Led by Kyf Brewer, who also produced and recorded the album, who plays a multitude of instruments here including guitars, mandola, bouzouki, bagpipes, piano and also lead vocals. Kyf started the band alongside Staten Island, NYC native Keith ‘Swanny’ Swanson as a side project having both been members of the same pipe band. Kyf has been playing music ever since his first band, The Ravyns, had ‘Raised On The Radio’ featured in the successful 1982 movie Fast Times At Ridgemont High. He also has a rather successful career in acting having appeared in VH1’s Before They Were Rock Stars as well as such cult films as Serial Mom and Fahrenheit 911 and also playing a cop in NBC’s Homicide and a sleazy photographer in CBS’ Hack.

Barleyjuice left to right: Eric Worthington- Vocals, Bass * Chris Shepherd- Guitar, Mandolin * Kyf Brewer- Lead Vocals, Guitar, Mandola, Bouzouki, Bagpipes, Piano, 
Harmonium, Garden Shears, Drums * Kyle Blessing- Fiddle * John Tracey- Drums

Backing Kyf and Swanny on this album is bassist Eric Worthington, fiddler Alice Marie and fellow ex-member of The Ravyns John Tracey on drums. As solid a team of Irish-Americans (and Irish/Scots American in Eric’s case) as can be found in American Celtic music. But the rota of musicians doesn’t end there as Barleyjuice have rounded up a staggering fifteen ex-members, including violinists Shelley Weiss and Billy Dominick, bassist Dennis Schocket, mandolinist Graham Ford, guitarist Dave Woodworth along with friends and family who had contributed over the years. Brewer’s daughter,  Scotlyn and wife Beth provided backing vocals while another daughter, Claire plays trumpet on The Old Speakeasy. By its time of The Old Speakeasy’s release, Keith Swanson and Alice had retired, replaced by guitarist/mandolinist Chris Shepherd and fiddle player Kyle Blessing. Now it’s not uncommon for a Celtic band to have a sort of revolving door policy but at a minimum of fifteen they may be pushing for the record here!

So the most obvious thing to ask about Barleyjuice is are all their songs about drinking and the answer is maybe not all but a good few are! Even the album’s title, The Old Speakeasy, gives it away with ‘Speakeasy’ being the name given to a saloon selling alcohol illegally, especially during the time of the American Prohibition when there was a nationwide ban on the production, importation, transportation, and sale of alcoholic beverages from 1920 to 1933. The album kicks off with the albums title song and from the off you get what they are about with Kyf’s laconic voice dragging itself along a song that has elements of The Beatles and Stones as well as an undeniable Celtic base. The many instruments here give it a layered effect used to great measure. An awesome start that only gets better when they follow it up with the classic Irish rebel song Join The British Army’. Played with passion and a great dose of black humour The Wolfe Tones may have made it famous but Barleyjuice make it their own as well with a brief interlude into ‘Some Say The Divil Is Dead’, another famous Tones track, while they are it. A real foot stomper and the line between Celtic-Rock and Punk is blurred at times and this is a classic example of that blurred line. Barleyjuice may have a serious side but here on The Old Speakeasy they go for your funny bone most of the time and on their tribute to Scots life ‘High On Highland Life’, away from shortbread box covers (or maybe not!) and ‘Don’t Call Me A Pirate’ they manage to combine genuine funny lyrics with some catchy as fecking hell Irish Rock’nFolk!

(a stripped down live version from the end of last year of ‘High On Highland Life’ featuring a rare performance from Swanny before he retired from the band)

Those 60’s influences pop up again on the lovely love song ‘Rose Of Garden City’ and we only five songs in and they manage to craic every boundary. A slowish song about Irish emigration sung from the heart and experience. This is a band with its finger on the pulse of Irish-America. They follow this with one of the album’s standout songs ‘A Fine Lass’. The famous ‘Maggie May’ follows and it’s not the version you may have expected as Barleyjuice give us a song about a sailor and a Irish lass who fall foul of both love and the law. The song takes in both Americana and Country as the band sound like they having a whale of a time. Most of the songs here are written by the band with most of the band members involved like on ‘State Of Desiree’ written by Kyf and Dave Woodworth  and the Irish trad influenced ‘A Winter Toast’ written by Swanny. A couple of serious ones sees the Bhoys need to return to a bit of daftness and on ‘Merry Queen Of Scotch’ they even venture into Ska sounding like a Celtic Mighty Mighty Bosstones with a fast and furious song about a whiskey loving lass that is utterly mad and while completely different to everything around it on this album somehow manages to slot in perfectly.

‘It Takes A Village (To Raise A Drunk)’ is the albums longest song at over five minutes and is the type of epic songwriting that Celtic-Punk is famous for. A grand song that slowly builds up and up and swirls round yer head and when played live I am sure is the kind of song perfect for wrapping your arms around a loved one and belting out the chorus at the top of your lungs. We coming up to the end and the standard so far has been exemplary and they keep it up over the whole album with the instrumental ‘Crackin’ Jenny’s Teacup’ a Horslips inspire Celtic-Rock/Trad Irish masterpiece. The albums opening track is revisited as ‘The Old Speakeasy (return)’ and Kfy leaves the Tom Waits/Shane vocals to one side to show he can croon as well as anyone in a slow ballad with the whole gang joining him in the background. The curtain comes down on the album with ‘Hail Ye Merry Maids’

It doesn’t take a genius to tell why I was desperate to fit this album review in before next weeks Best Of 2019 as it will definitely be bothering the top spot i can reveal. A pity it took the last couple of weeks before the end of the year for me to hear one of the years best albums. A utterly superb album that encompasses all of the different traditions and influences an Irish-American band could soak up. As I said a band with its finger on the pulse of the community that they hail from and not afraid to show their pride in what makes it both great and sometimes not so. A stunning album and every single song is a standout in it’s own right and someone tell me how this fecking great band managed to hide itself from me for so long???

Buy The Old Speakeasy  CD-Here  Download-Here
Contact Barleyjuice  WebSite  Facebook  YouTube

Discography One Shilling (1999) * Another Round (2003) * Six Yanks (2006) * Bonny Prince Barley (2008) * The Barleyjuice Irish Collection (2009) * Skulduggery Street (2010) * This Is Why We Can’t Have Nice Things (2013)

(Barleyjuice takes it to the streets and festivals, welcoming all weekend Irish to join them!)

ALBUM REVIEW: NOWHEREBOUND- ‘Mourning Glory’ (2019)

Just a couple more releases from last year before we publish our renowned (well to us anyway!) Best Of 2019 list. Here we have one of our favourite bands and though it’s by no means exclusively Celtic or Folk orientated it integrates traditional Punk with Rock’n’Roll while weaving in threads of gritty country and folk, I’m sure it will appeal to many of you.

Nowherebound’s sixth studio album, Mourning Glory, is an ambitious return to the DIY ethos the band was founded upon. A double album, this record showcases the prolific songwriting and expansive diverse spectrum of ‘Punk-Rock’ Nowherebound encompasses.

The album consists of all-new music but it plays like a greatest hits album already.

Nowherebound are a six-piece punk outfit based in Austin, Texas who have been rocking the scene since 2010 with their very unique sound. Having toured extensively they have managed to take time to get back to the studio and have recently released their latest studio album Mourning Glory. These guys don’t do things by half. The album has a total of nineteen tracks which spans almost eighty minutes. They have never been tied to any particular style of punk and have influences ranging from The Pogues, Joe Strummer, Rancid, Black Flag, The Rolling Stones and The Stooges.

That’s quite a span of influences and this is evident in their music. Their music varies widely, sometimes slower melodic such as ‘South Paw’ to the more hardcore explosive tune ‘Leap Of Faith’. There’s even a hint of Ska punk in the track Feather Fist. The album is a roller coaster ride which doesn’t disappoint from start to finish. Its difficult to pick the best tunes on the album but ‘Frankfurt AM’, ‘No Horse’ and the title track ‘Mourning Glory’ definitely stand out.

(the official video for ‘Mourning Glory’ directed by Jm McKay of JMK Pictures)

“And while roads less traveled were often gravel,
We made our case, gave mob the gavel, cause this was life, and we would not lose it…not yet anyway.
We’d choose to watch the glory fade,
as youth lost its war with time and age, but soldiers never were so brave
as when they made their great escape out of the yard…”

This is a very straight forward unapologetic punk rock album with something in there to please everyone. Get yourself a copy of Mourning Glory and try to catch them live if you get a chance!!

(you can stream Mourning Glory on the Bandcamp player below before you buy)

Contact Nowherebound  WebSite  Facebook  Bandcamp  YouTube

Buy Mourning Glory  Vinyl/T-Shirts DrunkenShipRecords  Download Bandcamp

HAPPY NEW YEAR FROM LONDON CELTIC PUNKS. 2019… THE STATISTICS

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

TOP TEN COUNTRIES VIEWING

(2013/2014/2015/2016/2017/2018 in brackets)

1. United Kingdom (1/1/1/1/1/1)

2. USA  (2/2/2/2/2/2)

3. Germany  (7/3/3/3/3/3)

4. Ireland  (4/7/4/4/5/4)

5.Canada  (6/6/7/8/9/5)

6. Australia  (5/4/8/6/7/7)

7. France  (3/5/5/5/4/6)

8. Spain  (8/8/6/7/6/8)

9. Italy  (9/10/9/8/9)

10. Belgium (21/23/20/23/17)

11. Indonesia  12. Netherlands  13. Sweden  14. Switzerland  15. Poland 16. Brazil 17. Czech Republic 18. Norway 19. Japan 20. Finland

So no real changes with the top six remaining exactly the same but the gap closing between the top two for the third year running. The only new country is Belgium who take over from Hungary and jumped into the #10 spot who dropped to #24 so obviously a quiet year for the Hungarian Celtic-Punk scene.

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

To go to the relevant article/review simply click on green link.

TOP TEN ARTICLES VIEWED

No question here with our Best Of 2018 romping home but the battle for 2nd place much more interesting withe the fascinating article about the Irish abroad written by Mike from The Templars Of Doom eventually moving clear in the last few days of the year. Special mention to the legendary Nic Burbridge who took the time out to write a brilliant Top Ten for us and also to the family of Glenn Dixon. I hope our help was useful if only in a little way. Rest in peace Glenn.

TOP TEN MUSIC REVIEWS VIEWED

Way out in front the debut album from Celtic-Punk supergroup The Walker Roaders and a great review by Irish singer/songwriter Callum Houston. London Irish artist and LCP favourite Anto Morra wrote 2 of the Top Ten (4 and 7) and Raise Your Pints was a big success and they are already taking pre-orders for Volume 5 which sounds like the best one yet!!!
So there you have it. Not particularly interesting to anyone but me but maybe there’s someone else out there who gives a feck!!! The next couple of weeks will see the unveiling of the London Celtic Punks Best Of 2018 list so be sure to check back and find out who rocked our odd boat the last twelve months. So only left to wish you a peaceful and happy new year and to see us out here’s a brilliant song from one of the best Celtic-Punks bands in Eastern Europe, Всё Crazy from faraway Belarus titled ‘In Vileyka…’ telling of spending New Year in the city of Vileya.

Contact Всё_CRAZY  Facebook  Bandcamp  LastFM  YouTube

Why not follow the blog and receive a e-mail every time we post by clicking on the logo at the top of the page and, depending how your viewing this, by clicking on the ‘Follow’ button either on the left hand side or scroll down after the posts. Last year we published about 100 articles so about nine or so every month so you’ll hardly notice us at all!

BONUS EPISODE: THE CELTIC PUNKCAST BEST OF 2019

Happy New Year To All!!!

Another great year in Celtic-Punk is over and our mate Gareth over there on the other side of the world has been busy compiling a special bonus episode of the best Celtic-Punk podcast in the business!!

These are tough times in Oz at the moment with the fires ravaging the country and we wish everyone over there a safe start to the year so follow the link below and stream live or download to listen to later and enjoy!

 

 

Hi everyone and happy new year. And look it hasn’t been a great end of 2019/start of 2020 for many Australians but it has been another great year in the celtic punk/folk punk scene. In addition to the growth of this show I’ve managed to lay my ears on some amazing music and here are the best ten albums of 2019 as judged by the committee of myself and our kelpie dog Banji. Please note there have been some amazing EP’s released this year but I’ve kept this list to LP’s only. For this month’s show I have listed the album as well as the song in the playlist.

Oh also, if you would like to donate to the bush fire relief efforts in this country head to www.redcross.org.au and see how you can help the many people who have lost everything, in some cases their lives and the lives of family, over the Christmas and New Years season.

If you want to get your hands on some merch then follow this link to the shop on Facebook.

10 – THE CHERRY COKE$ –  ‘Hibana’ from the album ‘OLD FOX’

9 – THE WHIPJACKS – ‘Forever Free’ from the album ‘THIS WICKED WORLD’

8 – THE SHILLELAGHS – ‘Pale Horse’ from the album ‘RIPPLES IN THE RYE’

7 – THE NARROWBACKS – ‘Streets Of Woodlawn’ from the album ‘BY HOOK OR BY CROOK’

6 – HELLCAT MAGGIE – ‘Zombie’ from the album ‘SCRATCHING THE SURFACE’

5 – ALTERNATIVE ULSTER – ‘Port Of New York’ from the album ‘CRAIC AGUS CEOL’

4 – THE TEMPLARS OF DOOM – ‘H-Block Escape’ from the album ‘HOVELS OF THE HOLY’

3 – SELFISH MURPHY – ‘Brave Man’ from the album ‘AFTER CRYING’

2 – FIDDLERS GREEN – ‘Farewell’ from the album ‘HEYDAY’

AND THE NUMBER ONE ALBUM OF 2019 IS…

1 – MICKEY RICKSHAW – ‘Soldier On’ from the album ‘HOME IN SONG’

THE CELTIC PUNKCAST  BEST OF 2019

Contact The Celtic Punkcast  Facebook  WebSite  Shop  Twitter  E-Mail

Check back here soon for the (in) famous London Celtic Punks awards for 2019

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.

FOUR NEW CHRISTMASSY CELTIC-PUNK SONGS FROM SCOTLAND, ENGLAND, SAN DIEGO AND CHINA!

Well Christmas is over and I hope you all had a festively good time. If you are still in need of some good cheer though then wait no more as we have four brand new stonking 2019 Christmas-ish Celtic-Punk songs for you to delight over.

Craic open the Jamesons!

PEAT & DIESEL- ‘Fairytale Of Stornaway’

The story began when three Stornoway Cove’s (Innes, Uilly and Boydie) met up in the house to have the craic on a Saturday nights playing music with just the dog and cat watching. After a few tunes getting thrown across the room Boydie stated muttering a few sentences. As he is a man of few words not attention was really given to him until he shouted ‘Quick, line me out!’ Not a second to spare a set of old broken headphones were cable tied to a guitar amp and out came a few cobwebs followed shortly after with a sound nobody had ever heard before. What came next was five gallons of lyrics, verse after verse, song after song – PEAT & DIESEL WAS BORN! The songs won’t make much sense to the average person, but the person behind the lyrics isn’t your average man so if you have a listen and you can relate to it you are a special breed! Peat & Diesel take you on a journey to the heart of the Western Isles, where #peatlemania was born. You might have time for a brandy in the ‘Airidh’ but don’t miss your ride in Calum Dan’s Transit Van, we ain’t stopping till we lose the water!

Contact Peat & Diesel  WebSite  Facebook  YouTube

CALICO STREET RIOTS- ‘Going Home’

In the summer of 2008 Calico Street Riots were born. Having formed immediately after the summer, Calico Street Riots wrote and recorded an EP, and were gigging by the end of the same year. After numerous gigs and plenty of praise in the folk-punk community, a second EP, From The City to the Shores surfaced in 2011. This EP showcased the band’s eclectic tastes coming together, flawlessly forming their own unique sound. The band would continue to play sporadic gigs and festivals throughout this time. Now, after an eight year hiatus from recording, Calico Street Riots have bounced back with some of their most unforgettable material to date. Most frequently compared musically to Flogging Molly meets The Dreadnoughts via The Pogues, Calico Street Riots draw their influences from a multitude of sources, fusing them into a satisfying blend of beer-fuelled, riotous and lively, folk-punk.

This track has been with Calico for a very long time, and we finally got round to recording it properly. They were fortunate to win studio time as part of a charity fundraiser in aid of Dementia UK so it felt like the right thing to do to help raise some more funds with this track. The single will be absolutely free, however we’d really appreciate it if you can spare anything at all, and make a donation to the charity via the link below. Dementia is a horrible illness, one which some of us are currently experiencing first hand, and hope to help the charity by raising funds into further research and prevention.  www.justgiving.com/fundraising/calicostreetriots

Calico Street Riots  WebSite  Facebook  YouTube

LEXINGTON FIELD- ‘Christmas At The Pub’

Formed back in 2009 in San Diego, southern California the band have previously released five albums, Old Dirt Road, Poor Troubled Life, No Man’s War, Greenwood and Dreamers as well as a bunch of quality EP’s as well. All have came garnered the same critical praise from both the celtic-punk and wider punk/rock music media. They have played and toured solidly and to call what they do unique is no way giving them enough credit! Lexington Field play a mixture of music blending genres from country and Americana as well as punk rock and not to be forgetting a massive dose of traditional Irish music with a expert fiddle player right slap bang in the middle. The band call what they do ‘fiddle rock’ and is as good a description as you could give them two words.

Contact Lexington Field  WebSite  Facebook  YouTube  Bandcamp

GRASS MUD HORSE- ‘Christmas Time In China’

Lao Wai punk rock based in Qinhuangdao China. Singing about our lives in one of the strangest, most amazing and sometimes horrible places on Earth. We sing in both English and Chinese, all our music is tongue in cheek and we hope it makes you smile! Grass Mud Horse are a punk band based in Northern China fronted by Chris Barry, who also writes all the songs. Originally from Liverpool he now lives in China and was also a member of the Canadian Rock band The Strange. The music is an eclectic mix of various punk styles, including Skate, hardcore, Ska, Celtic and features a diverse array of musical instruments (most also performed by Chris Barry). The lads are currently working on their debut album, Beijing Bikini.

Inspired by ugly Christmas jumpers (featuring llamas on them) the idea for a Christmas single formed. Now the reason for the bands name Grass Mud Horse is that it is the literal English translation of the Chinese term for the animal known as a llama or an Alpaca. In Chinese the llama is named 草泥马 (pronounced Cao Ni Ma.) As Chris says

“Now the reason we chose this for our name, is because if you say “Cao Ni Ma” with the wrong tones…you don’t say Alpaca at all, in fact you tell somebody to go fornicate with their mother.  In addition to this being quite funny, China is of course a land of extreme censorship and to avoid getting in trouble for swearing, young Chinese angrily exclaim “Llama!”, when in fact they mean something else entirely.”

And that is why some ugly Christmas jumpers with lamas on them inspired a Christmas single which could in turn act as a really nice lead-up to the bands debut album due soon. You can buy the single here.

Grass Mud Horse  WebSite  Facebook  YouTube

CELEBRATING A CELTIC CHRISTMAS 2019. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

Each December we pick the best Christmas themed song we’ve heard that year to showcase in our end of year message. This year we are going to cheat a little and include two songs. The first is a song from last year which was too late to feature so here’s a band whose rise to to the top table of Celtic-Punk has been a rapid one- Krakin’ Kellys. Only formed in 2017 these Belgian rockers have taken the scene by storm and their Christmas themed track ‘Christmas In Kelly Green’ is here in its entirety with yet another of the Krakin’ Kellys famously fantastic videos.

You can download the track and support the band for just a single pound below.

Contact Krakin’ Kellys WebSite  Facebook  YouTube  Instagram  Twitter

Our second Christmas track appears out of the coastal fog of Huntington Beach in California. A rough, rowdy and ready bunch of musicians playing a rather unique blend of Irish Folk and Pirate Pub Rock. A mix of upbeat traditional and current Irish Folk-Rock tunes and reels, spiced with acapella shanties and pirate songs of the sea! Bringing jigs and laughs to any party, special event, or scummy dockside tavern, their rousin’ music and bawdy tales are guaranteed to keep any crowd happy. Starting slow and respectful and ending up rowdy and happy, which is just how it should be!

You can download the track and support the band for just 99 cents below.

Contact Bilge Rats  Facebook  Bandcamp  YouTube

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

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Now go have a drink…

2019 REVIEW ROUND-UP’S PART THREE: THE REST OF THE WORLD. THE CHERRY COKE$, AIRES BASTARDOS AND ANGRY ZETA & THE HILLBULLYS

Welcome to the third and final instalment of our yearly Round-Up of Celtic-Punk, and related, releases from the past twelve months. As the scene becomes more popular we are finding it increasingly difficult to keep up with everything so for a week in December we give a short mention to those bands that have slipped the net. Each and every band here are worthy of your time so please be sure to check them out. To start with in Part One we featured releases from North America (here) and in Part Two Europe (here) so here in our final round-up of 2019 we have releases from Japan and a couple from Argentina as well as an Argentinian Celtic-Punk playlist put together by out good friend Pablo that I recommend you check out and a South American Folk-Punk compilation from last year that we somehow missed and is also highly recommended.

THE CHERRY COKE$- ‘Oldfox’ LP  (Buy here/here)

The Cherry Coke$ may have one of the daftest names in Celtic-Punk but they are far far far away from being any kind of joke band. Celebrating their twentieth anniversary with the release of their ninth (!!!!) album Oldfox Japanese Irish rockers The Cherry Coke$ were probably the first band in the scene from outside of one of the ‘traditional’ Celtic-Punk countries (the ones with substantial Celtic diasporas) to become famous. Basically playing fast as hell trad Irish folk they became as close to superstars as is possible in the Celtic-Punk scene for a while and though their star may have waned a little over the years that they are still producing the goods recording wise is testimony to how good a band they actually were and still are now too. They have got a bit faster and a bit punkier but the unmistakable sound of Irish music can be throughout Oldfox. With a multitude of members playing every imaginable Celtic instrument yet it always seems, just like the band that influenced them the most- The Pogues, to always be leading the way.

As far as I can tell the whole album of eleven songs are all original material with many standout songs like the opening track ‘Hibana’ which takes in elements of Ska and Metal as well as Folk and Punk and all are played with an incredible passion and energy and respect.

On the banjo heavy ‘Public House’, you have an uplifting Irish song that will have you stamping the floor while on ‘Social Network Slave’ they offer up something more akin to what Bruce Springsteen is making these days. The song is heavy in places while delicate in others while also criticizing modern society and the alienation coming from our over reliance on social media. The songs are sung mostly in Japanese and it is in the albums shortest song that I feel the true spirit of The Cherry Coke$ comes out. ‘Of Music’ is a sort of pop ballad full of innocence and love for music. Another outstanding song here is the album’s closing track ‘Brigade’ where they get as Poguesy as you can possibly get. Fantastic record and here’s to another twenty years, and another nine albums too!!
Contact The Cherry Coke$  Facebook  Twitter  Spotify  WebSite  YouTube

AIRES BASTARDOS- ‘Self-Titled’ (Buy )

A few years ago Brazil was the leading country in South America when it came to Celtic-Punk but slowly and surely the balance of power has slowly been moving to the country that is Brazil’s great rival in everything- Argentina! With several bands on the go at the moment (more on them below) Aires Bastardos have released their debut album onto the scene and it is a corker as we say in England. We get eleven songs clocking in at almost forty minutes and though the majority of the songs are Aires Bastards originals their are a smattering of inspired covers as well. Lets get them out the way first with two great versions of The Ramones ‘We Want The Airwaves’ and Cock Sparrers ‘Because You’re Young’ which adds fiddle and banjo to these great songs while Pablo’s gravelly voice is perfect for belting out these numbers which are definitely in the Celtic-PUNK scheme of things. Singer Pablo is also responsible for most of the lyrics here and is a well known member of the Celtic-Punk scene networking across the web and promoting not just his own band but in the spirit of Celtic-Punk all the other Argentinian bands as well in #OneBigCelticPunkFamily ! The third cover here is the auld traditional Irish folk song ‘Drunken Sailor’ and to say it is well covered is a bit of an understatement with just about everyone having a go at it at sometime. Assisted on vocals here by Zeta Vaccaro from Angry Zeta And The Hillbullys (more below) and Gabriel Leão from their Brazilian next door neighbours the Celtic-Punk band McMiners. The rest of the songs are sung in the bands native language, Spanish, so thanks to the English education system when it comes to learning languages I don’t have a clue what the band is saying. So only going on the music it definitely has a ring to it of other Spanish language bands like Brutus Daughter and 13Krauss and the three Celtic instruments of banjo, fiddle and tin whistle are evident throughout but they have a lot more to offer than that. The songs are catchy and cool and veer from pretty much standard Celtic-Punk to Folk and back to fast as hell Punk but in a really accessible way that will have a wide appeal. I loved this album and for a couple of weeks in November I listened to nothing else!! The band have put the whole album up on YouTube for free but it is also available from Apple Music to buy.

Contact Aires Bastardos  Spotify  Facebook  YouTube  Instagram

ANGRY ZETA & THE HILLBULLYS- ‘Live’ (Buy)

With Celtic-Punk releases from the ‘Rest Of The World’ being a bit thin on the ground in 2019 I have had to cast my net a bit far this year to reel in some bands that will interest you all. I actually came across this band while writing the review for Aires Bastardos above and with one click of a button I found a new band to love from Argentina! Angry Zeta & The Hillbullys are from Buenos Aires and Live is the bands second release. The band play mostly Country-Punk (it use to be called Cow-Punk back in the day) versions of famous C’n’W and Cowboy songs like ‘Rawhide’, ‘Sam Hall’ and ‘Cocaine Blues’. The music is intense acoustic music with the spirit of the west throughout. Male and female shared vocals compete with some absolutely astounding banjo plucking and fiddle work as well as some double bass pounding. Their debut album is available as a ‘Name Your Own Price’ download on the Bandcamp link below if you want a taster of Live go check that out. The band have toured Europe before so keep an eye for them appearing at anytime. Here’s a stripped down version of ‘Glory’ taken from Live but as gloriously ramshackle as could be!!

It’s a really good recording that at times is very hard to tell its recorded live. I also couldn’t tell if there any originals on here but the ones that I know are covers are done in such an original way and with a passion and energy flowing through them they may as well be Angry Zeta & The Hillbullys own songs anyway!

Contact Zeta & The Hillbullys  Facebook  Bandcamp  YouTube

Here also seems a good place to mention a couple of other important things. One is this amazing compilation album ‘Latino American Folk Punk’ of sixteen South American bands that came out last year. Featuring bands from Argentina, Brasil, México, Colombia and Chile it includes (in fact most of them are!) several Celtic-Punk bands whose name has spread beyond the continent like Lugh, Punching Namard and McMiners from Brazil, Aires Bastardos, Gypsy Vanner and Raise My Kilt from Argentina and the amazing La Fiesta del Diablo from Chile. The other bands I don’t know but overall this is a fantastic album and I can’t believe it passed me by. Maybe someone with a bit more knowledge would like to write a feature on it and the bands? If you are interested in a hard copy of the album you should contact Essential Distro on their Facebook or Instagram pages.

CELTIC-PUNK ARGENTINO!

Another interesting development in the Argentinian scene is the Spotify playlist of the three most popular bands in the scene Aires Bastardos, Gypsy Vanner and Raise Your Kilt. All great bands who deserve a bit of recognition beyond their own shore. Hopefully this playlist will introduce them to a whole new range of fans so do them a favour and share wherever you can.

Put together by Pablo Gadea of Raise Your Kilt the Playlist contains twenty-eight songs and gives a wide range of all three bands and the songs they perform. You can go check it out on Spotify here.

So ends our 2019 Round-Up’s and again apologies to all the bands as each and every release deserved that full London Celtic Punks treatment. We have probably still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. And finally if you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

2019 REVIEW ROUND-UP’S PART TWO: EUROPE- BROPHY’S LAW, DIE DÖDELSÄCKE, HELLRAISERS’N’BEERDRINKERS, PYROLYSIS, SCHËPPE SIWEN

We continue in our vain attempt to catch up with the Celtic-Punk and related releases we missed throughout the year! Each year the number of releases we receive here at 30492- LONDON CELTIC PUNKS continues to amaze us. Now this is great news but it does mean that we cannot keep up with everything we receive. We simply don’t have time to give a review to everything so each December we have a week to catch up with any we missed first time round. We like to write detailed reviews so apologies to the band’s concerned that we had to squeeze them in this way. Each and every band featured here are worthy of your time so please be sure to check them out. Today in Part Two we have five releases from Germany, Holland, Luxembourg and a sort of Euro collaboration between Scandinavia and the British Isles! To check out Part One which featured North America then visit here. Our final part will be in a few days when we round up the rest of the world! So please be sure to check back soon.

BROPHY’S LAW- ‘True Stories’ (Buy)

The perfect place for Brophy’s Law seeing as despite being based in Copenhagen they actually contain members from Cornwall, England, Scotland and Denmark. They came to prominence last year as they embarked on a UK wide tour with Swedish Celtic-Punk heavyweights Sir Reg as The Neil Brophy Band. A year later and a new name to reflect the full band sound and a new album of thirteen self penned songs spanning the Folk-Punk genre. The album touches on themes as diverse as world travel, revelry, small-town England, record collecting, refugees, propaganda, vikings, lucky people, fishing and homecoming. Their single from the album, Nice To Know, released on Record Store Day received plenty of favourable press and airplay most notably from Steve Lamacq on the UK’s favourite alternative music station BBC6. The song reflects on Neil’s return to his home town of Northampton after a few years away. Life in the city may seem to change fast to us but the reality is at local community level some things never change. As Neil sings: “my country, my heritage will remain!”

Other album highlights are the acerbic politically charged ‘Fear Of Fear’ with it’s raw, brash Celtic soul sound and poetical social commentary, the fun filled C’n’W tinged ‘Bears Go Fishing’ and the lovely ballad ‘Far Away’. Prominent use of the harmonica and banjo always wins bonus points with me! As we have said the music throughout spans several genres of folk including Country, Celtic, and Americana. They are tailor made for the new generation of music festivals aimed at a slightly older sort of festival goer. Where people look after the bogs and the music finishes at midnight! The band go by the motto of ‘Whatever Happens-Happens Whatever’ and in these uncertain times that’s a good way to think.

Brophy’s Law- Facebook  WebSite  YouTube

DIE DÖDELSÄCKE- Letzte Fahrt (Buy)

Die Dödelsäcke are a German band from Mülheim and are not a band I have been previously aware of. This is a shame as this EP of seven songs is their swansong and the band officially split up in September after playing a gig in Oberhausen. Not only that but they have chosen to split up on what would have been their 30th anniversary together making them one of the oldest Punk bands in Germany. Even stranger is that they have a massive discography going right back to 2002’s Durst 609 and a reputation as being ‘The Kings Of German Bagpipe Punk’. An affinity with Scotland is evident on this album despite all the songs being sung in German. The band has eight members combining your traditional punk rock instruments alongside bagpipes, mandolin, banjo, flute and tin whistle. Vocalist Andel McGoy has the perfect voice for Celtic-Punk being just the right side of hoarse! The first single from the EP was ‘Letzte Fahrt’ which wraps up proceedings on the EP and is a great example of the German style of Celtic-Punk.

Heavy on the mandolin and also the vocals its a great romp and catchy as hell while still being as Punk As Feck! The rest of the EP is just as good with notable tracks being the excellent bagpipe heavy ‘Far Far Away’ with its chugging guitar, gang vocals and rather slow build up as well as ‘Küss Mich Mit Whisky’, probably the most ‘Celtic’ song here. Fast and furious the song would stand on its own as a Punk song. ‘Jokers Billardzimmer’ begins slowly with the dirge of the bagpipes before kicking off and picking up the pace. I’ve not a clue what they are singing about here but you do hear the word ‘Whiskey’ dotted throughout the EP so that should give you a clue. Like a Celtic version of Peter And The Test Tube Babies this is a brilliant release and I’m only sad that I discovered them too late. 

Die Dödelsäcke-  Facebook  Bandcamp  YouTube

HELLRAISERS’N’BEERDRINKERS- ‘Pub Crawl’

Taking their name from a 1980 release by rockers Motorhead Hellraisers And Beerdrinkers are a band that also hail from Germany and the small town of Schwäbisch Gemünd. This is their second album after 2016’s Folk’s Gaudi. They play a style of Celtic-Punk that is more Folk related but with a Punk Rock attitude. Most of the songs are sung in English bar a couple in their native German but with a name like Hellraisers And Beerdrinkers you can kinda guess that this band is in it for the kicks and throughout it’s dance able Irish influenced folk music but with loads of other influences thrown into the mix like the excellent reggae and metal enthused ‘Gaudium Fürs Folk’. They lay claim to be the original purveyors of ‘Gaudi Folk’. Now I’m not sure what this is and whether it relates to the geezer who designed all the wacky buildings in Barcelona is anyone’s guess. With  mandolin, banjo and accordion as well as double bass the boys have quite an original sound with the songs ranging throughout the Folk-Punk genre starting with another album high point the opening track ‘Honkytonk’ which brings in elements of Country and Americana. ‘1000’ is another great track with the words sung in immaculate English and its positive message dedicated to rebels everywhere. Slow starting but building up throughout.

The albums ends with three outstanding songs that are all completely different and showcase the range of Hellraisers And Beerdrinkers. The first of the trio is a story of being trapped in a pub. The pub in question is also the title of the song and the bands local. ‘Piston’s Pub’ is accordion led and proper catchy tune that is followed by ‘Abserviert’ a slow waltzy type number sung in German and shows that despite their name they know their way round a good tune. The album ends with their ode to that most Celtic-Punk of subjects- ‘Beer’!!! A fast and furious accordion led tune with a distinct ‘pirate’ style. Ten self-penned songs that clock in at a very healthy thirty-five minutes that manages to cover so much ground but still keep its feet firmly in Celtic/Folk-Punk.

Hellraisers’N’Beerdrinkers  WebSite  Facebook  YouTube  Soundcloud

PYROLYSIS- ‘Daylight Is Fading’ (Buy)

The fourth release from Pyrolysis (all are available on Bandcamp) and happy to say they are still pumping out fast-paced and energetic acoustic folk alongside the odd dark and intense ballad and all the time still not wearing any shoes! Completely acoustic (well except for the bass!) and with a bodhrán (Irish hand held instrument) instead of drums they manage to kick up quite a din and the music would definitely be classed as Celtic-Punk if there was an electric guitar in there. Their music ranges across the Folk genre with Punk, Gypsy and even Pirate music getting a nod but it’s their energy that gives them that Celtic-Punk feel. Founded in 2010 in the small Dutch town of Zaltbommel Celtic-Folkies Pyrolysis have been a regular fixture in their home countries festival scene over the years but have also made it over to these shores too. Daylight Is Fading is twelve songs, mostly originals but with a few traditional Folk covers, that comes in just shy of fifty minutes. The opening track is a short instrumental setting the scene for the storming ”The Pace’ which may sound like an electric guitar but you are wrong. The song is as Punk as you can get without electric and the Celtic tinged number rattles along at a grand old pace while main songwriter and lead vocalist Tim has that rather typical Dutch accent where he sounds completely English! In common with a lot of Folk (and Celtic-Punk too) his voice is just another instrument here and used to great effect. They can also turn their hand to a mean traditional song like the instrumental ‘Cooley’s Reel’ or a real foot stomper like the auld Scots classic ‘Donald McGillavry’ as well which leads nicely up to ‘Never Fade’ an album highlight and we are fortunate that they have just released a pretty damn good video to accompany it.

This is one band I would have really loved to have done a detailed review of as they are such an interesting band. They may look a bit ‘hippie-ish’ and that may be so but their music reminds me in style, not content, of those 70’s Irish Folk bands like The Bothy Band, Planxty or 1691 whose innovation lay the groundwork for much of what came afterwards on the island. It can definitely be traced to what we now call Celtic-Punk. I said before in a review of their second album ‘‘On Mountains I Stand‘ that the band I am most reminded of here was The Whisky Priests who flamed very brightly cross Europe in the 90’s with their unique brand of Geordie (Newcastle) English folk-punk music and you can still hear that a lot in what Pyrolysis do especially as the accordion is at the forefront of so much. ‘This is How’ begins as a sorrowful song about a sailor with amazing fiddle work in an Eastern European style. ‘Captain Cray’ has an somewhat English feel to it apart from the Celtic fiddle and the album is coming to an end and you can always tell a good band when they play a really long song that holds your interest. Here it’s ‘Rainy Road’ at seven minutes that closes the album and it’s a real masterpiece with fiddler Rikke taking over the vocals and her beautiful voice matching well the beautiful music. The slowest song here but the most dramatic and my absolute favourite. A great album. One the best I have heard this year so highly recommended.

Contact Pyrolysis  WebSite  Facebook  Bandcamp  YouTube

SCHËPPE SIWEN- ‘Wat Bleift’ (Buy/Buy)

Here’s a first for London Celtic Punks. We thought we had covered just about every country in Europe and then this little beauty arrived on our doorstep all the way from the wee country of Luxembourg. Famous in my youth for always finishing bottom of their European Championship group I knew very little more about them. Joined these days by even smaller countries they have at least risen to second bottom these days! With a population of just over 600,000 with only just over half the population being Luxembourgers with the other 44.5% made up of mainly Portuguese, French and Germans. So it’s a small country but perfectly placed between Belgium, Germany and France. Perfect indeed for a Folk-Punk band looking for gigs! Schëppe Siwen were founded in December 2009 and released their debut self titled album three years later and the follow up Sprëtztour in 2016. These passed us by but not this years Wat Bleift. Mixing Folk, Rock, Pop, Reggae, Punk and Ska and proudly eschewing the opportunity to sing in either French or German they proudly sing in their native Luxembourgish. Of course these means two things. 1) that we really admire them and 2) that we haven’t a clue what the songs are about! Still anything that involves a trumpet is bound not to be too downbeat. Here we have ten songs that clock in at 33 minutes and all original material. Like Pyrolysis I would have really liked to get my teeth into this review as their is so much going on in here but alas I just have to do my best. The album starts with bar talk followed by accordion and then trumpet. The olde world of Folk comes crashing together with more modern sounds and before long the song is hurtling through your ears. With eight members and an astonishing three trumpet players alongside the aforementioned accordion as well as fiddle with yer more traditional rock instruments keeping it all ticking along. An instrumental that leaves you not quite knowing what you have just listened to but in a good way. The influences are all here and play alongside each other nicely creating a danceable happy sound. ‘Looss Alles Zreck!’ sees the album turn almost full on punk but they reign it in and while Jojo’s gruff vocals may sound punkish to us here the style is more common in Europe and they give the music a bit of bite. With a more conventional singer the temptation would have been to go a bit lightweight but I’m glad they keep well away from that. Their are several outstanding tracks here and while none could be described as Celtic it sits snugly within the Folk-Punk genre or maybe a new genre Folk-Ska.

The title track gives it some old school ska (video above) while ‘Heif Deng Fauscht’ sees the album pause for its first breath with a slower track while ‘D’Auer Leeft’ is another instrumental that again takes all the influences imaginable blending them together. The bands earlier heavier days have been replaced with a love of ska but ‘De Klenge Männchen’ sees a return to form and opening with some classic Rock guitar they sound almost Californian for a minute. Jojo’s voice comes into it’s own here and the band deliver one hell of a tune. Catchy as hell and a real foot stomper. They quickly dust of the Folk instruments for ‘Fett Ewech’ while the album closes with two songs, ‘De Leschten Danz’ and ‘Starenhimmel’, that show the breadth of what the band can offer. From almost Tex-Mex-Ska-Folk-Punk to a heartfelt ballad accompanied by a children’s school choir. An album I thoroughly enjoyed and while I’m not sure of where Schëppe Siwen have come from musically I can safely say that on Wat Bleift they have delivered an album of pure originality where the traditional meets contemporary but still seems perfectly in time with both. There’s an excellent interview with the band about the album and the recording process in Tough Magazine just remember to run it through Google translate.

Contact Schëppe Siwen  WebSite  Facebook  YouTube  Instagram

So ends the second part of our 2019 Round-Up’s and again apologies to all the bands as each and every release deserved that full London Celtic Punks treatment. We have probably still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. And finally if you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

2019 REVIEW ROUND-UP’S PART ONE: NORTH AMERICA- ROSIER, THE LUCKY EEJITS, WOMEN SING WAITS, HEATHEN APOSTLES

Each year the number of Celtic-Punk and related releases we receive here at 30492- LONDON CELTIC PUNKS continues to amaze us. Now this is great news but it does mean that we cannot keep up with everything we receive. We simply don’t have time to give a review to everything. Each December we have a week to concentrate on catching up with anything we missed the first time round. We like to write detailed reviews so apologies to the band’s concerned that we had to squeeze them in this way. Each and every band featured here are worthy of your time so please be sure to check them out. To start with here in Part One we are concentrating on four releases from North America with the USA and Canada featuring. In a few days time we will head to Europe and then we will focus on the Rest Of The World so please be sure to check back soon.

ROSIER- ‘Self-Titled’ EP

Anyone expecting a pulsating Quebecios folk fusion, in the vein of La Bouttaine Souriante/ Genticorum and such like, will be in for quite a surprise here. Released to accompany a fall tour from  Montreal 5 piece Rosier this 4 track EP blends a very lush, dreamlike, multi -layered  indie folk organically together with strong Quebecois folk traditions- which while always having a sense of exploration and development, never loses its distinct lightness of touch.
Rosier features the band’s steadfast original lineup: front-woman Béatrix Méthé (lead vocals and fiddle), Colin Savoie-Levac (lap steel, banjo and foot percussion), Sarah Marchand (lead vocals and keys), Éléonore Pitre (acoustic and electric guitar) and Marie Savoie-Levac (bass) while everyone helps out on background vocals. All the songs adapted from traditional and arranged by Rosier, except You Behind, which was written by Béatrix. A very relaxing listen, maybe best as an accompaniment to a wee dram at the end of the night.
Contact Rosier- WebSite  Facebook  YouTube  Instagram

THE LUCKY EEJITS- ‘Out Of Time’

Now I was first attracted to The Lucky Eejits thanks to their name and it’s ‘Gaelic’ meaning. Eejit of course being the way an working class Irish person would pronounce ‘idiot’. Playing straight forward punk rock this trio blast high speed and high energy upbeat punk music and their is simply no let up on Out Of Time with its catchy riffs in your face punk rock edge. Based in Oakland California the band began life as a Celtic-Punk outfit featuring six eccentric Irish-Americans but after a change in the bands line up The Lucky Eejits were reborn as a more than solid Punk-Rock band. The album is twelve songs long and lasts just over a half hour. Not bad for a album chockablock with songs played at breakneck speed. From the fast Pop-Punk of opener ‘Get Out’ to the final song, a nod to their Celtic-Punk days perhaps, ‘Warm Guinness’, about the perils of tour life, it’s an album that never lets up. Album highlights include ‘Champion’ and ‘So Far So Good’ which they released as singles with the latter as a pretty damn good official video.

Throughout Out Of Time it is packed with catchy melodies and is a fantastic follow up to 2016’s Do It Again. It’s definitely a fan friendly album with chances galore to join in the singing. This may make them more of a live band to follow but this album is certainly worth hearing too. The message here is one of hope and positivity and lets pray the guys get their hands on a cold Guinness soon!

Contact The Lucky Eejits-  Facebook  Bandcamp  YouTube

VARIOUS ARTISTS- ‘Come On Up To The House: Women Sing Waits’

The main problem with albums like this is that everyone on it treats their song as if it’s either the opening or finale of the whole thing and produces something incredibly over the top. A female only tribute to the legendary Tom Waits sounds great on paper but it is rather overblown and judging by Corinne Bailey Rae’s version of ‘Jersey Girl’ they’d have been well to invite Mariah Carey to perform here! Twelve artists of Tom Waits greatest ballads covered by Aimee Mann, Patty Griffin, Rosanne Cash, Phoebe Bridgers, Joseph, Shelby Lynne, Allison Moorer, Corinne Baily Rae, Courtney Marie Andrews, Kat Edmonson, The Wild Reeds, Iris Dement and Angie McMahon and yet it’s the oldest artist here Rosanne Cash and ‘Time’ that steals the show for me though the jazz influenced Kat Edmonson’s ‘You Can Never Hold Back Spring’ and the Country and Western singer Iris DeMent’s ‘House Where Nobody Lives’ wring out every piece of emotion from Tom’s majestic words and the album’s final song ends with the overblown (and rightly so this time!) The Wild Reeds version of ‘Tom Traubert’s Blues’.

Tom Waits has just recently celebrated his 70th birthday though sadly this album adds very little to his canon of work. An opportunity to really re-interpret his work has got lost (largely) under some rather inflated ego’s. For Waits fanatics its worth buying for the Rosanne Cash song alone and also producer Warren Zanes who wrings as much out of the songs as possible and provides some excellent liner notes on his relationship with Tom Waits music.

“He kept writing those songs that burrowed into the broken places inside of us, Waits could regularly deliver that revelation that comes with only the best songs: you may be lonely, but you’re not alone. As the years rolled by, every Waits recording arrived like it had come just in time.”

HEATHEN APOSTLES- ‘Born By Lightning’ EP

So far here we have reviewed a Folk album, a Punk album and a sort of Bluesy compilation album so none of our usual uptake and that doesn’t change with this review of the latest EP from Heathen Apostles. They play a sort of Gothic Americana Blues crossed with alternative alternative country. Born By Lightning comes hot on the heels of their recently released album Dust To Dust, their fifth to date, and five new songs of what one reviewer described as “the bluegrass of Bill Monroe put into the woodshed with the Gothic tendencies of Siouxsie And The Banshees”. Label mates of one of my all time favourite bands Phantom Of The Black Hills they tread much the same path but definitely in a more accessible way to yer average Joe. Fiddle and banjo aplenty here while Mather Louth’s beautiful yet powerful voice shines above all else. Starting off with the slow Country styled Gothic ballad ‘Death Bell Blues’ a tribute to the legendary Howlin’ Wolf before leading into the dark ‘Chosen One’ which shows the Apostles at that catchiest best. The title track ‘Born By Lightning’ sees them back in darker country again with an intense ballad that builds on Mather’s voice with the rest of the band restrained before here. A million miles away from the Grand Ole Opry! The last two songs have a much harder edge, ‘Devil Comes For All Of Us’ is elf explanatory while ‘Scarecrow Blues’ take us far away from traditional Country and into the realm of the ‘murder ballad’ with its tale of a social misfit  being burned out of his house only for the vigilantes to burn down the entire town while it slinks and slithers to the beat of the blues! A Country-Bluesy-Punky affair the band have long wanted to do a Blues style release and with Born By Lightning they have managed to stay close to their roots and something that would also appeal to more traditional music fans too. Signed to Ratchet Blade Records which specialises in ‘Dark Roots Music’ where you can find out all you need to about this glorious genre.

Contact Heathen Apostles  WebSite  Facebook  YouTube

So ends the first part of our 2019 Round-Up’s and again apologies to all the bands as each and every release deserved that full London Celtic Punks treatment. We have still missed some fantastic music I am sure so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. And finally if you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

ALBUM REVIEW: THE DREADNOUGHTS- ‘Into the North’ (2019)

Ever since 2007 The Dreadnoughts have been an ‘tour-de-force’ upon the Celtic/Folk-Punk scene. Thrashing their way around the world blending Punk-Rock with a bunch of European Folk traditions with a power and range that few others can match. Now though they have returned to their roots with their fifth studio album Into The North, a collection of traditional and original sea shanties recorded deep in the Canadian hinterland.

Its been a long road for The Dreadnoughts. Not only because they have probably played in more countries than any other Folk-Punk band but that they have a come along way since their singer’s early days in the famed Ontario, Canadian band Siobhan. I say famed but at the time the Celtic-Punk scene was tiny but they still managed to make a name for themselves with their two studio albums The Patron Saints of Debauchery and Welfare State and legendary stage shows. When Siobhan split a couple of years went by before they dived straight back in with The Dreadnoughts. Those early days spent playing in Vancouver’s notoriously seedy Ivanhoe Hotel saw them build up a large and loyal following and later they would be recognized as one of the best live bands in the city. Embracing the old-school destructive chaos of live Punk, their gigs were hot and sweaty and full of joy and went on till the audience was exhausted, happy and pissed to the gills. Fast forward to 2019 and with a host of critically claimed studio albums behind them The Dreadnoughts have again taken us by surprise and have stripped their sound right back and when I say right back I mean right back!!

Always with a fondness for sea-shanties their version of ‘Roll The Woodpile Down’ can be credited for starting a trend amongst the scene for bands in the middle of their sets to lay down their instruments and test their harmonies with an acapello song. The haunting thunder of sea shanties has long been the backbone for The Dreadnoughts sound and on their new album here they have fully embraced the genre for a whole album that is the greatest collection of original and reworked traditional sea-shanties in modern times! Tasked with recording the songs the band decided early on in the process that they didn’t want to go for that slick produced ‘studio’ sound so they

Holed up for a week in a small wooden cabin with nothing but whiskey in our glasses, four microphones in front of us, and hordes of mosquitoes outside singing along, we belted these damn songs over and over until we had them just right, and the result is the album we’ve always wanted to make.

With their last album, 2017’s a multi-genre, historically themed concept album Foreign Skies also stepping outside the box, being a raw and emotional ride through the horrors of the First World War it only shows that The Dreadnoughts are without a doubt both a band that is unafraid to take risks and the most innovative bands in our or any other scene. Stories of love and loss, war and strife, redemption and sorrow from a band that up till then only sang songs about gin and scrumpy cider… this was new territory and also a massive success with fans and critics alike.

(see for yourselves by streaming/downloading Foreign Skies on Bandcamp below)

Now first off I have to say that bar a few of the more obvious ones I know not what, if any, of the songs here are originals. You can never be too sure with anything The Dreadnoughts do as their mischievousness could always have you believing the opposite! The album opens with ‘Rosibella’ and considering I was expecting some Folk-Punk fury I was shocked to find in its place a stripped down sea-shanty with only occasional squeezebox to accompany the words. ‘Fire Marengo’ was found by The Young Traditions Royston Wood in an old book called Shanties From The Seven Seas, where a few of the songs here were first documented, and after changing some verses and adding the tune went on to release it on their 1967 EP Chicken On A Raft. Most of the songs here hover around the two minute mark as without the padding of music it’s mainly the vocal harmonies, and a bit of foot stompin’, that rule here. ‘Pique La Baleine’ is a traditional Breton whaling song sung in French and dates back to the early 19th century. Again it is accompanied only by squeezebox while mournful fiddle makes an appearance on the relatively modern ‘Roll Northumbria’ a song about the building of a war ship in the Tyne in 1965. ‘Joli Rouge’ is an Dreadnought original devoted to Cidre Joli Rouge, a company dedicated to the production of real cider not the syrupy, corporate, mass-produced, prison wine that passes for it in most pubs. The company has even made a Dreadnought Cider!

“she’s called the Dreadnought cider
she’s proper and she’s fine
and when the day is over how I wish that she were mine
or in the dark of winter, or on a summer’s eve
one hand giveth while the other doth receive

So you can have a Mangers and pour it over ice
or you can have a Strongbow if it’s sadness that you like
or join us up the river and we’ll set your heart aglow
and how you’ll feel when the real cider starts to flow”

One of the album’s highlights without a doubt! Anyone who has seen them play over the last couple of years will recognise a couple of the songs here and if not then will be familiar with the style of the songs. I’m not sure if I saw them giving ‘Lifeboat Man’ a run through at their outstanding gig at the Cursus Festival last year or not but its familiarity is nice even if they didn’t play it! ‘Shallow Brown’ is pure sea shanty at its best. A typical call and response song with The Fang, otherwise known as Nicholas Smyth, singing the verses while the rest of the band sing the chorus. The song is a sad tale of a man leaving a woman on shore, pretty much a standard subject for a shanty, though this time its the story of a man being sold into slavery.

Sad and mournful and perfect for a good bass voice like Nicholas’. ‘Whup! Jamboree’ is an auld song and like most here no one is sure quite how old. It’s a cheeky number and shows workers at their most risque!

“And soon we’ll see old Holyhead
No more salt beef, no salt bread
I catch my Jinny and it’s off to bed
Come and get your oats me son”

Accompanied by very low key squeezebox and the solitary slow beat of a drum it’s another highlight. A.L. Lloyd sang ‘Whup Jamboree’ in 1957 on his and the great Ewan MacColl’s album Blow Boys Blow. He commented in the sleeve notes:

Whup Jamboree is one of the wildest and most exultant of homeward-bound shanties. The progress through the English Channel and into London River goes as a fast clip, and all hand are looking forward eagerly to what the girls ashore have to offer. From its references to Blackwell Dock, this shanty, used for work at the capstan, apparently rose among sailors in the Far East run.”

‘Paddy Lay Back’ is probably the best known of the songs here as it has been recorded by many famous Irish artists including The Wolfe Tones (here) and the Dublin City Ramblers (here). It’s earliest date is 1898 and tells of a poor Irish lad who goes to sea to earn his fortune but suffers at the hands of foreign sailors, poor conditions and the long voyage. ‘Dear Old Stan’ is dedicated to the memory of Stan Rogers the acclaimed Canadian Folk singer-songwriter who passed away in 1983 but is till remembered fondly for his Celtic influenced Folk songs many telling of his parents days working off the sea and tales of the lives of ordinary working people.

Some really wonderful lyrics here that fair bring a tear to the eye and explain the high esteem that Stan Rogers is held in Canada and around the world.

“The Yanks have Woodie Guthrie, The British Ralph McTell
The Celts have got the Corries, aye and Ronnie Drew as well
Adge Cuter sings of cider out in the west country
but I am a Canadian, and so I say to thee

Arise and be merry
and sing out while you can
The world will never see the likes
of dear old Stan”

Following this tribute is ‘Northwest Passage’ one of Stan Rogers best-known songs and my favourite song on Into The North. An acappella song, originally released in 1981 it is now considered one of the best songs in Canadian music history.

Take a moment also to watch this tribute to Stan Rogers version here. ‘Sacramento’ is a catchy foot stomper while the only song here that gives a hint of what The Dreadnoughts are famous here are the instrumental trad songs ‘Harper’s Frolic / Bonny Kate’. Showing the bands mastery of traditional Folk and how easily the Bhoys can turn their hand to anything while still be able to give it a distinctive Dreadnoughts stamp. We are near the end of Into The Norths forty-two minutes and ‘Shiloh’ is another up lifting foot stomper while the curtain comes down with ‘Starbuck’s Complaint’, a great song to end with as Drew’s voice and harmony brings the album to a melancholy close and how else could an album of sea shanties end. The work was without a doubt hard and often tyrannical under many a vicious Captain’s rule. The workers would say that “a song is as good as ten men”. The songs were used in the manner of field work song’s and these shanties tell the tales of loneliness, the families these men left behind, the daily hardships of an unkind sea and adventure on the seven seas.

Celtic-Punk is more than just getting your girlfriend to play fiddle over a punk song (just as Folk-Punk is more than a trendy hipster achingly singing over an acoustic guitar). It has a past and that link to the past has to be explored and celebrated. There are certain values I think to be associated to whatever it is that passes as a Celtic-Punk scene and to celebrate the music that inspired it is surely at the top of the list. Here The Dreadnoughts do just that. If you are expecting their breakneck Punk-Folk then you may be disappointed on first listen but by the second or third you’ll come to really appreciate what it is they have done here. In fact I look forward to seeing them placed in our Top Ten Folk and Trad releases of the year rather than their usual spot in the  Celtic-Punk Top Ten! Celtic folk music and Punk can form a perfect union and while on Into The North they take a more traditional route with these wonderful songs I’m sure it won’t be long before they’re back breaking stages around the world, scoffing down the ciders and spreading their gospel to anyone and everyone who will listen.

(stream Into The North from Bandcamp below before you buy!)

Buy Into The North  FromTheBand

Contact The Dreadnoughts  WebSite  Facebook  Bandcamp  YouTube

Stoked. A documentary about The Dreadnoughts by Adam PW Smith

|  | 17 November 2017 (Canada)

Vancouver legends The Dreadnought returned from a six year hiatus in 2017 to record a new album. Filmed in the recording studio, and drawing from an archive of photos and film clips that go right back to their second ever live show, this low budget documentary rises above its station with great characters and stories that range from enlightening to hilarious (and occasionally dubious). These liquor soaked musical heroes prove themselves to be thoughtful, as well as entertaining. Everything you ever wanted to know about the Vancouver-based Celtic-Punk band – and perhaps things you didn’t – can now be found in Stoked: The Dreadnoughts Return. Watch the film here.

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