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
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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.
Tagged: Dreadnoughts, Ewan MacColl
Its soo bloody good
folk music isnt hipsters with acoustic guitars and a fake accent it IS the dreadnoughts!
Got stuck in traffic the other day the album went round 3 times in that time by the end I was hooked. Joli rouge and dear old stan are my favourites at the moment.
Dear Old Stan is an instant classic the Big Man would be proud of and humbled by!
[…] with a new collection o’ songs to get ya up and dancing. Following our review of 2019’s Into The North, we now present some o’ the finest moments from the band’s latest offering, Roll And […]