Category Archives: Album Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Well plans change.

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

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

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

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

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

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

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

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

Buy Kings Corner

Cd’s, Vinyl. Downloads- From Bryan  iTunes

Contact Bryan McPherson

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

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


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

But that was then and this is now.

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

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

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

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

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

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

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

Buy Besieged 

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

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

Contact Nick Burbridge-  WebSite  Facebook

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The chorus, with the line

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

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

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

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

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

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

Buy Distant Banging  FromTheBand

Contact Visceral Noise Department  WebSite  Facebook  Bandcamp  YouTube

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

Contact TC Costello  Facebook  Bandcamp  Tumbler  ReverbNation  Twitter  YouTube

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

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

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

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

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

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

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

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

Buy The Party

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

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

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

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

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

An Gorta Mór Glasgow

 We’re Building a Famine Memorial in Glasgow

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

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

THE REBEL COLLECTIVE

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

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BUY LIVE AT THE BRAZEN HEAD CD HERE

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

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

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

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

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

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

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

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

WATCH THE FULL VIDEO OF THE CONCERT

HERE

Discography

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

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

dialogue from “TORTILLA FLAT” by John Steinbeck, 1935

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

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

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

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

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

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

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

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

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

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

“Every day not wasted is a wasted day”

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

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

2019 will see the band hitting the studio again later this year to record their third full length studio album and even some distant plans to cross the broad Atlantic so keep an eye upon what they are up to. A Moment In California is officially released tomorrow, and will be available on almost all big music streaming outlets ie. iTunes, amazon music, Spotify Microsoft music etc. We don’t get a lot of live recordings to London Celtic Punks and on hearing this I can only regret their aren’t more. Nearly a hour of fantastically played fast Irish folk with very wide appeal from a band who though polished come across as sincere and heartfelt in all the right places and funny and ramshackle too. A great band and if they they ever come near where you live then move heaven and earth to go see them as on the evidence here you are guaranteed a night to remember.
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Cullen’s Mam and Dad have set up a charity in honour of their son- Cullens Claddagh. You can check that out here and they would especially like to hear from any bands wishing to donate merchandise they could raffle off to raise money for the charity.

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

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

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

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

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

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

DOWNLOAD Irish Drinking Songs for Cat Lovers HERE

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

Marc Gunn- WebSite  Facebook  YouTube  Bandcamp  CelticMusicPodcast

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

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

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

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

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

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

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

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

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

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

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

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

CLICK HERE TO HEAR A PREVIEW OF THE ALBUM

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

Discography

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

Buy Ten: The Errant Night

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

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

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

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

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

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

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

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

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

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

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

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

Buy Home In Song- Released March 1, 2019

Bandcamp   ArrestRecords (T-Shirt/Vinyl offer)

Contact Mickey Rickshaw

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

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

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

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

 

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

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

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

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

Buy Based On A True Story

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

Contact Greenland Whalefishers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Horizon Songs

FromTC

Contact TC Costello

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Hovels Of the Holy

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

Contact The Templars Of Doom

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

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2018!

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

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

1. THE RUMJACKS- Saints Preserve Us  here

2. 1916- Far Beyond The Pale  here

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

4. KRAKIN’ KELLYS- Promised Land  here

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

6. SIR REG- The Underdogs  here

7. TIR NA OG- From The Gallows  here

8. FIRKIN- We Are The Ones  here

9. THE MAHONES- Love + Death + Redemption  here

10. THE MUCKERS- One More Stout  here

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

12. HOLD FAST- Black Irish Sons  here

13. LEXINGTON FIELD- Dreamers  here

14. THE RUMPLED- Ashes & Wishes  here

15. TAN AND SOBER GENTLEMEN- Veracity  here

16.THE KILLIGANS- Dance On Your Grave  here

17. ALTERNATIVE ULSTER- Pog Mo Thoin  here

18. PADDY AND THE RATS- Riot City Outlaws  here

19. IRISH MOUTARDE- Perdition  here

20. BASTARDS ON PARADE- Cara a Liberdade  here

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

22. PIRATE COPY- Swashbuckle & Swagger  here

23. SINFUL MAGGIE- S/T

24. JOLLY JACKERS- Out Of The Blue  here

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

26. THE CHERRY COKE$- The Answer

27. THE CLAN- Here To Stay  here

28. KINGS & BOOZERS- Still Got The Booze  here

29. FALPERRYS- Nova Abordagem  here

30. AIRS & GRACES- Voting At The Hall  here

bubbling under: MALASANERS- Footprints  here

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

KRAKIN’ KELLYS- Promised Land  here

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

1. THE LAGAN- Let’s Do It Again

2. MEDUSA’S WAKE- Rascals & Rogues  here

2. HANDSOME YOUNG STRANGERS- The Bleeding Bridge  here

4. THE DANGEROUS FOLK- One  here

5. LEXINGTON FIELD- Modern Times  here

6. SCOTCH- Last In The Bar  here

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

8. THE GRINNING BARRETTS- The St. Padraigs  here

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

10. THE ROYAL SPUDS- Unforgotten Lore  here

bubbling under…

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

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

1. MARYS LANE- Wild Unknown  here

2. LOUIS RIVE- The Cheap Part Of Town  here

3. THE CRAICHEADS- S/T  here

4. LANKUM-  Between Earth and Sky here

5. MAN THE LIFEBOATS- Man The Lifeboats  here

6. SLIOTAR- Voyage

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

8. BLACKBEARDS TEA PARTY- Leviathan  here

9. THE LED FARMERS- Irish Folk Out Straight

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

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

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

MERSEY CELT PUNKS

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

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

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

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

THE CELTIC PUNKCAST

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

MacSLONS IRISH RADIO

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

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

 Sláinte, The London Celtic Punks Crew- January, 2019

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

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

THE CHERRY COKE$- ‘The Answer’  (Buy)

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

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

Contact The Cherry Coke$-  Facebook  LastFM  YouTube

THE GODDAMN GALLOWS- The Trail  (Buy)

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

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

Contact The Goddamn Gallows-  WebSite  Facebook  YouTube  Spotify

RAILROAD EARTH- Captain Nowhere EP  (Buy)

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

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

(The band live in concert at Red Rocks Festival)

Contact Railroad Earth-  WebSite  Facebook  YouTube  Soundcloud

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

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

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

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

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

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

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

Contact Sigelpa- Soundcloud YouTube Facebook Twitter Bandcamp YouTube

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

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

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

Contact East Town Pirates- WebSite Facebook Soundcloud ReverbNation YouTube

LOCKS- ‘Skeletal Blues’ (BUY)

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

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

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

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

Contact LOCKS- WebSite Facebook Bandcamp YouTube Soundcloud

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

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

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

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

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

Contact Irish Stew Of Sindidun- WebSite  Facebook  YouTube

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

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

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

CRAIC’n’ROLL- ‘The Early House’ (BUY)

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

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

Contact Craic’n’Roll- WebSite Bandcamp Facebook YouTube

DAMIEN DEMPSEY- ‘Union’ (BUY)

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

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

Damien Dempsey- WebSite Facebook YouTube Twitter

PIRATE COPY- ‘Swashbuckle And Swagger’ (BUY)

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

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

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

Contact Pirate Copy- Facebook Bandcamp YouTube

FALPERRYS- ‘Nova Abordagem’ (BUY)

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

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

Contact Falperrys- Facebook YouTube Bandcamp

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

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

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

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

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

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

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

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

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

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

“At first we hear a mandolin,

It’s playing fast 16ths.

There it is the singer’s voice,

Dirty dark and mean.

The bass is playing one and five.

The bass drum quarter notes.

The key, surprise! G Major!.

This is how it goes…”

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

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

Buy Raise Your Pints-  Here

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

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

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

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

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

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

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

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

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

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

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

Buy Lucky Red Hat

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LIVE AT FOLK IN A FIELD IN THE SUMMER

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

there was also time to throw in the odd Irish standard

and the most unexpected.

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

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

Buy Green Blood

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

Web-Site  Blog  Facebook  Reverbnation  Twitter  YouTube  Bandcamp

 

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

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

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

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

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

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

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

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

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

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

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

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

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

“And a rich man never died upon the chair”

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

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

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

FOR YOUR FREE DOWNLOAD

CLICK HERE

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

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

by Richie Unterberger

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

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

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

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

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

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

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

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

For more on Phil Ochs

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

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

for more like this…

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

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

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

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

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

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

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

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

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

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

Discography

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

Buy From The Gallows

FromTheBand  Amazon

Contact Tir Nan Og

WebSite  Facebook  Instagram  YouTube  LastFM

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

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

lankum.jp

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

 

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

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

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

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

Buy Between Earth and Sky

Here (iTunes, Google, Spotify etc.,)

Contact Lankum

WebSite  Facebook  Twitter  YouTube  Instagram

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

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

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

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

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

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

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

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

Photo by Sarah Anne

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

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

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

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

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

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

Discography

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

Buy Modern Times 

FromTheBand  iTunes

Contact Lexington Field

WebSite  Facebook  YouTube  Twitter  ReverbNation  Bandcamp

ALBUM REVIEW: THE RUMJACKS- ‘Saints Preserve Us’

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

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

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

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

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

Rumjacks band

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

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

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

Contact The Rumjacks

WebSite  Facebook  Twitter  Instagram  YouTube  Soundcloud

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

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

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

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

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

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

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

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

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

Oh well, let’s move swiftly on…..

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

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

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

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

Buy The Underdogs

FromTheBand  DespotzRecords  Amazon 

Contact Sir Reg

WebSite  Facebook  YouTube  Instagram  Twitter

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

PHANTOM OF THE BLACK HILLS

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

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

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

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

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

Ghosts

Released January 1, 2009

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

(Part One of the ‘Government Demons’ trilogy)

(Listen to Ghosts below on the Bandcamp player)

Born To Gun

Released January 1, 2010

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

(Part Two of the ‘Government Demons’ trilogy)

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

Enemy!

Released January 1, 2012

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

(Listen to Enemy! below on the Bandcamp player)

Moonshine Bright

Released January 1, 2014

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

(Listen to Moonshine Bright below on the Bandcamp player)

Scalped

Released August 25, 2017

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

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

(Listen to Scalped below on the Bandcamp player)

Phantom Of The Black Hills

WebSite  Facebook  YouTube  Soundcloud  Bandcamp  POTBH Shop   Ratchet Blade Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Still Got the Booze

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy The Cheap Part Of Town

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

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

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

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

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

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

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

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

Irish Punk, Speed Folk from Hungary !

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

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

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

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

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

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

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

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

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

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

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

Discography

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

Buy Broad Jump. Reloaded

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

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

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

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

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

Entirely acoustic these guys have the ability to rock up anywhere play and next Summer they will wash up on Ireland’s shore in a reverse of their ancestors with a shipload of their biggest fans to visit Dublin and Galway. The Bhoys are looking for venues and are available to play pubs, parties, fights, wakes, festivals, and any other venues that either defy definition. Taking traditional Irish pub songs and soaking in influences from scene legends The Pogues and Flogging Molly. Both of which you can hear within Gotta Get O’Raggednized’s eight tracks. Just drop them a line and get them on in your back garden if need be!
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ALBUM REVIEW: ALTERNATIVE ULSTER- ‘Boobies, Bagpipes, Banjos & Beer’ (2018)

Back again with their third album it’s New York’s Alternative Ulster with another, lucky for us, thirteen songs of punk rock driven energetic Celtic pride, humor and downright defiance.

Almost six months to the day that previous album, Pog Mo Thoin, hit the streets New York’s Alternative Ulster are back again with another album of rough’n’ready Irish-American Celtic-Punk to stir the spirits and drink them too! Boobies, Bagpipes, Banjos & Beer follows on from that album with more of the same humour, politics and fun that made Pog Mo Thoin such a hit.

Alternative Ulster left to right- Jay Andersen (Guitar, Bass, Backing Vocals) * Todd Henry (Vocals, Drums) * John McGovern (Bagpipes, Bass, Banjo, Tin-Whistle, Backing Vocals)

Alternative Ulster sprung into action in March 2015 in New York State’s Catskill’s region releasing their debut album, Rebellion, in February 2016. That album received unanimous praise from across the worlds Celtic-Punk media but sadly soon after the band split into two factions with one continuing as Alternative Ulster and the other becoming the excellent Templars Of Doom. Both bands can be best described in the words of band bagpiper John as ‘1916 meets 1977’ and tread similar paths in the Celtic-Punk scene.

So have Alternative Ulster changed at all in the six months since their last album? Well the answer is a resounding NO! Why change a winning formula and while it may still be a tad too punky for some traditional Celtic-Punk fans it still sits nicely within the scene. Todd is again bashing bloody hell out of the drums while barking the lyrics over Jay’s fantastic guitar work and the superb bagpipes of scene celebrity John McGovern drones loud and proud. The album kicks off with the punk rebel song ‘No Queen, No Crown’ and is in defence of the kilt and its history.

“Don’t call it a dress,
or you’ll be a mess.

You call it a kilt,
to honor blood spilt”.

These Bhoys take their Celticness very seriously!

Yeah its more of the same and ‘Boobies, Bagpipes, Banjos & Beer’ kicks off with a ‘Duelling Banjos’ style intro between bagpipes and banjo before breaking off into a song celebrating the things that real men love! If anything the music has gotten even more punk rock than previously. Its the sound of UK punk from around 1977. Think Sex Pistols rather than The Clash. On ‘The Sheep Pretend’ John also weighs in with a thundering bass that gives the song a post-punk feel while Todd still shouts the words in a eighty cigarettes a day rasp. Next up is the song that inspired their name all that time ago. On St. Paddy’s Day 2015, original guitarist Jerry came up with the idea inspired by The Stiff Little Finger’s classic song. Their version of ‘Alternative Ulster’ is straight up two fingers in the air punk rock. Played at breakneck speed and with bagpipes its a class song.

‘Sail Home British Soldiers’ is up next and is a American civil war rebel song. The first time the British Empire ever had its arse kicked was by the Americans and feelings still run high even though Alternative Ulsters ancestors were still living in Ireland at the time. The song has a real bite that makes The Wolfe Tones sound like Foster And Allen and a thumping beat that’s a sure fire mosh pit filler.

“Neither collar nor crown,
shall this patriot wear.
You can’t have my musket,
You’ll die if you dare.
So fuck off you fucking fucks,
and fuck you as well.
Before I bow once,
I’ll see you in hell”.

In part inspired by Ted Nugent’s ‘Homebound’ and if you like that then you’ll recognise the beginning of ‘Bonnie Little Scott’ up next. The song is a tribute to Bon Scott of every punk rockers favourite Heavy Metal band AC/CD and borrows heavily from their hit ‘Thunderstruck’. The story of Bon’s short life is told in song by Jay and with Alternative Ulsters usual humour. More of that next in ‘Dudelsack’ and while I don’t know what a dudelsack is I resisted the urge to look it up and can only assume it is part of a Bagpipe. Next is my album highlight and you’d have to be a right misery not to find ‘Spilt Upon Me Kilt’ absolutely hilarious. Set on St. Patrrick’s Day or actually the aftermath of St. Paddy’s Day and where the stains on their kilts tell the story of debauchery, alcohol and many bad decisions. All set to the traditional Christmas Carol tune ‘Twelve Days of Christmas’. Catchy and a song to really involve the crowd it made me spit my tea out when I first heard it.

‘Chuck It In The Fuck-It Bucket’ and ‘Counting Other’s Sins’ show Alternative Ulster at two different angles with the straight punk morphing into a punky-reggae tune while both songs are still dominated by the pipes of John. Another album standout is up next with the autobiographical ‘McGoverns Bar And Grill’ telling of John’s Mam and Dad and the working class Irish pub they ran in Tolentine Hill. Opened by John’s Grandad when he arrived in the States from America the pub was by the Tolentine cathedral at the heart of the big Irish parish in the Bronx.

“While on the bar sat a can for NorAid,
not to buy books, but guns and grenade.
My pint of black stuff was really just Coke,
all the old men laughed, it was a fine joke”.

The McGovern Clan with John in the red.

The song gives just a sense of what it means to be Irish-American and for this album at least is as close to a ballad as they come. A tremendous song full of passion and if  ‘McGoverns Bar And Grill’ showed the trio have got more in them than just rowdy punk rock then the album’s second version of ‘Alternative Ulster’ proves it. With John joining in with Todd’s shouty growl with banjo, shuttle pipes and tin-whistle while mate of the band Scott Benson rocks up with the bodhran. The album comes to an end with ‘Crawl Back In Your Shithole’ and the boot is suck firmly into President Trump and his ilk. Seemingly over in a flash its a great way to end the album and bring things to an end.

Boobies, Bagpipes, Banjos & Beer came out last week and was recorded, mixed and mastered by band maestro Jay Andersen at Operation-Audio/ Bohemosphere in Saugerties, NY. The amazing album cover art was by the talented Gail Benson. Now it would be absolutely pointless telling you that this album will appeal to everyone as it quite obviously won’t. My Mammy may love most forms of music but I guarantee that she’d think this is one Unholy mess!! Still I don’t think that will matter much to the Alternative Ulster bhoys. The music keeps flowing out of them as they take their rightful place on the punkier side of Celtic-Punk. Alternative Ulster are happy to keep it lit and as they say somewhere on here

“When the day is done, we just want to have fun,
And we will for year after year”.

Buy Boobies, Bagpipes, Banjos & Beer

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ALBUM REVIEW: BODH’AKTAN- ‘Ride Out the Storm’ (2018)

Bodh’aktan feature seven characters from vastly different musical trends disembarking to forget the daily grind and all the hassle and leave only good times and a good mood behind them!

To fans of Celtic-Punk music traditional Irish music is part and parcel of why we love it so much. It is rather surprising then their are hardly any links between the ‘old’ world of trad Irish and Celtic music. Sure The Dropkick Murphys did a wonderful collaboration with Ronnie Drew of The Dubliners (see here) and Derek Warfield and his Young Wolfe Tones regularly play with the best Celtic-Punk bands but only in the States. So it was a shock, but a welcome one, to find the legendary uileann piper Paddy Moloney of The Chieftains collaborating with Bodh’aktan on their new album, Ride out the Storm. Many of the legends of Irish folk that we grew up with are no longer with us so its no exaggeration to say that Paddy is truly treasured by everyone and even at the tender of eighty (his birthday was just last week) he has lost none of his brilliance and his contribution here is both faultless and incredible. More on that to come but now on with the review!

Ride Out The Storm is sort of Bodh’aktan’s second album. I say sort of as they have also recorded an album Against Winds and Tides which was basically a collection of some of their own songs re-recorded in French. The band hail from Quebec, the French speaking semi-autonomous region in eastern Canada. The region has a totally different feel to the rest of Canada and French is the only officially recognised language. Within this French culture is also a large Breton influence and their are no shortage of Celtic influenced bands and music coming out of Quebec and to that merry band we can now add Bodh’aktan! The British never like to give up their colonies and in 1980 and 1995 referendums were held on whether or not to leave Canada. Sadly in 1995, the people of Quebec chose to stay in Canada by a 1% margin and so it is they remain subjects of the British crown.

 

Ride out the Storm came on the 1st of June and features fourteen brand new songs with three trad folk covers and a set of reels featuring three Irish trad instrumental tunes. It begins with ‘About Things To Come’ a short intro of just over a minute that starts off like Hell’s Ditch era Pogues with a Western feel to it and just as you expect the following song to explode out the speakers at you ‘Nothing But A Game’ is a soft and gentle Celtic number. With whistles and acoustic guitar it gallops along at a steady pace. Upbeat and friendly and alcohol infused it’s a cool start to things before it gets rocky with next track ‘Get Loud’. A while ago the AC/DC video for ‘Its A Long Way To The Top (If You Want To Rock’n’ Roll (check it out here!) went viral across the Celtic-Punk world thanks to singer Bon Scott and his bag-piping. Well i had to look and check this wasn’t a AC/DC cover and it isn’t but Christ it could be. Showing the band can turn their hand to more rockier songs its as catchy as hell and I’m sure Bon is looking down with a smile on his approving face!

Again it’s as catchy as hell and leads us nicely onto ‘Heave Away’. A traditional sea shanty from Newfoundland it’s given an upbeat Celtic feel and while it is a complete contrast to the rocky ‘Get Loud’ it doesn’t for a second feel out of place.

“Sometimes we’re bound for Liverpool
Sometimes we’re bound for Spain
But now we’re bound for St. John’s town
To watch the girls a-dancing”

The album’s second cover is next and while ‘The Black Velvet Band’ is not exactly a rare song to be found on a Celtic-Punk bands album it is transferred to a different level by the inclusion of the fore-mentioned Paddy Moloney of The Chieftains. The song itself is as solid a rendition as you could expect but Paddy’s piping is truly remarkable. His contribution to the traditional Irish music scene is immeasurable so hopefully the album may make it into the ears of the folk music purists (or snobs as we call them) and they will see that Celtic-Punk music is a part of the same tradition. It’s a real stormer of a song and one for waving your pint int he air with your hands round your mates. The songs so far while all being fairly obviously Celtic influenced have all actually been quite diverse with everything covered, including Goth if you include the ‘gloomy’ opening intro.

More trad Bodh’aktan can be found next on ‘Ride Out The Storm’ another modern day sea shanty that has a Dropkicks feel to it for me but rocks along in a standard Celtic-Punk way although with perfectly executed vocals. ‘The Bridge’ is next and again that classic sound is there but the influences this time seem to be shared with 70’s era heavy (air?) metal and trad Irish folk. This is followed by a song simply titled ‘Reels’ and shows these guys can certainly turn their ear to a trad song or two. Three tunes are included showing how marvelous their musicianship is while not being afraid to ‘punk’ it up a little too. A song you could both Irish dance and mosh too is a rare thing indeed. It’s fast and furious and proof for those folk ‘purists’ we mentioned earlier that they are missing out on something good. They are cut from the same cloth as those who derided The Dubliners and The Pogues back in their day. They would be more happy if the music died that to have someone respectfully adapt and change it. We may never get through to them. It’s their loss. ‘You Are The Ones’ and ‘Chasing The Wind’ are again classic Bodh’aktan with the music at all times highly charged whether fast or slow. The final cover is of ‘Mick McGuire’, a song that no one really knows how old it is. Recorded by many greats over the years most notably The Clancy Brothers the song tells of a man who pisses away his marriage

 “Johnny, come up to the fire, come up, you’re sitting in the draft
Can’t you see it’s old McGuire and he nearly drives me daft
Ah, I don’t know what gets into him, for he’s always on the tare
Arragh, just sit where you are and never you dare to give old McGuire the chair”

The melody was used for the tune to ‘Hot Asphalt’ by Ewan MacColl. Shipping up to the end of Ride OUt The Storm and we get the first version of ‘We Cannot Fail’ recorded by Bodh’aktan. A real singalong with a great chorus, heavy bass line and catchy as feck tune with loads of band chants in the background. ‘While I’m Away’ is a modern day Irish folk song and a beaut of a song before we get the bonus second version of ‘We Cannot Fail’ and if I thought #1 was a belter then this version wipes the floor with it. Aided and abetted on the song by German Celtic-Punk legends Fiddler’s Green it brings down the curtain brilliantly and will get your leg pounding the floor as you listen to it!

So fourteen songs with a small smattering of trad covers all clocking in at literally just under fifty minutes that while tipping their hat to the bigger bands of the Celtic-Punk scene also showcases their original sound and their ability to ceaselessly drift in and out of different genre’s without you even noticing! Everything here is perfection personified with the production top notch without being overdone and in songs that veer from trad folk to heavy metal its quite a feat to capture Bodh’aktan’s sound and massive array of instruments so well. This is an energetic album that comes with thoughtful and thought provoking lyrics in the traditional story-telling way that, thankfully, is quite common in Celtic-Punk. The spotlight may be on Irish folk here and the punk elements more subdued but this is an album for all fans of Celtic music whether it be your Grandad or your young nephew!

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CLASSIC ALBUM REVIEW: KICKIN’ HITLER’S BUTT: Vintage Anti-Fascist Songs 1940-1944

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Yeah the title says it all! Eighteen anti-fascist anthems from WW2 (don’t tell the Americans the War actually started in 1939) including songs from seasoned bluesmen Leadbelly, Josh White and Son House alongside Spike Jones’ madcap ‘Der Fuhrer’s Face’ and the acappella Golden Gate Quartet’s sublime ‘Stalin Wasn’t Stallin’.

WHO DO YOU THINK YOU ARE KIDDING MR. HITLER?

Now this is an American release so that means the theme tune from Dad’s Army is sadly missing but that is still no reason to not to indulge yourself with a free download of this collection of anti-fascist songs written, performed and released between 1940 and 1944. Its often thought that the Japanese attack on Pearl Harbour started the American involvement in the war but America had already made massive loans to the British war machine and having placed a oil embargo on Japan steps were being made to join the war before they were pre-emptied by the attack on Pearl Harbour. The US army for instance had grown massively from 267,767 in 1940 to 1,460,998 by mid-1941, an increase of 446%. Pearl Harbor was an American naval base in Hawaii, that was the scene of a devastating surprise attack by Japanese forces on December 7, 1941. Just before 8 a.m. hundreds of Japanese fighter planes descended on the base. More than 2,400 Americans died in the attack and another 1,000 people were wounded. The day after the assault, President Franklin D. Roosevelt declared war on Japan.

Knowledge coming out of Europe was slow but many in America, and not just on the left, realised the danger of Hitler’s rise to power and sought to agitate against it. It’s a little known fact that Germans made up the largest ethnic base in the States at around 17% which just happened to be the exact percentage of the American population who did not express support for Britain. Only 1% wished for a German victory suggesting that even this was inspired as much by pride in Germany as any dislike of Great Britain. The artists featured here contain such renowned figures as Woody Guthrie and The Almanac Singers folk singers from the from the protest movement all the way to bluesmen like the legendary Lead Belly and jazzmen like Spike Jones & His City Slickers. The album contains eighteen songs from fifteen diverse artists who in the main have disappeared from the air-waves but deserve to be known and studied and celebrated. Of course God is assumed to be solely on the Allies side, something I’m sure all in war believe.

Kickin’ Hitler’s Butt begins with a track from The Almanac Singers, a New York City-based group, active between 1940 and 1943 and formed by Millard Lampell, Lee Hays, Pete Seeger, and Woody Guthrie. They performed songs that were anti-war, anti-racist and pro-union. The Almanac Singers felt strongly , just like London Celtic Punks do, that music could help achieve these goals. Music is one of the great uniters and one of the areas of life where people of all races and religion mixed. A cappella gospel  group The Golden Gate Quartet’s contribution to the album, ‘Stalin Wasn’t Stallin’ wasn’t out of pace with it’s praise of Joseph Stalin with American public feeling at the time. Written in 1943 by Willie Johnson even Roosevelt had this to say
“The world has never seen greater devotion, determination, and self sacrifice, that have been displayed by the Russian people and their armies under the leadership of Marshall Joseph Stalin”
and it’s true that many of the most significant battles in the War were won by American and Russian forces co-operation. The Southern Sons Quartet’s ‘Praise The Lord And Pass The Ammunition’ is another gospel a capella song written in response to Pearl Harbour by Frank Loesser in 1942. The song tells of a Sunday morning in December 1941, and the chaplain is asked to say a prayer for say a prayer for sailors aboard a U.S. navy ship under attack by the enemy firing from all directions. The chaplain puts down his Bible, mans one of the ship’s gun turrets and begins firing back, saying “Praise the Lord and pass the ammunition.”
“Praise the Lord and swing into position
Can’t afford to be a politician
Praise the Lord, we’re all between perdition
And the deep blue sea”
The Southern Sons remain the most successful African-American gospel quartet music groups. Next up is Jazz Gillum and ‘War Time Blues’. William McKinley ‘Jazz’ Gillum was an blues harmonica player whose recordings nearly all come from the 1940’s. Jazz was shot dead On March 29, 1966, during a street argument in Chicago.

The Florida Kid performs the simple but effective ‘Hitler Blues’ on piano while next up we have two collaborations between some real legendary figures. Sonny Terry and Brownie McGhee give us ‘Move Into Germany’ and Lead Belly and Josh White perform ‘Hitler Song’. Famous in their own rights they all became involved civil rights protests and recorded Piedmont blues, country blues, gospel music and social protest songs. Following is another absolute legend in Woody Guthrie. Woody has featured on these pages many times and it is no exaggeration to say he remains the most significant figures in American folk music inspiring several generations, both politically and musically, since his death from Huntington’s Disease in 1967. He performed with the slogan “This machine kills fascists” on his guitar and he is one of the few artists here who is still largely celebrated. Josh White performs solo next with the amazing ‘Fuehrer’. The song tells of a German soldier, on the Russian front, starving and freezing to death dreaming he could go back home to Berlin. A sad song and beautifully played but not devoid of humour too. 
“Tell me, my Führer, what can I do?
My hands are freezing and my nose is blue
I’m dying of cold but then you never can tell
‘Cause when the Russians come, they make it hotter than hell
I got a touch of pneumonia, I got a terrible cough
If I sneeze once more, it’s bound to carry me off
When the Russians come, they always take us by storm
And there’s nothing like running if you want to get warm”
Josh White grew up in the south during the 1920’s and 1930’s and his experience led him to spend his life agitating for a more fair and equal system. This led to him being caught up in the ‘Red Scare’ panic from 1947 through to the mid-1960s which saw him black-listed as a communist. His ban from the airwaves was broken in 1963 when JFK asked him to perform on national television. Josh passed away in 1967 in New York.

Classic bluesman Buster ‘Buzz’ Ezell gives up ‘Roosevelt And Hitler’ Parts 1 and 2 featuring the memorable lyric
“He’s treating us so mean with his dreadful submarines.”
Delta bluesman Eddie James ‘Son’ House, Jr., noted for his highly emotional style of singing and slide guitar playing, plays ‘American Defense’. Starting off as a preacher before turning to the blues his recording career was short, punctuated by time in jail before he was re-discovered in the 1960’s and performed at folk festivals and toured during the American folk music revival. He recorded several more albums before passing in 1988. Next is ‘Coming In On A Wing And A Prayer’ by The Four Vagabonds, an African-American vocal quartet. The song tells of an American plane on its way home on one engine.

“What a show, what a fight
Yes, we really hit our target for tonight!
How we sing as we limp thru the air
Look below, there’s our field over there

With our full crew aboard and our trust in the Lord
We’re Comin’ In On A Wing And A Pray’r”

We move from such serious subject matter to the slapstick jazz of Spike Jones And His City Slickers with ‘Der Fuehrer’s Face’ where Spike tells us to blow raspberries in Adolf’s face. Spike was a bandleader famous in the 1940’s and 50’s for satirical arrangements of popular songs of the era. The jazz-swing of
Sam Browne And The Six Swingers follows with ‘Berlin Or Bust’.
“So it’s Berlin or bust!
Oh, we didn’t want to do it but we must”
Sam Browne was an English dance band singer who became one of the most popular British dance band vocalists of the pre-war era. US band leader Paul Baron And His Orchestra serve up the rousing ‘Up & At ‘Em, Yanks’ before Lead Belly returns with the only song here I had heard before the amazing Mr. Hitler. Now Lead Belly had one hell of a life (its well worth reading our biography of him here, you’ll not believe it!). Huddie William Ledbetter spent multiple spells in jail including a sentence for murder he was released early for. Passing away in 1949 he survived long enough to see Hitler in his grave. The album ends with the Rev. James A. Gates and ‘Hitler And Hell’. A preacher and Gospel music singer born in 1884, he was the pastor of Mount Calvary Baptist Church in Atlanta from 1914 until his death. During this time he recorded over 200 tracks. Performed in the style of a dynamic old-school sermon.

So faced with the worse evil of their times these artists chose to take sides. With these songs they actively encouraged and inspired the bravest of the brave to liberate humanity from one of the most vile and dangerous phenomena – fascism. Many of the artists here also fought during the War putting their words into action. Even with Hitler’s death and the defeat of the Nazi’s the war with fascism has not ended. The war continues on every continent and among every race. If we are finally to bury this evil ideology then we must win the hearts and minds of the people and with that in mind I’ll leave you with a quote from the great Irish patriot James Connolly.

“No revolutionary movement is complete without its poetical expression. If such a movement has caught hold of the imagination of the masses they will seek a vent in song for the aspirations, the fears and the hopes, the loves and the hatreds engendered by the struggle. Until the movement is marked by the joyous, defiant, singing of revolutionary songs, it lacks one of the most distinctive marks of a popular revolutionary movement, it is the dogma of a few, and not the faith of the multitude.”

To download Kickin’ Hitler’s Butt click

HERE

for more like this…(only in researching the article to accompany Kickin’ Hilter’s Butt did I come across this amazing concert from Josh White. Do your soul a favour and take thirty minutes of your life and spend it in the company of this wonderful and remarkable human being)

ALBUM REVIEW: THE KILLIGANS- ‘Dance on Your Grave’ (2018)

The Killigans are a Celtic-Punk band from Lincoln, Nebraska. Now over a decade young, they are honed and steeled for action. Glass-raising anthems for tenacious underdogs, lonely vagabonds and anyone who’s just trying to make it in this world. 

Born in a filthy garage in 2004 The Killigans have gone through various personel changes in their time together but have kept at their core a set of foot-stomping beer-loving raucous anthemic numbers drawing from traditional Celtic music along with streetpunk, gritty rock’n’roll and working class country music. Having become one of the most popular bands in the Nebraskan music scene they have gained a rapidly growing army of fans across the States and overseas as well. One of the highlights of their early career came in 2010 when their song ‘Lessons from the Empty Glass’ was used on the soundtrack to the big budget Universal Studios hit move Robin Hood. Dance On Your Grave is The Killigans fifth album and their development over the years is plain for all to see. From the rough and ready Irish folk-punk of 2006’s Brown Bottle Hymnal to 2010’s Honor which saw them shift towards a more stripped down punk sound and then to their last album Another Round For The Strong Of Heart from October 2012 which saw them raise the bar with their best release to date with a collection of songs that took the catchy Irish Celtic-Punk of their early days and the anthemic punk of Honor and combined the two for something particularly special that will go down as one of the best album’s that the Celtic-Punk genre has ever produced. Not bad for a bunch of working-class blokes from flyover country!

Dance On Your Grave was five years in the making with some of these songs three or four years old. The Bhoys admit to having lost motivation and to having run of steam. After all their lives had changed from young raggamuffins to being middle aged family guys 
“We never meant for the music to stop, and it has shaped us and our families along the way.  Its just been a lot more difficult for us to make new music happen.  I like to think we have a lot more to offer in the way of songwriting than a couple 22 year old punks who have been on their own for a couple years.”
The Killigans have endured a lot of life and one thing that has always shone through with their releases is their utter honesty. A straight up band that has always played a straight deal. Dance On Your Grave carries on from where Another Round for the Strong of Heart left off. Hardly surprising as that era is from when many of the songs here were written or first imagined with old drummer Ben Swift starting the writing process that new drummer Mikey Elfers would help finish by coaxing the band into actually finishing the album! 

The Killigans left to right: Trevor- Bass * Brad- Vocals, Accoustic Guitar * Mikey- Drums * Pat-  Accordion, Mandolin, Trumpet, Organ * Greg- Guitar * Chris- Guitar, Vocals, Mandolin, Harmonica, Trombone *

The album saw the light of day on  April 28th this year and kicks off with Throw It Away’ and shows a maturity that comes with middle age but the Bhoys still play with a wild abandon that brings to mind early Flogging Molly. The era when they combined folk and punk perfectly and had their audiences both slam dancing and jigging away. It’s fast and furious and with lyrics that show The Killigans may not have stayed still but know what we love in the Celtic-Punk scene and are more than willing to give it us! Second song ‘Peducah’ was the first release of the album and begins with an accordion gypsy flourish before trumpet and trombone come in adding a somewhat ska’ish sound while the pace never slows. Even more surprising is that they are not guest musicians but brothers Chris and Pat who play a multitude of instruments for the band including mandolin and accordion. Third brother Trevor plays bass in the band. Its trad Celtic-Punk and it don’t get any better!

The songs are short and snappy and played at breakneck speed like ‘One Angry Voice’ which could easily fit in any punk rock play list. The words decry the way has become a fashion and the values and spirit of why it exists are fading. When punks would rather spend £30 to go to a gig or £100 to go to a festival rather than a local pub down the road then I’m afraid punk has a terminal disease. Putting on gigs here in London it is something I noticed get worse over the years as promoters and bands struggle to get people to come a gig for £3 or a fiver when everyone is up the road watching some reformed old fogie punks at £30+ a ticket.

“Fact is I’m getting older but if the honest truth be told

There’s something changed about punk rock

What does it stand for?

Is it a t-shirt and a drug scene? A hairdo and a piercing?

We think it’s more!

It’s the kid awake at midnight, living life how it feels right

Though his parents are concerned and think him strange

And at school the students shun him, and the teachers make fun of him

But he knows in the end he’s gonna make a change!”

The album takes a folky turn with ‘Burn It Down’ and I’m a bit of an old fogie myself as these days its the folkier songs that i like more than the punky ones. Not to say it don’t have a punk edge and it speeds up nicely mid-way. The accordion and brass instruments make for a great combination and Brad’s vocals fit perfectly beside the music. The Dropkicks rear their ugly heads for ‘Fight Today (Knock Them Down)’ with a killer chorus the Bostonians would die for. Over far too quickly its a beaut of a song loud and proud and aggressive. We back in Molly territory for the next bunch of songs with ‘The Best Words’ played like FM on speed and with ‘Bartender’ you get another song that plays like fast FM but are in fact two quite different songs. I don’t like to compare a band too much to others and you would be wrong to take away from this review that The Killigans are just a Flogging Molly band as their sound is completely their own and if you go back and trace their trajectory from their early days its easy to see where they have come to. For ‘Particle Board’ the band put their heads down and plough through a fast punk number and on ‘All Good Men’ they play to their strengths with fast paced Celtic influenced punk with Brads voice strong and clear. ‘Cracked Rear View’ is one of the songs they began after last album way back in 2012 and begins with a thundering bass before the band join in and we soon end up with my album favourite. Elements of pop-punk and it sure is catchy enough to call it that. A cracking song and the Celtic takes a back seat for a couple of minutes. We are nearing the end of the album and ‘Realty Bites’ is a right proper anthem for the American working class.

“This gentrification is necessary good

A complete revitalization of your neighbourhood

A lonely puddle in  a cracked brickmavenue

Throw up a LED street light it’s as good as new”

and ends with

“This district

You’re no longer part of it”

At a time when the American left have turned their backs on the working classes by adopting the poison of identity politics its a timely reminder that they are still here and still fighting. Its another speedy song and leads into ‘Artificial Hip’ where we get thirty-six seconds of punk rock oompf before we arrive at the final and title track ‘Dance on Your Grave’. This is the bands big sound with accordion and brass coming together to wrap things up wonderfully for a sure fire dance floor filler about everyone who wronged Brad including school bullies and ex-girlfriends getting their just deserts!

So The Killigans are back with a bang and maybe not one for the more folk inclined it certainly rocks along and if you miss the early days of Flogging Molly then this is the album for you. Sometimes maturity doesn’t make you a better band but here The Killigans have soaked in influences from all over and come up with something that will have you wearing out your shoe leather while also giving your heart and (Celtic) soul a workout too.

(you can have a *FREE* listen to Dance On Your Grave on the Bandcamp player below before you buy it!)

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if you live in Europe then please check out MacSlons shop here for their new CD, back catalogue and other merchandise.

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ALBUM REVIEW: CIARAN MURPHY- ‘Once Upon A Time In Ireland’ (2009) *AVAILABLE AS A DIGITAL DOWNLOAD FOR THE FIRST TIME*

 Ciarán Murphy, ex-political prisoner, singer-songwriter and one man acoustic hand grenade from West Belfast. A protest singer in the finest Irish tradition and politically as sharp as a syringe needle hanging on razor wire. On this his debut album, available as a digital download for the very first time, he points out the often ugly truths of Irish life, asks difficult questions and never once pulls his punches. ciaran-once-upon
Ciarán Murphy seemed to come out of nowhere for us. One day on MySpace (remember that?!?!?) a long, long time ago I came across a few songs of his and its fair to say he fair done blew my mind. Having got a wee bit bored of hearing the same songs over and over again here was passionate, modern day, Irish rebel music with punk swagger and attitude that did all the things that good music is suppose to do. To educate, to inspire, to encourage, to dream. What was not to love? Later that year he went on to play the very first London Celtic Punks organised gig and it’s fair to say he stole the show and on top of that he was, as we say in London, a diamond geezer.

In these days of relative calm in the north-eastern section of Ireland the Police Service of Northern Ireland proudly claims to be ‘Making Northern Ireland Safer’. They’ll have you believe that they’ve moved on from the notorious days of the B-Specials and Royal Ulster Constabulary. The residents and Ciarán Murphy know differently and Once Upon A Time In Ireland opens with a angry blistering attack on Northern Ireland’s police force that is more punk rock than any punk song I ever heard.
“And they’re still a rich man’s police force,
they serve a rich man’s state.
They’ll baton charge the workers on the orders of the great,
they’ll use their fathers’ weapons to move against the free.
They’ll always be the RUC to me”
Armed only with an acoustic guitar, Ciarán comes across sometimes as a one-man punk army. His songs cover a multitude of topics relating to life in modern day Ireland (and to that north-eastern bit in particular). ‘A Word to the New Irish Racist’ damns those Irish people who suffered racist attitudes from British imperialists for decades, and who themselves now target new arrivals into Ireland:
“And every one of us were immigrants in our own time
And every patriot knows Irish is a state of mind
But you’re blind”
Ciarán understands because he comes from the same class as those left with no other option to survive than to leave Ireland in search of work over the years. Brilliant sentiments that could just as easily apply to any nation on the planet as to the Irish. Ciarán Murphy plays with such fury and ferocity that it’s no surprise he needs a box of plasters at the ready for when he leaves the stage. But folkies relax it’s not all full-on acoustic thrash, though. Some of the more impressive moments happen when the guitar assault slows down a little. Check out the gorgeous multi-tracked guitars on ‘Rebel Song’, while Ciarán spins a tale about a would-be revolutionary/terrorist having second thoughts while on the way to an attack. An amazing song that reminds us of the very real price that these soldiers paid for the cause.
(Ciarán playing live for London Celtic Punks in North London)

On ‘Che Guevara T-Shirts’ Ciarán takes aim at modern day politics and its clear here he foresaw the rise of the poison of identity politics. Divide and rule was once the tactic the state used to keep the left divided. Now its the ‘left’ that use it. He never leaves you unsure of where he stands. After all you get splinters in yer arse from sitting on the fence! The guitar picking on ‘You Cried for Ten Men Dead’ is simply outstanding. This track never fails to leave me in tears, as Ciaran sings to his father about the impact of Ireland’s struggle on the old man. From fighting for Great Britain in World War II, to joining a revolutionary army in Ireland, to crying for the ten hunger strikers who died in the Maze prison in 1981. The old man fell under the spell of whiskey and was unable to keep it together. Simply breathtaking. Played from the heart it’s followed by ‘State Of The Nation’ my favourite here where again modern day Irish politics is chastised.
“Kieran Doherty died as Irish TD (MP)
and not a word of condolence was passed
but for Lady Diana they lowered the flag to half mast.
Yeah they lowered our flag to half mast
so who’s taking us back to the past?”
The Irish government, so desperate to suck up to both the UK and the USA, are even willing to destroy national monuments to accommodate foreign interests and to degrade the ideals of the men whose acts they use to push an agenda these men fought (and many died) against. They have betrayed the people of Ireland but as a great man once said “our revenge will be the laughter of our children”.

‘Michael McIlveen’ is the tragic tale of a young 15-year old Catholic boy beaten to death on the streets of the north-eastern Irish town of Ballymena in 2006 by a Protestant gang. The teenager, known as ‘Mickeybo’ to his friends, was beaten with a baseball bat and kicked around 60 times in an alley after simply visiting a pizza shop. Ciarán reaches out to the Protestant community to remind them that some of the most revered and respected Irish revolutionary heroes have come from the Protestant faith.

Mickeybo 1991-2006 qui tacet consentire vidétur

‘Nine hours’ is again an incredible song where Ciaran, in jail for Republican activities, is given nine hours compassionate leave to attend the funeral of his father.  During the song Ciarán recalls childhood fishing trips with his Da and the history he taught him of the places they visited while he follows his Dads coffin in utter personal agony, regretting years of non contact. Nine hours later that day a steel door slams shut and that’s fucking it.
“I never thought that things would end like this,
not in my wildest dreams.
But life is cruel and sometimes twisted,
like their judges and it seems.
that nothing here is sacred and I know what that means.”
A song that will take your breathe away the beauty and sadness of it. On ‘Catholic Guilt’ Ciarán ponders his youth and faith and what the future will bring. The album is drawing to a close and ‘I Feel The Eyes Of British Spies’ is all about the very real technological war Britain declared on Republican communities but told with a sly humour and twinkling eye. The title track closes the album, with its multi-tracked guitar and one of Ciarán Murphy’s strongest vocal efforts. The song tells of Murphy’s quest for that elusive ‘once upon a time in Ireland’, of trying to come to terms with Ireland’s real and mythological past, and sifting through it all to find lessons that apply to Ireland today.

FOR DOWNLOAD CLICK HERE

AVAILABLE TILL THE END OF THE MONTH FOR JUST £5

While Ciarán Murphy’s 2008 debut release, The Verbal Hand Grenade EP, was a solid release, this one showed Ciarán had made infinite progress. Each song features just acoustic guitar and voice, but Ciarán creates so many different textures that no two songs sound alike. The beauty of the folk tradition – and it applies equally in punk rock – is that anybody can pick up an instrument and play the songs that strike a chord in them. We are almost a decade later yet Ciarán Murphy’s songs still need to be heard, and they need to be sung. In my opinion they are right up there with the songs of MacGowan, Kelly, Drew, Moore. You may think that’s an exaggeration, but hear this album and I’m sure you’ll agree. Sadly Ciarán has retired from the music scene and no amount of cajoling it seems (and we have tried, oh have we tried and tried!!!) will bring him back to the stage. That is a great shame as Ireland is in desperate need of its poets. There was a very good reason the British use to execute them you know.
Bandcamp
Previously only available on CD, this, Once Upon A Time In Ireland is now available via the London Celtic Punks Bandcamp page for digital download. A huge thanks to Ciarán for allowing us to  organise this. It was our pleasure Pip! Coming soon for first time as a digital download Ciarán’s debut release, Verbal Hand Grenade. Watch this space.

(you can hear the album for free here on the Bandcamp player)

JUSTICE FOR THE CRAIGAVON 2

Justice for the Craigavon TwoEvery single penny raised from this album goes directly to the Justice For The Craigavon 2 campaign. For Brendan McConville and John Paul Wootton, who were unjustly convicted of the murder of PSNI constable Stephen Carroll and sentenced to life imprisonment. The London Celtic Punks believe the case was corrupt and the ‘evidence’ inconclusive, contradictory and discredited. Both these poor guys find themselves victims of a system that sought to find suitable scapegoats in the wake of the political and media backlash following the killing. Over on our Bandcamp page you will find a bunch of downloads available mostly for donation. All the money goes to the Campaign and helps pay legal fees and to aid Brendan and John Paul’s families. You can make a real difference. Please send all donations to  justice4thetwo@gmail.com

Justice For The Craigavon 2
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thanks to Andy in NSW for help

ALBUM REVIEW: MEDUSA’S WAKE- ‘Rascals & Rogues’ (2018)

The eagerly awaited debut album from youngish Aussies Medusa’s Wake, founded in 2015 in Sydney! Playing a mixture of Celtic and Australian folk in the spirit of The Pogues and Roaring Jack, using accordion, mandolin, banjo and tin-whistle! 

If there was a world cup to determine the best country for Celtic Punk music, then Australia would win it hands down every time. Not sure what they put in the water down there, but this place continues to churn out the best Celtic Punk bands over and over again. The calibre of music is so good that we have actually kidnapped The Rumjacks and are currently holding them captive at a secret location in Europe. When we received the new album from Medusa’s Wake a few week ago we were expecting a good album. The debut offering from the Sydney 6 piece, Rascals & Rogues, didn’t disappoint. Formed in late 2015, Medusa’s Wake released a 7 song EP in 2016. They then hit the studio in 2017 to record the current album which was released in June 18. Two of the song from the 2016 EP ‘No Nay Never’ and ‘Gates Of Hell’ have been re-recorded and feature on the debut album.

(here’s their debut EP from January last year. it’s available as a Pay Whatever You Want download. Meaning nowt if you like but enough for a couple of pints if you can!

Medusa’s wake left to right: John Coote- Electric Guitar, Banjo * Ben Pattison- Accordion * Ron Clark- Drums * Ed Lawlor- Vocals, Mandolin, Bazouki * Frank Sallie- Vocals, Acoustic Guitar, Harmonica * Zane McRae- Bass *

The album kicks off with ‘Seldom Sober’ which is also the first track and video released off the album which is full of energy and a great introduction to the band.

“I’m a Rover Seldom Sober
Whiskey I have only eyes for you,
I’m a Rover Seldom Sober,
Darling I think this time we are through.”

This is followed up by ‘Hobart Sailor’ which has a very familiar sound which is unique to the Australian Celtic Punk scene. ‘Convicts Tale’, ‘Irish Sky’ and ‘Branxton’ (traditional instrumental) stand out as favourites on the album however I must say there isn’t a bad song on the album. 11 excellent songs for the band to be very proud of. The mandolin and vocals really make this album one of the top releases we’ve heard so far this year. That says quite a lot as it’s been a good year for Celtic Punk album releases so far.

(The first single from the album recorded at Norton’s Irish Bar, Sydney, Australia)

We have no doubt that this is a band who we will hear a lot more about in the coming years and no doubt will feature on here again. Hopefully some day we will have the pleasure of seeing them live however a word of warning to the band, if you come to visit us you might like it over here and stay!!

(have a listen to Rascals & Rogues before you buy on the Bandcamp player below)

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You can stay informed with all the best in Australian Celtic-Punk and Folk-Punk by joining these two excellent Aussie Facebook groups.

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AUSTRALIAN FOLK PUNK SCENE

here

ALBUM REVIEW: THE MAHONES- ‘Love + Death + Redemption’ (2018)

30492-London Celtic Punks web-zine is amazingly five years old today. Bloody seems like it too…

After a brief hiatus Celtic-Punk heroes and legends The Mahones have returned and are back with a bang with the first of a four album package slated for release in 2018.  With new album Love + Death + Redemption they hit the heights but maybe not so in a way we would expect them to.

Well what to say about The Mahones? If you haven’t heard of them where have you been hiding? Under a rock? Please bow your head and go away and rectify the situation as soon as you finish this review. While the Dropkicks and the Mollys have gotten the glory and the massive stadium gigs and tours there has been only one constant wherever you are 0over the last twenty-eight years and that has been The Mahones. Come rain or shine they have always been there. When I was a young punk rocker in my wee one horse town growing up the first, second, third, fourth etc., punk band I ever saw was the UK Subs as they were the only punk band that would play there. The same can be said of The Mahones and their constant touring. I am absolutely certain they rock up in some towns somewhere where they are the only physical link to the Celtic-Punk scene and that is one of the many reasons they are held in such high esteem. The band means the world to me personally as it was at one of their legendary gigs here in London I asked, and was granted, the hand of my good lady.

Their new album Love + Death + Redemption finds The Mahones in reflective mood. The full on Irish punk is toned down but it is still unmistakable Mahones. Instead the band have gone for a gentler more contemplative album with only brief flashes of Irish punk. The album opens with ”I’m Alive (Save Me)’ and as with most of the tracks here it is written by Finny and if The Mahones had a trademark sound then this song would be it with Finny’s voice straining and aching through a steady beat with the distant ring of the tin-whistle and layered guitar. Joined by the beautiful voice of Priya Panda from the Canadian hard-rock band Diemonds on vocals the words tell, possibly, of the sad break up of his marriage, but not the friendship, to fellow band member Katie. Be prepared to shed a tear here Celtic-Punkers. Throughout the album they are joined by a motley crew of special guests and on this song that also includes fellow Canadian rocker John Kastner on backing vocals and guitar. It’s a great start though not quite the rabble rousing that we are use to it is still powerful in other ways. It sets the standard for the album and they don’t disappoint as they follow this up with ‘Heroes Die’. The tune may be a bit more upbeat but again the words find Finny in reflective mood.

Next they slow it down a bit for ‘It’s Gonna Be Alright’ and Finny is joined by one of his heroes Johnny Fay  of the legendary indie band Tragically Hip. The lyrics of the song are maybe directed by Finny to himself but what do I know I’m just a Catholic Irish boy. It’s a restrained folksy tune and you either get and love his style of vocals or don’t and I have always loved it. Perhaps more on record than live even. The album is beginning to sound like a who’s-who of alternative Canadian music and on ‘Never Let You Down’ the band are joined by singer-songwriter  Sarah Harmer and her stunning voice is the perfect counterpoint to Finnys. A slow burner of a song that slowly builds and builds and with the aid of Michael O’Grady’s tin-whistle and Ryan Chopik’s mandolin it’s the most Celtic sounding song on Love + Death + Redemption. Back in October, 2016 Finny’s mother Anne McConnell-Strong passed away in a tragic accident and her loss has been felt heavily by Finny himself obviously but also the wider Irish community in Vancouver and Canada where Anne was much treasured. This explains in full the nature of the album and on ‘Mother, My Angel’ The Mahones pay tribute to this wonderful woman and all she did for others with a dazzling swirling almost psychedelic Celtic number.

Anne McConnell-Strong 1934-2016. Anne Kearney was one of five girls born and raised in a typical thatched-roof cottage in Oranmore, a quaint village in the west of Ireland on the edge of Oranmore Bay, an inlet of Galway Bay. Her sister Mary still lives in the old family home.
She studied nursing in England and later, along with first husband Brendan McConnell and the couple’s two eldest children, daughters Ita and Dympna, emigrated to Canada in the 1960s, eventually settling in the Limestone quarter. In Kingston, the McConnells owned and operated the old Frontenac Hotel on Ontario Street and, in time, the Irish pubs Finnegan’s and Muldoon’s, bringing in top-name Irish acts such as the Clancy Brothers and the Irish Rovers In 1978, Anne founded the local chapter of Comhaltas Ceoltóirí Éireann, was elected chairperson of the Eastern Comhaltas Regional Board in 1988, and spent nearly four decades ceaselessly promoting the development and preservation of Irish traditional music, dance and culture in Canada and the United States. Suaimhneas síoraí tabhair dí, a thiarna, agus go lonraí solas suthain uirthi.

We are back on Celtic territory next with the album’s first cover and it is expertly chosen. From The Waterboys now classic album Fishermen’s Blues which saw them abandoning their pompous rock sound for a mix of Irish and Scots traditional music. The Mahones keep close to the original and do the song more than justice.

“You ain’t calling me to join you
And I’m spoken for anyway
But I will cry when ye go away
I will cry when ye go away”

Again the lyrics tell of the pain Finny and his close knit family has suffered. We are more than half way through the album before we see any sign of the (in)famous Irish punk that The Mahones are (in)famous for and it comes courtesy of guitarist Sean Ryan on vocals for ‘Win Some, Lose Some’ with backing vocals from members of his other band Irish Nails. Its fast, furious and glorious and over in just over ninety seconds and will I am sure fill the moshpits of all corners of the globe. Next up is another cover this time ‘Heroes’ written by another of Finny’s favourites David Bowie with Brian Eno. Again it is played fairly close to the original but with some lovely flourishes and Mahones touches that move the song far beyond just being another bog standard cover. The song tells the story of two lovers, one from East and one from West Berlin and has become one of Rock musics great songs. We are nearing the end of Love + Death + Redemption with ‘Angels’ the last of the original songs here and again its reminiscent of earlier song ‘Mother, My Angel’ with Finny’s voice distorted and detached while the music swirls around his words. It’s not The Mahones we are use to but it’s beauty is undeniable. The curtain comes down with the great Irish classic penned by Pete St. John ‘The Fields Of Athenry’. Over the last decade or two the song has become perhaps the most recognisable of all Irish songs and recorded countless times by artists of all genres. Finny is accompanied on vocals by Canadian-Irish singer-songwriter Damhnait Doyle. I always wonder why so many bands choose this song to record these days but then when you hear it sung with passion and pride it has an affect on your heart and soul that shows exactly why. It is a song we Irish can be proud to give to the world. It ends with the whispered words “Love you Mum”. Leaving us in no doubt who the song is sung towards.

The album was produced by Finny himself and engineered and mastered by Gene Hughes. It was part recorded back in the auld country at The Doghouse Studio in Belfast as well as Red Rhino in Montreal and Telejet Music in Toronto. The production as usual is impeccable, it is well known, after all, what a perfectionist Finny is. Love + Death + Redemption was written for and dedicated to the loving memory of Finny’s late Mother Anne. No Irish boy gets over the loss of his Mammy…

the four upcoming Mahones releases for 2018

So as stated not your typical Mahones release but none the worse for that. The tragic events of the last couple of years have I am sure taken their toll on Finny but here he has managed to put a voice to those emotions and feelings, and maybe his demons as well, and make something that is undoubtedly good for his soul and whats good for Finny is good for us too. A grand album, one to listen to with the headphones on first and catch it all. With another three Mahones slated for release this year Love + Death + Redemption is an incredible start and I can’t wait to hear the others. Glad to have you back with us Finny you were sorely missed.

Discography

Draggin’ The Days – 1994 * Rise Again – 1996 * The Hellfire Club Sessions – 1999 * Here Comes Lucky – 2001 * Live At The Horseshoe – 2003 * Paint The Town Red – 2003 * Take No Prisoners – 2006 * The Irish Punk Collection – 2008 * The Black Irish – 2010 * Angels & Devils – 2012 * A Great Night On The Lash – 2014 * The Hunger & The Fight (Part One) – 2014 * The Hunger & The Fight (Part Two) – 2015 *

Buy Love + Death + Redemption

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(The Mahones at ‘Chien a Plumes’ Festival in Langres, France on 6th August 2017)

ALBUM REVIEW: HOLD FAST- ‘Black Irish Sons’ (2018)

 The debut album from Pennsylvania-Irish band Hold Fast takes both traditional Irish and original material in a blend of Celtic, punk and rock.
Hold tight, hold steady, Hold Fast! 
The term Black Irish is thought by many to originate back in Ireland for the offspring of Spanish sailors shipwrecked on the west coast of Ireland back in 1588. Far more likely is it became a term of abuse for poor Irish immigrants in the latter half of the nineteenth-century. The necessity for these immigrants to take the lowest and most dangerous jobs thought by the more well off classes to be the preserve of Blacks came to see them labelled Black Irish. It came about as a result of English/Protestant prejudices imported to the USA by the early colonists who saw the Irish as uncivilised and Catholicism as anti-everything for which Protestantism stood. In recent years the term has been reclaimed and is now worn as a badge of honour by working-class Irish-Americans who sometimes ‘cross the line’.

Hold Fast left to right: Buzz Klinger- Bass, Harmonica * Michael Parks- Drums, Percussion * Dave Thompson- Tenor Banjo, 5-String banjo, Mandolin, Acoustic Guitar, Piano * Cole Brown- Vocals, Acoustic Guitar * Jon Heller- Accordion, Bagpipes * Kayla Rosencrans- Tin-Whistle *

Formed only a couple of years back by Cole and Drunk Dave Hold Fast hail from Harrisburg in Pennsylvania, home of a flourishing Irish rock and punk scene with the The Kilmaine Saints at the very top of it ably supported by other local bands in the Bastard Bearded Irishmen, Punkabillys , Lucky Lad Green and The Tradesmen. In fact piper Jon also pipes for the Kilmaine Saints. The Saints have been very instrumental in helping Hold Fast get on the scene and get their name out there.

Black Irish Sons is their debut album and features ten tracks, eight original tunes and two covers, one rather overexposed and one that is much less well known. The album begins with ‘Gangway’ and the sound of bagpipes fills the air and then the sound of a pub before the band join in and when the banjo comes out the song instantly reminds you of a rather famous Dropkick Murphys song. They follow this up with ‘Drunken Irish Bastard’ and lead singer Cole has that unmistakable Irish-American twang to his vocals and a clear voice that sounds like he smokes 60 a day! The band cite trad Irish ballad bands like The Dubliners and The Wolfe Tones as influences and they do sound quite a lot like a punked up version of these bands rather than The Pogues folkier version of them.

Cole’s voice is very much to the fore throughout the album and on crowd favorite ‘The Banshee Wail’ it is given full reign to go from shouty to soft but always tuneful. An album standout the music veers from hard to gentle with Cole accompanied by a understated mandolin most of the time until the song comes to a tremendous end with the music not getting faster just louder. Any Celtic-Punk worth a sniff these days needs a few ingredients to make the correct mix and one of these is a decent sense of humour which Hold Fast certainly have and ‘My Girl Is A Singer In A Punk Rock Band’ is evidence. Played as a straight up punk song with tin-whistle its got energy and bite and gives Cole a good opportunity to test those vocal chords. We love our Celtic-Punk here but we also love a good auld ballad and Hold Fast deliver a beauty with ‘Cthulhu’. Named after the monster created by writer H. P. Lovecraft that would drive any sailor who looked upon it insane. Never read any of his books though I did try once and found it a heavy going with very very tiny print but the song conveys the terror of the being quite admirably. The album’s first cover is titled ‘Belle of Belfast’ here but is much better known as ‘I’ll Tell Me Ma’ and is rapidly heading to the #1 spot of covered classic Irish tunes. Have to say I do roll my eyes soon as I see the song listed on a new album but there’s a great reason for it being covered by so many and that’s because it’s such a fantastic song and perfect for a Celtic-Punk re-tune. Done and dusted in seventy-five seconds Hold Fast certainly don’t hang about! Next up is the rowdy title track and ‘Black Irish Sons’ takes the Black Irish theme onwards and chugging guitar and loud vocals makes for a perfect singalong.

“Because all day long whiskey and shenanigans

Every bastard that we meet turns out to be another friend

You can pour another round and we’ll raise a pint again

Cuz we’re the Black Irish sons of Erin”

You get the feeling that the band play their instruments with one hand while the other holds a beer! We are back in ballad territory again next and it’s another Hold Fast beauty with  ‘Curse of the Drinking Class’ with Cole’s voice nicely reigned in and sounding never better. Accompanied by acoustic guitar and restrained accordion and tin-whistle it’s a great song. We get another alcohol laden track now and it’s to the seas me Bhoys as ‘Pour Me Grog’ hits the deck. A great banjo sound and gang vocals make this one of my favourites here. The album ends with one of my all-time favourite sons ‘Big Strong Man’. The writer of the song remains unknown but if not for the Wolfe Tones I fear the song would have been lost for forever. The date the song was written can be guessed from the references to the actress Mae West, the ‘Jeffries-Johnson’ boxing match of 1910, the famous Irish-American boxer Jack Dempsey, whose career began in 1914 and to the RMS Lusitania briefly the world’s largest passenger ship, the ship was sunk on 7 May 1915 by a German U-Boat off the southern coast of Ireland at the cost of almost 1,200 lives. The Hold Fast version punk up The Wolfe Tones version (check out the Tones version here) somewhat but keeps the tune intact and the hilarious lyrics keep the tune afloat. One for the crowd to go wild too and a cracking way to bring the curtain down on the album.

At only twenty-eight minutes long it’s over far too quickly but that’s what makes Black Irish Sons such an interesting album. Moments of fast punk rock and slow and gentle ballads mixed together to make an album that is laid out perfectly and at a ideal pace. The bands Irish roots are stamped all over things and they may look to the past of the Tones, Clancy’s and Dub’s but are not stuck there and have added their own stamp to everything they do. The more I hear of bands like Hold Fast I begin to realise the importance of Celtic-Punk to the Irish-American community.

Hold tight, hold steady, Hold Fast!

(listen to the whole of Black Irish Sons for free before you buy by pressing play on the Bandcamp player below. Enjoy!)

Buy Black Irish Sons

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ALBUM REVIEW: THE CLAN- ‘Here To Stay’ (2018)

Here To Stay the third studio album from the Milan based Irish rockers The Clan. Celtic rock band formed 2013 from a group of musicians coming from diverse musical directions but with the same deep love for Ireland and its unique sound. 

Back in 2016 The Clan were one of the first bands on the site that had been reviewed a second album. Time marches on and here we are now reviewing third third album and if we ranted and raved about the previous two then prepare yourselves for some more of the same as this album rates up there with both of them! The Clan hail from the small town of Muggiò in the province of Lombardy in the north of Italy and have been playing music together si