Category Archives: Country’n’Western

ALBUM REVIEW: THE LOGUES- ‘Comin’ of Age’ (2016)

The Logues are five culchies from Co. Tyrone who play music!

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Formed in 2006 in the sleepy small village of Castlederg (in Irish: Caisleán na Deirge, meaning ‘castle on the Derg’) in County Tyrone in the north of Ireland. It lies on the River Derg and is just across the border from County Donegal. The various members were keeping a drunken promise by having a informal jam session on St Patrick’s Day that went down so well that now ten years later it has seen the lads tour right across Ireland and Europe (and America in 2017!). The five piece folk-rock band is made up of drums, bass, acoustic guitar, mandolin, banjo, tin whistle and vocals and with plenty of talent, wit and charm too! the-logues-1They self released their debut album ‘Tough at the Bottom’ in July 2011. A semi-concept album of eleven original songs based on that great Irish activity- drinking! Part autobiographical, part satire, the album explores house parties, being in love with mentally unstable women, being a ‘culchie’ (an Irish word for country personand even the literature of Flann O’Brien. They followed this up with a bunch of single releases that kept them in the public domain receiving plenty of airplay and eventually helping them become one of Ireland’s most sought after bands. The band name is not as you probably imagined a tribute to the #1 celtic-punk band but is in fact the surname of vocalist and tin whistle player Justin Logue. The Logues did though begin by playing mainly songs from The Pogues/The Dubliners song book before taking the adventurous step to move beyond cover band status and into the realm of real music. The band have an unmistakable folk-rock sound and their music has drawn some interesting comparisons to, among others, Christy Moore, Goats Don’t Shave, The Waterboys and The Saw Doctors and they are all well deserved.

Comin’ Of Age sees The Logues at ten years old and if Tough at the Bottom was a superb, though unpolished, debut album then their follow up is certainly set to see them cross over into the big leagues. The album kicks off with ‘Absence Makes the Heart Grow Fonder’ and it’s a strong opener with the trad Irish butting up against electric guitar and making for a lovely racket. Short and sweet and over before you know it and next up is ‘Bless the Land’ which was released as a single back in August 2014.  An album standout with great vocals from all the band and a real catchy chorus. ‘Better Man’ is up next and slows it down for a lovely ballad of just vocals and acoustic guitar and banjo. The universal theme of trying to prove you can be a better person. The best celtic-punk bands can knock out a ballad or two and The Logues do it with ease while ‘I Don’t Love You at All’ is a short and sweet song lasting just over two minutes. Busting with humour and with the welcome sound of a trumpet too!

They follow this up with a cover of the Philip Phillips hit song ‘Home’. Not so much in love with this one sounding as it does like The Lumineers or one of them other ‘Posh Folk’ bands from this side of the water. I’m sure will be popular enough mind but for me it just sticks out a bit from the rest of the album.


The LP returns to Irish trad with ‘Yvonne John’ with a country/ folk/ rock romp with a song based around the mispronunciation of a brand of Dutch rolling tobacco. ‘Sirens Call’ is pure folk-rock with a loud and bombastic beat but never too far from their folky roots.


‘Fly Free’ begins with piano and was another song released as a single in the run-up to the albums release. Nice to hear a ballad that shows that their prowess as a band and even though it has no folkier touches it fits snugly into the album. After a non folky song they follow it up with the country tinged ‘Drinkin’ with God’ and the full on country themed ‘All I Want Is You’.


‘No Place Like Home’ originally appeared on that 2011 debut album but The Logues have re-recorded it and it’s slighty shorter but ten times the original with the much better production only emphasising how much better the production on that debut could have been. More of the country feel to it and great banjo and lyrics about well you don’t need me to tell you.

‘Paisley Pattern’ is banjo led and catchy enough and over fairly quickly before we get a real standout track with ‘Logan’s Lament’ and an instrumental that really shows the Bhoys can play their instruments and also know their stuff as well. Fast and furious with all the band getting stuck in it’s traditional Irish folk for now and as good as any you’ll hear.


Comin’ Of Age comes to an end with ‘I’m on Fire’ and yeah it’s The Boss tune and while it may seem a bit sad to say the album standout track is a cover please don’t take it that way. All the elements of the original song are here but what The Logues have done to it is truly make it their own. An absolutely brilliant way to wrap up the album and the live version below doesn’t quite do it justice so hunt down this album just to hear ‘I’m on Fire’.

Signed to one of Ireland’s most respected music agency’s the future looks extremely bright for The Logues and with their army of fans in Ireland now beginning to extend to over here and with that American tour set to launch them in the States things couldn’t look any better for them. In the scale of celtic-punk they may not be up their with the more punkier bands but it’s loud and it’s catchy with great intelligent lyrics and a punk spirit that carries them along and means that not only do The Logues love what they do but it’s obvious to anyone listening that they love what they do. Last year it was their friends from just across the border in Donegal O’Hanlons Horsebox that took the Irish music scene (and this web zine!) by storm with their infectious brand of trad-celtic-folk-rock so only fitting that it should be a band from just down the road in 2016!

the-logues-band

The Logues L-R: Logan MacCool- Vocals, Tin Whistle * Kiel Cathers- Vocals, Acoustic Guitar * Chris Speer- Banjo * Darrell Nelson- Drums * Jesse Darragh- Bass, Keyboards

Buy The Album

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Contact The Band

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Band Interview here

CLASSIC ALBUM REVIEW: JOHNNY CASH- ‘The Christmas Spirit’ (1963)

FREE DOWNLOAD

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

Though he would go on to later make umpteen Christmas themed albums this was Johnny Cash’s first attempt and by far his greatest. Released in 1963 The Christmas Spirit features twelve songs of which many were penned either by the great man himself or his family and a handful of Johnny’s unparalleled Christmas standards such as ‘The Little Drummer Boy’, ‘Silent Night’ and ‘Blue Christmas’.

johnny-cash-christmas

The Christmas Spirit was released on 1st November 1963 on Columbia Records and had a re-release in the the early 1990’s where the production was re-mastered. Now my Mammy use to own a whole load of Johnny Cash album’s and among them were several Christmas records that could, I’m afraid, be described as Cash-in’s (groan…). This record though has an authentic feel to it. Like Johnny was singing with all his heart and soul on this one, coming as it did not long into the start of his recording career.

cash-christmas

The Christmas Spirit has twelve songs and comes in at just under forty minutes. It has three songs composed solely by Johnny and one co-written with his father-in-law Ezra ‘Eck’ Carter. It also features two songs written by Johnny’s wife and long time collaborator June Carter. As for the songs it’s all about the wonderful and warm voice of Johnny Cash. ‘Christmas As I Knew It’ is an biographical song about Johnny’s childhood Christmasses in Dyess, Arkansas that was written by June and Jan Howard. Johnny speaks from the heart about his working class background and his family and their Christmas traditions.

The LP features Johnny’s amazing version of ‘I Heard the Bells on Christmas Day’ plus ‘Here Was a Man’ and ‘Christmas As I Knew It’, plus more like ‘Blue Christmas’, at the time made famous by Johnny’s old label mate Elvis Presley, and a warm reading of ‘Silent Night’, making The Christmas Spirit a groundbreaking effort for this sorely missed legend. Johnny sings lead vocals on all the songs with backing from various Carter family members and the feel of the album is one of absolute calm. It may not be very fashionable for some Johnny Cash-come latelys to admit that religion was one of the driving forces in one way or another throughout Johnny’s career but it certainly was.

The Christmas Spirit by Johnny Cash

“On Christmas Eve I dreamed I traveled all around the earth
And in my dream I saw and heard the ways the different people hail the king
Whose star shone in the east and what a dream it was
In London Town I walked around Piccadilly Circus

A mass of people movin’ here and there I wandered where
On every face at every place was hurry up I’m late
But a kind old man at a chestnut stand said merry Christmas mate
And I felt the Christmas spirit

In a little town nestled down in Bavaria Germany
I walked along to see what the feeling there would be
And here again was the busy din the rushin’ the yellin’
But some kind boy said Frohliche Weihnachten
Not understanding the words but gettin’ the buyin’ and sellin’
I felt the Christmas spirit

In Bethlehem I heard a hymn some distant choir sang
And with other tourists I walked along to a church as its bells rang
Then I heard someone tell someone there’s where Christ was born
I wonder if he looked like our baby looked on that first morn

And then I really felt the Christmas spirit
From a businessman in the Holy Land as a sidewalk souvenir shop
I bought a little Bible since I’d hardly stopped
And it was in Paris France somehow by chance that I took the Bible out

And as I flipped the pages I saw these words and I knew what it was all about
For I read fear not for behold I bring you good tidings of great joy
Which shall be to all people
For unto you he was born this day in the City of David a Saviour
Which is Christ the Lord

Then I took the little Holy Book held it close and tight
I closed my eyes and visualized the glory of that night
So suddenly it came to me for when I awoke on Christmas Day
I felt the Christmas spirit down deep inside to stay

cash-and-june

Johnny and June

From the very beginning of his career Johnny Cash recorded gospel songs and if Johnny Cash sang it then you knew Johnny Cash believed in it with all his conviction. His rugged voice, growling, sometimes simply speaking of killers and Jesus in the same breath. He himself had at heart this combination of light and darkness. He was a devout Christian who read his bible daily even in the middle of the deep and dark drug addiction he suffered from. There’s not a single bad song here. Johnny’s voice saves it from any excessive garishness or sentimentality making it a must have for any Cash fans or anyone looking for some Christmas music that ranks up their with ‘Fairytale Of New York’. Johnny Cash was both saint and sinner personified and at what better time to remember him than now at Christmas..

FREE DOWNLOAD CLICK HERE

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THE LONDON CELTIC PUNKS ‘STEPPING STONES’ CLASSIC ALBUM REVIEW SERIES

This album was brought to you as part of our regular series where we bring you something a little bit different to what you’re maybe use to. Lost and hidden and sometimes forgotten gems from the legends that have inspired and provoked folk music and musicians right up to modern celtic-punk music. Usually out of print so we can provide a free download link for you.

VARIOUS ARTISTS- ‘People Take Warning! Murder Ballads And Disaster Songs 1913-1938’ (2007)  here

EWAN MacCOLL -‘Bad Lads And Hard Cases: British Ballads Of Crime And Criminals’ (1959) here

EWAN MacCOLL AND PEGGY SEEGER – ‘The Jacobite Rebellions’ (1962)  here

VARIOUS ARTISTS- ‘Don’t Mourn. Organize!- Songs Of Labor Songwriter Joe Hill’ (1990)  here

LEADBELLY- ‘Easy Rider’ (1999)  here

VARIOUS ARTISTS- ‘The Little Red Box Of Protest Songs’ (2000)  here

GIL SCOTT-HERON- ‘The Revolution Will Not Be Televised’ (1974)  here

EWAN MacCOLL- ‘Scots Drinking Songs’ (1956)  here

VARIOUS ARTISTS- ‘Protest! American Protest Songs 1928-1953’  here

VARIOUS ARTISTS- ‘Women Folk- Iconic Women Of American Folk’  here

VARIOUS ARTISTS- ‘The Greatest Songs Of Woody Guthrie’ (1972)  here

THE DUBLINERS- ‘A Best Of The Dubliners’  here

FILM REVIEW: THE REVENGE OF THE MEKONS (2013)

“the band that took punk ideology most seriously”

Directer: Joe Angio    Release Date: November, 2013  Running Time: 99 minutes

“A loving ode to an unsung band” – LA Times
“Marvelous” – New York Post
“Jubilant” – The Village Voice

Revenge-of-the-Mekons

Emerging soon after the first blasts of UK punk rock, the Mekons went from being a group of socialist art students with no musical skills to the prolific, raucous, rabble rousing progeny of country legend Hank Williams. Formed in Leeds by Jon Langford, Kevin Lycett, Mark White, Andy Corrigan and Tom Greenhalgh they were from the outset highly principled stating

”That anybody could do it; that we didn’t want to be stars; that there was no set group as such, anybody could get up and join in and instruments would be swapped around; that there’d be no distance between the audience and the band; that we were nobody special”

They took the band’s name from the Mekon, an evil character from the Dan Dare comic strip in the popular 1950’s comic The Eagle which briefly resurfaced when I was a kid in the 80’s. Their first single, released in 1978, was ‘Never Been in a Riot’, a piss take of The Clash’s ‘White Riot’ and was a masterpiece of simplistic DIY punk, rock and roll.

The band carried on for several years playing their noisy brand of post-punk rock releasing singles on a variety of labels and their first album, The Quality of Mercy Is Not Strnen, was recorded using a friends bands instruments. Due to an error by the record company art department the cover featured pictures of, fellow Leeds band, Gang of Four by mistake. After The Mekons Story compilation in 1982 the band called it a day, with Langford forming The Three Johns.

They soon returned and began pumping out album after album again on a multitude of labels and even at one time making it onto a major though the resulting album was a commercial flop and though it was loved by the fans they were soon dropped like the proverbial hot potato and cut adrift again.

mekons mekons mekons

click for download link

Over the years and as the band have learnt to play their instruments their musical style has transformed and The Mekons are now as famous for playing country and folk music as well as brief forays into rock and even dub reggae. With around twenty albums to their name plus untold amount of singles and EP’s as well appearances on dozens of compilations they have a massive discography so a good place to start would be Mekons, Mekons, Mekons which you can download by clicking on the record cover on the right. It covers the years 1987-1992 which includes both their punkier days and their transformation into a post-punk, cowpunk or alt-country band (or whatever label the press give them at that moment in time).

Around 1985’s brilliant Fear And Whiskey the first signs of a full on change in style began to show. Taking the outlaw country’n’western of Hank Williams/Johnny Cash rather than the cowboy hat and glitter of Nashville and The Mekons successfully reinvented themselves. Joe Angio’s exuberant film ‘Revenge Of The Mekons’ documents the unlikely career of this genre-defying collective. Following their improbable history- a surprising and influential embrace of folk and country music, forays into the art world and consistent bad luck with major record labels. Featuring interviews with fans, from musician Will Oldham, author Jonathan Franzen to film director Mary Harron and comedian Fred Armisen, ‘Revenge Of The Mekons’ reveals four decades into an ever-evolving career how The Mekons continue to make bold, unpredictable music while staying true to the punk roots.

Mekons at the Poetry Foundation July 2015

Mekons circa 2015 left to right: Lu Edmonds, Tom Greenhalgh, Steve Goulding, Sally Timms, Jon Langford, Susie Honeyman, Rico Bell (not pictured: Sarah Corina)

Critically and cultishly adored The Mekons deserve to be much more well known and this film reveals how, four decades into a still-evolving career, the Mekons continue to make original, genre-defying music while staying true to the punk ethos.

(Q&A and performance with band members Jon Langford and Lu Edmunds following the screening of Revenge of the Mekons in 2015)

WATCH REVENGE OF THE MEKONS

HERE

1. Close any ads
2. Find the proper play button and click on it
3. The film will start playing.

Buy The Documentary

Here

Contact The Band

Facebook  UnofficialWebSite  BloodshotRecords

The Mekons On The Web

The 10 Best Mekons Songs here * LastFM * AllMusic * The Mekons Blog here * The Mekons discography reviews here  A Skeptic’s Guide To The Mekons here * Toppermost here

INTERNATIONAL WOMEN’S DAY CLASSIC ALBUM REVIEW: WOMEN FOLK- ‘Iconic Women Of American Folk’

This compilation explores four pioneers of the first wave of the American folk movement.

Women Folk

Today is ‘International Women’s Day’ so when better than to give you this excellent compilation featuring five of the greatest ever folk music artists to have ever lived. Sadly three of the five are no longer with us and only one is still performing but this music represents the pioneers of the folk music movement in America. These women went on to influence the likes of Bob Dylan, Janis Joplin, Joni Mitchell, Joan Baez and Judy Collins directly as well as all who those who followed in their footsteps.

From Odetta considered one of the most influential artists of the 20th Century to Jean Ritchie the mother of Appalachian folk music, responsible for exposing us to a treasure trove of material passed down from her ancestors that have since become staples of the world-wide folk scene. Carolyn Hester invited Bob Dylan to play harmonica on her first Columbia record which led to him signing with the label while Barbara Dane raised the bar for all singers when she burst onto the scene in the early 1950’s and a little lady from the Southern Appalachians named Etta Baker set the standard for folk guitarists everywhere.

So five amazing artists that refused to compromise and became legends in their own lifetimes. We salute them and offer you a free download of this great introduction to their work. If you are interested in similar music then why not get yourself over to Zero G Sound (here) and check out the outstanding selection of free album downloads available.

ODETTA

Women Folk 1Odetta Holmes (1930–2008) was an American singer, actress, guitarist, songwriter, and a civil and human rights activist, often referred to as ‘The Voice of the Civil Rights Movement’. Born in Birmingham, Alabama she grew up in Los Angeles and her musical repertoire consisted largely of folk music, blues, jazz ans spirituals. An important figure in the American folk music revival of the 1950’s and 1960’s, she influenced many of the key figures of the folk-revival of that time, including Bob Dylan, Joan Baez and Janis Joplin. Time magazine included her song ‘Take This Hammer’ on its list of the All-Time 100 Songs, stating that “Rosa Parks was her number one fan” and that Martin Luther King Jr. called her the “queen of American folk music”. . Before Odetta no solo woman had ever toured the world singing. Known for her incredibly powerful stage presence and her ability to command the simplest instruments, from voice to clapping hands, as well as her mastery of acoustic guitar.

ETTA BAKER

Etta BakerBorn Etta Lucille Reid (1913–2006) she was an American Piedmont blues guitarist and singer from North Carolina. Piedmont blues (also known as East Coast or Southeastern blues) refers primarily to a guitar style, which is characterized by finger picking. She played both the 6-string and 12-string forms of the acoustic guitar, as well as the five-string banjo. Taught by her father, who was also a long time player of the Piedmont Blues on several instruments, Etta first recorded in the summer of 1956 and over the years shared her knowledge with many well known musical artists including Bob Dylan, Taj Mahal and Kenny Wayne Shepherd. Etta received multiple awards and went on to have nine children sadly a son was killed in the Vietnam War.

BARBARA DANE

Barbara DaneBorn in Detroit in 1927 but arrived in Arkansas soon after Barbara Dane is an American folk, blues and jazz legend. Time magazine said of her that “voice is pure, rich and rare as a 20 karat diamond”. At high school she began to sing regularly at demonstrations for racial equality and economic justice. While still in her teens, she got an offer to tour with Alvino Rey’s band, but turned it down in favour of singing at factory gates and union halls. Moving to San Francisco in 1949, Barbara began raising a family and performed regularly on radio and early TV. In 1966 she became the first American musician to tour post-revolutionary Cuba. She once said

“I was too stubborn to hire one of the greed-head managers, probably because I’m a woman who likes to speak for herself. I always made my own deals and contracts, and after figuring out the economics of it, I was free to choose when and where I worked, able to spend lots more time with my three children and doing political work, and even brought home more money in the end, by not going for the ‘bigtime’. I did make some really nice records, because I was able to choose and work with wonderfully gifted musicians.”

JEAN RITCHIE

Jean RitchieJean Ritchie (1922-2015) was an American folk music singer, songwriter, and Appalachian dulcimer player. Born in Perry County in the Cumberland Mountains of south eastern Kentucky Jean came from  one of the two ‘great ballad-singing families’ of Kentucky celebrated among folk song scholars. The youngest of 14 siblings Jean recalled later in life that when the family acquired a radio in the late 1940’s they discovered that what they had been singing all their lives was called hillbilly music, a word they had never heard before. Jean became known as ‘The Mother of Folk’ performing work songs and ballads as well as hymns. Some of her late 1950’s/early 60’s songs on mining she published under the pseudonym “‘Than Hall’ to avoid troubling her non-political mother. Her album ‘None But One’ was awarded the Rolling Stone Critics Award in 1977 and in 2002, Ritchie received the National Endowment For The Arts National Heritage Fellowship, America’s highest honour in folk and traditional arts.

CAROLYN HESTER

Carolyn HesterAmerican folk singer and songwriter born in 1937 in in Waco, Texas. She was a figure in the early 1960’s folk music revival. Her first LP was in 1957 and she made her second album for Tradition Records, run by the Clancy Brothers, in 1960. Dubbed ‘The Texas Songbird’ Carolyn was politically active, spearheading the controversial boycott of the television programme Hootenanny when Pete Seeger was blacklisted from it. She became famous for ‘The House of the Rising Sun’ and ‘She Moved Through the Fair’ as well as multiple albums and TV and radio appearances throughout the 1960’s and subsequent decades. She continues to perform regularly with her daughters.

Tracklist:

1. Sail Away Ladies- Odetta
2. Railroad Bill- Etta Baker
3. When I Was A Young Girl- Barbara Dane
4. The Bashful Courtship- Jean Ritchie
5. Go ‘way From My Window- Carolyn Hester
6. Midnight Special- Odetta
7. Goin’ Down The Road Feeling Bad- Etta Baker
8. Nine Hundred Miles- Barbara Dane
9. The Old Grey Goose Is Dead- Jean Ritchie
10. The Water Is Wide- Carolyn Hester
11. He’s Got The Whole World In His Hands- Odetta
12. John Henry- Etta Baker
13. The Danville Girl- Barbara Dane
14. The Blackest Crow- Jean Ritchie
15. House Of The Rising Sun- Carolyn Hester
16. Take This Hammer- Odetta
17. One Dime Blues- Etta Baker
18. Ramblin’- Barbara Dane
19. Wonderous Love- Jean Ritchie
20. Summertime- Carolyn Hester

DOWNLOAD ‘WOMEN FOLK- ICONS OF AMERICAN FOLK’ FOR FREE

HERE

Part of the ‘Classic Album Reviews- London Celtic Punks Steppin’ Stones’ series (click here for the entire series) where we bring you something a little bit different to what you’re use to. Lost gems that have inspired and provoked folk music and musicians right up to modern celtic-punk music. Usually out of print so we can provide a free download link for you.

  • Interesting article appeared recently on ‘Come Here To Me!’ a fantastic web-site on Dublin life and culture. ‘Lonnie Donegan – My Only Son Was Killed in Dublin’ features some info on Odetta that has passed me by. Check it out here.

HOW THE IRISH AND THE SCOTS INFLUENCED AMERICAN MUSIC

By Erik Devaney

During the 19th-century, song-smiths in southern Appalachia, who had absorbed African rhythms from local slave populations, began fusing these rhythms with elements of celtic folk music, thus forming the basis of the country music genre.

The influence of Celtic folk music in the South began before the start of the American Revolution. As early as 1717, waves of Scots-Irish immigrants were pouring into North America. By 1790, 3 million of these immigrants called America home. The Scots-Irish, also known as Scotch-Irish or Ulster-Scots, were Presbyterian Scots who had previously settled in Ulster as a result of Britain’s plan for a Protestant plantation in Ireland.

Separate waves of Scottish immigration to North America occurred starting in 1725 as a result of the Highland Clearances, while Irish Catholics would not arrive on the scene in great numbers until 1847: a result of the so called ‘famine. Despite their ideological differences, these Scottish and Irish immigrants shared a Celtic musical tradition, which employed many of the same techniques for playing, composing and arranging music. These techniques had a profound influence on that ‘country sound’ we are familiar with today.

SOUND STRATEGIES
cap
The Vocal Harmony Hoe-Down
When two or more singers sing in harmony, or harmonize, the notes they sing are different, while the resulting sound they produce is unified and, typically, pleasing to the ears. Of course, the Irish and Scottish didn’t invent the concept of harmony, but they did have a tradition of using it in group sing-a-long settings. Gaelic-speakers in the Old World were distilling and drinking moonshine and crooning harmoniously, the perfect accompaniment for a bit of Poitín, well before Appalachian ‘hillbillies’ began carrying on the tradition in the New World.

Like their Celtic musician forefathers,  country musicians often employ vocal harmonies in the choruses, or repeated portions, of songs. This strategy helps stress the importance and increase the forcefulness of the choruses while also separating them sound-wise from the verses. Check out the use of vocal harmonies in the choruses of Okie from Muskogee by Merle Haggard and compare it to the use of harmonies in the choruses of the Celtic song, Mairi’s Wedding, as performed by The Clancy Brothers & Tommy Makem.

Enter The Drone
If you find that some country or Celtic songs have hypnotic qualities to them, mesmerizing you as you listen, this phenomenon could be the result of a drone. A drone is a note or chord that sounds continuously throughout most, if not all, of a song, providing an underlying, trance-like accompaniment for the song’s melody. Musicians can create drones vocally or with virtually any pitch-controlled instrument. Country musicians, such as  fiddlers and slide-guitarists, adopted droning from Scottish and Irish settlers, who were accustomed to producing drones with fiddles as well as bagpipes.
Listen for the drone in Fiddlin’ John Carson’s song, He Rambled, and compare it to the drone in the Scottish march, The Campbells Are Coming.
LYRICAL CONTENT
Scottish-Irish settlement in America

Scottish-Irish settlement in America

The Sob Story

Listen to a country music radio station long enough and you will hear a sob story: a song about a father abandoning his son (see Walk A Little Straighter Daddy by Billy Currington), a song about a woman abandoning her man (see When I Call Your Name by Vince Gill) or, worst of all, a song about a boyfriend dumping his girlfriend and then letting his new girlfriend drive his pick-up truck, something he never let the old girlfriend do (see Picture To Burn by Taylor Swift). The nerve of that guy, really, what a plum.
Singing sorrowfully about the heartbreaks we suffer in life may not have been a distinctively Irish or Scottish creation, but Irish and Scottish immigrants certainly brought a tradition of sob stories with them when they showed up on the shores of Amerikay. Subject matter included longing for love (see Black Is The Colour), losing children (see The Wife of Usher’s Well) and leaving behind a troubled home only to encounter new troubles abroad (see By The Hush).

The Drinking Song

Before Alan Jackson and Jimmy Buffet sang It’s Five O’Clock Somewhere, before Tracy Byrd sang Ten Rounds With José Cuervo and before Brad Paisley sang the utilitarian-titled Alcohol, Celtic musicians were singing drinking songs that put forth similar, contradictory messages: alcohol is evil (see Whiskey, You’re The Devil), but drinking it can be comforting and a quite joyous experience (see Beer, Beer Beer). Homer Simpson summed up the lyrical style of Celtic/country drinking songs beautifully when he toasted
“Here’s to alcohol: the cause of, and solution to, all of life’s problems”
INSTRUMENTATION
The Fantastic Mr. Fiddle
fiddleThe use of the fiddle in country music pre-dates the use of the guitar. To clarify, a fiddle is, physically, the same instrument as a violin. The difference is perception: most classical violinists get offended when you call them fiddlers, as they consider fiddling to be an informal, inferior type of playing… what a bunch of jerks.
Scottish and Irish immigrants brought fiddles with them to North America and successive generations in the South morphed their Celtic jigs and reels into tunes of their own. Many of the founding fathers of country music, such as Fiddlin’ John Carson, mentioned above, and Eck Robertson, were solo fiddlers. Apart from bringing fiddles and fiddle music to the American South, the Scottish and Irish brought highly energetic and interactive dancing styles to accompany fiddling, which formed the basis for country square dancing.
The Curious Case of Benjamin Banjo
banjoThe banjo does not have Celtic origins.
African slaves brought the tradition of building banjos with them when they were transported to the New World; a tradition that required stretching strings across animal-skin drums.
However, when musically-inclined inhabitants of the Appalachians got their hands on banjos, they used them to play the fiddle tunes that they had learned from the Scottish and Irish.
The plot thickens: in the 19th century, banjos crossed the Atlantic, for a second time, and musicians in Ireland and Scotland began incorporating the African/American instruments into traditional Celtic music. The The Dubliners are a great example of a Celtic folk band that adopted the banjo.

Further Reading:
Ceolas: Celtic Music Instruments
Thanks For The Music: The Fiddle in Country Music
BluegrassBanjo.org: History of the Banjo
Who Are The Scotch Irish?

* Erik ran a fantastic web-site called ‘The Bard Of Boston’ which you can check out here even though he stopped publishing a few years back I hope you stick check it out  as some of the articles are extremely interesting and Erik is never dull. You can contact Erik here via his web-site.

ALBUM REVIEW: TOM O’REILLY AND THE SWAGGERS- ‘One Fine Day’ (2016)

SWAGGER, SWAMP AND SLIDE!

“Celebration of people and their homelands, loves desired and lost. West country original country folk songs with soul, conjuring images of landscapes, oceans and the haunts of both the living and dead. Guaranteed to take the listener on a magical journey”

Tom O'Reilly & The Swaggers

Just as I was planning on reviewing this great album from Tom O’Reilly And The Swaggers the news came in from Facebookland that the band had won the ‘Kan Rag Kernow/Song for Cornwall’ competition held in Redruth and will now go on to represent Kernow in the Pan Celtic Song Competition to be held in Ceatharlach, Co. Carlow, Eire/Ireland at the end of March. They won by performing the tin miners song ‘Lugh Glow’ in Cornish. The song appears on One Fine Day but is sang in English as ‘Black Lung’ and is accompanied by eleven more original folk songs tinged with country and celtic music.

Tom O'Reilly And The Swaggers

Tom O’Reilly And The Swaggers (from l to r) Tomo – Vocals and Acoustic Guitar, Sam – Fiddle, Helen – Double Bass and Bass Guitar, Dr Bod – Acoustic Guitar and Kick Drum

Tom O’Reilly And The Swaggers as you may have guessed hail from Kernow/Cornwall and feature four members of the notorious fellow Cornish celtic punk band Black Friday. Don’t worry though this is only a side project for the quartet and Black Friday continue to go from strength to strength both at home in Cornwall, and in England.

One Fine Day’s first of its dozen tracks is the short ‘Intro- On My Way Home’ before morphing into ‘Final Resting Place’ and you can hear Black Friday but it’s Black Friday playing their alternative country sound. A brooding song and like a lot of the songs here the subject matter is dark but it’s presented to us in a joyous way. Next up is title song ‘One Fine Day’ and great fiddling again and Tom’s vocals dominate and its more of that alto-country sound. Aye its country but not quite as you’d know it!

‘Black Lung’ is up next and if you’ve ever wondered why their doesn’t seem to be any happy miners songs then reflect on the tough, hard life of the miner both in the job and after he retires. My own father worked as a coal miner and didn’t see past 57. Like a lot of the people he worked with down the mine he never got to enjoy retirement as his lungs were fucked up by breathing in shit for year on end. Mining is just a distant memory in Cornwall now and sadly, recently, is in Yorkshire too. It’s a beautifully played song dripping with emotion and is followed by a spot of Cornish republicanism with ‘The King In The Crown’. A story of escaping your home to sail the sea.

“The king in the crown in London town you’re not the king of me”

Fiddle begins ‘Standing There’ and dominates ‘Good To Be Free’ as well. The album is tripping along really nicely. Real foot-tapping music and to be placed on the celtic folk side of things. Its mostly country influenced i would say but coloured by Black Friday and their music.

‘Watch Me Fall’ adds in a bit of calypso before ‘Scream Softly’ comes in and reminds me a lot of an old band I really loved called The 1926 Committee from South London (anyone know where they are now?) with acoustic guitar and Tom’s great distinctive vocals giving the song that bit of extra depth. ‘Sea Bound Sailors’ is as slow as it gets on One Fine Day and is also the closest they sail to celtic music. A real lovely song before they return to a more up tempo sound with ‘Country Boy Blues’. Now this will get your toes-a-tapping believe me!

One Fine Day ends with the short ‘Outro- Farewell And Adieu’ continuing on from that opening track. This is a fantastic album that like I said is more to the folkier side of celtic-punk and you’d recognise more of bands like The Levellers in it than The Pogues but they have taken something of The Pogues anarchic side to do what they have done. Think of of Cash and Strummer rather than the usual Shane and Strummer. Tom O’Reilly’s vocals suit the music 100% and his first class song-writing delivers with charisma and depth. What you get is refreshingly authentic music with raw folk energy, the attitude of punk and the rebel yells of country music. Yee Har!

Buy The Album

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(here’s a snippet of their other band Black Friday)

Black Friday-  Facebook  WebSite  Twitter  Soundcloud

*you can catch Black Friday playing live in London on Thursday 12th March at the St. Moritz club in Soho. Go to our ‘What’s On’ page here for all the details of that and a whole host of other happening’s in London town!

 

EP REVIEW: NOWHEREBOUND- ‘Til Death, For Life’ (2015)

Nowherebound are an acoustic band based out of Austin, Texas with twinges of punk, country and folk thrown together at a moment’s notice over a few beers and too much coffee.
Nowherebound
Formed in 2010 out of the ashes of local Texan punk bands Nowherebound have had a very busy 2015 plying their brand of folk-country-punk rock. Not only have they gigged across the States and Europe (unfortunately missing out on these shores) but also found time to release this EP as well as their fourth album, ‘All We Got Is Everything To Lose’.
‘Til Death, For Life’ was originally released as a 12″ split with German band Rock Shit Hot on Ring of Fire Records. A reworking of a couple of crowd favourite old songs and some new songs. From hard rock in-yer-face to pop punk melodies to raise-your-glass-and-sing-along-anthems Nowherebound hit you in the heart and head. On this EP though they concentrate on showcasing their acoustic side and it works… hell yes, it works!

Recorded and produced and mastered by the band themselves the production is top class and as clear as a bell. The EP kicks off with a new song ‘Bullet And A Tooth’ and shows the boys at their acoustic best. They can certainly rock out when want but they also a fantastic acoustic band too. Comparisons to Social Distortion are inescapable but Nowherebound plough their own field and if anything have taken that ‘country folk punk’ sound and took it in another direction from Mike Ness and crew while stamping it with their own Texan brand. Laid back acoustic punk with lovely banjo playing from Natchet while the raspy tortured vocals from Chris compliment the music perfectly. ‘California’ follows and is a real country masterpiece. It first appeared on their debut album ‘The Songs Of Broken Men’ back in 2011. Remixed and remastered  the song has been given a lift I hadn’t thought possible. A great song and I don’t hear enough harmonica in celtic-punk so loving hearing it here. Last years album ‘Mockingbirds’ is visited for ‘Here I Am’ and the band give it plenty of oomph with harmonica starting off the track before the band join in and prove once again that Nowhwerebound are masters of country-folk-punk. Great musicians with great songs.
from left to right...Chris Klinck, Natchet Taylor, Dylan Karn, Trevor Wiseman, Robert Williamson.

from left to right…Chris Klinck, Natchet Taylor, Dylan Karn, Trevor Wiseman, Robert Williamson.

The band standard ‘Nowherebound’ is another track from that debut album given the same treatment as ‘California’ and again the song is lifted up. Easy to see why its a fan favourite with a great chance to get that pint in the air and shout the heartbroken words at the top of your voice. Not much joy here but hey isn’t that just the band sticking close to their country roots? ‘That Was Yesterday’ is another track from ‘Mockingbirds’ and is done in the same style as the other ‘Mockingbirds’ song. Stripped down from the original and started again. The EP ends with another new song ‘Wander Round’ and has a Street Dogs feel to it. I say that though it seems to me that its the Street Dogs who sound like Nowherebound to be honest. A great EP and as I’ve loved everything Nowherebound have recorded I’m off to get the new album now so expect a review of that hitting these pages soon too!
2015

2015

Six tracks coming in at just under twenty five minutes and if you’re a fan like me you’ll be wanting to get it. If you’re new to the band then this is a perfect as place to start as you can get. The band have managed to capture all six songs with that classic Nowherebound sound. I love them and i love the way they can change tempo form slow to fast in a way that you hardly notice. Superb and I would mark them the best band going that plays this style of music. Tales of love, loss brotherhood and life on the road except next time though lads make sure that road leads you to London England!

(you can listen to the whole EP by pressing play on the Bandcamp box below)

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FromTheBand

CATCH UP 2014 REVIEWS! BLACK 47, CELKILT, BIG ART PETERS, CRUACHAN, MY LIFE IN BLACK AND WHITE, DUCKING PUNCHES, DEIEDRA, HARD UP, JOHNNY KOWALSKI AND THE SEXY WEIRDOS, LES FOSSOYEURS SEPTIK, NOWHEREBOUND, THE POKES

Here at 30492- LONDON CELTIC PUNKS blog we much prefer to do really detailed reviews but its been impossible for us to keep up with all the great releases we have come across so here’s a few quick ones just to catch up and get 2014 out of the way. Each and every one are worthy of your time so go ahead and check them out.

Black 47- 'Rise Up' (2014)BLACK 47- ‘Rise Up: Political Songs (2014)

A sad year for New Yorks premier celtic-punk band as they finally called it a day after an amazing 25 years together. Influenced by reggae, hip hop and jazz as well as folk and punk I gotta admit I’m a late convert to Black 47 but better late than never. This is a compilation of the best of their political songs. Irish republicanism looms large with the standout tracks the emotional renditions of ‘James Connolly’, ‘The Patriot Game’ and  ‘Bobby Sands MP’. The real standout though is the fantastic ‘San Patricio Brigade’, with the band accompanied by Eileen Ivers, which tells of the Irish deserters from the US Army who fled racism and mistreatment to join the Mexican Army and formed the St Patrick’s Battalion back in 1846. More on that here.

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CELKILT- ‘On The Table’ (2014)

Imagine a catchy as hell pop punk band with fiddle, whistles and bag pipes and a very real foot in celtic history and you have Celkilt from Lyon in east-central France. Their fourth album came out to quite a fanfare and it really deserved it. Influenced from across the celtic nations Celkilt have taken the scene by storm since they arrived and with a continuously evolving and updating sound they need to be heard far and wide. Songs on this album represent all the celtic nations but is the Breton sounding title track that steals the show for me. The vocals are in crystal clear English and the production is immaculate!

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BIG ART PETERS- ‘Quit Horsing Around’ (2014)BIG ART PETERS- ‘Quit Horsing Around’ (2014)

An album of laid back country classics from Arturo Bassick, the singer and last remaining original member of 1977 punk rock legends The Lurkers backed by members of German psychobilly band Mad Sin. All great fun and will definitly remind you of those records your mammy loved back when you were a kid. Clearly influenced by Johnny Cash I half expected  Arturo to produce a spoof/jokey album but no its serious and shows the upmost respect. I can see yet another door opening for this already busy and very talented geezer.

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Cruachan- 'Blood For The Blood God' (2014)CRUACHAN- ‘Blood For The Blood God’ (2014)

Formed in Dublin back in 1992 Cruachan are one of the world’s top celtic/folk-metal bands. I must admit to a very limited knowledge of that suprisingly busy and popular scene and anything I know comes from this previous article here on the blog entitled ‘Celtic Metals Top Five Bands’. You would think not for the faint hearted but it is in fact very listenable and the folk influence is massive. This is the second instalment of a planned ‘Blood…’ trilogy and is their seventh album. The songs deal with stories from Irish mythology and chugging riffs compete with traditional Irish jigs to make a gloriously epic album.

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MY LIFE IN BLACK AND WHITE- ‘Columbia’ (2014)

Hailing from Portland, Oregon this is My Life In Black And White’s fourth album and their blend of Social Distortion style punk and folk has got them plenty of notice. Whiskey soaked singalongs and ballads sitting next to a rough punk sound with fast drum beats and distorted guitars where you can still hear the acoustic guitar strumming away in the fantastic mix. The best bands draw inspiration from past wars and cultural struggles and so do My Life In Black And White thus they bring a strong sense of folk tradition to the songs so that even on the punker songs a strong sense of the past shines through.

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DUCKING PUNCHES ‘Dance Before You Sleep’ (2014)

New band to me hailing from Norwich away there on the east coast of England and one of many where the band members are, or use to be, members of more conventional punk rock bands. Really nice folky punk with biting lyrics and a real threat in what they say that belies the ‘nice’ music. Great storytelling songs and catchy as feck music. Highly recommended and I look forward to seeing more of these this year. A brilliant scene developing in Norwich with bands taking in every angle of celtic/folk-punk. Watch out for the East Town Pirates too.

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Deiedra-DEIEDRA- ‘Usteak Ustal’ (2014)

There has always been great links between the celtic nations and the Basque people. Both share histories of oppression and the scars of colonialism. Some even say that the Irish and the Basques are the same linked through their DNA. Deiedra play immaculate Irish folk filtered through Basque ears and sung in their native language. Some of the tunes are familiar but all are stamped with Deiedra’s own style.

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HARD UP ‘Penury’ (2014)

Leftie folk-punk that reminds me of Mischief Brew or The Dead Maggies. From Montreal in Quebec they sing in English and even though it could have benefited from a better production but as ‘Penury’ was recorded in a loft Hard Up can be forgiven. A lovely bit of DIY folk-punk with great storytelling lyrics and banjo playing.

“folk is a music for the people by the people there’s no room for blind faith at all”

Only twenty minutes long but rattles along at a great old speed and keeps up the catchiness all the way through. Available for Pay What You Want so why not take a chance on them. You’ll not regret it.

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JOHNNY KOWALSKI AND THE SEXY WEIRDOS- ‘Kill The Beast’ (2014)

Second album from this Birmingham based band that combines elements of ska, celtic, balkan, punk, rock’n’roll, mariachi, carnival and a whole lot more that I havent yet realised into the tumbler and gives it a good shake before knocking it back. A rollicking good time to be had by these. Nothing too serious just a seriously great time…

“He gathers forth distrusting words
He reach a stream, he can’t cry out
After knowledge always doubt
When over the hill there comes a shout
The distant smoke, the smell of stout”

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LES FOSSOYEURS SEPTIK- ‘La Pelle du désordre’ (2014)

They come from France and even though I don’t speak French Les Fossoyeurs Septik sound very pissed off! All yer classic bits of folk-punk and folk and punk are complimented by some very good reggae touches that don’t sound out of place at all. Another band in Mischief brew territory but with none of the Americana of said band these are French and sound like it. Like I said have got no idea what their singing about except they support the Animal Liberation Front so unfortunatly they got a lot to be pissed off about so. Their are only the occasional celtic moments but don’t let that put you off definitley worth keeping an eye on.

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NOWHEREBOUND- ‘Mockingbirds’ (2014)

Formed in 2010 out of the ashes of local Austin, Texas punk bands Nowherebound’s third album is more punk than previous ones have been but the same touches that impressed me with My Life In Black And White’s album (see above) are also evident in heaps here. The acoustic guitars have been retired but the sound of Nowherebound hasn’t changed. Thank feck! From hard rock in-yer-face to pop punk melodies to raise-your-glass-and-sing-along-anthems Nowherebound hit you in the heart and head.

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THE POKES 'Mayday' (2014)THE POKES ‘Mayday’ (2014)

Last one and its The Pokes from Berlin and on first listen it was legendary North-Eastern England band The Whiskey Priests that it reminded me of. Celtic-punk without being particularly celtic it is nevertheless absolutely superb party music and looking at their videos they are something else live. Their fourth album and much the same great fiddle, banjo and accordion wrapped around clear vocals and often hilarious lyrics. Influences abound with everything from ska to polka sticking their nose in and combining to prove why The Pokes are one of the best and most popular bands in Germany.

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apologies to all the bands as each and every release deserved the full LONDON CELTIC PUNKS treatment but time has got the better of me. If anyone out there wants to help out on the reviews front drop us a line. Don’t be shy we are always looking for help.

CLASSIC ALBUM REVIEW: VARIOUS ARTISTS- ‘People Take Warning! Murder Ballads And Disaster Songs 1913-1938’ (2007)

AND FREE DOWNLOAD

people are always drawn to the scene of an accident and it was no different in the past either…

A simply stunning 3 x CD box set that is now out of print and unavailable unless you’re willing to pay an absolute fortune. It’s the real deal of authentic folk and country from black and white performers from the dawn of the roots of America’s musical traditions. Seventy  beautifully remastered recordings with over half on CD for the first time. So here’s your chance to download it but be quick and if you have any problems leave a comment.

VARIOUS ARTISTS People Take Warning! Murder Ballads & Disaster Songs 1913-1938 (2007)

Close your eyes and hear the suffering through the ages, as disasters both great and small are relived in song by roving musicians with only a fiddle or a guitar to stake their claim on history.

Close your eyes and see the carnage reenacted. In Frank Hutchison’s ‘Last Scene of the Titanic’, see all the pretty ladies in their evening gowns and all of the tuxedoed gentlemen plummet over the deck of the great juggernaut as it collides with a massive iceberg, sending them wailing and flailing and thrashing in a demonic ballet into the icy Atlantic waters.

Open your ears and hear the plaintive cry of a child in the night, who wakes from a portentous dream in which his daddy is trapped in the interminable blackness of the coal mine, Blind Alfred Reed’s ‘Explosion in the Fairmount Mine’, only to discover that dear daddy was indeed trapped in a mine explosion and is one of 200 unrecovered miners never to see the light of day again.

True-life scenes such as these are the subject of this massive box-set, in which seemingly congenial-sounding folk and blues songs from the early twentieth century document disasters and real-life tragedies with a quiet intensity that disturbs the casual listener far more than any contemporary death metal band could. This is not Sturm und Drang, this is real pain and suffering devoid of fantasy or romanticism. These are songs for the legions of anonymous dead, musical coffin markers for the ones who were lost along the way.

Highlights range from the grim to the funny. In ‘Mississippi Heavy Water Blues’, Robert ‘Barbecue Bob’ Hicks complains that the murky brown flood waters have washed all the wimmenfolk away. The original version of ‘When the Levee Breaks’ by Kansas Joe and Memphis Minnie remains a haunting testament to the 1927 Mississippi Flood. Charlie Poole’s ‘Baltimore Fire’ is spectral in its account of hundreds consumed by the flames of a raging inferno. Then there’s my personal favourite, Bob Miller’s ‘Ohio Prison Fire’, in which a distraught mother is asked to identify the charred remains of her late lamented son:

“I’ll take my boy back now.

The state’s finished with him.

The state’s finished with all of these bodies.

These poor, charred bodies!”

Disc Three switches the focus to murder ballads, showcasing songs of cold-blooded homicide that have clearly influenced the work of such hard boiled musical greats as Johnny Cash, Nick Cave, and Tom Waits, the latter providing the eloquent introduction to this set. Early versions of such blood-soaked ballads as ‘Billy Lyons and Stack O’Lee’, the legend of Stack O’Lee or “Stagger Lee” exists in many forms, and ‘Darling Cora’, also known as ‘Darling Corey’, stand alongside lesser-known death row oddities like ‘The Trial of Richard Bruno Hauptmann, Pts. I & II’ an ode to the murderer of the Lindbergh baby. True crime buffs may favor this disc as much as musicologists.


Special mention should be made to the impeccable sonic reproduction by Christopher King, who understands the mystical power inherent in the snap, crackle and pop of old 78 records and faithfully reproduces the elusive sound of the victrola, cranked up and wailing away like a banshee in a tin can. The static of these old grooves perfectly encases the sadness of bygone eras like ancient beetles trapped in amber. Timeless and lifeless.

In today’s post-9/11 world, the fear of arbitrary annihilation is almost taken for granted, yet this collection serves as a moving reminder that tragedies of every kind have always lived on in the music of American folk musicians, perhaps to serve as a talisman for future generations.

CLICK BELOW FOR FREE DOWNLOAD

DISC ONE- MAN v MACHINE

DISC TWO- MAN v NATURE

DISC THREE- MAN v MAN 

ARTWORK AND LINER NOTES

Part of the ‘Classic Album Reviews’ series (here) where we bring you something a little bit different to what you’re use to. To lost gems that have inspired and provoked folk music and musicians right up to modern celtic-punk music. Usually out of print so we can provide a free download link for you.

SINGLE REVIEW: CHRISTOPHER JAMES SHERIDAN- ‘My Hero Was A Ramblin Man’ (2014)

Christopher James Sheridan- 'My Hero Is A Rambling Man'

Boston has the Dropkicks, New York has Black 47, London has The Bible Code, LA has Flogging Molly and Glasgow’s Irish community has The Wakes. Christopher James Sheridan is a Scots-Irish singer songwriter from Glasgow and has played harmonica in folk’n’roll band The Wakes since they were formed back in 2006. This is Christopher’s second solo single, with ‘Old Fashioned Pound Notes’ released earlier this year.  You can read our review of that great single here.

‘My Hero Was A Ramblin Man’ is a tribute to the legendary American folk singer Woody Guthrie. Woody’s legacy is immense and he left behind untold amount of songs for children, politico’s and just plain folk. Most famous for the song ‘This Land Is Ours’ and for performing with ‘This Machine Kills Fascist’ emblazoned across his guitar. The legend of Woody Guthrie lives on. Like most of Christopher’s recordings its a simple but beautiful track totally understated but completely effecting. The B-Side ‘Please Dont Make Me Feel This Way Again’ has a traditional country flavoured twang and the kind of anguished and broken hearted lyrics you’d expect from a country song!

Two more beautiful solo tracks from Christopher and we’re waiting with baited breath for more. The download is available for only £1-58 so put your hands in your pocket!

Contact Christopher

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iTunes

we reviewed the excellent album ‘The Red And Green’ from The Wakes here. it was also voted 4th best celtic-punk album of 2013 by the London Celtic Punks crew here.

ALBUM REVIEW: JOHNNY CASH – ‘Out Among The Stars’ (2014)

Songwriter. six-string strummer. storyteller. country boy. rock star. folk hero. preacher. poet. drug addict. rebel. sinner. saint. victim. survivor. home wrecker. husband. father and more…

Johnny Cash- Out Among The Stars

Yes you’re eyes do not deceive you its a new album from ‘The Man In Black’ himself. Ten years after the undisputed king of country passed away here’s a Johnny Cash album that was recorded in the early 80s and has never been heard before. At the time of these recordings he was signed to Columbia Records and his career was in a bit of a slump, a suggested reason why they never released it. His son found these recordings last year among a multitude of other material so its likely that Johnny’s estate will be releasing stuff for a long time to come.

Johnny CashIt has also been suggested that the reason the album was shelved was because it was a little too pop for Johnny’s taste though he was never adverse to experimenting so I find that hard to believe. Throughout his career he tried to expand what people thought of country music and even though he always stayed within the country genre he’s responsible for shifting the boundaries of what we consider country music today.

To these ears though it sounds like classic Cash. His voice instantly taking me back to my childhood of sitting round the record player listening to my mammy’s Johnny Cash collection. All the adults I knew, especially the Irish ones, seemed to be a massive fan of his with their record collections bulging with his albums. it was impossible not to like him. The subject matter was so much darker than other country artists and lets face it he was as cool a fecker as ever there was in music! He was himself the quintessential Scotch-Irish American, with a bit of Native American too he use to say!

It was that background that was possibly responsible for why we looked at Johnny differently from other country stars. As Kris Kristofferson said of him

“He’s as comfortable with the poor and prisoners as he is with presidents. He’s crossed over all age boundaries. I like to think of him as Abraham Lincoln with a wild side.”

‘Out Among The Stars’ is generally a sprightly album with ‘Rock’n’roll Shoes’ as descriptive of the LP as the sentimental ‘After All’ is or the title track about a young man robbing a store which has a feel of ‘Folsom prison Blues’ about it. A cover of the Dave Edmunds and Carlene Carter duet “Baby Ride Easy” rolls along with spirit, an affectionate homage to ‘Tennessee’ is actually pretty good despite the addition of a children’s choir! and ‘I Drove Her Out Of My Mind’ is yer classic country’n’western outlaw track about murdering your ex-wife…

Johnny Cash

13 tracks at just under 40 minutes is pretty good value and though their are a couple of duffers, the duet with Waylon Jennings of Hank Snow’s classic ‘I’m Moving On’ springing to mind, what Johnny Cash album would be right without one or two, it still adds up to a very strong album and according to those in the know some Cash experts are already considering it to have been one of his better 1980’s albums so the reasons behind its shelving remain a bit of a mystery but we can be glad that it saw the light of day eventually.

more on the discovery of the album here

 THE BLACK PROJECT

on another note Grinning Beggar and Paddyrock, two of the biggest names in celtic-punk have united and are planning on bringing out a celtic-punk Johnny Cash tribute album. All the details here

 

“He’s as comfortable with the poor and prisoners as he is with presidents. He’s crossed over all age boundaries. I like to think of him as Abraham Lincoln with a wild side.”
Read more at http://www.relevantmagazine.com/culture/music/inside-complicated-faith-johnny-cash#UDwLBHHQUw8RHPOL.99

 

Tracklist

01. Out Among the Stars
02. Baby Ride Easy (with June Carter Cash)
03. She Used to Love Me a Lot
04. After All
05. I’m Movin’ On (with Waylon Jennings)
07. If I Told You Who It Was
08. Call Your Mother
09. I Drove Her Out of My Mind
10. Tennessee
11. Rock and Roll Shoes
12. Don’t You Think It’s Come Our Time (with June Carter Cash)
13. She Used To Love Me A Lot Jc/Ec Version
Read more at http://www.getrockmusic.com/15495-johnny-cash-out-among-the-stars.html#hAvPh5WBumIEMmE3.99

Tracklist

01. Out Among the Stars
02. Baby Ride Easy (with June Carter Cash)
03. She Used to Love Me a Lot
04. After All
05. I’m Movin’ On (with Waylon Jennings)
07. If I Told You Who It Was
08. Call Your Mother
09. I Drove Her Out of My Mind
10. Tennessee
11. Rock and Roll Shoes
12. Don’t You Think It’s Come Our Time (with June Carter Cash)
13. She Used To Love Me A Lot Jc/Ec Version
Read more at http://www.getrockmusic.com/15495-johnny-cash-out-among-the-stars.html#hAvPh5WBumIEMmE3.99

Tracklist

01. Out Among the Stars
02. Baby Ride Easy (with June Carter Cash)
03. She Used to Love Me a Lot
04. After All
05. I’m Movin’ On (with Waylon Jennings)
07. If I Told You Who It Was
08. Call Your Mother
09. I Drove Her Out of My Mind
10. Tennessee
11. Rock and Roll Shoes
12. Don’t You Think It’s Come Our Time (with June Carter Cash)
13. She Used To Love Me A Lot Jc/Ec Version
Read more at http://www.getrockmusic.com/15495-johnny-cash-out-among-the-stars.html#hAvPh5WBumIEMmE3.99

ALBUM REVIEW- JOHNNY RIOUX ‘CowbOi!’ (2013)

many of us who come from Irish backgrounds will have had the misfortune to have heard a quite a lot of country’n’western music…and when I say a lot I mean a LOT. although what we grew up listening to was not strictly country’n’western it was country’n’Irish a hybrid of the worse in country music AND the worse in Irish music! names like Big Tom, Margo and that giant of c’n’I Daniel O’Donnell an still bring me out in cold sweats and nightmares of sitting in our local Irish club with a coke and crisps being forced to listen to 4 middle aged Irishmen from Derby wearing cowboy hats singing Take Me Home Country Roads!

well what a surprise I got this morning…

I had’nt heard of Johnny Rioux until very recently and it turns out that not only is the Boston based musician in The Street Dogs but he’s also part of Texan celtic-punk band Murder the Stout (along with fellow Street Dogs guitarist Marcus Hollar) and he’s been in and also worked with a shed load of other bands including record producing for Flatfoot 56, the Street Dogs and Roger Miret and the Disasters.

Cowboi!

The album itself is a mix of ‘country-fied’ punk and Oi! standards (and a few less so) but more in keeping of Johnny Cash than Jim Reeves! This fits in easily with the recent wave of alternative (punk?) country bands like Old Man Markley and Banjoey Ramone. As a offshoot of celtic-punk its great to hear old fashioned music given a new twist and like celtic-punk it may hopefully inspire people to delve into the back catalogues of some of the best country artists…just as long as they stay the hell away from country’n’Irish!!

Here’s a 30 minute set from YouTube to whet your appetite for buying the album!

Johnny Rioux’s Facebook page is here

Track Listings:

01 – Working (Cock Sparrer)
02 – If The Kids Are United (Sham 69)
03 – Voice Of Generation (Blitz)
04 – Someones Gonna Die (Blitz)
05 – Societies Fools (The Bruisers)
06 – Crucified (Iron Cross)
07 – A.C.A.B (The 4Skins)
08 – Oi! Oi! Oi! (Cockney Rejects)
09 – Police Oppression (Angelic Upstarts)
10 – Evil In Brain (Blood For Blood)

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