Category Archives: DVD

ALBUM REVIEW: PLANXTY- ‘Between The Jigs And The Reels: A Retrospective’ (2017)

The word ‘legend’ gets chucked around with wild abandon these days but no other word seems fit to accompany an article on a band that truly were ground breaking and have gone onto have an everlasting effect on Irish music. Put together by Planxty themselves this is the ultimate retrospective of their music coming, as it does, with a DVD featuring over two hours of previously unreleased performances.

planxty-between-jigs-reels

Forty five years after Planxty formed back in January 1972 comes Between The Jigs And The Reels – A Retrospective. The band was made up of Christy Moore (vocals, acoustic guitar, bodhrán), Andy Irvine (vocals, mandolin, mandola, bouzouki, hurdy-gurdy, harmonica), Dónal Lunny (bouzouki, guitars, bodhrán, keyboards) and Liam O’Flynn (uilleann pipes, tin whistle). They released six studio albums starting with Planxty in 1973 and following with The Well Below the Valley (1973), Cold Blow and the Rainy Night (1974), After the Break (1979), The Woman I Loved So Well (1980) and finally Words And Music in 1983. At the time of that debut album their music was quite simply revolutionary and they popularized Irish folk music like no other band from that era.

planxty2

Andy Irvine, Liam O’Flynn, Donal Lunny and Christy Moore

Back in 1972 Christy Moore who was already a star in both the Irish and British folk scene’s had begun work on his second album and grouped around him some of the best musicians Ireland had to offer. His old friend from school in Newbridge, County Kildare, Dónal Lunny was a gifted multi-instrumentalist who had taught Moore how to play both guitar and bodhrán while the London born Andy Irvine of late-60’s Irish folk group Sweeney’s Men was a prominent figure on the Dublin trad scene and who co-ran a folk club with Lunny. Finally came Liam O’Flynn a true master of the uileann pipes. This group gelled instantly and with Christy Moore returned from England Planxty were born. With their bedraggled hair and bohemian image their music they literally took Ireland by storm. For the first time uileann pipes were accompanied by guitar, mandolin and bouzouki while Christy and Andy were possibly the finest singers of their generation. Although labelled Jigs And Reels the scope of the songs on this album is simply breathtaking from stirring tunes of war to gentle balllads and haunting airs. Planxty didn’t just play they also collected these songs saving many from obscurity or even death. Their music bridged the gap between the developing rock music scene in Ireland and the new wave of folk music musician.

There are seventeen songs here and it all begins with the tragic love story of an Irish emigrant to New Mexico ‘True Love Knows No Season’ and Liam O’Fynn’s beautiful piping is sure to send a shiver down the spine of listeners. Andy Irvine belts out the glorious ‘Pat Reilly’ followed by the instrumental ‘Sí Bheag, Sí Mhór’ while Christy returns to the fore to do ‘Follow Me Up To Carlow’ a song that tells of the battles of the Gaels of Ireland fighting the English oppressors in the war that began hundreds of years ago.

‘Băneasă’s Green Glade / Mominsko Horo’ takes us back to Andy’s time living in Bucharest in the 1960’s swiftly followed by the instrumental ‘The Aconry Lasses / The Old Wheels Of The World / The Spike Island Lasses’ and then by ‘The Pursuit Of Farmer Michael Hayes’ as arranged by Christy Moore who still contends that their are several verses missing that he puts down to

“the realisation that it was opening time”

On ‘Accidentals / Aragon Mill’ the heartbreaking main song is preceded by a short acoustic guitar piece that he is joined together by Liam’s piping with ‘Aragon Mill’ which Andy learnt from the North Carolina singer songwriter Si Kahn.

“But there’s no smoke at all
Coming out of the stack
For the mill has closed down
And it’s not coming back”

In Si’s neck of the woods, cotton has always been of paramount importance and closing of a mill brings with it, not only unemployment, but also the end of a way of life, whether it be a cotton mill in North Carolina, Lancashire or Belfast.

“But the only tune I hear
Is the sound of the wind
As it blows through the town
Weave and spin, weave and spin”

‘The Irish Marche’ is an English composition from the 16th century written by William Byrd while ‘The Rambling Siúler’ is from the early-19th century and tells the odd tale of an Irish colonel and the lengths he will go to win fair maid. Having heard a version of ‘The Well Below The Valley’ where Christy is only accompanied on bodhrán it was nice to hear a full band version of this beautiful song. Planxty are back in full on jaunty mood next with another instrumental ‘Junior Crehan’s Favourite / Corney Is Coming’ before Andy sings ‘Roger O’Hehir’, the story of an not very good petty criminal whose career leads to the gallows. Now for that Balkan tune that seems to have ruffled a few reviewers feathers with ‘Smeceno Horo’ Not knowing much about this I’ll just leave the video up for you to decide.

With the album nearing the end perhaps three of the widest heard and better known songs finish the album starting with the stunning Andy Irvine composition ‘The West Coast Of Clare’.

“Sorrow and sadness, bitterness, grief
Memories I have of you, won’t leave me in peace
My mind is running back, to the west coast of Clare
Thinking of you, the times we had there”

The sensitive and definitive version of ‘Nancy Spain’ keeps the momentum building and has since been made famous by Christy during his solo career. Written by Barney Rush who also wrote ‘The Crack was Ninety in the Isle of Man’, which Christy has also recorded. Sadly Barney passed away back in 2014 and this wonderful song brings us up nicely to the album’s end and ‘Timedance’. Commissioned back in 1981 for the Eurovision song contest back when it was big news and back when Ireland use to win it every year! This was, in many ways, a precursor to Riverdance and was for millions around the Europe the first time they had ever heard authentic traditional Irish music and can be said to have had a lasting effect on Irish music’s popularity.

Planxty Re-Union Show, Live at Vicar Street, Dublin. February 2004

Compiled and chosen by the band themselves they could literally not squeeze another minute onto the CD with it clocking in at seventy-nine minutes. The CD comes with a bonus DVD of previously unreleased performances from the RTÉ (Irish Televison) archives that lasts over two hours. The care and attention that has gone into this release is breath taking with an absolute goldmine of recordings, TV appearances and live sets that does the band the justice they deserve. Planxty ruffled a few ‘trad snobs’ feathers when they were around the first time and some of the modern day era trad snobs may find the inclusion of harmonies, compositions, English songs and Balkan tunes somewhat odd but for me it only adds to what is one of the best traditional album’s I ever heard. Planxty were one of the major reasons for the revitalisation of Irish music that led eventually to the development of celtic-rock and then celtic-punk so do yourself a favour and check out this album and find out where we came from.

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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

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

Buy The Documentary

Here

Contact The Band

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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

FILM REVIEW: THE MOLLY MAGUIRES (1970)

“maybe its my Christian heart but I never could stand the sight of a man carrying a cross”

The Molly Maguires

Growing up in England the opportunities to express pride in your Irish roots were very few and far between. The rare moments would come along, we had St Patrick’s Day, Celtic, our pubs and clubs and church and lets face it very little else. On the TV we were a figure of ridicule and nightly we were informed that the people sat right next to us in our living rooms were thick and stupid and steeped in superstition or dangerous and drunkards or trying to bring down the rule of law and that ordinary folk should inform the authorities of anything suspicious among the Irish community. Innocent people were sent to jail with little more evidence of guilt than their accents or their family backgrounds. With that going on in the background we learnt our history at home and among our family, friends and neighbours but one of the defining moments of my childhood was watching The Molly Maguires as a kid. It ticked all the necessary boxes for a young 2nd gen Irish lad with a identity crisis. Not only did it portray the Irish outside of Ireland and showed how badly they were treated and exploited but, and most importantly of all, how rather than except their fate and roll over they resisted that oppression and fought back, even though eventually it end in tragedy. The Molly Maguires were a secret society of militant Irish Catholic coal miners who resisted violence from the mine owners with violence themselves. The film is based on real events and the gripping story is a sympathetic and accurate depiction of the struggle for justice of the Irish-American miners.

CREW

Cinematography- James Wong Howe * Director- Martin Ritt * Music- Henry Mancini * Producer- Paramount Pictures

CAST

Sean Connery as “Black Jack” Kehoe * Richard Harris as Detective James McParlan/McKenna * Samantha Eggar as Miss Mary Raines * Frank Finlay as Police Captain Davies * Anthony Zerbe as Tom Dougherty * Bethel Leslie as Mrs. Kehoe * Art Lund as Frazier * Philip Bourneuf as Father O’Connor * Anthony Costello as Frank McAndrew * Brendan Dillon as Dan Raines, Mary’s Father * Frances Heflin as Mrs. Frazier * Malachy McCourt as The Bartender

Running time 123 minutes

“You either end up on the gallows or coughing your lungs out, what’s the difference?”

With the Great Hunger still vivid in the minds of the newly arrived Irish immigrants to America as they spread across the country, many of them washed up in Pennsylvania coal country where they became miners. The mine workers were treated abysmally and most died young of diseases picked up in the mines or in the ghetto’s that surrounded them. The years between ‘Black 47’ and the depression of 1920-21 saw great turmoil in industrial America. Violent confrontation between workforces and bosses over poor working conditions and even poorer wages, as well as the threat of workers uniting in trade unions, were common in the cities and the coal fields that fuelled them. The promise of work for the unskilled and a better life drew large numbers of Irish people to north-eastern Pennsylvania. The choice for the poorest of the Irish poor was the coal mine. They came mostly from west Ulster and north Connacht. The Irish didn’t confine themselves to coal but to get the black gold to New York and Philadelphia they also dug canals as well as building embankments, tunnelling and laying track. But more than anything, the Irish dug coal. A Mayo-man looking round a coalfield is quoted at the time as saying

“Do you mean to tell me that this is America?”

In 1880, the ‘foreign-born’ accounted for 23% of the region’s population and Ireland was the birthplace of 41% of those, the figure underestimates the Irish as many would have been born in America, England and Scotland. It is thought well over 30% of the regional population would have been Irish. These were dark times of persecution for Irish Catholics and they were not to get better by crossing the Atlantic. These were the men and women who built America. A people who had escaped poverty and death only to find a world where they were still enslaved the only difference being the company had replaced the empire.

The Molly Maguires

We have no idea exactly when The Molly Maguires came into existance but they gained prominance in the mine fields in the years around 1860. They were a militant secret cell within the open catholic organsisation the Ancient Order of Hibernians. With no organized labour movement to speak of it became the Mollys who were the only protection those miners had. Protection was needed from anti-Catholic and anti-Irish discrimination, more than any other race they were used as scapegoats on whatever stage their enemies deemed fit. Irish working men started organising together while the, predominantly protestant, mine owners organised a paramilitary force to take them on. Violently breaking strikes and trade unions. Strikers and activists were sacked and evicted, their jobs and houses given to scabs, and ‘troublemakers’ often attacked and killed. In return the miners engaged in sabotage. Mines were flooded, breakers burned, stores dynamited and trains derailed. Mine bosses, superintendents and foremen, generally of English, Welsh or German extraction, were intimidated and killed and blacklegs and informers in the Irish community were ruthlessly punished. The rebellion came to an end with the execution of twenty people rounded up as Molly Maguires. They bravely went to the scaffold without betraying themselves or their comrades. The majority of the twenty had links to the same part of Ireland in west Donegal. At the time and right up until modern times (possibly around the time this film was made) the twenty men hanged as Molly Maguires in north eastern Pennsylvania were either valiant defenders of labour or

“the most noted band of cut-throats of modern times”

That controversy has ended and its clear now to all that the hanged men were innocent victims of a terrible miscarriage of justice.

So the stage was set in 1969 with radical politics and a vision of a better life for all not just a distant memory for a film to be based on The Molly Maguires to be made. In 1967 Director Martin Ritt was making ‘Hombre’ in which Scots-Irish actor Sean Connery’s then wife Diane Cilento was cast. Ritt had the idea for The Molly Maguires and asked Connery what he thought. Connery was interested but it took over four years to get the film off the ground. Both director Martin Ritt and screenwriter Walter Bernstein had been blacklisted by major studios in the communist scare of the 1950s.

leader of the Mollys Jack Kehoe

leader of the Mollys
Jack Kehoe

The film is dirty and relentless and coal dust gets everywhere.  It was filmed in the abandoned Pennsylvania coal town of Ecksley, a place where the Mollys were active in their day, that adds credibility and authenticity to the picture. The colliery still stands along with the Emerald House pub, the company store and all the Mollys homes. A frighteningly impressive Sean Connery plays Jack Kehoe, the leader of the Mollys, while Richard Harris plays James McParlan. Kehoe is suspicious of McPharlan when he arrives to work at the mines but over time he begins to trust and allows him to join the Mollys and take part in their activities. Unbeknown to Kehoe, McPharlan is in fact working for the Pinkerton Detective Agency and has been sent to infiltrate and destroy the Mollys. The film is basically a clash between two ways of life. McPharlan who is willing to sell out and betray anyone to rise in class and Kehoe who puts the interests of his community first and is prepared to sacrifice all for the benefit of others. As McPharlan states in the film

“I’m tired of always looking up. I want to look down”

The history of Ireland has unfortunately been plagued with informers. People seduced by wealth or promises of land and power or simply those with no conscious they are rightly despised by all  to but we Irish have a special disdain for them. The story as told in the film sticks closely to the truth of what happened and is as gripping and well made a piece of radical cinema as has ever been made. From the soundtrack to the costumes and location and acting the film is dazzling and is today considered a masterpiece, and deservedly so, which makes it incredible to think it bombed so badly upon release. It put paid for a time the idea that either Connery or Harris would make leading men. In the critics minds the wordless 15 minute prologue as well as the decision to not let Sean Connery speak until 45 minutes into the movie couldn’t have helped.

Maguire1

Connery and Harris

There were no ‘Marquis of Queensbury’ rules in early industrial America. Decent people sometimes did terrible things. They still do. It is the way of the world. The Irish fought oppression first with dynamite and powder and then with political power. Soon the Irish were to rise to all levels of political influence and the old guard were dispensed with. Martin Ritt thought the films financial failure being down to audiences being unable to decide whether Jack Kehoe or Jim McParlan was the hero.

“They should have understood, that Kehoe, who was a murderer, was the hero of the film”

In another interview Ritt acknowledged that life was changing and some of the decent values that America was built on were also changing.

“I wanted to show that the villain in the film was the informer, a man who wormed his way into the graces of his fellow workers and then turned them in. To me that is a villainous act. And in the American tradition, an informer is a villainous person, although those ethics have been somewhat undermined by the hysteria of the communist scare”

In 1970, Middle America couldn’t accept Kehoe as the hero he has now become. As the films ends and with McParlan’s true identity revealed, he visits Kehoe in prison. It is a significant moment between the two of them, ending a relationship based on trust and bringing to the fore the differences between them. The final image that imposes McParlan against the gallows he has helped to build emphasises that we have an awful lot to be grateful for free men that will stand against oppression and fight back. Their is no Hollywood here. What the Mollys gave was their all. Their is no romance just two solid hours of an uncompromising and heartbreaking look into what working people have had to endure. Our job now is to make sure those conditions never return.

(the following clip is the final scene of the movie so don’t watch if you haven’t seen the whole film!)

Molly Maguires SoundtrackThe Molly Maguires Soundtrack

Composed, Arranged and Conducted

by Henry Mancini

For the film, composer Henry Mancini composed one of his finest musical scores, filled with jaunty Irish tunes and roaring dramatic evocative themes. Whether depicting early morning at the mines (the astonishing opening cue) or the resistance activities or the blossoming love affair, Henry Mancini’s score is right up there with his greatest soundtracks including such masterpieces as Breakfast at Tiffany’s, Charade, Days of Wine and Roses, Hatari!, Two For The Road and many others. amazingly it doesn’t appear to be available on CD anywhere.

Tracks

(click on the tracks in green to hear them)

Theme from The Molly Maguires (New Day in 1876)
The Mollys Strike
Main Title
Room and Board
Sandwiches and Tea
Work Montage
Pennywhistle Jig
A Hard Day’s Work
On Your Knees
Jamie and Mary
Trip to Town
Strike Two/Strike Three
The Hills of Yesterday
There’s More
The Mollys Strike Again
A Suit for Grandpa
Kehoe Lights Up/The Last Strike
The End

Buy The Film

plenty of places on the web or try Amazon  AllYourMusic as a last resort!

The Soundtrack

is out of print but since this article came out I have been sent a download link for it. Rather than put it here I will include it as a comment as these things have a habit of being taken down. So check the comments and download this rather brilliant album.If it does disappear leave a comment and we’ll try and upload it again.

Molly Maguires statue by Zenos Frudrakis in Molly Maguires Memorial Park, Mahanoy City, Pennsylvania, USA

Molly Maguires statue by Zenos Frudrakis in Molly Maguires Memorial Park, Mahanoy City, Pennsylvania, USA

FILM REVIEW: ‘The Offence’ (1972)

“after 20 years, what Detective-Sergeant Johnson has seen and done is destroying him”

The Offence4

When I was a helluva lot younger than I am now I came across a film late one night hidden among the schedules. Strangely it starred the great Sean Connery which made me even more surpised that a film starring the biggest actor of our time could be hidden away with no fanfare so, intriged, I settled down for exactly what I wasnt sure. ‘The Offence’ finds two of Scotland’s greatest ever actors in a stripped-down, rough and tough little movie that pits his hard bitten veteren detective against the late Ian Bannen’s child molester suspect. The battle of wits between the two breaks only to look at the cop’s equally distressing marital life. Yes, a tough film to watch but incredible to marvel at the sheer power of Sean Connery’s performance as the driven yet ambivalent detective. Both Connery and Bannen are at their darkest best in this deeply disturbing film that examines exactly what men might be capable of doing if they are pushed to the edge.

“nothing I have done can be one half as bad as the thoughts in your head”

Somewhere just outside of London, 1973: Detective Sergeant Johnson (Sean Connery) is a burnt-out British police detective of some twenty years in the force and one of the lead detectives working towards the capture of a serial child molester who is menacing the satellite town which he calls home. Johnson is an abrasive man who is barely able to contain his simmering resentment towards his lack of promotion, the superiors whom he considers to be witless and a loveless marriage. His animosity towards the world is driven to breaking point when he crosses swords with Kenneth Baxter (Ian Bannen), a successful family man who becomes a suspect in the investigation. Over the course of one night, events come to a violent head whilst Baxter is in police custody; but what precipitated the violence? And what was the real motivation behind the offence?

The Offence

Sean Connery

‘The Offence’ is an important film for two reasons: Firstly, it was one of the first widely released theatrical films featuring a major star to deal with the subject of child molestation (and it’s consequences) in a popular medium; and secondly it is one of about three films where the audience is treated to the sight of Sean Connery ACTOR rather than Sean Connery MOVIE STAR. For my money, Connery , though a great actor he had, post-Bond, coasted through the majority of his career playing a caricature of his 007 persona and who only ever really got to flex his acting chops to the max in two films – ‘The Offence’ and ‘The Hill’, both of which were directed by the late, great Sidney Lumet. Personally speaking, this film pips ‘The Hill’ (which is similarly brilliant) to the post for me because Connery as an actor expresses a degree of emotional vulnerability and psychological fragility that we were never to see again. It’s fairly apparent that post-Bond, Connery was attempting to shrug off the cast typing of Ian Fleming’s character once and for all, and his bravery as an actor here is formidable. His thinning hairline is, for the first time in his career exposed to the world for all to see and the charismatic calmness and composure of Bond is nowhere to be seen beneath Johnson’s moustache, sheepskin jacket, hat and tirades of blunt accusations.

“in this room you discover something like the truth about yourself”

The Offence

Sean Connery

But there is far more to this film than just Connery’s performance. The screenplay, brilliantly adapted for the screen from the stage by John Hopkins, remains the most disturbingly brilliant examination of a man succumbing to what we would now call ‘post-traumatic stress disorder’ that has ever been committed to film. It is all the more impressive because it is told in a way in which the audience first observes the aftermath of the offence itself without context; then the context of the situation; and finally the devastatingly catastrophic interrogation that immediately precipitates the offence itself.

“why ain’t you beautiful? You’re not even pretty”

Lumet as a director perfectly captures the soullessness of England’s then burgeoning ‘satellite’ new towns – vast, monolithic, semi-industrialized estates of office buildings, clone homes, motorways and underpasses which were constructed in the home counties in order to house the overflow population of London – using a drab pallet of rainy greys, caustic strip lighting, and shadow. No other film has ever rendered the experience of living in one of these towns so effectively. The movie took just one month to film, at the low cost of $1 million and despite this and excellent notices, it failed to make any profit for nine years, and went unreleased in several countries including the major market of France.

Ian Bannen

Ian Bannen

This troubling psychological thriller is the kind of film that, for the most part, just doesn’t get made any more by big budget studios that are more interested in pandering to the lowest common denominator in pursuit of big bucks than telling an original story. It’s intelligent, erudite, understated, subtle and profoundly disturbing. An extremely tough film to watch but just marvel at the sheer power of Connery’s performance as the driven yet ambivalent detective.

(you can watch The Offence below. If the link goes down then please leave a comment below but sometimes theres not a lot we can do)

Language: English   Year: 1972   Runtime: 112 minutes

Eureka Video have re-released The Offence as part of their Masters Of Cinema collection. You can find Eureka here.

Buy The DVD

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a great link to watch the movie can be found here.

THE GREENLAND WHALEFISHERS- TWENTY YEARS OF WAITING…

GREENLAND WHALEFISHERS live in London

THE GREENLAND WHALEFISHERS LIVE IN LONDON IN LESS THAN A MONTH IN THEIR 20th ANNIVERSARY YEAR FOR ONLY THE SECOND TIME.

facebook event page here

DVD DOCUMENTARY JUST RELEASED!

 

This is the story of how a celtic-punk band from Norway went from playing small Irish bars in Bergen to becoming festival favorites in Eastern Europe and touring Japan and America.

CLICK HERE TO STREAM THE DVD FOR JUST £4!!

The Greenland Whalefishers started out in Bergen in Norway in 1994, long before the likes of The Dropkick Murphys or Flogging Molly had hit the dizzying heights they’ve reached now. Combining british punk with celtic folk influences, the band soon became one of the most interesting post-Pogues bands. More than two decades of touring all over the world, releasing seven full length albums, a DVD documentary movie, piles of singles and EP’s and an unaccountable  number of split releases, contributions to movies like ‘The Boondock Saints’ , have place3d the celtic-folk-punkers The Greenland Whalefishers as one of the worlds most successful and popular celtic-rock bands.

The Greenland Whalefishers have toured in the USA, Japan, England, Germany, Italy, Scotland, Poland, Czech Republic, The Netherlands, Belguim etc., and will continue touring all over with more power and energy than ever on what may well be called their ‘Never Ending World Tour’!

It is all this hard work and all the experience touring that has made critics stand up and take notice of the bands albums and concerts.

“all was answered and more by this Rockumentary celebrating 20 years of one of the greatest paddy punk bands in the world ever”
“this is probably one of the best celtic-punk bands you will ever see perform live”
“’20 Years of Waiting’ is a pitch perfect celebration of one of the scene’s very best bands”
“behind the scenes with the band in the studio; as well as TV appearances; music videos and tributes to the band from fans, friends and other bands (i.e. Flogging Molly)”
“a stellar band in the celtic rock and folk-Punk scene…”
”kick ass live footage of the band in their youth til today…”
“in-depth interviews, humorous shorts by fellow musicians/promoters in the paddyrock scene…”
The Greenland Whalefishers
Greenland Whalefishers Documentary Movie- ’20 Years Of Waiting’
1 hour 38 minutes of pure unpolished Irish punk made by Norwegians!
Available for rent as Video On Demand- Instant Streaming and on DVD
Buy The DVD (and other stuff!)
Contact The Band
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