Category Archives: Folk-Punk

ALBUM REVIEW: SONS OF CLOGGER- ‘Return To The Stones’ (2019)

West Midlands based Sons Of Clogger are an alternative four piece band with a huge sound fusing Punk, Indie, Rock, Metal and Folk. Their full blooded invigorating music has been captivating crowds and listeners in many countries and as our man in the States T.C. Costello finds with the release of Return To The Stones their second full length album they are set to continue doing so…

About a year ago, I found myself at the Ragged Bear Festival in Warwickshire. This two-stage festival seemed tailor-made for anyone who’s ever been to a London Celtic Punks show, tailor made to anyone who loves a sea chantey as much as a moshpit, and indeed tailor made me. The Whipjacks’ played of some the speediest Celtic-Punk I’ve ever heard downstairs, and Greenman Rising, who organized the festival, brought their hardcore folk tradition to modern audiences on both stages.

Another highlight of the festival was Sons of Clogger. This Staffordshire foursome’s sweaty basement show felt like a folk session from long ago but unstuck in time, with traditional melodies and story teller lyrics over an rhythm section straight out of the ‘80s punk scene in London. Adding mandola, low-D tin whistle and a 12-string acoustic guitar created a sound evocative of pre-Christian Britain, a bit of ‘80s Camden Town, and an Irish Session.

Needless to say, it came as a massive surprise to me that the band’s first full-length album starts with a distorted guitar riff. And this album, indeed, is full of surprises – so much so that this review may warrant a spoiler alert. With ‘Return To The Stones’, the band continues to blur the lines between the ancient and modern, the Folk and the Punk, and even more genres.

After the unexpected electric guitar on the opening title track, the full band comes in with 4/4 rock groove a bit reminiscent of The Clash. I was wondering where the folk aspect of the band had gone. But as soon as DaveO’s vocals kicked in, I had my answer.

“We’re heading for the Northern Lights

From town to town with you right by my side

Oh Yeah, Bring me that girl today”

He croons with the command of a storyteller and the fury of punk, narrating a tale of the Callanish Stone Circle in the Outer Hebrides during Pagan times. The Narrator is a mother who had visited the stones 10 years previous to ask for a daughter. She is travelling to the stone circle again to thank the stones, this time with her daughter, now of course ten-years-old.

More definitive folk elements sneak into this song, too, but I don’t want to spoil the surprise.

The second song of the Album, ‘London Town’, also takes you back in history, though not nearly as far, and tells of decadent underground cults amongst the gentry in London. The band writes, “Over the last 300 years, underground gentry have worshipped various cults: Some celebrating homosexuality, some devil worship, and some even to this day celebrating the death of King Charles I!”

“Subterranean location

Was shattered and prosaic

It earned its reputation

Was full of old posh rakes

With lavish cars and fat cigars

Certain gentry found

I’ll meet you at the serenade

Down in London Town.”

Once again, this song is driven by electric guitar and the Band’s tight rhythm section, but adds folky vocals and even a bit of mandolin over the main guitar riff.

Next comes ‘Harrignton And Boots’, a punky number a bit reminiscent of The Cockney Rejects, and tells of punks who have gone to serve in the military.

“My Brothers they said to me,

What happens if we die?

Better think about the last words that we’ll say.”

And the last words are the chorus:

“Bury me with me Harrington and Boots.” It’s “The Harrington Jacket and Doc Marten Boots worn by punks past and present,” The band writes, “It’s a soldier’s last wish to be buried in his true identity, not as a soldier, but the true honor of a lifelong punk.”

With the fourth Track ‘Ragged Bear’, the band’s folkiness is unambiguous. Starting with a vocals-and-mandola intro, the full band doesn’t come in until a minute in, and when it does, there’s a big, tin whistle lead with the bands ‘80s punk rhythm section still going strong.

The karmic tale starts with an abused bear, left in a horrible state, only to be healed by the devil, who sent the bear to take revenge on the humans who mistreated him so, and I challenge any listener not to shout “The Bear! The Bear!” along with the chorus. The Into of ‘Running Out The Guns’, blurs the line of ancient and modern a bit more, with an intro powered by a heavily echoed guitar and tin whistle, which gives into a big, tin whistle breakdown a bit reminiscent of Flogging Molly. The hard rocking, seafaring tune covers the tradition of the plight of sailors’ lives:

“We’ll bring ye Hell on the seas’ great swell

We are the devil’s sons.

While ye lye and the breast of thy own sweet maid

We’ll be running out the guns.”

Next comes a trio of love songs. ‘On The Road’ is a guitar effects-heaving ode to long-distance love with a big chorus, and ‘Traveling Fair’ has a haunting, droney arrangement and tells of a collier’s son running away to be with a green-eyed Romani Gypsy girl, which ends with an jig that’s somehow reminiscent of The Clash.

Finishing the trio is ‘Punk Rock Girlfriend’, a hard rocking number that makes me think “hey, i know her!” every time I hear it.

She’ll shave her hair, give you the stare

She’s hanging with the punks

When you see here dancing, she’s dancing near the front

Piercings of silver rings and green and purple hair

She’s my punk rock girlfriend!”

Having met her at a couple festivals, these lyrics as far as I can tell are 100% accurate.

Closing out the album are ‘Beautiful Dream’ and ‘Goodbye’.

‘Beautiful Dream’ is an anti-war song with a nice jangly electric guitar-and-mandola wall of sound. The lyrics seems hopeful but also self-consciously naive with the chorus,

“No more war, Just love / Is a beautiful dream”

‘Goodbye’, the album’s closing number starts with a cinematic-sounding intro, powered by floor toms, spacey keyboards and sparse piano work. It builds to a hopeful song about moving on on life:

“I’m holding on, to something that’s killing me

To something that’s thrilling me

I’m changing things, you were my everything

Ain’t nothing can be the same

‘Cause I’m leaving tonight.”

The band writes “It’s a goodbye to a love that’s lost; it’s a goodbye as in lost life; it’s a goodbye as in leaving drug or alcohol addiction.” A fitting hopeful ending to the album.

‘Return To The Stones’, is an unpredictable journey, full of alluring settings, powerful stories and a colourful cast of characters. If you want folk and punk fused in a way that would even surprise the most loyal readers of London Celtic Punks, look no further.

Buy Return to the Stones  CD- FromTheBand  Amazon

Contact Sons Of Clogger  WebSite  Facebook  Twitter  Instagram  YouTube

2019’s Ragged Bear Festival will be held on the 25th and 26th of October at The Crew and Queen’s Hall, conveniently locked in the same building in Nuneaton, Warwickshire.

Cheers to our good friend and comrade T.C. Costello for the review and you can keep up with his antics across the globe by checking him out here Facebook  Bandcamp  Twitter  YouTube

ALBUM REVIEW: THE FILTHY SPECTACULA- ‘The Howl Of The Underclasses’ (2019)

Twisted gypsy punk, revved up pirate shanties, dark folk, ska, punk, dark cabaret, Southern gothic, a bit of steampunk, a bit of darkness, a bit of coarse music hall banter and a lot of drunkenness. The second full-length album from The Filthy Spectacula with thirteen more songs of death, debauchery and drinking that are sure get you dancing.

The story of The Filthy Spectacula begins on a dark and stormy night in late 2014 when a group of vagabonds meet to swap stories, drink absinthe and make music. They were on to something and took to travelling around and making new stories together. Some got left at various ports along the way, but other riff-raff were eagerly waiting in the shadows to join this travelling circus. They released their debut album a couple of years ago Thrup’ny Upright which is available from the band but you can also get a free sampler of the album containing three tracks at the Bandcamp link below.

Details on The Filthy Spectcula are sketchy but having wowed audiences across Britain and played alongside this countries (and Canadas) best Folk-Punk bands as well as having been asked by Ed Milliband to “turn it down please” it seems nothing can slow down this marauding crew of lyrical lunatics. The Howl Of The Underclasses kicks off with the gloriously ramshackle ‘The Dirty Dog’. Fiddle and accordion are shoved up front and Mr E’s vocals lead the way with a eastern flavoured tune that we may call ramshackle but is from it in reality. Tuneful and as catchy as syphilis the album is peppered with references to the sea, death, debauchery and drinking and songs that would get even the stoniest of faces (me) smiling and the leaden of feet (also me!) dancing. Telling of one of London’s dingiest drinking dens.

” We who drown our sorrows in this dirty hole can forget brighter tomorrows”

Next up is my favourite of the album and the Eastern approach has gone for a more traditional folk-punk tune it is UNBELIEVABLY catchy and if catchy is the word that all record reviewers hate the most their really is no alternative . ‘Bedlam Hallelujah’ has such a great but dark ‘ska-ish’ beat it is sure to get you moving. The times that The Filthy Spectacula inhabit are those of Victorian slums and serial killers stalking the London streets and times when everyone drank Gin and did they must to survive. Oh Cynthia’ is a twisted love song and that word from earlier rears its head again. Mr E has a very distinctive vocal style that fits perfectly and the band flit from gypsy to ska to new wave effortlessly. Women And Children First’ is the cry of the shipwreck where men were and are still expected to stay on the sinking ship.

“If it’s you or I I’m going to stay alive”

A very nice accordion solo from The Blacksmith is followed by a fiddle solo from Miss Tea and already a quarter of the way through and every song has been outstanding. What the album lacks for in ‘Celtic-ness’ (this is after all a Celtic music site) does not take away from the album at all and would be up the street of the majority of our readers. ‘Our Dirty Little Secret’ returns to to the East and has a sort of Cossack feel to it and you can imagine men with folded arms bouncing up and down to this song about prostitution and grave robbing. It is thought that roughly 80,000 women were working as prostitutes in London alone during the Victorian era. On ‘Rum’ they pay tribute to the sailors drink of choice. Rum was routinely given to sailors right up to the 1970’s on Royal Navy ships. ‘Casanova With A Social Disease‘ finally sees the band in Celtic-Punk territory and by heavens they rock it. A short, sharp and sweet rocker with a nice bit of black humour

“I’m not loves young dream, I’m not as I seem”

The Hearse Song’ slows it down and that black humour is evident again and with a wee nod to The Pogues too. 

The Filthy Spectaular left to right: Lord Harold- Drums, Red Wine, backing shouting * Miss Tea- Fiddle, herbal teas, backing howling * Mr. E- Lead Vocaliser, Guitar, Absinthe, good looks and talent * Shady H- Bourborn, Bass, backing shouting * The Blacksmith -Accordion, Rum, backing grunting

We are back on the oceans again and Tyrants of the Seven Seas’ is just Mr E and acoustic guitar and tells of the excitement of piracy. For many it was an escape from from the cruel conditions on board merchant and navy ships and a chance to be treated as equals in a time when the working classes were seen as a separate race. One Step Closer’ is a heavier number despite its bouncy ska beat the accordion gives it an appropriate dark feel. She Wants Me (Dead)’ has a Poguesy feel circa Hell’s Ditch with it’s strong accordion lead and dark lyrics. 

Seas of Stupidity’ is another standout and they closing down the album well with the albums rockiest song.. A real foot stomper this one and catchy as hell! So that just leaves Dear Judas’ to bring down the curtain on The Howl Of The Underclasses and at nearly six minutes its the albums epic. A risky strategy seeing as even though the albums songs all hover around four minutes one thing you could say about them is that they are punchy and don’t tend to overstay their welcome. Well the same can be said of ‘Dear Judas’ and they carry on where they left off. On listening it seems much shorter and the punchiness is still evident and ends the album superbly.

The Howl Of The Underclasses is not all what I was expecting and I was very pleasantly surprised and they are now at the top of my list of bands to catch live. Capturing perfectly the filth, smoke and destitution of the city their was no happy ending for many in Victorian London but with a soundtrack of The Filthy Spectacula and an endless supply of Gin and Rum it would ease the pain a wee bit!

Buy The Howl Of The Underclasses CD  Download

Contact The Filthy Spectacula  WebSite  Facebook  Soundcloud  ReverbNation  YouTube

EP REVIEW: JAY MOODY- ‘Pub Songs On Palafox’

FREE DOWNLOAD!

Roots Music with No Reservations.

Jay Moody is a Native American/Irish folksinger from Pensacola, Florida. He describes his eclectic sound as Creolized Roots Music. Irish folk influenced by swamp blues and pub-rock, with hints of Caribbean rhythms and Celtic melodies.

One of the things we set out to do with this site when we started was to promote new music. When I say new music I mean of course music that had just been released as one glimpse at ‘modern’ music shows it is nothing of the sort. Nothing is new anymore and anyway seeing as Celtic-Punk has one foot in the past anyway the idea of it being ‘new’ seems a little strange to me. So we have a sort of informal policy to only review releases that have recently come out. We have on the rare occasion gone against this policy but only a small handful of times and only when the release is new to us and worthy of a review as is the 2013 debut EP of Jay Moody. Jay has been performing as a singer-songwriter for most of his adult life. Raised in a large, Native American/ Irish family, he is a member of the Cheroenhaka (Nottoway) Tribe, he learnt his first guitar chords at his father’s knee who was also a gigging musician having cut his teeth singing on city streets, beaches, and campfires throughout the Gulf-coast. Raised in a Navy family, Jay’s youth was spent moving around various maritime communities while always returning to his home in Florida

So it was that back in June, 2013 Jay released this small collection of songs Pub Songs On Palafox, a solo EP that was intended to capture the raw energy and sound from his time busking in the urban setting of his home in downtown Pensacola, Florida. Palafox is the name of the main strip in downtown Pensacola, and that’s why the EP is named as he was singing pub songs on Palafox. Simple really! Four songs recorded in the raw as a live-air production that captures the energy and sound of a solo performance busking downtown in competition with the sounds of a bustling city street. This EP may have been designed as a way to drum up some work but he soon found work getting in the way and so began a few years away from the music biz until recently and Jay has major plans going forward including new music and more releases to come. The EP begins with a couple of songs from the Great Irish Songbook with the great drinking song  ‘Dicey Reilly’ kicking things off. The fictional (though no doubt based upon real person!) account of a life ruined by the drink. A song about a alcoholic Dublin prostitute is probably not the sort of thing you’d be wanting children to sing along but I remember well singing along with this as a young nipper. Written by the great Irish patriot and writer Brendan Behan the songs jolliness belies its more serious subject matter and has long been a staple of the Irish folk scene and a firm audience favourite. Jay gives it plenty of ‘oompf’ and sings it straight but with power and no end of passion.

This is followed by another Irish favourite and again ‘Black Velvet Band’ is a dark song about infatuation, deceit and injustice that many would know but not realise the subject matter was so awful. In fact a mate of mine told me his Mammy used to sing this to him at bedtime! Telling of a young man who has the misfortune to fall in love with a thief who tricks him into holding a stolen watch. As this is a Irish folk song he is caught of course and sentenced to seven years penal servitude and sent away to Van Diemen’s Land now known as Tasmania. Again Jay plays it with a power and his strong vocals are the most stand out thing here. Though he sings loud and almost a shout it also a gentleness that keeps it’s feet firmly in Irish folk territory. The pub may be the venue to hear these songs and Jay has the kind of the voice that can cut through the rowdiness and the chatter that sometimes afflicts the solo performer in a Irish pub! Next up is the first of Jay’s compositions and ‘Looks Like Jesus’ shows Jay has a great talent for songwriter. Peppered with imagery from the Southern atmosphere he calls home the  rockabilly-blues influences fit perfectly and again its hard sometimes to think its just Jay and a guitar.

The EP comes to an end with the cheeky ‘Miss Constance’, a naughty Caribbean-styled tune about the perils of younger women. A style of music known in Jamaica as ‘mento’ it predates and has greatly influenced ska and reggae music. Known for topical lyrics with a humorous slant sexual innuendos were also common as they are here if you listen closely! So this EP may be an amazing six years old but seeing as Jay has made it available as a ‘Name Your Price/Free Download’ then their is no reason not to get yourself a copy. It may even inspire Jay to get his arse into gear and record some more. It may be six years since Pub Songs On Palafox came out but you can still find Jay performing in intimate venues throughout the Southeastern United States. Deeply influenced by both his Irish and native roots as well as folkfunkblues, pub rock and Country with more than a touch of Caribbean rhythms to keep the Irish/Celtic melodies company Jay is a original artist and anyone who can breathe new life into songs that are so familiar is a great talent.

(hear Pub Songs On Palafox on the Bandcamp player below!)

Download Pub Songs On Palafox  Bandcamp

Contact Jay  WebSite  Blog  Facebook  YouTube  Twitter  Instagram

SINGLE REVIEW: LORETTA PROBLEM (featuring Juha Lagström)- ‘The Waltz Of My Drunken Dream’ (2019)

Wow! What to say except that Finland’s Loretta Problem have hit the jackpot here with their new single. I think it’s  no exaggeration to say it’s a song that The Pogues would have been proud to record! Featuring Juha Lagström on vocals ‘The Waltz Of My Drunken Dream’ is perhaps Loretta Problem’s most influenced Irish folk song and I can’t wait to hear more of them! 

Loretta Problem have featured on these pages several times in their past with their Scandinavian/ Celtic flavoured punk rock and back in the beginning we even had them labelled as “not one of the most prolific bands in the celtic-punk scene but certainly one of the more interesting”. Well we will have to change that I think. They may still be one of the more interesting and innovative bands around in the scene but the last few years have seen more than regular releases hitting our doorstep/e-mail tray seeing them fit more in the last handful of years than the previous two decades!. Formed in the tiny Finish town of Vaasa in 1994 and yes Finland may be more famous for death-metal but such is the booming popularity of Celtic-Punk that you’ll always find one band representing everywhere and for Finland it is Loretta Problem. All the Nordic countries seem to have healthy alternative music scenes and appear to be much more open to each others music. Loretta Problem have released one album and a handful of singles in their time together which spread over those two decades plus may not be much but for well over a decade Loretta Problem took a back seat while the various band members were working on other projects like families or in other bands. Getting together to play every now and then at the odd gig or festival the band eventually regrouped and Loretta Problem have now become a permanent fixture on the music scene in their home country and, with every release, further afield too.

I sit and drink through rainy days
And after all what can I say?
Not sure ’bout God but when you pray
Pray for me too
Pray for me too

I lose out babe, reeled from the start
I’m lost, my love, somewhere in my heart
Please keep your faith, stay as you are
Shine like a star
Shine like a star

We waltz till the dawn under darkening skies
The steeples keep silent, the wind’s blowing by
Your eyes bring the light upon this falling night.
The ragged silver screen
of my drunken dream
…my drunken dream

One  for the road, one for yesterday
One more for hope and for this sad day
Not sure ’bout God but when you pray
Pray for me too
Pray for me too

We waltz till the dawn under darkening skies
The steeples keep silent, the wind’s blowing by
Your eyes bring the light upon this falling night.
The ragged silver screen
of my drunken dream
…   my drunken dream
….  my drunken dream
….. my drunken dream

One listen to ‘The Waltz Of My Drunken Dream’ will I am sure be more than enough for you all to fall in love with Loretta Problem though it is quite the departure from their usual fare. Punk rock with fiddle and the odd Celtic flourish is normal but here they try something new and by Christ it has worked! With the devilishly good looking Finish actor and singer (and former bandmate) Juha Lagström on vocals and aided by visiting musicians Lauri Kotamäki on accordion and Petri Judin on tin-whistle the song has an unmistakable Poguesy air to it but without any attempt at being a copy of them. Juha’s voice is strong and powerful and he cuts a more than menacing figure in the excellent accompanying video too.

Buy Download  Apple  iTunes

Contact Loretta Problem  WebSite  Facebook ReverbNation  YouTube

ALBUM REVIEW: THE WALKER ROADERS- ‘The Walker Roaders’ (2019)

The origins of Celtic-Punk go back to a handful of bands but without a doubt it was the seminal London-Irish band The Pogues that the whole genre owes most to. Here Graveyard Johnnys Callum Houston runs the rule over the most long awaited album in the scene of recent years. Pogues accordionist James Fearnley teams up with members of the only other two Celtic-Punk bands that have come close to The Pogues in both popularity and influence, Flogging Molly and the Dropkick Murphys, to form The Walker Roaders. The pre-album release campaign was masterful but can the album live up to all the hype…

To anyone who is not aware of The Walker Roaders they are a new super group fronted by James Fearnley (accordionist of The Pogues) with Ted Hutt (founding member of Flogging Molly, producer for Gaslight Anthem, Tiger Army, Bouncing Souls etc etc), Marc Orrell (founding member of Dropkick Murphys) and additional musicians Kieran Mulroney (Low and Sweet Orchestra), Brad Wood (producer of Smashing Pumpkins) and Bryan Head (Dick Dale). It’s going to be hard to talk about The Walker Roaders without mentioning The Pogues.

The Walker Roaders were a street gang when James Fearnley was a kid growing up in Manchester who would slit your thumb with a knife if they came across you and felt like it.

The influence is clearly strong yet it is very much welcomed. It just goes to show how much of a contribution James’ playing had on The Pogues sound The album kicks off with “Lord Randalls Bastard Son”. This track is sure to win anyone over on the first listen. The pace is fast, the melodies strong and the words potent. James’ voice is sturdy, bold and northern as they come. He sings with strength and clarity giving every word importance and making sure not one is to be missed.

In the background I can hear what sounds to be the return of the beer tray, a subtle nod back to the early Pogues years. The second track “Seo Yun” is another fast paced number. The minor melody of the old Irish classic “The Foggy Dew” is tastefully borrowed for the verse but not before it jumps into a resolving singalong major chorus. The underlying Polka beat keeps the track turning and it’s heart pulsing. Following that is the first single from the album “Will You Go Lassie Go”. When I first saw the title I thought instantly it was going to be a cover of the traditional Scottish tune of the same name. It is however an original but has all the ingredients of a timeless ballad in it’s own right. The drums are huge, I can hear them echoing for miles through valleys with only the surging chorus of strumming guitars washing over them. This is a perfect festival song.

Before going any further I just want to state that the lyrical content, musical arrangement and production of this album is of an extremely high quality on each track, considering the members involved I would expect nothing less. “The Story” is a prime example of all those components. The accordion takes prominence and the song flows just as it’s title suggests. At “A Meteor at a Time” we reach the middle of the album and by now we are easing into mid tempo. I feel the momentum gets slightly lost here, although it is yet another great song I imagine it maybe more of a slow burner for some people. On my first few plays of the album “Old Tar Road to Sligo” was my first ear worm. It’s lively introduction and 6/8 swing takes me right back to the “If I Should Fall from Grace with God” glory days. The song structure meanders in some interesting directions but it is never far from returning to it’s source. I have to amid I did do a quick search on the price of Winnebago camper vans. “The Blackbird Only Knows One Song” stays in 6/8 timing which is proving to work very well. Here the vocals and lyrics take the helm held a float on waves of heavily reverbed banjo, accordion, guitar and crashing drums. “Here Comes The Ice” has to be my personal favourite. It bears a strong nostalgic feel with wit that will have you smiling and honesty that could almost bring you to tears. The song is joint together nicely with a repetitive catchy guitar riff.
To finish the album off on form we have “Turned out Nice Again”. Kicking straight in with a powerful melody played by the tightly combined accordion and whistle combination once again echoing back to that classic Pogues sound. Could there possibly be the additional of a special guest musician on this track? As a huge Pogues fan I have seen many similar bands pop up over the years but I have rarely been satisfied, there has always been something lacking. This album offers some kind of closure to that void. I really hope that this is just the beginning for The Walker Roaders, I would love to see the band take to the road. The album has been well worth the wait, the sound is timeless and the lyrics read like a novel. I’m sure lots of people will be looking for a hard copy of the album, I too want to keep this forever.
”Walker Roaders came together totally organically, A bit of fun really. The result of James, Marc and myself getting together to hang out and write songs. Then it became a mission to take Celtic music to another level!”- Ted Hutt on how the Walker Roaders came to be
Buy The Walker Riders  Stream or Download
Contact The Walker Riders  WebSite  Facebook  YouTube  Instagram
Thanks to Callum Houston for the great review and who better to review a banjo heavy album than someone who knows his way round a banjo! Callum’s fantastic debut EP Gravities was released just last month and was reviewed on these pages here. As part of the wonderful Psycho/ R’n’R Welsh trio the Graveyard Johnnys he has played just about every corner of Europe and now resides in Brittany but will be over visiting in December anday d will be doing a select series of shows including a special London Celtic Punks date that you should definitely keep your ears open for!! December tour dates  Thursday 5th- The Anchor, Wingham * Friday 6th- Frosty’s Bar, Kenton, Harrow * Saturday 7th- Seamus O’Donnell’s Bristol * Sunday 8th The Star – Fishponds. Check Callum out on Facebook  Bandcamp  YouTube

SINGLE REVIEW: CALICO STREET RIOTS- ‘Through The Storm’ (2019)

After a eight year hiatus Calico Street Riots are properly back and with a vengeance! Two new tracks with more promised on the way. Through The Storm carries on where they left with Celtic-Punk packed with passion and enthusiasm.

Calico Street Riots are a six-piece folk punk band hailing from the wonderfully named (and quite apt!) Gravesend in Kent. Formed in 2008 they shot to fame with the release of their debut EP From The City To The Shores from way back in January, 2011. One song on that EP perfectly captured the imagination of the worldwide Celtic-Punk scene and ‘A Drink And A Fight’ introduced the band to a worldwide audience. That EP is now available a free/pay what you like download and you can stream it on the Bandcamp player below.

Several gigs around town including supports to the Greenland Whalefishers at the, now sadly long gone, Gaff and a headline show at the spiritual home of the London Celtic Punks in Tottenham at Mannions. The band went quiet soon after though reforming every now and then to play locally around Kent and though it may have seemed like they had given up the towel was never quite thrown all the way into the ring. The success of Boomtown festival has also contributed to the rise again of Calico Street Riots with various members of the band heavily involved in the organising and the promotion of the festivals dedicated Irish stage, the Shamrock Bar. Calico Street Riots playing every year at the festival to a new crowd of adoring Celtic-Punk fans.

Calico Street Riots live at this years Boomtown, with guest bodhrán player Gilbert, from left to right: Nick Whiteoak – Bass * Tage Wood – Acoustic Guitar * Laura Felstead – Violin * Dave Irving – Electric guitar & Vocals * Dave Felstead – Drums * Nat South – Accordion *

So it was that this year and again set to storm Boomtown the band booked a handful of gigs as a warm up for the festival and even announced the release of their first new songs in over eight years. Though only two tracks Through The Storm has been worth the long wait and will win them over both new and old fans alike I’m sure. First track ‘A Course For Home’ speaks of a sailor returning home after months away at sea.

“Before I’ve had a chance to breathe I feel the storm surround me
But as the stars burst through the clouds I see the way to go
As each step towards the wheel steadies the ground beneath me
I feel the wind upon my skin ready to take me home”

A not too uncommon theme in Celtic-Punk the song has a certain influence from The Dreadnoughts and singer Dave handles the vocals with ease. Also like The Dreadnoughts they are not afraid to mix up genres and traditions and with some Eastern sounding accordion accompanying a Gaelic fiddle while the rest of the band give it plenty of oompf keeping it fast and furious. They have lost none of their passion for their music I am delighted to hear.

The other song here is ‘Broken Bones’ and this time it’s a much more ‘traditional’ Celtic-Punk track. The major influence here is The Pogues as distilled through Flogging Molly. The song may be about a prisoner or then again maybe not but the lyrics are clever and make your brain work. Another real foot-tapper with again Dave shining on vocals while Laura on fiddle and Nat on accordion also shine on the folky instruments. The whole gang come together to belt out the chorus

“We won’t always have to run
So catch your breath before it’s gone
And when I fix these broken bones
I’ll walk with you to never be alone”

and the song is over in a flash and left me wanting much much more from them. The production is excellent so hats off to the engineer Paul West at Awesome Source Studios for a job very well done. Hopefully Calico Street Riots have learnt their lesson now and won’t be going off again for another eight year break in a hurry! Passionate, intelligent and rowdy as hell Celtic-Punk is sometimes hard to come by down here in the south of England with just The Lagan and Neck thinly spread so to have the Riots return and back at their best to is the most exciting thing to have happened this year and I can’t wait to catch up with them.

(you can hear Through The Storm on the Bandcamp player below)

Download Through The Storm  FromTheBand  iTunes  Amazon  

Contact Calico Street Riots  Facebook  Instagram  YouTube  Bandcamp

ALBUM REVIEW: THE WHIPJACKS- ‘This Wicked World’ (2019)

“We’re The Whipjacks and we’re just having fun”

This Wicked world is the brilliant debut album from a relatively new band to the Celtic-Punk scene. Based in Worcester in the English Midlands and heavily influenced by the major scene greats they are more though than just following others as here they deliver an album of quality high tempo Celtic Folk’n’Punk. 

Pounding drums, driving bass, screeching guitar, melodic mandolin and partial nudity. These are the things that energetic Midlands based five-piece The Whipjacks intend to bring to venues around England and based on their debut album they should be entertaining crowds for quite some time. If they aren’t near you right now, you can be damn sure they are coming… soon!

Their debut release was Scoundrels And Rogues, a 4-track EP, including a radio edit of the title song, which came out in early 2017. Original compositions of high tempo Celtic-Punk with catchy tunes that belies that The Whipjacks are basically a punk band but with a  mandolin player but in the right hands and with the right tunes a folk instrument can transform any band into something much greater. Here Arran’s playing makes that difference.

So just over a year later saw the release of This Wicked World and a catalogue of mishaps here at London Celtic Punks that saw it filed in our spam folder for ages and then lost, along with 100’s of hours of music when my laptop went bonkers. Finally though we are ready to deliver our verdict and I’m guessing that most will have already decided which way I have gone from the over enthusiastic opening paragraph!! Well yes it’s true I absolutely love it and I’m not ashamed to announce it from the rooftops!

Again, as on Scoundrels And Rogues all the tracks here are original compositions. No room for ‘The Wild Rover’ here I am glad to say. The shadow of the ‘Big Bands’ does loom over them somewhat and partly it’s because of their name and similar style to one band in particular but The Whipjacks plough their own furrow and it helps I suppose to be tucked away in a quiet backwater like Worcester to develop their own style and sound. The album opens with ‘Forever Free’ and from the off it grabs you with Tim wielding his guitar in a similar style to how The Skids once did while Dean’s strong vocals are both tuneful and punk rock. It’s a well chosen start to the album with a catchy beat and a song that leads directly into one of the albums highlights with Arran getting his first chance to shine on the mandolin and  ‘Sundown Devil’ has tinges of good auld fashioned country’n’western mixed into proceedings and a great chorus and a nice sense of cheeky humour too.

“She’s a devil when the sun goes down, my friend, I love it when she goes down,

Innocent and sweet when you pass her on the street but a devil when the sun goes down”

‘Push On’ is a short piratey number that still embraces The Whipjacks sound coming across like a punk sea shanty before the album’s title song ‘This Wicked World’ and a real Celtic-Punk epic. Lasting over five minutes the song dives and lifts and swirls throughout and while not quite a ballad it certainly slows the pace nicely. So far it’s been a sort of generic ‘Celtic’ sound The Whipjacks have employed but finally on ‘Hero’ we can nail down a ‘Gaelige’ influence and what a song. Nowhere on This Wicked World does Dean’s voice sound so good as on here and its a mark of the band that my favourite tracks from the album are so diverse but then the Bhoys go for it and finish the song with a real CeltPunk flourish. The next song is the one they chose to release as the album’s single and is without a doubt the #1 song here. I may love a ballad or a trad folk reel or two but give me a foot-stomping fist in the air dance floor filler any day of the week and I’m in heaven. ‘All My Pains (Are Self Inflicted)’ is that song! Catchy as hell and a guaranteed audience favourite I am sure.

With ‘The Ballad Of Jack Cade’ we are set for a bit of a history lesson and I must say how impressed I am with the current trend of bands singing sings like this that don’t just entertain but also tell a tale too. English history is full of such stories and while many of the ‘middle-class left’ would have us self-flagellating ourselves over slavery or some such event from the past they are more than happy to ignore the history of the ordinary people of this island of rebellion and struggle. Jack Cade was the Irish born leader of the 1450 rebellion against King Henry VI. Although put down ruthlessly it led to the War Of The Roses which in turn led to the breakdown of Royal authority. Having been accused of murder and fled to France he returned in 1450 emerging as the leader of a Kentish rebellion. His forces defeated the royal army at Sevenoaks in June and two weeks later he entered London, where he executed the hated Lord Treasurer. Eventually run from the city the government persuaded most of the rebels to disperse by offering them a pardon, but Cade continued his resistance. Wounded and captured near Lewes on July 12, 1450 he died while being transported to London. The song itself is a catchy folk led number that The Levellers would be proud of. One thing the Celtic-Punk scene can’t get enough of is more rap style numbers and on ‘L.S.D’ The Whipjacks deliver. It’s not quite the House Of Pain but again their sense of humour shines through before ‘Song For A Swine’ and a quick barroom ballad played out to the sound of a pub piano with Dean and gang crooning along before the album’s curtain comes down with the energetic  ‘Farewell To The Ladies’ and a song that again raises both a smile and a fist!

So having made themselves a firm fixture on their local music scene and with a ever growing list of gigs further afield it’s now time for them to come to the attention of the wide Celtic-Punk community. With a scene as partisan as the Celtic-Punk scene it’s hard to get people in this country to look beyond the likes of the Murphys and the Mollys but all the time their are bands like The Whipjacks flying the flag for Celtic infused Folk-Punk with shedloads of both attitude and really good songs. This Wicked World is thirty-five minutes of infectious sea bound anthems. Music to forget your vows and bring a smile to your face and joy to your heart as well as pain to the soles of your feet!

Buy This Wicked World  cdBaby  iTunes

Contact The Whipjacks  WebSite  Facebook  YouTube  Bandcamp  Soundcloud

Join the crew of local favourite Roderick the Rambunctious as he looks back on his wrestling career to date.

EP REVIEW: THE TWO MAN TRAVELLING MEDICINE SHOW- ‘They Say I Don’t Write Love Songs’ (2019)

Back again it’s the band with the longest name in Folk-Punk (and possibly the most members) with another release of original music. Dorset’s finest Folky-Americana-Country-Punk band The Two Man Travelling Medicine Show’s new EP is out now on Musical Bear Records.

The Two Man Travelling Medicine Show are back again with their brand new EP and four all new tracks recorded entirely in a barn in North Dorset! Now this being the Summer it’s a wonder they have found the time as this is most definitely their time and one look at their list of gigs past and present the last few weeks shows a band that has crisscrossed the South of England playing just about every festival imaginable! Formed in Dorset in 2016 The Two Man Travelling Medicine Show have steadily grown in stature and popularity over the following years due in no small part to their hectic touring(no mean feat for a band that sometimes has up to ten members!) and they have added to their great reputation as a live band with a well received album and several EP’s of their own original compositions. Their debut album, Weeding Out The Wicked, came out in 2017 and has been followed by three quality EP’s in the following couple of years, Float Your Boat, A Snake’s A Snake and Oh Me Oh Mi. Releases that all capture The Two Man Travelling Medicine Show sound perfectly. American bluegrass and Americana butting heads with quaint auld English folk. A quintessential English folk group that could have been born at the heyday of Folk-Rock in the mid-1970’s and takes in influences from those halcyon days before redefining them and bringing them bang up to date.

The first of the EP’s quintet of songs is the title track ‘They Say I Don’t Write Love Songs’ and follows on in what I now think of as the traditional The Two Man Travelling Medicine Show way. A catchy thigh slapping driving beat accompanied by the sounds of more instruments then you could possibly take in all at once though the duelling banjo and fiddle shine through. The vocals from Mark are as usual strong and powerful and the words talk about how love changes us. Theirs a a nice slow break in the middle which gives the song a chance to build up and come back strong and yeah I really love it!!! They follow this swiftly with the glorious ‘Raise My Glass’ and a hoedown country stomper that is guaranteed to get audiences up and doing that famous dance scene from Seven Brides For Several Brothers! A typical drinking anthem that sees the band really go for it and if I have ever had any criticism of The Two Man Travelling Medicine Show it is that they sometimes are too restrained and ought to just to bloody well go for it like on ‘Raise My Glass’. A heartfelt cry from the heart in praise of all that’s good in a difficult world. They move away from their usual Summery/bouncy style with ‘Hanging The Bells’ which has a much tougher bite to it and comparisons to New Model Army leap out at you with the acoustic guitar and fiddle pushed to the fore over a song about getting away from the drudgery of life, or as singer Mark says 

“a song about the impossible, wonderful dream of awakening from the nightmare of history; to a dog’s life away from the grinding forces of politics”.

The EP comes to an delicate end as fiddle player Alison Jay takes over on vocal duties for ‘Teenage Dreams’ for this slow paced number on the danger of surrounding yourselves in nostalgia. The song drifts along beautifully before speeding up ever so slightly towards the end and again the amazing banjo playing and a-plucking shines a light on all the band do.

The Two Man Travelling Medicine Show left to right: Seb Hartley- Harmonica, Mandolin * Martin Giles- Guitar * Steve Wareham- Slapbox * Alison Jay- Violin * Chris Pearce- Keys (back of photo) * Rob Volves- Bass (back of photo) * Olly Hopper Pay- Guitar, Cello (back of photo) * Mark Lyons- Singer, Guitar * Jamie Lynch- Lyrics * Brad Watt- Banjo *

As already stated this band can sometimes reach up to double figures so getting them down on record so vibrantly is no mean feat I can assure you and here on They Say I Don’t Write Love Songs they have the talent of fellow Dorset musician Charlie Draper to thank. Having already featured here on the London Celtic Punks site as vocalist/guitarist of Sinful Maggie (we will be reviewing their new release in the next week or so) Charlie has done a utterly brilliant job of capturing the energy and passion of the band whilst losing none of their trademark knock out Folk-Punk choruses. Though they don’t make it particularly easy to hear them play outside the South-East it might be worth your while YOU seeking them out!

Buy They Say I Don’t Write Love Songs mark1lyons@icloud.com 

The EP is released on Friday 16th August and sadly there is no pre-order or links but as soon as they become available on release I will add them here.

Contact The Two Man Travelling Medicine Show  Facebook

Musical Bear Records  WebSite  YouTube  Facebook  

SINGLE REVIEW: THE WORKING CLASS SYMPHONY- ‘Berdiri Bersama/Memories’ (2019)

A double single release from one of the best bands from a non-English speaking country and The Working Class Symphony play a brand of Celtic-Punk that is totally influenced by Irish traditional folk music. If only more Irish bands played with this much passion!

As we have stated many times before Celtic-Punk has become a truly international scene with some unlikely communities taking up the baton and one of the most unlikely is the country of Indonesia. As strange as it may seem for a Muslim country they have one of the best (arguably the best) Celtic-Punk scene in the entire world. Music played with passion and with absolutely amazing ability from some brilliant musicians but its not just the music that makes the Indonesian Celtic-Punk scene so utterly fantastic it’s the morals and ideology behind it. Life is tough over there and they have adopted Celtic-Punk not just for the joyous romp that it is but also the camaraderie and spirit of friendship, loyalty and working class pride that bands like the Murphys have instilled in it from their start.

Their are several great bands in Indonesia, many of whom have featured on these pages, but the perfect way to find out more about his great scene is through our review of Wind From The Foreign Land- Indonesian Celtic Punk Compilation from 2014, a compilation of fourteen Indonesian bands, which also features our band of today The Working Class Symphony. Founded in 2010 in Surakarta, a couple of good friends (one a drunk and the other a musician!) were working in an internet cafe listening to Irish pub song compilations and inspired by the music it sparked up the idea to get together with some other friends and play similar music. When this became a solid group shortly afterwards it was then decided that they take the name The Working Class Symphony.

 

BERDIRI BERSAMA

We just the other day came across both of these releases at the same time and though they are separated by just a week we thought we’d feature both together. The first track is ‘Berdiri Bersama’ and is sung in Indonesian. A tale of unity through adversity and togetherness. The music is straight up Celtic-Folk and with strong, clear and passionate vocals from Ican, who also plays a mean tin-whistle. With the song meandering off into folk the Bhoys bring it back and chuck in some drums and electric guitar and the song suddenly takes a more upbeat sound. Catchy as hell and utterly brilliant!

A long road to accompany
Every step of footing
with friends spend the night
singing and laughing happilyForget all the
important differences we can keep together
when we toast To
enjoy a pleasant bright night

Break the barrier, get
rid of all the differences,
here we stand together
we continue to work

Break the barrier Remove all the
obstacles
here we stand with
us I will continue to work,You, him and them
together, face the world hard,
unite, determination, keep on going,
to keep guarding each other

Break the barrier, get
rid of all the differences,
here we stand together
we continue to work

MEMORIES

The second track is this time sung in English and ‘Memories’ is also soaked in Irish whisky and tradition. The talent on display here is incredible from fiddle to accordion to the more usual ‘punk band’ instruments. A virtually acoustic band that kicks up more of a storm than most ‘proper’ punk bands do… and sung in near perfect English this time.

So there you have it a couple of cracking folk tinged Celtic-Punk songs from one of the best bands going. The good news just continues though and you can get these songs as a ‘Name Your Price’ download. This means if you are short then you can get them for free. Yes for bugger all!! Some of you may be a bit skint but we’d ask you to remember that Indonesia is a poor country and these guys need the support of the worldwide Celtic-Punk scene to keep the music flowing so chuck them the price of a Guinness or two if you can. Their goal in all this is to make music that is uplifting for others and their is surely nothing as noble as that. God Save The Working Class !!!!!

Download  Track 1 Track 2 

Contact The Working Class Symphony   Instagram  Facebook  YouTube  Bandcamp

ALBUM REVIEW: STEVE IGNORANT’S SLICE OF LIFE- ‘Don’t Turn Away’ (2019)

‘Anarcho punk legend’ Steve Ignorant returns with his new acoustic project Slice of Life follow their 2014 debut ‘Love And A Lamp-Post’ with a new collection of eleven songs titled ‘Don’t Turn Away’. Accompanied by Carol Hodge, Pete Wilson and Pete Rawlinson as the Slice Of Life our man Anto Morra discovers Don’t Turn Away may be mellow, but the emotions and feelings are definitely not…

ABOUT STEVE

Steve Ignorant is a singer/songwriter and artist. He co-founded the anarcho-punk band Crass with Penny Rimbaud in 1977. After Crass stopped performing in 1984, he worked with other groups including Conflict, Schwartzeneggar, Stratford Mercenaries, Current 93, and US punk band Thought Crime, as well as occasional solo performances. Steve is also a wood sculptor and volunteer on the Sea Palling Independent Lifeboat, has written his autobiography –All The Rest Is Propaganda- and has worked as a traditional Punch and Judy performer using the name Professor Ignorant.

In 2007 he performed Crass’s entire Feeding of the 5000 album live at the Shepherds Bush Empire and throughout 2010-2011 presented The Last Supper, touring/celebrating the songs of Crass around the globe, ending with a farewell gig at Shepherds Bush Empire in November 2011. In 2013 Steve and Paranoid Visions decided to record an album. The result ‘When …?’,  a hybrid of styles, all with a nod to early 80s anarcho-punk. They now perform live on special occasions. Steve is now performing with his new band Slice Of Life. A far cry from the aggression of Crass, nevertheless compelling with powerful songs delivered in an acoustic style.

Debut album Love And A Lamp-post was released on Overground records in late 2014, surprising many with its honesty and change of style for Steve. A new bassist followed in early 2015, along with new songs and extensive touring all over the UK, as well as dates in Finland, and festival slots at Rebellion, Wickerman and Something Else A Bit North.

The opening title track tells you exactly where Steve Ignorant is coming from, if you don’t all ready know.  A bloke that just wants to walk his dog Evie in a better and more just world than the one run by the ‘dodgy toupee’ wearing war mongers we have at present.  ‘Your Day Will Come is’ a beautifully aggressive delivery to ‘Bully boys & laddies’ that take joy in acts of sadism that Karma will come for them. Oh, how I hope he’s right!

‘The Right Way’ is a joyful rant from the perspective of the pig-headed male we’ve all met down the pub, and occasionally as we get older, believe we may have become.

(“Anyone that has suffered a loss or has to deal with depression and/or despair YOU are not alone”)

I’ll apologise if I have misinterpreted what is being said in the next song ‘S.A.D.’ but it felt to me like quite a cathartic out pouring of grief with an advisory instruction to get bereavement counselling of any sort if required! Steve’s delivery, the backing and melody on this song brought to mind David Bowie, Lou Reed and even a touch of Leonard Cohen.

‘Slaughterhouse’ is a return to the short sharp shock 100% punk Mr Ignorant is known and loved for.  A message to assert yourself, read between the lines and make sure you believe before you commit. ‘The Story Continues’ is a lyrical punch in the guts. Tragically beautiful, depressingly true and perfectly said. ‘Song For Myself’ is a bleak celebration of getting to an age that you’re expecting the bells to toll for you, but hoping they’ll continue to ring out for you instead so you can enjoy home comforts and having another pint. ‘Diffrability’ a statement of what set him apart from the rest.  I think the one word missing in this song is integrity. ‘Stretford Blue’ is a dig at all those that have become masters of marketing revolution,  those Punk icons that have become the very corporate Hippies they told us not to trust. ‘Good Intentions’ this record just gets better. A melody we’ve heard a million times before but with a lyric so refreshing and courageous.  I can’t think of any other artist that could approach the dangerously sensitive subject of gender politics in a song today and treat it with such balance, gentleness and anger in equal measure. ‘Whistle Down The Wind’  the perfect closing track calling us to arms in order to protect our world, our rights and the values we have to hold on to because ‘This is our world’.

Well that’s the lyrical content dealt with. Musically it can be summed up very briefly as beautifully sparse, classy and clever arrangements with fantastic performances and musicianship by all concerned.

Much the same can be said of the sonic quality.  The production values are also second to none.

I don’t get a lot of time to do reviews these days but when the opportunity came up to review Steve Ignorant’s Slice Of Life’s new album I couldn’t resist.  As I get older I become less forgiving and many of the singers and bands I really looked up to, have become very stale and turned out to be complete arseholes and continue to scratch a living from nostalgia! So that is what gives Steve Ignorant ‘Diffrability’.    Back when I was a youngster Crass were vital, scary and not remotely commercial or easy to listen to.  I was more in love with the idea of them and the graphics they produced, than the music they made and would be much more likely to put Elvis Costello or Stiff Little Fingers on my turntable.

I think Honey Bane’s ‘A Big Piss Off To The Music Buis’ EP was the only record on the Crass label that got played regularly by my teenage self.  I loved it and am pleased to say I still have my original copy.

Steve Ignorant is still fighting the good fight and, unlike almost all of his contemporaries, has not sold out by continuing to tour or churning out the same stuff he was doing 40 years ago.

My older self loves nothing more than hearing songs about stuff that matters and this ticks all boxes. It’s Sleaford Mods meets Dr John Cooper Clarke, for Southerners and The Streets for people bored of those Hip Hop beats.

When I look at the Music Industry today and those Punk pioneers of radical change, it’s like it never happened! So I’m kind of delighted that Steve Ignorant is still here to prove it did happen. It was important and there was much more too it than loud music, screaming, leaping up and down and gobbing at each other  even if that was what was a lot of fun when we were young.

Buy Don’t Turn Away  CD- FromSteve  CD/LP-OvergroundRecords

Contact Steve Ignorant’s Slice Of Life  WebSite  Facebook  Instagram  Twitter

Don’t Turn Away is released on Overground Records which gives us a nice chance to plug Rock’n’Reel ,run by the indomitable Sean Magee, who occasionally works for Overground. It’s the UK’s best selling eclectic music magazine featuring all manner of Roots, singer-songwriter, Folk, Rock, World and Blues since 1988.  WebSite  Facebook

REMEMBERING HUGH THE GREAT O’NEILL IN SONG

Concluding our short series on celebrated figures from Irish history immortalised in song. Today is the turn of Aodh Mór Ó Neill (anglicised as Hugh The Great O’Neill), 3rd Baron of Dungannon and 2nd Earl Of Tyrone.

For our third and final part of the series we have opted for a song that is an instrumental but one whose air is as well known as any in Irish history. The song was rediscovered by the great Seán Ó Riada who was the single most influential figure in the revival of Irish traditional music during the 1960’s before his untimely death at 40 in 1971. Subsequent investigation shows it first appeared in Edward Bunting’s A General Collection of the Ancient Music of Ireland in 1809 and an earlier version titled ‘O’Neill’s Riding’ was included in Stanford’s Complete Collection Of Irish Music in 1787.

(the legendary Cork born composer and arranger of Irish traditional music Seán Ó Riada performs ‘O’Neills Cavalry March’)

Born in 1550, Hugh O’Neill (Aodh Mór Ó Neill) was the second son of Mathew Ceallaigh the illegitimate son of Conn Bacach O’Neill who had submitted to Henry VIII in 1542 and was regranted his lands with the English title 1st Earl of Tyrone.

Mathew Ceallaigh had been murdered by his half-brother Shane the Proud O’Neill who also drove the elderly Conn out of Tyrone and into the Pale in 1559 where he died not long after. Mathew had two sons, Brian, recognised by the crown as the next earl, and his younger brother Hugh. Shane the Proud had by now, in the tradition of his Gaelic ancestors, resumed the Celtic title The Ó Neill and is suspected of having Brian O’Neill murdered close to Newry whilst he was en route to London to assume the title of Earl. The English, fearing also for the life of the young Hugh removed him to the safety of London. Hugh was reared from the age of nine as an English noble in London until 1567, when he was returned to Ireland and placed in the safekeeping of the Lord Deputy of Ireland Sir Henry Sidney.

(the most ambitious project relating to Hugh O’Neill is the 2018 concept album Nine Years Of Blood released by Dublin folk-metal band Cruachan, pronounced ‘kroo-a-khawn’)

In 1568 Hugh was declared Baron of Dungannon and then in 1585 he was also declared 2nd Earl of Tyrone by Elizabeth I. He was to all intents and purposes a loyal and trusted servant of the Crown. He aided the English during 1580 in the suppression of the second Desmond rebellion and supported Sir John Perrot in his campaign against the Antrim MacDonnells in 1584. For this he was rewarded by Elizabeth I when in 1587 he was granted a patent to his grandfather’s Tyrone properties which were now controlled by his cousin Turlough Luineach who styled himself The Ó Neill.

(Godfathers of Celtic-Punk Horslips took the tune and put it to their 197? hit ‘Dearg Doom’)

In 1593 Turlough stood down as the chief of the clan thereby allowing Hugh to be invested with the title The Ó Neill. The ceremony was performed in the traditional way and on the sacred stone at Tullaghogue in 1595 witnessed by all the major Ulster clans. For some years prior to his inauguration, Ó Neill had played a cat and mouse game with the English.

(One of the truly great exponents of the art of playing the Uilleann pipes Paddy Keenan on his 1983 album Poirt an Phíobaire)

In 1591 he had eloped with 20 year old Mabel Bagenal the sister of Sir Henry the Marshall of the queen’s army. He helped arrange the escape from prison of Red Hugh O’Donnell along with Art and Henry MacShane O’Neill. Unfortunately Art froze to death during the escape in the winter of 1591 and the others were led to safety by Feagh MacHugh O’Byrne. Ó Neill had at first aided the English in their 1593 campaign against the Maguires of Fermanagh. The English were led by Hugh’s resentful brother-in-law Bagenal. Hugh Maguire was Ó Neill’s son-in-law and when Ó Neill suddenly withdrew his support Bagel was left dangerously exposed.

By 1595 O’Neill was to commit his first act of resistance to the English when he overran the fort at Blackwater and destroyed the bridge. This is the first event in what is known as the nine year war. From this time O’Neill perfected a system of conscription that included the richest noble to the poorest peasant. This new force was known as bonnachts and he had them trained in modern warfare. Even his gallowglasses laid down their great axes in favour of the arquebus. Ó Neill then defeated English armies led by Bagenal at Clontibret in 1595 and at the Battle of The Yellow Ford in 1598 where Bagenal was killed. Queen Elizabeth sent over the biggest English army to enter Ireland. Though it numbered 17,000 men led by Robert Devereux the Earl of Essex, it was to prove ineffectual and in 1599 Essex made a treaty with O’ Neill which was not to Elizabeth’s liking and she replaced Devereux with Lord Mountjoy.

(Scottish legends Silly Wizard perform O’Neills Cavalry March from So Many Partings)

In 1601 Mountjoy was able to capture the Spanish army sent to help O’Neill at the town of Kinsale. After the Battle of Kinsale it was a turning point for O’Neill. English forces were spoiling the lands in Ulster and causing starvation there. Hugh O’Donnell had left for Spain to try for more help but died there suddenly. Recognising that his cause had failed O’Neill sought a pardon and in 1603 Elizabeth ordered Mountjoy to open negotiations with all the chiefs involved in the rebellion. She died in the interim but Mountjoy concealed this from O’Neill.

Accompanied by Rory O Donnell, brother of Red Hugh, O’Neill presented himself to the new King James I. The Irish were received graciously and O’Neill was confirmed in his title and estates. However, back in Ireland the government continued to challenge O’Neill’s authority, particularly over his feudal rights the principle dispute being over the O’Cathains. In 1607 he decided to take this to the King but was warned secretly that he was to be arrested. Instead of going to London, O’Neill and O’Donnell, along with their families and followers numbering around 99 people took ships from Rathmullan in Donegal and were driven by strong winds into the Seine. This event would become known as the Flight of the Earls. The Earls and their families made their way over land to Rome where they were welcomed in 1606 by the pope. King James saw this flight as treasonous and O’Neill was declared an outlaw in 1613 by the Irish parliament.

A tablet set in the floor of the church of San Pietro, Montorio, marks the burial-place of the bones of Hugh O’Neill, Earl of Tyrone.

The parliament of Ireland outlawed O’Neill in 1613 and he later died in Rome on 20 July 1616 leaving behind a large number of legitimate and illegitimate children. Hugh O’Neill was buried in the church of San Pietro in Montorio, beside his son, also Hugh, Baron of Dungannon, and his brothers-in-law, Rory and Cathbarr O’Donnell. The inscription on his tomb is brief and was recorded by the historian, Father C.P. Meehan in 1832. During renovations to the church in 1848 the tombstones bearing the epitaphs of the Baron and O Donnells were carefully set in place again but the flagstone bearing the inscription on O Neill’s tomb was lost and a replica set in place at the behest of His Eminence, the late Cardinal Tomas O Fiaich, bearing the original inscription, can now be seen. The inscription reads

“D.O.M. HIC QUIESCENT UGONIS PRINCIPIS O NEILL OSSA”

Translated, it reads, “HERE LIES THE BONES OF HUGH O’NEILL, PRINCE or CHIEF

  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING FIACH MacHUGH O’BYRNE IN SONG  here
  • REMEMBERING RODDY McCORLEY IN SONG  here

REMEMBERING FIACH MacHUGH O’BYRNE IN SONG

The second in our series on celebrated figures from history immortalised in song and covered by both Folk and Celtic-Punk bands. Today we turn to the great Irish hero of Fiach MacHugh O’Bryne one of the greatest leaders in Irish history.

Memorial to Fiach McHugh O’Byrne, Glenmalure, County Wicklow

The song ‘Follow Me Up To Carlow’ recounts the struggle of Irish clan leaders against British rule in Ireland in the 16th century. The central figure in the song is Fiach MacHugh O’Bryne (1534 – 8 May, 1597) who fought the British army for thirty years during the reign of Queen Elizabeth I. The song celebrates his feats in battle and though thought to be from the time it was actually written 200 years later by famed Irish poet Patrick Joseph McCall, who also wrote the great patriotic ballads ‘Boolavogue’ and ‘Kelly The Boy From Killane’ among others. The song ‘Follow Me Up To Carlow’ is one of the most famous Irish folk songs and celebrates the defeat of the English army at the Battle of Glenmalure in 1580.

Lift MacCahir Óg your face brooding o’er the old disgrace
That black Fitzwilliam stormed your place, drove you to the Fern
Grey said victory was sure soon the firebrand he’d secure;
Until he met at Glenmalure with Fiach Mac Hugh O’Byrne.

Chorus:
Curse and swear Lord Kildare
Fiach will do what Fiach will dare
Now Fitzwilliam, have a care
Fallen is your star, low
Up with halbert out with sword
On we’ll go for by the Lord
Fiach MacHugh has given the word,
Follow me up to Carlow.

See the swords of Glen Imayle, flashing o’er the English Pale
See all the children of the Gael, beneath O’Byrne’s banners
Rooster of a fighting stock, would you let a Saxon cock
Crow out upon an Irish rock, fly up and teach him manners.

From Saggart to Clonmore, there flows a stream of Saxon gore
O, great is Rory Óg O’More, sending the loons to Hades.
White is sick and Lane is fled, now for black Fitzwilliam’s head
We’ll send it over dripping red, to Queen Liza and the ladies.

Fiach MacHugh O’Bryne (Fiach Mac Aodh ÓBroin) was the son of the chief of the O’Byrnes of the Gabhail Raghnaill. His sept, a minor one, claimed descent from the 11th century King of Leinster, Bran Mac Maolmordha, and was centred at Ballinacor in Glenmalure, a steep valley in the fastness of the Wicklow mountains. Their chiefs styled themselves as Lords of Ranalagh. The territory of the Gabhail Rabhnaill stretched from Glendalough south to the Forest of Shillelagh in Wexford and west to the borders of present day Co Carlow, an area of some 150,000 acres. Resenting the greed and cruelty of the Elizabethan adventurers and settlers, Fiach would raid their villages and kill or drive them out. He was appalled at the ruthless cruelty of the stewarts Thomas Masterson and Sir Henry Harrington and in 1580 went into open rebellion when Masterson summarily executed many Kavanagh clansmen.

(Perhaps the greatest ever version of ‘Follow Me Up To Carlow’ by the legendary Planxty included here with lyrics to sing along to)

Other clans joined with Fiach and when James Eustace, 3rd Lord Baltinglass, angered by the treatment of the Catholic Old English also rebelled and joined with him. The English were appalled at this, already Munster was in turmoil as the Earl of Desmond was in rebellion and in the north the O’Neills were moving also against the English.

(The song as covered by new north London Irish folk group Crock Of Bones on their debut EP ‘Nasty, Brutal And Short’. Incidentally the singer was named after Hugh O’Bryne)

An army of 3,000 men were sent into the Wicklow Mountains but O’Byrne and Eustace were waiting for them in Glenmalure. Over 800 English lost their lives at the Battle of Glenmalure and the rest fled back to Dublin. The following year the English offered terms, Eustace refused and fled to Spain but Fiach and the other clan chiefs accepted and were pardoned.

(Irish-American band The Young Dubliners from California performed one of the earliest Celtic-Punk versions of the song)

In 1592 Hugh Roe O’Donnell, with brothers Art and Henry MacShane O’Neill escaped from Dublin Castle. The breakout had been planned with the help of Hugh Mór O’Neill and the escapees fled to the safety of Glenmalure. It was a severe winter and Art died from exposure and was buried in O’Byrne land but Fiach was able to transport Hugh Roe and Henry away to safety.

(The Tan And Sober Gentlemen from Snow Camp, North Carolina)

The English spent a long time collecting heads and plundering, they spared few. In April, Russell again went hunting for Fiach who once again escaped. His wife Rose however was captured and sentenced to be burned to death. The sentence was not carried out.

(Jim McCann’s version was the first time I ever heard ‘Follow Me Up To Carlow’ when he bought me this album on tape when i was on holiday)

Lord Deputy Russell was to spend the next year unsuccessfully scouring the country for Fiach. However O’ Byrne’s luck was to run out. A traitor in his camp gave information to Russell that Fiach would be in Ballinacorr on 8th May 1597. The Lord Deputy was able to surprise him and captured him in a cave. There he was hacked to death and decapitated with his own sword.

(folk-metal version titled The Marching Song Of Fiach MacHugh from Irish band Cruachan)

Fiach MacHugh O’Byrne’s corpse was cut up, and for months hung on pike staffs on the wall over Dublin Castle drawbridge. Several months later, the pickled head was presented to the council secretary at London by an English adventurer, who was disappointed to find that the head-silver due on O’Byrne had already been paid in Ireland. The queen was said to have been greatly angered that

“the head of such a base Robin Hood was brought solemnly into England”.

(There’s no better way to end this article than with my own personal favourite and the version by Dublin Celtic-Punk band Blood Or Whiskey)

  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING HUGH THE GREAT O’NEILL IN SONG  here
  • REMEMBERING RODDY McCORLEY IN SONG  here

REMEMBERING RODDY McCORLEY IN SONG

A short series exploring some of the figures from history immortalised in song and covered by all your favourite Folk and Celtic-Punk bands. You’ve sung the song but do you know the rich history behind the words? Today we celebrate Roddy McCorley, a young man executed back in 1800. He has been immortalised in both the written word and song and 200 + years after his death we are still here celebrating his life with the many versions of the great song written about him.  

The Rody McCorley Memorial, Toome. “I gcuimhne Ruairí Mhic Thoirealaigh, a chrochadh annseo as a bheith páirteach i nÉirigh-Amach 1798. Iad siúd a d’éag ar son na hÉireann go mairidh a gcliú go deo.” “In memory of Rody McCorley who was hung here for his part in the 1798 uprising. May the honour of those who died for Ireland last forever.”

Roddy McCorley was the son of a miller and was born near Toome in the parish of Duneane, Co Antrim. and was a participant in the 1798 rebellion led by the United Irishmen. A few years before the rebellion Roddy’s dad was executed for stealing sheep. These charges are believed to have been politically motivated in an attempt to remove a troublesome agitator at a time of great social unrest. Following his father’s execution, his family were evicted from their home. There is uncertainty as to whether McCorley was actually actively involved with the Presbyterian United Irishmen or the  Catholic Defenders.

(the version that brought the song back into Irish folklore)

After the rebellions defeat, he joined a notorious outlaw gang known as Archer’s Gang, made up of former rebels and led by Thomas Archer. Some of these men had been British soldiers (members of the Irish militia) who changed sides in the conflict, and as such were guilty of treason and thus exempt from the terms of amnesty offered to the rank and file of the United Irishmen. This meant that they were always on the run in an attempt to evade capture.

(The Dubliners version in their own inimitable style as sung by Ciaran Bourke) 

These were treacherous times and Roddy McCorley paid the price when betrayed by an informer he was arrested and tried by court martial in Ballymena on 20 February 1800. He was sentenced to be hanged “near the Bridge of Toome” in the parish of Duneane. His execution was carried out on 28 February 1800. His body was then dismembered and buried under the gallows, on the main Antrim to Derry road. A letter published in the Belfast Newsletter a few days after McCorley’s execution gave an account of the execution and how McCorley was viewed by some. In it he is called Roger McCorley, which may have been his proper Christian name.

“Upon Friday last, a most awful procession took place here, namely the execution of Roger McCorley who was lately convicted at a court-martial, to the place of execution, Toome Bridge, the unfortunate man having been born in that neighbourhood. As a warning to others, it is proper to observe that the whole of his life was devoted to disorderly proceedings of every kind, for many years past, scarcely a Quarter-sessions occurred but what the name of Roger McCorley appeared in a variety of criminal cases. His body was given up to dissection and afterwards buried under the gallows…thus of late we have got rid of six of those nefarious wretches who have kept this neighbourhood in the greatest misery for some time past, namely, Stewart, Dunn, Ryan, McCorley, Caskey and the notorious Dr. Linn. The noted Archer will soon be in our Guard-room.”

In 1852, McCorley’s nephew Hugh was foreman of the construction of a new bridge across the River Bann at Toome. Hugh recovered his uncle’s body and on 29 June 1852, buried him at Duneane parish graveyard.

(one of the best recorded versions of the song by American folk legends The Kingston Trio)

See the fleet foot host of men
That speed with faces wan,
From farmstead and from fishers cot
Along the banks of Bann,
They come with vengeance in their eyes
Too late too late are they.
For young Roddy McCorley goes to die
On the bridge of Toome today.

Up narrow street he steps
Smiling, proud and young.
About the hemp rope on his neck
The golden ringlets clung
There was never a tear in his blue eye,
Both sad and bright are they,
For young Roddy McCorley goes to die
On the bridge of Toome today.

When he last stepped up that street,
His shining pike in hand,
Behind him marched in grim array
A stalwart, earnest band.
For Antrim town, for Antrim town,
He led them to the fray,
And young Roddy McCorley goes to die
On the bridge of Toome today.

There was never a one of all your dead
More bravely fell in fray
Than he who marches to his fate
On the bridge of Toome today.
True to the last, true to the last,
He treads the upward way,
And young Roddy McCorley goes to die
On the bridge of Toome today.

Ethna Carbery

Roddy’s role in the 1798 rebellion was passed down by word of mouth and it was in a poem/song written 100 years after the rebellion by Ethna Carbery that he was claimed to have been one of the leaders at the Battle of Antrim. The song was published in 1904 two years after Ethna’s death as part of a collection of poems titled The Four Winds Of Erin. Despite this lack of evidence Roddy McCorley became a major figure in nationalist-republican martyrology due to this song. Recently evidence has been unearthed by historian Guy Beiner as to his involvement in the rebellion that had been hidden due to the change in the  Presbyterian faith from nationalist to unionist. 

(as with everything Irish music related their is always a link to the great Shane MacGowan)

The song was re-popularised in the 1950’s when it was recorded by giants of the Irish folk scene The Clancy Brothers and Tommy Makem and The Dubliners. In the folk music revival of the 1960’s it was recorded by the The Kingston Trio and many more up until Shane MacGowan and The Popes recorded a version for The Snake in 1994 and it’s popularity has blossomed since then being recorded by several bands with in the Celtic-Punk scene with a knowledge of their history and roots.

(the latest version as recorded by Irish-American band The Templars of Doom on this years Hovels Of The Holy album)

The Roddy McCorley Society   Irish Music Daily  Irish Folk Songs

( there’s even a Psychobilly version from the great psycho German band Pitmen!)

  • If the tune is familiar but not the song that may be because the melody for Roddy McCorley was recycled in 1957 for the more familiar song ‘Sean South Of Garryowen’.
  • If you are even just the tiniest bit interested in Irish history and culture then it is essential that you subscribe to Stair na hÉireann/History of Ireland. An absolutely fantastic resource for all aspects of Irish history including the daily ‘What Happened On This Day’ and covering a wide range of Irish History, Irish language, Irish Diaspora, The Great Hunger, Arts & Music, Culture, Archaeology, Literature, Photography, Mythology & Folk Culture.
  • REMEMBERING HUGH THE GREAT O’NEILL IN SONG  here
  • REMEMBERING FIACH MacHUGH O’BYRNE IN SONG  here

ALBUM REVIEW: THE DISINCLINED- ‘Sing’ (2019)

The debut album from South-West Londoners The Disinclined, ageing purveyors of folky, punky, gypsy tales.

The debut album from The Disinclined comes hot on the heels of their debut single, Sing And Create, which we gave the thumbs up to last December on these pages. Both the tracks from then are re-recorded here and if anything have been improved upon with a much better production. The Disinclined were formed in 2014 after being recruited to do a few covers at a friends’ wedding. Drummer Dave recruited Tim, who could actually write and sing original material, so along with Dave’s lyrics and the occasional riff from Shea and Matt, they started gigging around South-West London especially Kingston. They’ve all been in many diverse sounding bands since the mid/late 80’s with Dave and Tim playing together in This Wind Thing and Vicious Hippy till they went their separate ways in the early 90’s – with neither picking up their instruments again until the Disinclined came calling. Matt replaced Shea on bass when he was sacked from 80’s Kingston punk band NMBD, so he took up guitar, learnt bar chords and ignored bassists until he joined Riot/Clone and Refuse All in the noughties. These days they all play in other bands including Refuse/All, Lost Cherrees and Mooshwa Pooshwa. So with a wealth of experience in both playing and songwriting it was only to be expected that The Disinclined know their way round a good tune or two and here on Sing they have delivered an album that is chock-a-block full of them.

The Disinclined from left to right: Shea- Guitar * Tim – Vocals, Guitar, Melodica, Uke * Dave – Drums * Matt – Bass

The album begins with ‘Death Is Just A Consequence’ and the unusual sound of the melodica starts a mournful dirge that is soon livened up with a ska beat and chugging guitars and a nice fast pace. It’s a wind instrument with a small keyboard on top that when blown into that makes a sound pitched half where between harmonica and clarinet. Next up is ‘We Have To Pretend To Be Zombies’ with a cool 60’s vibe to it and The Disinclined show that lyrically they can write both clever and tongue in cheek.

“Management is the source of our ills / Compulsory fun. And we have to look thrilled / Idiotic and dumb, they’ve forgotten to think / And the theory they have has started to stink / She turned to me and said / “Have you seen ‘Sean of the Dead’? / We have to pretend to be Zombies” \ Zombies….”

Next is one of their signature tunes ‘For The Good Of Us All’ and its at this point that you realise that even though they may flit from genre to genre they somehow manage to still make it sound like The Disinclined. Quite a feat for a band that manages to avoid any sort of pigeonholing.

( an early version of ‘For The Good Of It All’ recorded at The Cricketers, Kingston)

Rocky and punky in parts and a real toe-tapper as the song morphs into ‘Urban Hermit’ and the first appearance of trumpet and fiddle gives the song a real bite. In fact they are looking to introduce a full time fiddle player into their sound so if you’re interested then get in touch with them. The song is played at a slowish pace with touches of Eastern Europe and the sound is layered upon sound making this my favourite track from the album. A real slow burner of a song that builds and builds into something grand before slowing right down again. Next up is a re-recorded version of ‘Create’ from the 7″. This song has appeared in several forms but every time they take it away and fiddle with it it comes back better than before. The ska beat is back but not of the happy, giddy sort that gets on your wick! ‘No Thanks’ has a certain Anarcho-Punk influence and the, as ever, interesting lyrics speak of the selfishness of man I think.

The Anarcho influence appears again on ‘Just Us’ and the song has some outstanding guitar

“Take your chance and count the cost / Roll the dice, your fingers crossed / See who’s won and see who’s lost / Who’s left standing when the music stops / Who’s left standing when the music stops \ Just Us! Just Us! Just Us! Just Us!”

Time now for the other song from the 7″ to get a re-working and ‘Sing’ again adds something so much more to the original version. Beginning with drums and some crunching bass lines from Matt before Tim joins in with the melodica again and one of the catchiest songs here that I was hoping would explode a bit more but just keeps itself in check. ‘Sing’ is pretty damn catchy and Tim’s laid back vocals fit perfectly (they are The Disinclined after all) as the song builds and builds while the lads still manage to sound super laid back about it all. We are coming towards the end and ‘Jack’ is another great song telling of a ‘lothario’ and what happens when the looks and the charm inevitably fade. This brings us onto what could be called their signature tune and as you can imagine from a band that manages to squeeze the line

“we are disinclined to acquiesce to your request

into one of their songs ‘Disinclined To Acquiesce’ is clever and intelligent music and Sing takes in a multitude of influences from far and wide, from punk to gypsy folk and thrash metal to prog rock, moulding them into some very catchy pop music.

Sing was released just a couple of weeks ago and was recorded at Gravity Shack in London with Jess Corcoran as engineer and producer. The vinyl album is a joy to behold and looks absolutely beautiful with some stunning artwork from good friend of the band Keith Slote. It’s a great album that will appeal to people, and not just fans of the band, on many levels. The different styles and influences loaded onto Sing take nothing away from the band who still manage to make everything sound so natural. For those fans of the band they will be extremely pleased that the songs they recognise from live sets are not just replicated but even bettered but I think Sing is well worth taking a punt on for anyone and sit back and enjoy!

(you can stream Sing on the Bandcamp player below before you buy it!)

Buy Sing  FromTheBand

Contact The Disinclined  Facebook  Bandcamp

The official record release gig for Sing is next Thursday at The Fighting Cocks. One of London’s best venues if you have never been before you in for a treat! The Fighting Cocks is at 56 Old London Road, Kingston KT2 6QA. Trains from Waterloo, Clapham and Vauxhall and only a short walk from Kingston station. Admission is a paltry £3 and the evening kicks off at 8pm. Support is from SUCKIN’ DIESEL a new traditional Irish music group headed by Brendan the lead singer from local Celtic-Punk favourites The Lagan. Featuring yer man himself and anyone else he can round up in the meantime. Kicking off the night will be Kingsley Beat. Made in Madchester. Raised in Acton. Generated by Beats. Mad for Melody, Melody Mad. Facebook event here.

ALBUM REVIEW: FIDDLER’S GREEN- ‘Heyday’ (2019)

The year is 2019 AD. Musicland is occupied by casting show idols, faceless plastic pop and declining music sales. Well, not entirely… one small band of musicians still hold out. For almost 30 years, Fiddler’s Green have been at the forefront of the resistance. How you say? Playing rocked-up Irish music as a German band!!

Formed in Germany in 1990, Fiddler’s Green have recently released their latest album Heyday. This is their 14th studio album since their inception. As if that wasn’t a massive achievement, they have also released a further five live albums, one EP and four DVD’s during the same period earning them the reputation as one of the best live acts in Germany. They must be one of the hardest working bands on the scene. Heyday was released earlier this year and contain a total of 15 crackin’ tunes.

“This is not an anthem

This is a real rebel song

This is not an anthem I know i’m right and you are wrong

We don’t need your story ‘Bout death or glory

Nothing you believe in

The good old ways

In the bad old days

That’s nothing

Nothing we believe in”

As accordionist Stefan Klug reminisces

“The so-called rebel song is an integral part of Irish culture, and if you want to combine Irish-influenced music with a statement, it’s natural to write a contemporary rebel song. Aside from that, the Irish also cultivate the tradition of drinking songs, which we also feel very close to”.

Fiddler’s Green self-proclaim their music as ‘Irish Speedfolk’ which is a pretty accurate description. Heyday is full of high tempo whiskey infused folk songs from start to finish. Their musical style is fairly unique and I was finding it difficult to draw comparison to other bands within the genre. This of course is a good thing. A few stand out tracks on the album are ‘One Fine Day’, ‘The Freak Of Enniskillen’, ‘Heyday’, ‘Limerick Style’ and ‘Steady Flow’. The pace is slowed down a little on ‘Together As One’ and ‘Better You Say No’ however these are still two excellent tracks. The band is currently made up of: Ralf ‘Albi’ Albers on vocals, acoustic guitar, bouzouki, mandolin and banjo, Pat Prziwara on vocals, electric and acoustic guitar, bouzouki, mandolin and banjo, Tobias Heindl on violin and vocals, Stefan Klug on accordion and bodhran, Rainer Schulz on bass and Frank Jooss on drums and percussion.

“Cheer up! Cheerie up, the worst is yet to come Cheer up!

Cheerie up, you shall overcome Cheer up!

Cheerie up, ’cause you’re nobody’s fool

It can only get worse, so buck up, play it cool!”

Fiddler’s Green have a very well-established reputation in Celtic Punk / Folk / Speedfolk scene which has been earned through consistent hard work. Here you get fifteen songs lasting forty odd minutes. As long as they keep churning out albums of the same quality as Heyday they can look forward to a bright future also. With Heyday sitting pretty at #7 in the German album charts as I write this then Fiddlers Green can rightfully claim to be one of Germany’s most successful bands. Stefan reminisces again about the band early days.

“Of course we notice what’s happening around us, and there are lots of struggling musicians. We were really fortunate in gaining more and more success over time”

Keep up the good work and hopefully we will be able to catch a show in the UK sometime soon.

Buy Heyday  From The Band

Contact Fiddler’s Green  WebSite  Facebook  Instagram  YouTube  Twitter  Wikipedia

EP REVIEW: CALLUM HOUSTON- ‘Gravities’ (2019)

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

I first became aware of Callum Houston a few years ago when I was spending another rainy day off work trawling through YouTube and settling again on a couple of hours of videos of my new favourite band The Graveyard Johnnies. Watching away further evidence if it was ever needed that I have indeed turned into my Grandad was my eyes were drawn to their awesome guitarist Callum’s tattoo of an Irish harp on his arm. Grandad could spot an Irish connection at 100 yards and could name any famous person with even the smallest of Irish roots. Not many will know this but my BIG love besides Celtic-Punk is Psychobilly which is the bastard love child of both Rockabilly and Punk and The Graveyard Johnnys are that rare thing in the Psycho scene of being a young band but also massively popular, headlining most of their gigs. Not one to keep this to myself I rushed off a message to the band and found out that indeed Callum was Irish but was also living in Brittany and allied to that The Graveyard Johnnys were based in south Wales it makes them probably the most Celtic band in existence!

Born in Bristol before his family washed up in Carrigaline in Cork when young Callum was the tender age of 4 his formative years were in Ireland before a move back to England at 15 and then a return back to Ireland to Dublin to study Irish music. As he says

“Cork will always be home, it’s not where your born it’s where you grow up and learn about life.”

Callum was back again in England when he read The Graveyard Johnnys were a guitarist down so Callum jacked in his job and moved to Wales, sleeping on the floor in the band practice room for five months till he found somewhere to live. These were wild times with the Johnnys touring non stop all over Europe and it was on one of these tours whilst playing in Paris that Callum met his partner. They would go on to have a child and he moved to Paris to join them. He began playing regular solo gigs in Paris many Irish bars as well as busking on the Metro to earn a living. Later on they moved to Brittany where the standard of living is better (and cheaper!) and the where the culture is very similar to that of Ireland. The Breton people are very proud of their Celtic roots and Callum felt at home. He now performs regularly throughout Brittany and France playing anywhere from Irish bars to Bistros to street corners as well as jetting back and fourth to Wales to play with the Graveyard Johnnys.

Gravities is Callum Houston’s debut release and the striking photo on the sleeve of the EP is not actually of a young Callum at all but of his Grandad on the Houston family farm in Donegal. The record begins with the title track and while their are only slight signs of the Rock’n’Roll and Irish folk that Callum usually plays you can hear in these original compositions how he manages to make his living playing Irish ballads around the bars of Brittany. Here he takes a more contemplative turn and the lyrics like the music are thoughtful and clever. Their may be none of the urgency associated with the music that Callum usually plays but that’s not to say its soft or throwaway. It may be gently played acoustic music but it comes with more than a edge of something a lot harder. Callums acoustic guitar is aided by banjo and what sounds like a cello making a great combination that would more than sound at home across both a busy pub or a quiet intimate bar. These are the kind of songs that cut across the noisy chatter of a pub and demand attention. ‘Sink Or Swim’ takes a similar route and again that menacing edge to it keeps it from sliding completely into the folk section. Callums voice with its gentle Cork lilt is perfect for this and you can see why he’s made a success of playing solo gigs. Catchy and upbeat and perfect for them toe-tapping moments.

On ‘Euroline’ the tale is of travelling back and forth across Europe, of times spent waiting and waiting for trains and coaches. Told with humour and played with gusto the song again hits the spot and over four minutes is allowed plenty time to develop. In fact at fifteen minutes the four songs here fly past much quicker than you may expect and on ‘City Of Lives’ the EP comes to an end with the records standout track. At times dark and slow and menacing before busting into life as a catchy foot stomper.

Gravities was mixed and mastered by Jacky Cadiou At The Movies Studio, Brest and was released at the end of last month. It’s available on download and also as a compact disc that comes with a few free gifts and is only €5. So about a quid a song! Having grown up listening to traditional Irish music and spending most of his adult life touring across the world with Punk and Country bands Callum has developed a unique and original style. A talented songwriter and musician and with fans spanning genres from punk to trad folk it would be a shame if this record somehow fell into the mid way ground between them.

(you can stream Gravities on the Bandcamp player below for free but it’s only £4 to download so put your hand in your pocket Celtic-Punkers!)

Buy Gravities  FromCallum

Contact Callum Houston  Facebook  Bandcamp  YouTube

THE RUMJACKS LIVE IN LONDON- ACOUSTIC SESSIONS

In February 2019, The Rumjacks arrived in London town at the You Tube Space Studio in Kings Cross, and recorded a set of stripped back acoustic versions from their back catalogue. Where once the band would have been at home among the dirt and grime of Kings Cross station where untold amount of Scots disembarked over the years with little more than the clothes on their back it’s now a shiny gleaming soulless example of the new London. The songs were drip fed to us one at a time over the course of the next ten Fridays and here we present them all together. The recordings are now available for download across the usual platforms, links at the bottom.

The Black Matilda

Plenty

A Fistful O’Roses

Bar The Door Casey

My Time Again

Cold London Rain

Kathleen

The Leaky Tub

The Bold Rumjacker

Barred For Life

Director / Producer – Phil MacDonald * Director of Photography – Archie Guinchard * Sound Engineer – Paddy Fitzgerald * Editor – Phil Macdonald

Buy Live In London  Spotify  Amazon  iTunes

Contact The Rumjacks WebSite  Facebook  Twitter  Instagram  YouTube  Soundcloud

EP REVIEW: 6’10- ‘Where We Are’ (2019)

Chicago based 6’10 is the acoustic project of Tobin Bawinkel, the lead singer of Flatfoot 56 whose critically acclaimed first full length album, The Humble Beginnings of a Roving Soul came out back in 2014. Gerard Melon discovers life isn’t just circle pits and spitting on sweaty crowds. Here’s a band that is a little more laid back and thought provoking.  

So here we have it, a new EP of six original tracks from Chicago’s 6’10. Many of you will know this band as Tobin from Flatfoot 56 ‘s side gig. This EP follows on from 2014’s The Humble Beginnings of a Roving Soul, and Flatfoot’s Vancouver Sessions where some of the band’s best tracks were reworked utilising traditional instruments and giving the tracks a more ‘folky’ sound. 6’10 were created by Tobin to explore the musical influences that he grew up with, folk, Americana, bluegrass and other ‘traditional’ styles of acoustic music. There aren’t really any other band members, more like regular collaborators and then specialist instrumentalists. This all leads to a more laid-back sound compared to Flatfoot, but still with the heart that we would expect from them.

 It kicks off with an ‘intro track’ of Tobin singing solo and with no instrumental backing called ‘The Old Man’. It’s a gentle introduction to the EP with the song being about an old man who wants an audience for his songs. Up next comes ‘Nam’, a livelier tune that probably would fit in on a Flatfoot album (and after all the waffle I spouted in the first paragraph!!!). It’s (obviously?) about Vietnam and tells the story of a nineteen-year-old getting drafted and sent out to fight; he wins a medal but is shunned when he comes home. (Dunno if his name is John Rambo!) Next up is ‘It’s All Been Said Before’, which has a very singalong catchy chorus, but this betrays the seriousness of its message, which basically is telling us to look at things from other people’s points of view instead of just repeating what’s been said before. Next up is ‘The Isle’, a cracking track which has religious undertones and gives Tobin’s voice a great work out. It’s very upbeat and the message (of redemption?) is very uplifting. For me personally, the next track ‘The Promise’ is the standout track of the six (don’t get me wrong they’re all top quality!) but this one is a real gem. It starts with a slide guitar sound that instantly brings you down south (think of the movie Southern Comfort), it’s very atmospheric as it builds up to the vocals first from Tobin and then Vanessa and then both together with the music gradually growing. It’s a love song that I can’t do justice to with writing, so I will just say listen to it! The final track is ‘Just Say Hi’ and it’s a two hander with Tobin and Vanessa singing a ballad about a man who needs to be more decisive if he is going to win a girl’s heart. It has a very intimate sound, just a guitar and the two singers as if it was recorded at home and not a studio, this adds to its appeal and is a warm sound to close out the disc.

This is a cracking little release from Tobin and his friends, that carries-on the great work from the first album. It’s a shame that it is only six tracks (including intro) because I’m sure we all would have welcomed more. I would definitely recommend buying it and encouraging a few live performances on this side of the pond. You can get it through the 6’10 Facebook page where you can also see what they’re up to.

(you can stream Where We Are before you buy it on the Bandcamp player below)

Buy Where We Are  PhysicalCD  Download

Contact 6’10  WebSite  Facebook  YouTube  Bandcamp  Instagram

EP REVIEW: THE CLAN- ‘Quattro Giorni Fuori Porta’ (2019)

Another release from one of the most productive and popular bands in Celtic-Punk. The Clan from Italy balance high tempo folk and country alongside Celtic-Punk to make one of the best records of the year so far.

It has been a funny week in the world of Celtic-Punk! Fresh from catching the superb Dropkick Murphys live in London last Friday two EP’s land on our doorstep on the same morning from very well respected Italian Celtic-Punk bands. The first was from this band, The Clan. One of the first bands heard and a band that has featured several times on these pages with previous album reviews. The second was a relatively new band The Rumpled who arrived on the scene properly in 2014 but it was with last years highly rated Ashes & Wishes album featuring guest vocals from The Rumjacks Frankie McLaughlin.

But more on The Rumpled later in the week for now we have The Clan. Probably the better known of the Italian bands in the scene. Along with bands like The Clan and The Rumpled, Modena City Ramblers, Kitchen Implosion, Dirty Artichokes and Uncle Bard And The Dirty Bastards all the Italian bands share a deep love for Ireland and it’s culture and musical traditions. If Celtic-Punk was about taking the folk tradition and the punk tradition , moulding them together but still staying true to those traditions then it is the Italians who do the job best. There is a sort of generic Celtic music that incorporates music from all the Celtic nations and though instantly recognisable as Celtic-Punk it doesn’t belong to one place in particular. The Italian bands are different and has produced a truly unique style of Irish music. The Clan hail from the small town of Muggiò in Lombardy which is in the north of Italy and have been together since 2013. With a bunch of fine albums behind them, three in five years, The Clan in 2014, All In The Name Of Folk in 2016 and last years Here To Stay, here on their new EP they have carried on their progression and taken a new direction to forsake English and decided to record the EP’s four songs in their native language. It’s understandable that bands think they need to sing in English, with the vast majority of Celtic-Punks fanbase in English speaking countries, but we have long been supporters of native languages so sing on Bhoys. We’ll still get it you know. 

The title of the EP is Quattro Giorni Fuori Porta which translated into English means Four Days Out Of Door and though it only has four songs they are sung and played with the same passion that The Clan are renowned for. To this par of big Irish ears the words, sung by guitarist/mandolin player Angelo, sound great. Italian is famous for being a beautiful language and it fits the music here perfectly. The music itself flits from Celtic to upbeat Country and Folk and sounds jolly and fun though the subjects contained in the songs are not always! The EP begins with ‘Il Giorno Più Freddo Dell’anno’ (The Coldest Day Of The Year’) which is a song about animal-rights, a subject The Clan have visited before and a cause close to their hearts. The longest song here at over four minutes its sound leans heavily on Francesco’s fiddle and is against hunting as it tells of a day spent with a mother and her puppies out in the wild. The sound sits fairly perfectly between Country and Celtic but as with The Clan they don’t make music to stand still to! They follow this up with ‘Il Giorno Con Te’ (‘The Day With You’) and the bands sound is perfect with Francisco’s fiddle again leading but venturing from manic to melancholy and while it is annoying not to know what the words are about this is only because The Clan have nailed it on their lyrics in the past and I have always enjoyed reading them. Still it’s a small price to pay to hear the songs sung as they should be. ‘Il Giorno Prima Di Morire’ (‘The Day Before Dying’) keeps the tempo right up and is a hymn to freedom. The time we have here on earth is fleeting and we must each make the most of all we have. Catchy, fast and passionate it’s another corker and leads us nicely onto the final track ‘Il Giorno Migliore’ (‘The Best Day’) which, for me, is the standout track here with its upbeat  sound that would move even the shyest mans feet!

The Clan have announced their may well be an English version of this EP but for now this is to show their appreciation to their Italian fan base and why not? The balance they have between genres is quite the feat and yet they still remain at heart a Celtic-Punk band more in the acoustic tradition say of Flogging Molly but with a sound all of their own making. The Clan have carved out quite the movement behind them thanks to intelligent lyrics, well made videos, respect for folk tradition and the love of a bloody good time! In common with those previous releases it’s been excellently produced and the whole band shine through. This is a great EP and though part of me is looking forward to hearing the English versions another part wants to leave it like this.

Buy Quattro Giorni Fuori Porta  Spotify  iTunes  Amazon  Deezer

Contact The Clan  WebSite  Facebook  YouTube  Instagram  Twitter  ReverbNation

There’s an interview with The Clan here at Traks magazine where you can play the whole EP. I couldn’t work out how to embed the EP from Spotify! Remember to translate from Italian though!!

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

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

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

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

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

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

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

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

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

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

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

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

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

SINGLE REVIEW: 5 HILLS OUT- ‘The Snug Sessions’ (2019)

When a new Folk-Punk band pops up somewhere in England we like to think we are on it straight away so we couldn’t wait for the third release from Derbyshire band 5 Hills Out to land on our doorstep! Two tracks of beautiful, infectious, foot-stomping folk-punk.

The Snug Sessions by 5 Hills Out is what use to be called a double A-side back in the day when vinyl truly ruled and it’s two songs will be officially released tomorrow on the 12th April but is available now on pre-release. The Snug Sessions is the bands third release and first on their own record label Culvert Collective Recordings. The single marks a step forward in the bands development after their debut acoustic EP No Way In from 2016 and the follow up Still Outside from Autumn 2017 which saw the band nominated for best folk act 2018 on Radio Wigwam. So they have tasted local success but if a band really wants to proceed they have to try untested waters and now is a good time for bands like 5 Hills Out with some other notable bands taking folk (and Celtic) punk to the masses.

5 Hills Out from left to right: Dave Coxon- Bass * Rebecca Liverman- Saxophone, Accordion *  Ben Liverman- Guitar, Mandola, Vocals * Andy Gurney- Guitar, Mandola, Mandolin * Chris Clay- Drums.

The EP opens with ‘Cogs’ and sometimes you know straight from the off if you like it and within just a few seconds I had that feeling. It has that sort of 80’s Anarcho-Punk feel to it but much much better produced and a BIG sound that encompasses fiddle, mandolin, tin-whistle and saxophone. Its as catchy a tune as i heard in a while and has a nice Irish/Celtic interlude taking it firmly into Celtic-Punk territory and with Ben’s great vocals that are sung with passion and gusto whilst still sounding quite angsty (quite the feat I tell you) but as usual you need the songs to make all this work and ‘Cogs’ is just that. A rollicking belter of a track that as vocalist Ben explains

“aimed at a society that continues to undervalue and underpay its workers”. 

On track two ‘The Divide’ the lyrics tell us that we must stick together despite the current political unrest and climate of division. Like many of the bands in the Ce;tic/Folk-Punk scene 5 Hills Out have never shied away from using their music to share their political and social views. In 2018 they took part in a protest march to protect a threatened local music venue and more recently shared and supported a campaign to protect the very same studio where they recorded in the past. ‘The Divide’ is another belter of a song. Faster than ‘Cogs’ but still tuneful and as catchy as feck! The accordion comes out here meaning they have now ticked all the boxes to become firm London Celtic Punks favourites. A great song that despite it’s power still has that folk melody unpinning it as Ben sings about us all coming together.

5 Hills out is quite the family affair, with Ben Liverman on mandola, guitar and vocals, which is complemented by Andy Gurney also on guitar, mandola and vocals. Ben’s wife. Beks contributes contrasting sounds to the band on accordion, saxophone and backing vocals, with Beks’ Dad, Dave Coxon on fretless bass and Chris Clay on drums. Shame there’s only two tracks here but 5 Hills Out are definitely a band to watch out for and one to add to that growing roster of bands that float in Ferocious Dog’s orbit. For fans of bands like The Silk Road, Folk The System, Under A Banner or huge stadium bands like The Levellers or New Model Army these two songs will strike a real chord and these infectious foot stomping folk-punk anthems really make us excited to see 5 Hills Out live in concert and hopefully a album won’t be too far behind either.

Buy The Snug Sessions

FromTheBand

Contact 5 Hills Down

WebSite  Facebook  YouTube  Twitter  Soundcloud

(5 Hills Out, Live at The Hairy Dog, Derby, February 2017)

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

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


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

But that was then and this is now.

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

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

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

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

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

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

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

Buy Besieged 

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

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

Contact Nick Burbridge-  WebSite  Facebook

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2018!

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

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

1. THE RUMJACKS- Saints Preserve Us  here

2. 1916- Far Beyond The Pale  here

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

4. KRAKIN’ KELLYS- Promised Land  here

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

6. SIR REG- The Underdogs  here

7. TIR NA OG- From The Gallows  here

8. FIRKIN- We Are The Ones  here

9. THE MAHONES- Love + Death + Redemption  here

10. THE MUCKERS- One More Stout  here

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

12. HOLD FAST- Black Irish Sons  here

13. LEXINGTON FIELD- Dreamers  here

14. THE RUMPLED- Ashes & Wishes  here

15. TAN AND SOBER GENTLEMEN- Veracity  here

16.THE KILLIGANS- Dance On Your Grave  here

17. ALTERNATIVE ULSTER- Pog Mo Thoin  here

18. PADDY AND THE RATS- Riot City Outlaws  here

19. IRISH MOUTARDE- Perdition  here

20. BASTARDS ON PARADE- Cara a Liberdade  here

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

22. PIRATE COPY- Swashbuckle & Swagger  here

23. SINFUL MAGGIE- S/T

24. JOLLY JACKERS- Out Of The Blue  here

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

26. THE CHERRY COKE$- The Answer

27. THE CLAN- Here To Stay  here

28. KINGS & BOOZERS- Still Got The Booze  here

29. FALPERRYS- Nova Abordagem  here

30. AIRS & GRACES- Voting At The Hall  here

bubbling under: MALASANERS- Footprints  here

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

KRAKIN’ KELLYS- Promised Land  here

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

1. THE LAGAN- Let’s Do It Again

2. MEDUSA’S WAKE- Rascals & Rogues  here

2. HANDSOME YOUNG STRANGERS- The Bleeding Bridge  here

4. THE DANGEROUS FOLK- One  here

5. LEXINGTON FIELD- Modern Times  here

6. SCOTCH- Last In The Bar  here

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

8. THE GRINNING BARRETTS- The St. Padraigs  here

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

10. THE ROYAL SPUDS- Unforgotten Lore  here

bubbling under…

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

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

1. MARYS LANE- Wild Unknown  here

2. LOUIS RIVE- The Cheap Part Of Town  here

3. THE CRAICHEADS- S/T  here

4. LANKUM-  Between Earth and Sky here

5. MAN THE LIFEBOATS- Man The Lifeboats  here

6. SLIOTAR- Voyage

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

8. BLACKBEARDS TEA PARTY- Leviathan  here

9. THE LED FARMERS- Irish Folk Out Straight

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

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

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

MERSEY CELT PUNKS

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

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

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

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

THE CELTIC PUNKCAST

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

MacSLONS IRISH RADIO

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

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

 Sláinte, The London Celtic Punks Crew- January, 2019

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

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

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

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

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

Contact Sigelpa- Soundcloud YouTube Facebook Twitter Bandcamp YouTube

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

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

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

Contact East Town Pirates- WebSite Facebook Soundcloud ReverbNation YouTube

LOCKS- ‘Skeletal Blues’ (BUY)

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

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

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

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

Contact LOCKS- WebSite Facebook Bandcamp YouTube Soundcloud

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

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

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

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

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

Contact Irish Stew Of Sindidun- WebSite  Facebook  YouTube

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

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

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

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

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

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

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

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

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

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

“At first we hear a mandolin,

It’s playing fast 16ths.

There it is the singer’s voice,

Dirty dark and mean.

The bass is playing one and five.

The bass drum quarter notes.

The key, surprise! G Major!.

This is how it goes…”

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

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

Buy Raise Your Pints-  Here

Contact MacSlons Irish Pub Radio- WebSite  Facebook  Twitter  

CELEBRATING A CELTIC CHRISTMAS 2018. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

Each December we pick the best Christmas themed song we’ve heard that year to showcase in our end of year message. This year we went with something a little different. LOCKS come from North London and while they may not be your typical Celtic-Punk band they have plenty of pedigree within their ranks. Their debut album Skeletal Blues came out earlier this year which we will be featuring in the second of our 2018 Review Round-Up’s due after Christmas Day. Subscribe to the London Celtic Punks web-zine and receive notification of every post by filling in the box on the right or below depending on how you are viewing this article. ‘The Hangover Song’ came out today and is available from here.

You can catch LOCKS live in concert next at The Bedford in Balham, South London on 8th January.

Contact LOCKS-  WebSite  Facebook  Bandcamp  YouTube  Soundcloud

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

GET IN THE FESTIVE SPIRIT WITH THE LONDON CELTIC PUNKS CHRISTMAS CELTIC PUNK TOP-TWENTY!

CLICK HERE

Now go have a drink…

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

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

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

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

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

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

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

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

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

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

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

Buy Lucky Red Hat

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

Contact Vince Cayo

Facebook  WebSite  Bandcamp  Soundcloud  YouTube

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

THE CELTIC PUNKCAST. BONUS EPISODE- TOP 10 ALBUMS OF 2018

December is usually the time when all the various Celtic-Punk media begin to compile and release their Best Of charts. There’s already been a couple and we are no different with ours traditionally released in the first couple of weeks of January. Our stablemates over at The Celtic Punkcast have just put out a special episode featuring the best song from the ten best Celtic-Punk albums of 2018 and I can tell you it’s a good one. 

Hi everyone, I thought I’d drop a little something extra this year for December in addition to the Christmas Special, it’s my top 10 albums of 2018 as judged by me and my old kelpie Banji. Some fantastic music came out this year and I swapped a lot of these artists albums positions around many a time before settling on the final rankings. Rankings are always suggestive so if you disagree with my list then feel free to let me know yours. Here’s the rankings/playlist:

10: ALTERNATIVE ULSTER – ‘No Queen, No Crown’  from BOOBIES BANJOS BEER AND BAGPIPES

9: THE LANGERS BALL – ‘No Irish Need Apply’ from HARD TIMES IN THE COUNTRY

8: THE O’RIELLYS AND THE PADDYHATS – ‘Green Blood’  from GREEN BLOOD

7: BASTARD BEARDED IRISHMEN – ‘Pirates Of Three Rivers’ from DRINKIN’ TO THE DEAD

6: MR. IRISH BASTARD – ‘Oliver Cromwells Head’  from THE DESIRE FOR REVENGE

5: KRAKIN’ KELLYS – ‘Anarchy In The Double K’  from PROMISED LAND

4: SIR REG – ‘Don’t Let Go’  from THE UNDERDOGS

3: MEDUSAS WAKE – ‘Hobart Sailor’  from RASCALS AND ROGUES

2: THE RUMJACKS – ‘The Foreman O’Rourke’  from SAINTS PRESERVE US

1: THE MUCKERS – ‘Black Irish’  from ONE MORE STOUT

CLICK HERE

So there it is. Any thoughts send them to me on Twitter, Facebook or via email and I look forward to more great music in the new year.

Muer ras, Gareth & Banji

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

  • The London Celtic Punks Best Of 2018 lists will appear in the next few weeks covering the best albums, EP’s, Folk/Trad releases, Celtic-Punk media and more so if you don’t want to miss it then be sure to subscribe to our E-Mail alert list. The box is on the right or below depending on how you are viewing this page.

EP REVIEW: THE TWO MAN TRAVELLING MEDICINE SHOW- ‘A Snakes A Snakes’ (2018)


A Snake’s a Snake is the brand new EP from Dorset’s finest ramshackle Americana-Country-Folk-Punk band The Two Man Travelling Medicine Show released on Musical Bear Records.

The Two Man Travelling Medicine Show formed in 2016 and have rapidly become firm favourites on the south coast music festival scene in a short time. Described as ‘Heartfelt, Ramshackle Country Punk’ they have built up a good following and are becoming known for their riotous live shows. They released their debut album ‘Weeding Out The Wicked’ last year but as far as I know didn’t really escape their home base. This year they have released two EP’s ‘Float Your Boat’ and, this one, ‘A Snake’s A Snake’ and are aiming to begin 2019 with another. Things are definitly on the move for The Two Man Travelling Medicine Show so be sure to watch out for them next year.

The EP begins with the title track, ‘A Snakes A Snake’, and from the off it bounces along with a catchy air to it. It’s very much a product of the part of England they come from with an abundance of bands playing this kind of folky-catchy-country-punk. They are what I use to call a ‘Festival Band’ back in my youth. Dorset seems to churn out bands like this willy-nilly while the rest of the country barely manages a couple per town! I mean you count the number of bands in London on one hand. The song is pure great stuff. The kind of track that is guaranteed to get you up off your arse and bouncing around a field somewhere near the South-West coast. Influences galore mashed together and with a staggering eight members they sure cook up an interesting sound. Banjos, acoustic guitars, accordion and violin compete nicely for your attention while vocalist Mark explains his views on the deceitful world of the bastard and ethics.

‘Flood’ is up next and if I was to pigeonhole this band then perched somewhere between The Levellers and New Model Army would perhaps be it. Mark’s vocals are perfect and it’s great that he doesn’t ry too hard with them delivered in a completely natural way. The band have a bit more bite in this song and even an electric guitar can be heard though it’s not exactly thrashing! Still another great song that leads us into the gentle ballad ‘Sick And Tired’ where the band take it down a notch while fiddle player Alison Jay takes over on vocals to sing tenderly about the break-down of a relationship. A lovely song that shows the great diversity in this bands sound. Now this where most of the reviews Of A Snakes A Snake end but we were sent one with a bonus track, ‘Putting On A Show’. It’s another gentle rocker with Mark back on vocal duties and again its beautifully understated.

The Two Man Travelling Medicine Show show perfectly on this EP what they are all about. At times threatening to burst your eardrums in that way only an eight-piece acoustic Folk-Punk band can and at others so gentle and tender you shouldn’t really be listening to the same band but you know you are.

Buy A Snakes A Snakes

Contact the band via mark1lyons@icloud.com  or you can buy their debut album here

Contact The Two Man Travelling Medicine Show  Facebook

Musical Bear Records  WebSite  YouTube  Facebook  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LIVE AT FOLK IN A FIELD IN THE SUMMER

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

there was also time to throw in the odd Irish standard

and the most unexpected.

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

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

Buy Green Blood

FromTheBand  Amazon

Contact The O’Reillys And The Paddyhats

WebSite  Facebook  YouTube  Google+  Spotify  PaddyhatsMerchandise  PaddyhatsNewsletter

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

Web-Site  Blog  Facebook  Reverbnation  Twitter  YouTube  Bandcamp

 

SINGLE REVIEW: THE DISINCLINED- ‘Sing And Create’ (2018)

The Disinclined are from south west London but sometimes they wish they were elsewhere.

The debut release from a band well known to me and also from my neck of the woods as well in South-West London. They may not be your archetypal Celtic-Punk or Folk-Punk band hat much I can admit but as I find them almost impossible to pigeonhole then it seems OK I reckon to just label them as Folk(y)-Punk and be done with it!

The Disinclined came together in 2014 when they mistakenly carried on playing together after doing a few covers at their friends’ wedding. Drummer Dave recruited Tim, who could actually write and sing original material, so along with Dave’s lyrics and the occasional riff from Shea and Matt, they started gigging in 2015 and have been playing ever since. I always describe them as being able to play for Ireland being 50% second generation Irish but this also means their influences are far and wide, from punk to gypsy folk and thrash metal to prog rock. They’ve all been in different bands since the mid/late 80’s. Dave and Tim played together in This Wind Thing and Vicious Hippy but went their separate ways in the early 90’s – with neither picking up their instruments again until the Disinclined came calling. Matt replaced Shea on bass when he was sacked from 80’s Kingston punk band NMBD, so he took up guitar, learnt bar chords and ignored bassists until he joined Riot/Clone and Refuse All in the noughties. They all play in other bands including Refuse/All, Lost Cherrees and Mooshwa Pooshwa. So with a wealth of experience in both playing and songwriting it was only to be expected that The Disinclined know their way round a good tune or two and on Song And Create they pass two such songs onto us.

The Disinclined from left to right: Shea- Guitar * Tim – Vocals, Guitar, Melodica, Uke * Dave – Drums * Matt – Bass

Sing And Create begins appropriately with ‘Sing’ the longest of the two tracks and nicely transfers their accomplished live sound onto disc. It begins with drums and some crunching bass lines from Matt before Tim joins in with an instrument you may not know until you hear it, the melodica. It’s a wind instrument with a small keyboard on top that you blow into that makes a sound pitched somewhere between a harmonica and a clarinet. The song itself is pretty damn catchy and Tim’s laid back vocals fit perfectly (they are The Disinclined after all) as the song builds while the lads still manage to sound super laid back about it all. On the other song, ‘Create’, two versions have appeared with this one re-mixed with fiddle and is far superior. Beginning with a ska beat but not of the happy, giddy sort that can get on your wick, or mine anyway! As you can imagine from a band that manages to squeeze the line

“we are disinclined to acquiesce to your request

into one of their songs this is clever and intelligent music and ‘Create’ takes in all those influences moulding them into, again, some very catchy pop music. First and foremost a live band The Disinclined are on the lookout to make even more changes to their sound and so if you play accordion or fiddle then please give them a shout. Only two songs here but a welcome taster for a band that must have an album on it’s way soon surely?

The two songs clock in at just under eight minutes and considering they have generously made it available as a free download it won’t cost you a penny, or a cent, to get your hands and feast your ears on this slab of funky folkish punky rock. The single only came out a few days ago and is available at gigs on CD and for download at the link given below.

(you can check out and listen to Sing And Create on the Bandcamp player below)

Download Sing And Create  FromTheBand

Contact The Disinclined  Facebook  Bandcamp

EP REVIEW AND EP RELEASE SHOW! THE BRANDY THIEVES- ‘The Devil’s Wine’ (2018)

Combining Gypsy rhythms and punk energy, ska grooves and folk storytelling, The Brandy Thieves have created a sound that is uniquely their own, a sound that has stolen the hearts of all of whom that have seen them perform. Stephen Francis Bourke was at the release party at the Soundhouse Leicester for London Celtic Punks.

Already renowned as one of the Midland’s best live acts, The Brandy Thieves gypsy rhythms and punk energy, ska grooves and folk storytelling create a sound that is uniquely their own. ‘Raucous’ ‘Infectious’ ‘Enthralling’ ‘Captivating’ and ‘Sweaty’ are just a few of the words that have been used to describe the alcohol stealing gypsy punks. Now they have taken a new direction, embracing grass roots Americana in the form of new EP ‘The Devil’s Wine’.

Chatting to the punters ahead of the EP, ‘The Devil’s Wine’ launch at the Soundhouse in Leicester it became clear that I was in for “a hellava good show!”. The Brandy Thieves have a varied local fan base from punks that are old enough to remember seeing The Clash at Granby Halls, now a car park for The Tigers Rugby ground, to ska fans who had been encapsulated by the Two Tone launch just up the M69, through to ex-ravers disillusioned by the commercialisation of the scene, bearded lovers of country folk and exuberant students.


In a week when the City had come together in grief following the tragic loss of the football club’s beloved chairman Vichai Srivaddhanaprabha they needed something to celebrate, felt when Demarai Gray’s strike put the winner in for the club on Saturday, felt on this Friday night. In short, there was a lot of love in the room.
This was more than a gig. We had a magician compère, fortune telling, belly dancers and free shots of brandy. Having already appeared on Monday at a London Celtic Punks show TC Costello, self proclaimed punk folk accordion player and part time Brandy Thief entertained the crowd with his highly entertaining solo slot, The Splitters supported with their tight, edgy rock/ska sound with added sound effects, like the embodiment of Mick Jones’ mind somewhere between the Sandinista album and Big Audio Dynamite. They played their way right through a blown amp!

Then we had the main event.

The Brandy Thieves are a live band, first and foremost. They told me that when they write the songs Andrea and Cain bring the lyrics to the rehearsal and the arrangement is done by the whole group. The first album ‘Old Tattoos’ has that live feel, ‘ The Devil’s Wine’ demonstrates just how in tune with one another’s mood the Brandy Thieves must be.

Photos by Philip Vernon

So how does the collection of new songs fit in? – Well the lyrical themes of earlier songs continue. A folk lore devil is ever present, right down to the title of the EP. He’s a curse to the protagonists of the ballads and an ever present feeling that the ‘old one’ may well have the best tunes. ‘Down the River’ is a personal lament of battling demons inside. The track was an early taste of the forthcoming EP and works well as a bridge from the old ska/punk folk beats of the first album ‘Old Tattoos’ towards the new cooler sharper sound of ‘Devils Wine’ by providing a gospel blues feel with the more familiar reggae beats.

For the new EP marks the Brandy Thieves anew. Like they took the Chattanooga choo choo, picking the grapes and grain of Americana music on the way and distilling a spirit of their own into ‘The Devil’s Wine’.
Andrea’s vocals are just as powerful but smokier and melodic throughout. Listen to her scat on jazz blues inspired ‘Midnight Circus’ and all of their voices come through the intro of the EP, an untitled drinking song in the form of a spiritual for the 21st Century, reminding us, in Brandy Thieves style, of our own mortality.
Joe’s trumpet and Sebastion’s banjo have been let off the leash of the rhythm section to offer encapsulating melodies and freestyle solos. Hear the horn sing with TC Costello’s accordion on ‘Midnight Circus’and the hauntingly restrained banjo, echoing southern gothic on ‘ This Mountain’, while Chris’ tight drum beats and Cain’s waking bass riffs have taken up their rightful role as the heartbeat of the band, saying “keep cool, we’ve got this”. the aforementioned ‘Midnight Circus’ is as rhythmically rolling as a Stray Cat Strut.
Gone on ‘The Devil’s Wine’ are the runaway mixed tempos of ‘Old Tattoos’ although they still went down well during the show, taking the crowd from swaying folksy singalongs and then distinctively upping the tempo in a ‘1,2,3,4!’ punk/ska rhythm to get them jigging and pogoing with abandonment. Whether that was ‘Didikai Lee’; The hurdy-gurdiness of ‘Broken Record’ or title track of the first album itself; ‘Old Tattoos’ this was the case tonight. The exceptions are ‘Molly Malone’ a swaying murder ballad reminiscent of the classic traditional song ‘Rose Connelly’ and on the night an acoustic version of ‘Blackbird’ that had loyal fans singing along, both these tunes will, I imagine, be mainstays of the band whatever direction they take.
The Brandy Thieves have evolved away from ska. This was acknowledged midway through the gig when they covered Toots and the Maytals’ ’54-46 Was My Number’ saying that this would, probably, be the last time their Leicester faithful would hear it, and then playing it with the gusto of saying goodbye to an old friend.  Now we have a sound that is just as comfortable for the listener at home or played in the car as it is live. ‘Girl from the Black County’ with a clear acoustic guitar, plucking banjo and singing accordion wouldn’t sound out of place blasted on the eight track of a classic 1970’s Chevy pick up as it kicks up dust from the road on the way to see Billy Jo Spears at the Whiskey River.

(listen to the EP below on the Bandcamp player)

Buy The Devil’s Wine

FromTheBand

Contact The Brandy Thieves

WebSite  Facebook  Bandcamp  YouTube  Twitter  Soundcloud

The Brandy Thieves are bringing their sweaty, dancing, skanking frenzy to London on Saturday 17th November at the Hootananny in Brixton. Plenty of bands on so check the Facebook event here for details. Its free to get in before 10pm and gig ends at 3am. Hootananny Brixton, 95 Effra Road, Brixton, London SW2 1DF.

NOVEMBER’S EPISODE OF THE CELTIC PUNKCAST #20 OUT NOW!

London Celtic Punks have teamed up with The Celtic Punkcast to bring you the best in Celtic-Punk, Celtic rock and folk punk from around the world so be sure to check out their November episode.

G’day everyone! The new podcast from our partners The Celtic Punkcast is up for November. The featured band are New York’s The Gobshites but listen out for new tunes from American bands Alternative Ulster and Lexington Field, Germany’s Kings And Boozers and Italians Mosche Di Velluto Grigio making up the hour long programme alongside music from such Celtic-Punk greats as The Real McKenzies, Shambolics, Captain Jacks Army, The Sunday Punchers, The Gentlemen, The Barley Hops, Bastard Bearded Irishmen and heaps more.

Check out our interview with Gareth the ‘Podmaster’ here and find out what possessed him to join the #OneBigCelticPunkFamily. The next post will be a special article written by Gareth especially for people who haven’t yet experienced the joys of Celtic-Punk so check back in a few days for that.

Contact The Celtic Punkcast  Facebook  WebSite  Twitter  E-Mail

You can listen to the latest November episode of The Celtic Punkcast at the link below. Simply click for just over an hour of the best Celtic-Punk of the past and the present.

THE CELTIC PUNKCAST

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

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

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

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

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

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

Oh well, let’s move swiftly on…..

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

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

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

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

Buy The Underdogs

FromTheBand  DespotzRecords  Amazon 

Contact Sir Reg

WebSite  Facebook  YouTube  Instagram  Twitter

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

EP REVIEW: MOSCHE DI VELLUTO GRIGIO- ‘Of Pain And Glory’ (2018)

The untraditional Anti-Folk punk band.

Mosche Di Velluto Grigio are an Italian Celtic-punk band and while their name may not trip lightly off the tongue of anyone who cannot speak Italian it’s certainly more poetic and beautiful than the English translation, Gray Velvet Flies! The name appears to come from an old Italian horror film directed by Dario Argento. The band were founded in 2000 and hail from Canneto sull’Oglio in the northern Italian region of Lombardy, home of fellow Celtic rockers The Clan and Strawdaze. Celtic-Punk has always been popular in Italy and relations between their Irish and Italians have always in the main been friendly, except perhaps in the USA in the past where two poverty stricken immigrant communities lived side by side in ghettos.

Mosche Di Velluto Grigio from left to right: Matteo De Ieso aka Malle The Beaver: back vox, drums • Francesco Fornasari aka Frankye “The Baker” Squillace: electric guitar, double bass, back vox, harmonica • Andrea Cagnini aka TheKing Cagno: voice, folk guitar, bagpipe, irish bouzouki, harmonica • Christian José Cobos aka CJ: electric bass, acoustic bass, kahuna bass ukulele, back vox • Pietro Arfini aka Rapax: back vox, mandolin, banjo Font row: • Laura Cagnini aka Lalla: sax, flute, tin whistle, trombone • Fabio Dall’Aglio aka Phabius from Garlic: concertina, accordion, amon, sax, trumpet

Famous for their DIY ethos Mosche Di Velluto Grigio were first conceived in the late nineties when singer Andrea and his sister Laura were inspired by their love for NOFX and the 90s punk scene. Together they went on to recruit others and the first incarnation of the band was gathered around them. Collectively they have become one of the more successful Italian Folk-Punk bands and though influenced by the likes of The Pogues and Dubliners on one wing and Stiff Little Fingers on the other their is more than a ounce of the legend Johnny Cash in there as well. These days members of the band come from not just Lombardy but from all over Italy and even Mexico.

I first came across them on their 2016 album Old School. It never made the reviews here as it was a couple of years old by then but I was impressed and have kept up with them since waiting for a chance to make things right. That album was, as far as I am aware, all traditional folk songs from North America and back Ireland and home to Italy. Internationally renowned songs like ‘Amazing Grace’ and ‘Waltzing Matilda’ go up against classic Celtic songs like ‘The Foggy Dew’ and the ‘Fields Of Athenry’ and a rake of songs that I had never heard before. The new EP, Of Pain And Glory, carries on in the same vein except with one exception all the songs are penned by the band. Beginning with ‘A Whisper From My Cigarette’ and it’s classic Celtic-Punk. Loud and bombastic and massive. The song is not particularly fast but catchy and tuneful while Andrea sings out the lyrics, no doubt through a cloud of cigarette smoke! His voice is so raspy he makes Tom Waits sound like the singer in a boy-band. Accordion and tin-whistle grab you here until mid-way when the song suddenly shoots up in tempo. An excellent start that leads into ‘Glasgow Town’ and this is no ordinary Celtic-Punk band as witnessed by the sound of a saxophone wailing away in the background.

Again its catchy as hell and this time a much more straight forward punk rocker of a tune. They slow it down again next for ‘Seven Ships’ and even add in a bit of Country’n’Western twang. Balanced between country and folk it threatens to take off but stays a nice gentle folky foot-tapper with a couple of Celtic touches thrown in for good measure but… then it does go off for last few bars ensuring I’d say a messy dance floor when played live. ‘Pieces Of Glass’ begins as the most Celtic of the songs here with accordion at the forefront before the chugging guitars come in and lead the song on a right merry Celtic-Punk dance. The third single from the EP is ‘Laura’ and we couldn’t have timed this review any better as just three days ago they released the new video and its a great production as many of their videos seem to be.

The EP comes to an end with Mosche Di Velluto Grigio’s favourite song, ‘The Parting Glass’. I say favourite as it also featured on Old School and was released as a single inbetween that record and this. First heard in the late 1700’s the song has been recorded by far to many to mention here but the sad but defiant song has rarely sounded different here. Starting off as barroom ballad they soon up the ante and turn the song into a killer punk rock tribute. Love it.

Bands like Mosche Di Velluto Grigio don’t make covers in the traditional sense of the word. I would prefer to call them re-interpretations. They have taken some old traditional songs of their home, of the Celtic nations and further afield and have made them their own. Mosche Di Velluto Grigio are a utterly fantastic band and if you can get past the distinctive vocals then I’m sure they’ll gain a bit more recognition outside of Italy. While the music has crossover appeal Andrea’s vocals place it firmly in the Punk side of Celtic-Punk but also shows these lot will never be found watering it down.  

Buy Of Pain And Glory

iTunes  Amazon  Google

Contact Mosche Di Velluto Grigio 

Facebook  WebSite  Soundcloud  Spotify  Twitter  YouTube

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Still Got the Booze

iTunes  Amazon

Contact Kings And Boozers

Facebook  Instagram  YouTube  Spotify

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

EP REVIEW: DAD NAP- ‘Worn Out’ (2018)

One man Folk Punk music from Nottingham, England.

One of the great things about Folk-Punk is the generally positive message it sends out to the listener. In a scene where the majority of releases are done and organised by the bands themselves it’s nice to be able to deal with bands themselves without having to go through PA’s and managers. Dad Nap is the epitome of DIY music having recorded his second EP in his kitchen with a budget of exactly £0 using a knackered old microphone and readily available free software off the internet.

DIY literally means ‘Do It Yourself’ the idea that you don’t have to rely on the record industry to make and produce music. DIY champions the individual and communities and empowers us to record, produce albums, merchandise and to distribute and promote independently, outside and away from the music industry. DIY bands do everything themselvesfrom production to marketing and communication. By controlling the entire production and distribution chain, DIY bands can develop a closer relationship between artists and fans. The DIY ethic gives total control over the product without need to compromise.

Dad Nap is Strong Simon a one-man Folk-Punk battalion based in Nottingham in the East Midlands of England. On the break up of his old band Green Hill Zone Simon began to attempt to put together a new band. Writing songs inspired by raw emotional Folk-Punk bands like Days N Daze and We the Heathens and with the intention of finding other people it soon became clear he had enough songs to record his first EP and so Dad Nap became a truly one man operation.

(The lead song from Dad Nap’s debut release 3 Songs is also available at the Bandcamp link below as a Name Your Price download)

the infamous Dad Nap kitchen!

Worn Out is his follow up release and came out at the end of last month. All the songs were written, performed, recorded and suffered through in true DIY fashion by Strong Simon himself. The four songs here begin with the sound of an accordion before Simon jumps in with some frantically strummed acoustic guitar and what sounds to me like a kazoo!! ‘Burn The Bodies’ is a nice slice of folky class war which includes a quote from the supposed saviour of the working classes, though I’m not 100% convinced myself, Jeremy Corbyn.

“The bank of mum and dad
is not open for the poor
and now we’re all locked out
the housing market as closed the door
on us, we’re broke and tired
our world is run by fucking liars
our protectors have abandoned us
and yet they ask us for our trust”

The title song is next and ‘Worn Out’ and I loved it. At times Simon is both crooning and rapping over a basic folky mash up of several instruments. I don’t know enough about modern music to be able to compare it to anyone but it comes across as highly original in the Folk-Punk scene at least. Gloria Gaynor may or may not be any longer with us so I don’t know if she’s spinning in her grave at the sound of Dad Nap’s version of ‘I Will Survive’. The nasally voice accompanying basic punk rock with a cracking accordion solo it really makes me wonder why more punk bands haven’t covered this track with its positive message and great tune. It’s the kind of track Leatherface use to do with ease. The last song here is ‘She’s A Killer’ and politics takes a step back as Simon sings a ballad of love to his ‘punk rock killer queen’. Accordion again leads the melody and Simon shows a good vocal range without ever losing the punk rock approach.

A great wee EP the four songs clocks in at just under ten minutes. Sincere heartfelt lyrics and a belief in himself and his music Worn Out is available for just a measly £3. It goes without saying that we must do all can do to help out DIY artists like Dad Nap as they are the life and soul of any decent musical genre and without them we’d be only left with what the corporations decide is good enough for us and we don’t want that!

(listen to Worn Out for free before you buy on the Bandcamp player below)

Buy Worn Out

FromDadNap

Contact Dad Nap

Bandcamp  Instagram

EP REVIEW: THE SILK ROAD- ‘Justice For Daniel’ (2018)

Gritty, honest Celtic-Folk-Punk from the north of England’s The Silk Road and a tale of murder and corruption leading to the highest pillars of the British state.

Despite being one of the best bands in the Celtic-Punk scene on this island The Silk Road remain relatively unknown outside the north of England. Hailing from the Derbyshire town of Chesterfield, whose football team has suffered the same ignominy as my own, Leyton Orient, and dropped out the Football League, they are the unsung heroes of Celtic-Punk in England. It’s not unusual that bands from the main cities get all the glory and sometimes coming from an unfashionable place can even hold you back. It’s just a shame that whoever decides these things doesn’t value the history of a place like Chesterfield with its past steeped in traditions of coal mining and steel production and the accompanying militant trade unionism that goes with it.

The Silk Road left to right: Andy(Rosie)- Guitar/Backing Vocals * Brian- Drums * Tich- Vocals/Acoustic Guitar * Shaun- Bass * Jamie- Fiddle

The Silk Road have been together since 2015 formed by Tich, Andy and Shaun and going on later to recruit both Jamie and Brian. Taking some old demos singer/songwriter Tich had recorded in his studio and re-working them into something new and fresh The Silk Road began to take shape. They released Midnight in July of 2016 as a taster for their forthcoming self-titled debut album that was the light of day in July of last year. The album lit up the Celtic-Punk worlds media hitting their many Best Of’s including ours where it landed a very respectful #14. Infectious and catchy throughout the album had more than enough punk to keep the punks happy and plenty of folk to keep the oldies like me happy too. Owing a debt to the English folk-rock scene that has kept bands like The Levellers and New Model Army in clover The Silk Road have also added their own style of both Celtic and English folk melodies without losing any of the punk urgency that they started out with.

Here on their brand new EP Justice For Daniel The Silk Road have Andy has come in as a extra guitarist and they have added two instruments you don;t hear much in Celtic-Punk with Tom Wood on trumpet and Sarah Reaney-Wood on saxophone who join the band live on stage when time permits. The EP’s title refers to the tragic case of Daniel Morgan. Daniel was a private detective whose gruesome murder still lies unsolved despite being the most investigated murder in English legal history. Police corruption and criminal activity and the conduct of journalists with the British tabloid News of the World lie at the heart of this case. According to a Metropolitan Police investigation in 2007 his murder was because he

“was about to expose a south London drugs network possibly involving corrupt police officers”.

Daniel was 37 at the time of his death in a south London pub car park on 10 March 1987 and in the 30+ years since his death his family have never given up trying to find out what happened and to bring Daniel’s murderers to justice. Their are several excellent places to find out more about Daniel’s case but the best place is the ten-part podcast Untold: The Daniel Morgan Murder which topped the UK iTunes chart here.

With family connections to the case and a desire to see justice done The Silk Road have released this EP in tribute to Daniel and in hope of keeping the case alive and it was with Daniel’s families blessing that they went ahead with the song. The EP begins with the title track and Tich tells the full tale of what went on. Its a jaunty and catchy wee number that belies its tragic subject matter. As is The Silk Road way Tich’s vocals are clear and easy on the ear while the music is basically upbeat folkyness with some excellent fiddle work from Jamie. As protest songs go its up their with the best I’ve heard in recent years and you can tell from the passion in Tich’s voice it’s a subject close to his heart. You can have a listen to this grand song over at Facebook here. A brilliant start and they continue with ‘No Reason’. The electric guitar is louder here giving them a bit more punch and gives them the sound that lies somewhere inbetween The Levs and NMA but with added Ferocious Dog too! As usual with The Silk Road its as catchy as hell as police corruption is again tackled. They let fly next with ‘Morgan’s Riot’ and if the Celtic-ness has been somewhat subdued so far they don’t hold back here. Proper pure top of the table Celtic-Punk that will get the auld feet tapping away. Its fast and furious and again Jamie’s fiddle is amazing. The only complaint is that its not longer as at under three minutes I don’t think it does it justice. The curtain comes down on the EP with an acoustic version of the title track ‘Justice For Daniel’. Just Tich and his acoustic guitar, Jamie and his fiddle and the wonderful sound of Sara Haley on backing vocals and the whole gang getting in on the chorus it is, not surprisingly quite an emotional and poignant song.

It may look Celtic but The Silk Road logo of three hares with interlocking ears is actually from the far east where the silk road was the ancient trade route linking Asia to the West.

Clocking in at near twenty minutes its all together a fantastic EP that warrants getting hold of. Brought out by the band themselves and financed in part from sponsorship from the Vape Domain shop in Ollerton, Nottinghamshire its always great to see a band taking their own route and sticking close to their principals, also good to get a dose of real politics into the scene. The Silk Road are not Irish or Scottish but are still most definitely a Celtic-Folk-Punk band and one of the best this island has to offer too. Year on they get bigger and more well known and despite several set-backs we are still going to see them in London town one day soon. It’s a shame the CD is not available as a download but drop the band a line at the e-mail address below and they will let you know how to get a proper CD. It’s worth it for lots of reasons.

Buy The EP
CD only available from the band at the moment. £6-50 via PayPal from brianbuckberry@hotmail.com
Contact The Band
(great video of ‘I Don’t Care’ taken from our debut album)

ALBUM REVIEW: THE LANGER’S BALL- ‘Hard Time In The Country’ (2018)

Irish-American Celtic-rockers The Langer’s Ball are back in town with their first release as just a duo in over eight years.Writing, touring and performing for over a decade The Langer’s Ball play their own brand of traditional drinking songs and original material with a thumping beat and a flurry of notes and harmonies. Hard-hitting and bigger than you’d expect a duo could ever be you’ll dash to refill your drink and cheer for more!


The Langer’s Ball have featured on these pages several times over the years with a multitude of releases and news and here they come again with the release of their fourth studio album Hard Time in the Country. As usual the album features a band that knows it way round an old fashioned tune and contains a fantastic mix of both American and Irish Folk-Punk. The last time they featured on these pages I had this to say and as I don’t think I will say it better I’ll repeat it here.

The Langer’s Ball have long been hailed as one of the most interesting and innovative bands in the north American celtic-punk scene. They have never been afraid to mix in other genre’s of music while all the time keeping one toe firmly in the music of The Emerald Isle. It’s bands like The Langer’s Ball that keep the scene alive and fresh and bring new ideas to the celtic-punk table.

Back in February, 2017 The Langer’s Ball announced they were making their entire (yes their entire) back catalogue available for free download via the band’s Bandcamp page so head over their soon as you finish reading this and get downloading.

The Langer’s Ball hail from Saint Paul in Minnesota and it’s a place where the Irish make up the second largest population of the city at a well decent 14%. The largest at over double that is people of German descent and despite being only half their number the Irish learnt very early on that power lays not just in numbers but in control of City Hall. These days, of course, the Irish are no longer running things but it’s still no surprise to find Irish surnames dominating among local government, the Police and the Fire Service. The Langer’s Ball have been together since 2007 starting off as a duo with Michael and Hannah releasing a couple of albums that were well received by the national, and international, celtic-punk community. Persuaded by this reception they decided to try and fill out their sound and so set out to recruit some musicians and it wasn’t too long before the full line up of The Langer’s Ball was born.

The band take their name from the Irish word ‘Langer’ which has three meanings one being a right eejit (-idiot), and the others being pissed or your dick! I can only hope you can guess which one the band want you to associate with them! Since those two early LP’s in 2007 and 2008 they have gone on to release ‘Drunk, Sick, Tired’, a live St Patrick’s day recording, in 2011 and ‘The Devil, Or The Barrel’ in 2012. They followed this with 2014’s ‘7 Year Itch’ which we reviewed here and was so called because it heralded the seventh anniversary of The Langer’s Ball’s existence. Then came 2016’s Whiskey Outlaws, here, an absolute killer of an album which made all the Best Of lists of the major celtic-punk media and confirmed their place as one of the best bands in the scene. 

So a few years without a release but the band have by no means been quiet and as I have followed them from afar they have never seem to have stopped touring in all the years since Whiskey Outlaws. Hard Time In The Country captures The Langer’s Ball perfectly with a wide range of ballads, and acoustic Celtic-Punk taking in both modern and traditional songs with of course a ‘craicing’ drinking song! The album begins with a cover of the Billy Bragg penned number ‘Constitution Hill’ from his 2011 album ‘Fight Songs’. It showed a sort of return to form for Mr. Bragg away from his twee middle class stuff of recent years to angry polemic. Sung acapela with Michael leading the way joined by The Langer’s Ball choir of friends and misfits for the chorus. It’s a great song and Michael’s voice is strong and passionate and he sings with great conviction. This is followed by a rousing instrumental ‘Justin’s Favourite’ with Hannah on tin-whistle and it’s a lovely, jaunty wee Irish folk song that will surely get the foot a-tappin and the thigh a-slappin’! Next up is ‘No Irish Need Apply’ which is based upon the times that the Irish were discriminated against in the United States and signs and adverts were often posted with the words No Irish Need Apply. The song shares a few lines with the great Wolfe Tones song of the same name but The Langers’s Ball give it a new twist and even extol a nice bit of retribution for what these bastards did to our ancestors.

“Well I couldn’t stand it longer, so ahold of him I took
And I gave him such a beating as he’d get at Donnybrook
He hollered “Milia murther,” and to get away did try
And swore he’d never write again ‘No Irish Need Apply’
He made a big apology, I bid him then good-bye
Saying “next you want a beating, write ‘No Irish Need Apply'”

Next time the child of some millionaire decides to lecture you on so called ‘white privilege’ point them to here to learn about how the Irish suffered and were mistreated and abused on arrival on Amerikay’s shores. The songs come fast furious and ‘Meet Me Where You’re Going’ is again a nice twist on things and here Michael and Hannah sing a lovely Americana/Country twinged folk ballad together. Written by  Craig Minowa for fellow Minnesotan band Cloud Cult’s 2013 album Love. Its a beautiful love song and leads us nicely into the Celtic-Punk favourite ‘Dirty Old Town’.

The Langer’s Ball: Michael Sturm – Vocals, Acoustic Guitar and Percussion * Hannah Rediske – Accordion, Penny Whistle, Piano and Vocals

Covered and played by all and sundry I sometimes think it’s been done to death but every time I see it on a track listing I’m always curious to see what a band is going to do with it. Here Michael again voices it with passion and conviction and its basic background of only whistle and acoustic guitar lends it a power you don’t often hear with this song. Stripped of its ‘Irishness’ (it is in fact a English song written by a second generation Scot- Ewan MacColl) its a great piece of Americana and I always prefer to hear it sung in the singers original voice/accent. They delve further into the past next with ‘Penny’s Farm’. Their is no record of how long this song actual is except it was recorded by The Bentlys on their one and only record released in 1929. The song is about farmers protests and the mortgage mentioned in the song in the song was a so-called chattel mortgage, which was backed by the farmer’s few possessions as well as his next year’s crop. Five days after The Bentleys recorded this song the stock market’s Black Monday came and life out on Penny’s farm got a lot tougher with The Great Depression and The Dust Bowl.

“With their hands in their pockets and their head hanging down.
Go in the store and the merchant will say,
“Your mortgage is due and I’m looking for my pay.”
It’s a-hard times in the country,
Out on Penny’s farm.”

As mentioned already (several times!) Michael’s voice is brilliant at capturing the mood of these songs and Hannah’s accordion whisks you back to those dark days. We stay in the past but in a very modern way with ‘Way Over Yonder In The Minor Key’ a beautiful version of a song that appeared on the 1998 album Mermaid Avenue where previously unheard lyrics of Woody Guthrie were put to music and performed by Billy Bragg and Wilco. Known for his working class anthems its an incredibly beautiful  song and sure its done justice too here. Woody Guthrie was possibly the most important folk- music figure in American history. His influence on music is beyond measure and far too many have cited him as an influence to go into here. Michael and Hannah play it slightly more upbeat and again Hannah’s accordion is superb. A real nice surprise and just shows their was so much more to Woody than many of us give him  credit. The album is laid out very nicely and with so many diverse tunes on board its been designed to fit very well and despite shunting from upbeat to manic sometimes it flows very well and the same can be said here of ‘Beans, Bacon And Gravy’ which follows here. Fast and manic and again we are in the days of The Great Depression. A time so bad it demands its own capital letters! The singer is so sick of eating the same thing over and over again he even sees them in his dreams! The great Pete Seeger wrote that the song

“probably grew over the years being polished by any number of Depression-weary workers who could laugh the bitter laugh of irony—so often a man’s best friend when times are hard.”

And how true. It was often humour that got the poor and down trodden and dispossessed through the hard times (but its always good to hear of someone getting their just desserts too, as in ‘No Irish Need Apply). At first glance on the track listing I took the next song ‘1916’ to be about the tragic heroic rebellion of Dublin but then I noticed the credit to one Ian Kilmister and I realised the song was indeed a cover of Motorhead song as penned by Lemmy himself. May he rest in peace. The song, as you can imagine, is nothing like the original but is given the Folk-Punk treatment and you can finally take in Lemmys words about a young lad heading off to the trenches in the First World War in all its blood drenched glory. A simple accompaniment told with passion. So onto ‘I’ll Tell Me Ma’ and here just re-read what I said about ‘Dirty Old Town’. Its not exactly a rare song to hear but its sung and played with gusto and will have the crowds, young and old, joining in! Being a strong advocate of people joining their trade union its great to hear ‘Picket Line Song’. Written by Evan Greer for the 2009 album Some New Songs.

“Mom called him a dirty scab and gave him two pieces of her mind
she picked up and she threw every rock that she could find
and when he called the cops on her she kicked his behind
and said that’s what you get when you walk across a union’s picket line!”

We nearing the end and ‘Hoist Your Cup High’ is The Langers’s Ball at their best. As much as I love the songs that mean something nothing means more to me than a good drinking song! It has a feel of Ireland, Germany, Eastern Europe about it and Michael raises a glass to all his departed friends and family and hoists his cup high as when we are dead we may not drink at all! The album ends with an unusual version of ‘The Parting Glass’ usually sang as a slow ballad here its given an upbeat version and I have to say I absolutely love it. Its an old song some say from before 1770’s and recorded countless times but in the hands of musicians with pride, love and respect it can become almost new and original.

Hard Time in the Country shows the roots of The Langer’s Ball and it is their willingness to dip into the past that sets them apart from their contempories in the American Celtic-Punk scene. They can take songs from the likes of Billy Bragg, Woody Guthrie and Motorhead take them away and breathe new life into them. Not for The Langer’s the easy route of simply covering a song, they are determined to stamp their brand on everything they do and turn it into their own. It is this knowledge of the folk and rock scene which makes their choice of songs so interesting and adds so much to what they do then their is always something for everyone to enjoy. A band that sets the brain and the heart racing The Langer’s Ball are constantly evolving and constantly improving so get on board and join them on their journey.

(have a listen to Hard Time in the Country via The Langer’s Ball Bandcamp page before you buy (its only 4) but rememeber all (yes all!) their back catalogue is available as a free download but leave a donation if you can) 

Buy Hard Time in the Country

CD/Vinyl- FromTheBand Download- Bandcamp

Contact The Langer’s Ball

WebSite  Facebook  Twitter  YouTube  ReverbNation  Bandcamp  Google+  Soundcloud

POST-EDIT: The Langer’s Ball deemed it necessary to release a statement on their Bandcamp page with regard to the song ‘No Irish Need Apply’ so here it is.

EP REVIEW: MAN THE LIFEBOATS- ‘Man The Lifeboats EP'(2018)

London based five piece Man the Lifeboats play raucous, upbeat folk music. Their debut EP is four songs of full-throttle, upbeat contemporary folk music to drink, dance and sing along to…

Now before i start have to admit that I never really got the Skinny Lister thing. While all around me people and friends were renting and raving about how brilliant they are I remained marooned on my desert island a lone voice against the many. Maybe it was their unbridled cheerfulness or that in the early days all their merchandise was festooned with the ‘Butchers Apron’ but I may have to have a re-think though as relatively new band on the London scene Man The Lifeboats cite them as their main influence and therefore there has to be something I am missing out on.

Man The Lifeboats left to right: Harvey Springfield- Mandolin, Electric guitar, Harmonica, Backing vocals * Rich Quarterman- Lead Vocals, Acoustic Guitar * Daniel Gilroy- Fiddle, Stroh Violin, Penny Whistle, Backing Vocals * Sam Barker- Bass, Stompbox, Backing Vocals * David Vaughan- Drums, Percussion.

Formed in the wake of seeing Skinny Lister live in concert in 2016 this is the debut EP from Man The Lifeboats. It was recorded at Soup Studios on a floating lightship studio on the river Thames – where else! – and was produced, engineered and mixed by Ed Ripley who has worked extensively with the oft mentioned Skinny Lister.

The EP begins with ‘Doomed’ and its bouncy upbeat fast paced folk music from the first beat. Harvey’s mandolin is the most ‘in-yer-face’ instrument along with Rich’s vocals and it works perfectly. Perhaps Daniels fiddle could have been louder but that is a very minor gripe on a song that fits together perfectly. The lyrics belie the jollyness of the song as it repeats that we are doomed with the rising of the sea levels and pollution but done with lashings of humour that will raise a smile or two.

“We’re all doomed
The four horsemen are coming, we’re marooned
Time to go and colonise the moon
This is the sound of impending doom

The video for ‘Doomed’ was released last May and was the first sign that Man The Lifeboats were on the way.

This is followed up by ‘A Wasted Life’ and this song reminds me a little of my favourite bands The Housemartins. Massive at their time in the mid-80’s they are completely forgotten about now but as well as their superb agit-pop they also wrote some great ‘folk’ tunes. Again Harvey’s mandolin is to the fore and the fiddle is louder here too and with the addition of one of the most under-rated instruments in Celtic-Punk the harmonica its a great tune and with clever and insightful lyrics about the common theme, the havoc that over indulgence in alcohol can wage against us.

“Yeah
Why should I care?
I’m going down the drink
I’ll see you there
And I wouldn’t be pretending I was Hemingway or Reed
If I could write a happy ending
To this wasted life I lead”

All the songs here are written by the band but the lyrics are by Rich the vocalist and he is very much in the tradition of a singer-storyteller. The songs have an auto-biographical feel to them and all are interesting in many different ways whether he’s trying to make some political point or excuse some drunken escapade in the dark past of days gone by. On ‘My Westferry Sweetheart’ he sings of the time

“I had a sweetheart who lived down on Westferry Road
On the banks of the Victorian Thames”
The music is soft and gentle and drifts along and as Rich sings it all sounds just about perfect as it could be till he leaves us with the line

“And you know how the story ends”

Letting us know how it all ended. The EP comes to an end with ‘Molly’ and again its a story of doomed and lost love upon the streets of London. This time the music begins with the harmonica and an Irish tune which soon morphs into a straight up folk ballad with more of what will, I am sure, become well known as their trademark humour. The words fit snugly together with a series of hilarious rhymes like “But I won’t be sailing like Sir Michael of Palin”.
(live version of ‘Molly’ recorded as a three piece last year)

Its a great song and brings down the curtain on a debut EP that is a credit to them. Very London-centric and nothing wrong with that at all. London is a big place and gives plenty of scope for stories about pretty much anything. In a city of millions of people its still hard to connect with people and even harder to hang onto those we love and cherish. 

The EP came out just a couple of weeks ago on the 22nd June and the Bhoys played the EP launch party to a packed audience at the Nambuca in north London. With great tunes and a catchyness about everything they do Man The Lifeboats have their fare share of problems with band members but with a settled crew on board now they look set for further and better things. With lyrics that tell stories about real heartfelt events that raise a smile and a hackle, when needed, along with some beautiful fiddle and mandolin melodies and a stomping beat Man The Lifeboats have created a sound that is pretty unique among the London folk and punk , and folk-punk, scene. Put it all together and you are sure of a blistering live experience. You can catch Man The Lifeboats soon playing as main support to those lovable Aussie Celtic-Punk rogues The Rumjacks at the New Cross Inn in South London on Monday 6th August (check out the Facebook event for that gig here). As someone said a ‘tonic for these troubled times’.

Buy Man The Lifeboats

Spotify

Contact Man The Lifeboats

          Soundcloud

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

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

Born in a filthy garage in 2004 The Killigans have gone through various personel changes in their time together but have kept at their core a set of foot-stomping beer-loving raucous anthemic numbers drawing from traditional Celtic music along with streetpunk, gritty rock’n’roll and working class country music. Having become one of the most popular bands in the Nebraskan music scene they have gained a rapidly growing army of fans across the States and overseas as well. One of the highlights of their early career came in 2010 when their song ‘Lessons from the Empty Glass’ was used on the soundtrack to the big budget Universal Studios hit move Robin Hood. Dance On Your Grave is The Killigans fifth album and their development over the years is plain for all to see. From the rough and ready Irish folk-punk of 2006’s Brown Bottle Hymnal to 2010’s Honor which saw them shift towards a more stripped down punk sound and then to their last album Another Round For The Strong Of Heart from October 2012 which saw them raise the bar with their best release to date with a collection of songs that took the catchy Irish Celtic-Punk of their early days and the anthemic punk of Honor and combined the two for something particularly special that will go down as one of the best album’s that the Celtic-Punk genre has ever produced. Not bad for a bunch of working-class blokes from flyover country!
Dance On Your Grave was five years in the making with some of these songs three or four years old. The Bhoys admit to having lost motivation and to having run of steam. After all their lives had changed from young raggamuffins to being middle aged family guys 
“We never meant for the music to stop, and it has shaped us and our families along the way.  Its just been a lot more difficult for us to make new music happen.  I like to think we have a lot more to offer in the way of songwriting than a couple 22 year old punks who have been on their own for a couple years.”
The Killigans have endured a lot of life and one thing that has always shone through with their releases is their utter honesty. A straight up band that has always played a straight deal. Dance On Your Grave carries on from where Another Round for the Strong of Heart left off. Hardly surprising as that era is from when many of the songs here were written or first imagined with old drummer Ben Swift starting the writing process that new drummer Mikey Elfers would help finish by coaxing the band into actually finishing the album! 

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

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

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

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

There’s something changed about punk rock

What does it stand for?

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

We think it’s more!

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

Though his parents are concerned and think him strange

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

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

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

“This gentrification is necessary good

A complete revitalization of your neighbourhood

A lonely puddle in  a cracked brickmavenue

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

and ends with

“This district

You’re no longer part of it”

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

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

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

Buy Dance On Your Grave

CD- FromTheBand  Download- Bandcamp iTunes  CDbaby  

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

Contact The KIlligans

WebSite  Bandcamp  Facebook  YouTube  Twitter

HUNGARIAN CELTIC-PUNK WEEK. ALBUM REVIEW #1: FIRKIN- ‘We Are The Ones’ (2018)

Kicking off a week celebrating Hungarian Celtic-Punk we have the new album from Grammy Award-winning Budapest Irish band Firkin. Having played well over six hundred concerts in seventeen countries and it’s no wonder as they are without doubt one of the best live bands on the continent.

When you think of Celtic-Punk the first countries you would think of would be the ones that the Celtic diaspora fled to in times of despair and poverty and oppression. Well maybe that was then but these days Celtic-Punk is a truly international phenomenon and of all the countries outside of the traditional homes of Celtic-Punk no country has embraced the music quite like Hungary has. I’d be hear all day if I was to list all the bands on the scene over there but rest assured that we in England would be jealous of to have but half of them! Why exactly Hungarians have embraced the music to their hearts and ears I do not know. Maybe one of Hungarian friends can let us know. For the following week we are running a special Hungarian Celtic-Punk Week with three of the scene’s best bands all releasing albums then it makes sense to follow up last years (see 2017 here) Hungarian Celtic-Punk week with another one. So stay tuned and visit again in the week for #2 and #3.

One of the things that makes the scene there so special is the bands have all found their own niche within it and the music ranges from full on traditional folk to fast and heavy hardcore punk but today we feature one of the most prominent and internationally well known- Firkin. Formed in 2008 in the Hungarian capital of Budapest by flutist PJ, Firkin have released a whole bunch of albums and toured numerous times including playing an absolutely stunning one-off show in London on New Years Eve 2015. The gig drew in equal numbers of Hungarian ex-pats and London celtic punks that raised the bloody roof off the Dublin Castle! Certainly if putting in the hard work gets you the glory then Firkin have been working overtime to get the attention they deserve. The bands original vocalist Barna left the band amicably after recording the album Finger In The Pie in 2014 but new vocalist Andy has stepped ably into his shoes and Firkin have carried on without pause or even catching breath! Firkin have played more than 600 concerts in 16 countries and not just in Europe having toured Canada in 2011. Their debut album, Firkinful Of Beer, hit the streets in May, 2009 and within a year had gone gold. Soon after the album was nominated for a Hungarian Grammy Award, Fonogram 2010, which was followed by two further nominations in 2013 for their third album Igyunk Pálinkát! and in 2014 with their fourth album Keep On Firkin. In 2016 Firkin’s song ‘Focimese’ became the official song of the Hungarian football team for the UEFA Championships which saw Hungary storm the opening group stages before being hammered, like Ireland were, by Belguim in the knock-out round. Last year saw them grace the stage at many of Europe’s leading festivals which brings us up to date with the release of We Are The Ones which will be followed by a huge European headline tour in the Summer.

We Are The Ones is Firkin’s sixth studio album and they continue their quest to take over Europe by introducing the uninitiated to quality Irish-punk rock! Beginning with ‘All Is Well’ and its a fast start from the very first beat and Andy’s great vocals fit right in. The music flits between Springsteen heartfelt rocker and the Irish punk of their early days. ‘One More Pint’ is a tale of life passing you by but there always time for one more pint. Again Andy’s vocals sit nicely. Tuneful and shouty at the same time and in absolutely crystal clear English too! Firkin have always handled a nice ballad well and just as you think ‘Those Irish Punk Girls’ is it it flies off into fast as feck Irish punk with fiddle and flute literally leaving a stream of smoke behind them. As good a song on the album as any and a real blast from Firkin’s past. Another standout track follows with the album’s title song ‘We Are The Ones’.

A great gang chorus of “OH-H-H-H-H’s” in a song where Firkin pay tribute to their fans. Catchy as hell and will grow to be a real fan favourite I am sure.

“We are the ones who will go insane,
go mad when we are in pain.
We are the ones who might be exiled,
we’ll feel at home and smile”

Next up is ‘Lily Of The West’ and believe it or not a song that I could imagine leaving Christy Moore’s lips this one. An old song and not your typical cover version it has a real authentic Irish feel to it with the music at times bordering on trad as well as country. One for your Ma’s this one. Now its ‘Your Odyssey’ and I can’t imagine Christy singing this one! Proper Celtic-Punk with thrashy guitars maybe a little understated but still giving the song plenty of oompf. I was never a fan of the flute to be honest. That was until I saw Firkin live in concert and I was immediately converted. PJ is such an amazing musician and has an incredible stage presence that its hard to stand in awe of Firkin when they let fly. We are back in the pun now with ‘Hold My Beer’ and like a lot of bands Firkin make music to be enjoyed with a jar or two and I’m reliably informed that Hungarians like their beer so a band named after a beer measure ought to have a couple of alcohol friendly songs at least!

As we head towards the end of the album and it’s time for Firkin to dust off a few covers which they begin with the famous Dubliners trad song ‘Nancy Whisky’. A perfect song for Celtic-Punk bands to cover and Firkin serve up a great version and follow this up with perhaps the greatest (and saddest) song ever written about Irish emigration, ‘Spancil Hill’. A real tear-jerker this one and again delivered with style and given an upbeat treatment. Time for an original and Firkin have always dipped their toes into folk-metal while never quite getting their heads wet and ‘Awaken The Iron’ is as far as they venture on We Are The Ones. A great metal-folk-punk song with Andy never sounding more like a pirate in his life.

“Show a leg!
Pirates aboard! Prepare your swords
Pull out the guns and shoot a full load
Release your wrath ‘n aim the mainmast
Fight for the glory till the last breath
Remember the days, the years we fought together
Steered between waves through days and nights
This is the moment we all been living for
Awaken the iron, rats quake in their boots”

The albums fastest song gives way to ‘Galway Girl’ and this song I am sure is played hundreds of times every night on every continent on the planet and I am sure Steve Earle never imagined the hit he had had on his hands but the song is now up there at the very top of popular Irish songs. Nevertheless Firkin don’t do sloppy covers and they stamp the Firkin brand on it and mange the seemingly impossible to make it their own. We Are The Ones comes to an end with the beautiful Irish trad number ‘Flowers’ featuring the absolutely stunning voice of Hungarian folk singer Agi Szaloki. Originally called ‘The Flower Of Magherally’ it dates from 1928 and was most famously covered by Altan.

“I met my love near Banbridge Town,
My charming blooming Sally, O
And she is the crown of County Down,
The Flower of Magherally, O”

Andy shows he can really sing and what a pair of lungs he has as together they belt out a real folkie number that brings down the curtain perfectly.

So another classic Firkin album ends and with twelve songs and seven originals it’s a good balance of their own material and covers too while it steams along at such a nice pace I was surprised it was forty minutes long as it seemed to be over far too quickly. The auld Irish influence may have subsided a wee bit in favour of more typical Celtic sound but theirs no denying that Firkin are at the top of the tree when it comes to Celtic-Punk on this fair continent and long may they continue and they surely will if they continue to put out such great material.

Buy We Are The Ones

FromTheBand  iTunes  Amazon

Contact The Band

WebSite  Facebook  Twitter  YouTube  Soundcloud

( A whole Firkin concert from 10th June, 2017 – Open-Air Theatre Budapest)

Don’t forget to check back in a couple of days for the rest of Hungarian Celtic-Punk Week. Part 2 here

Don’t forget to check back in a couple of days for Part 2 of Hungarian Celtic-Punk Week. If you are interested in finding out more about the great celtic-punk scene in Hungary (and you better be) the best place to visit is the ‘Celtic Punk/ Irish Folk Hungary’ group on Facebook here

EP REVIEW: UNDER A BANNER- ‘Riot’ (2018)

Fine purveyors of passionate, powerful and poetic folk-rock Under A Banner unveil their brand spanking new EP this week. 

Under A Banner have featured on these pages several times over the years and strangely, for a English band, they have managed to get here on the strength of their many releases rather than their live performances. Not to say they aren’t bloody brilliant live but that they have hardly ever played in London. We helped put them on once at the legendary Water Rats (where The Pogues played their debut gig) but i couldn’t make it leaving my only Under A Banner gig at a festival in Croydon a couple of years back. Needless to say they outstanding and I’ve tried several times since to catch them but to no avail.
The band hail from the West Midlands town of Wolverhampton and began life as a duo before slowly adding to the roster of musicians until they had gathered around them the core of what would be Under A Banner for quite a while. A heavy touring schedule and a very healthy relationship with their fans (one look at the bands social media shows how much love flows from the band to their fans and back again) has seen their star rise and rise all the time becoming more and more popular. The folk-punk scene in the Midlands has also played a large part in their popularity with bands like Ferocious Dog leading the way and others like The Silk Road, The Whipjacks and Headsticks who all know and support each other. Further proof, if needed, that while the Celtic/Folk-punk scene may not be massive in numbers the people who make it up are the best. Solidarity me Bhoys and Ghirls! With several releases under their banner (ahem!) including a bunch of singles and EP’s as well the albums The Ragged Rhythm of Rain in 2012, Close To The Clouds in 2014 and Wild Places in 2016. We reviewed Wild Places here and  most of their previous releases are available as Pay What You Like downloads on Bandcamp at the link at the bottom if you want to check them out.

 

So with a new band member in tow, new bassist Richard Corry formerly of The Whiskey Syndicate, Under A Banner returned in February this year with a new single and video for ‘Light Breaks Through’. The video was directed and edited by Nick J. Townsend and announced the unveiling of a Crowdfund campaign to raise the necessary readies to pay for the EP’s release. The bands fans came running and here all ready and delivered is the new five track EP which while sounding like the old Under A Banner hasn’t stood still and has taken the band into a much bigger sound.
At the head of it all are the words spun by singer/guitarist Adam
“We always seek to bring passion and power with what we do, although sometimes we just love to spin a good old yarn”
and therein lies the secret of Under A Banners success so far. It’s their ability to combine catchy tunes and stories (with bands like these I prefer to call them stories rather than lyrics as lyrics make them sound trivial at times) that have captured the folk-punk public.

The EP kicks off with the title track ‘Riot’ and with feedback and Richards pounding bass and its a heavier and harder hitting Under A Banner while still keeping their folkier sensibilities. They are constantly compared, especially by us, to New Model Army in the past but the new EP brings in influences as diverse as Anarcho-Punk and bands like The Stranglers, The Cult and Rush. We have said before that they are only a fiddle away from being the next great celtic-punk band but here Kat 70’s and 80’s inspired synth more than makes up for that. At a length of over six minutes the song never runs out of steam and on my first couple of listens I couldn’t believe it was that long as it sounded so short and snappy to me. Next is ‘The Wrong Hands’ and the sound is massive with one of many anthemic choruses on view here giving us all plenty of chances to stick our fists in the air!

“Power in the wrong hands”

Hard rock and synth launch ‘We Want Hope’ and here its the harder edged NMA that springs to mind and more great fist pumping choruses and words that reach you brain as well as your feet. The EP continues in the same vein with ‘Last Orders’ and the quality hasn’t waned and another corker with a all too brief folk/blues interlude before it rocks back into action. The EP ends with possibly Under A Banner’s greatest ever moment (so far!) with the amazing ‘Light Breaks Through’ and here they sound most like the old Under A Banner. Now this is what Folk-Punk should sound like people. Great meaningful lyrics that actually mean something accompanied by a mix of rock and folk that leads into yet another catchy chorus and a real foot/head tapper that should have the dance floor full when they play it. They may be compared to others but Under A Banner have only ever followed themselves.

The EP does have one extra song a radio friendly edit of title track ‘Riot’ at a shorter length of only five minutes. I prefer the longer version!
So what to make of the new direction? I love it! The harder and louder edge suits them and you still hear their folk influences throughout and I’m sure will signal the start of a new era in the band’s history. They are embarking on their most extensive tour to date taking in venues and festivals across the UK throughout the Spring and Summer so be sure to check out their web-site for tour dates, to be announced imminently! Anthemic, loud and heavy it’s the same Under A Banner only bigger and better!!

Buy Riot

(pre-order) FromTheBand (will post link when officially released)

Contact Under A Banner

WebSite  FacebookPage  FacebookGigs  YouTube  Twitter  Bandcamp  Soundcloud

  • We interviewed Under A Banner last year and it makes for a great read so check it out here and find out a bit more about the bands origins and influences

EP REVIEW: STEVE WHITE- ‘Fake News From Nowhere’ (2018)

Local folk-punk hero Steve White is back but without The Protest Family this time to cement his reputation as one of East London’s finest sweary guitar playing lefties!

This EP had almost slipped my memory when I bumped into Steve in the Leyton Orient Supporters Club bar. Trust me you’d need a drink after watching us this season! Anyway it reminded me that Steve had released a five track solo release and I promised him I’d get my thoughts onto here soon as I could.  Steve is the vocalist of one of London Celtic Punks favourite bands Steve White & The Protest Family. They have featured here a couple of times with album reviews and having played a few of our gigs but its been well over a year since the release of Protest For Dummies so something has been long overdue for this prolific band. Since that review the left has further entrenched itself in the backwardness of identity politics and the divide between the left and the class it’s suppose to represent has never been bigger. As I said then “It’s hard to be left-wing at the moment and certainly there is no joy in being so…” but that was before Jeremy rode over the hill on his white horse to save us. I’m not convinced but there you go. It’s a small light at the end of the tunnel and any hope is better than no hope. In a scene characterised by too serious po-faced lefties and hand wringing earnestness it’s heartening to find Steve White and his merry band still kicking out against the powers than be with their very own brand of bawdy, satirical, revolutionary socialist punk-folk-folk-punk music!

Steve has a certain knack for hitting home his points without that earnestness that puts so many people off. Not to say that the songs on here don’t make serious points or are even told in a serious manner as most are but its the way they are delivered that makes the difference and Steve White knows it.

Fake News From Nowhere was released the week after St. Patrick’s Day on 22nd March and has been released as a ‘Name Your Price’ download, more on that later but what better incentive do you need to get this? With several releases as Steve White And The Protest Family and couple as a solo artist Steve has been active on the London scene for a good few years and somehow finds the time away from his job as a firefighter.

Only One Team In East London

Fake News From Nowhere begins with ‘The Death Of Facts’ and the new modern way of media that sees facts making way for feelings and rumours. If people can still lose the argument while using facts than something is seriously wrong. On ‘Don’t Look Down’ the lyrics tell of the ‘I’m alright Jack’ way society has been moving for decades. Steve’s accent is propa Cockney here while the music is gentle. Like a lot of the bands songs the gentle front often hides a passion and call to arms. ‘If The Queen Had A Hammer’ is I think a full band song. It certainly sounds like it. Again the music has a gentle side to it while Steve hammers home a anti-monarchy message while still acknowledging that the Queen is still a human being.

“If the Queen had a hammer, would she hammer in the morning?
Would she hammer on the rich or on the poor men?
Would she hammer for change or for the status quo?
Would she hammer to remain or hammer to go?
Would she hammer with her head or hammer with her arse?
Would she hammer for the patriotic working class?
Would she hammer with her head or hammer with her feet?
Would she hammer on the metropolitan elite?”

Steve is a wonderful songwriter and the high point here is ‘Children In The Crosshairs’ with lyrics dealing with school shootings but not in as direct a way as you would maybe imagine. An intelligent and sensitive song that makes it’s point loud and clear. The final whistle on EP is for ‘A Song For St. Patrick’s Day’ and absolutely no surprises that it’s my favourite track here. Round every 17th of March English people are found bemoaning the fact that the Irish here celebrate St. Patrick’s Day while St. George’s (the patron Saint of England) Day shuffles by without anyone really doing anything. It turns out that St. George was in fact from the Middle-East so was in fact a refugee from his homeland.

“Each year on this day of March seventeen
A bigot will make a complaint
That in England no man of Irish descent
Will honour his host’s patron saint”

A great wee ditty that sees Steve accompanied on mandolin and will raise a smile I am sure. So another fine disc out of East London and from supporters of the best team in East London too. Five tracks that come in at a rather good twenty minutes and buzzes along nicely sitting. While the folk-punk scene does have a habit of espousing politics in a kind of virtue signalling way you just know that Steve and his merry band both live and breathe their beliefs. Some may not agree with everything they say but I’m sure we can all admire a band that not only packs a punch but also tickles your funny bone while doing it.

(you can have a listen to Fake News From Nowhere below on the Bandcamp player but seeing as its’s ‘Name Your Price’ why not just download the bloody thing!)

Download Fake News From Nowhere

FromSteve

Contact Steve (via Steve White And The Protest Family)

Facebook  Bandcamp  Twitter

You can catch Steve White And The Protest Family live in London this the weekend!

Facebook event here

NEW FILM- STOKED: THE DREADNOUGHTS RETURN

Stoked. A documentary about The Dreadnoughts by Adam PW Smith.

|  | 17 November 2017 (Canada)

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

After a few years away The Dreadnoughts announced their arrival back on the circuit with a utterly brilliant new album and now also a documentary film.

The 40-minute film by Adam PW Smith looks at the 10-year history of the band. It features rollicking music accompanying a mix of old and new footage, including tongue-in-cheek, sometimes raw tell-all biographies of the band members, past and present. The documentary delves into the band’s temporary hiatus and return with last November’s release of  Foreign Skies.

The film contains what some might consider inappropriate language and if you of a delicate disposition then viewer discretion is advised!

The Dreadnoughts
WebSite  Facebook  Bandcamp  YouTube
Adam PW Smith
WebSite  Facebook

You can also still buy ‘This Place Is Awesome’ – a Dreadnoughts tour diary written by the director of this video. It’s 2009 and music photographer Adam PW Smith flies to England to spend a week touring with The Dreadnoughts in the middle of their first European tour. Smith was in the thick of it, suffering all the standard indignities but one. The result is a book that reveals much about life as a young, touring band who bring real meaning back to the DIY ethic, and a few things about what it’s like to be a 43 year old trying to survive in that environment. Available on amazon.com http://goo.gl/Q9Cdk

EP REVIEW: THE DREADNOUGHTS- ‘Foreign Skies B Sides’ (2018)

Four songs from one of the most original bands around that didn’t make it onto last years album but were still good enough to put out as an EP.

As their by line goes The Dreadnoughts are one part roaring sea shanty, one part haunting folk melody, and a solid chaser of gut-crunching street punk and that is as good a description of them as you could ask for! The Dreadnoughts are truly one of the biggest and most popular folk-punk bands in the world and they built up their audience and reputation from years of absolutely constant touring and four stunning album’s that only cemented their place in our hearts. Formed in the Downtown Eastside area of Vancouver,  British Columbia, Canada in 2016 from the ashes of popular Irish-punk band Siobhan they changed and adapted their range of influences and soon they had become one of the cities best live bands. After taking on their home town and then Canada it was then time to spread their wings and they soon became a regular feature on the European gig circuit playing everywhere from England to Russia and in between. They didn’t quite leave behind their Irish roots but as the albums flowed it became less of the focus on them and from Legends Never Die in 2007 to Foreign Skies last year they have added the traditional folk music of just about every European country they have visited to the mix and while they still play with the wild abandon of the old days their is much more to them now than just celtic-punk.

Foreign Skies came out at the beginning of last November and takes all those musical influences and again mixes them all up but this time presents them in a concept album about the First World War that is both moving and poignant but, dare I say, also great fun to listen to. Sometimes fast, sometimes slow, sometimes acapello even with Irish, English and Eastern European folk and polka’s throughout. It could certainly be described as epic in my view.

LONDON CELTIC PUNKS REVIEW OF FOREIGN SKIES (DECEMBER 2017)

This year gave us the ambitious ‘concept’ album, Foreign Skies, from Canada’s own Dreadnoughts. It was released to mark the 100th anniversary of the first world war (yeah, I know, the Great War ran from 1914-1918, so that includes 1917!), and features twelve original tracks all based on events, people and places that were part of that war. There are a few standout tracks, notably; ‘Daughters of the Sun’, ‘Anna Maria’, ‘Jericho’ and ‘Black Letters’. The rest is all good with the usual fantastic musicianship we’ve come to expect from the Dreadnoughts. The subject matter does make it a rather sombre listening experience, and while the feeling/belief behind the album is admirable, there is no getting away from the subject matter. An interesting work, but it won’t get too many airings at parties over the festive season.

The album shows a side of The Dreadnoughts we had never seen before. You wouldn’t think their last album was called Uncle Touchy Goes To College would you? Have they matured? Well on this certainly but I very much doubt we have seen the last Dreadnought song about apple love and cider drinking.

Here we have four songs released on January 10th that didn’t quite make the cut on Foreign Skies. The band give no explanation as to why except to say they “still think they are pretty good and so we are sharing them with you”. Having listened to them the one thing I can report is that they weren’t dropped because of their quality they are as good on anything on the finished article but I suppose they were dropped to not fitting the scope of the album.

We start of with ‘Top Of The Hill’ which is the follow up to ‘Bay of Suvla’ from the album. Written by guitarist Nicholas Smyth it’s a five minute epic of a song taking in many of those influences already mentioned. A driving forceful rock number that is breathlessly typical Dreadnought territory.

“Faces down, eyes to front
you’ll get what you need boys
You’ll get what you want
fingers hard on biting steel
till theirs nothing left to feel
Summer rain gonna set you free
bury the ashes under the sea
and the dawn will break across your skin
And wash away your sin”

It is set during the Battle of Gallipolli. The battle took place only a few miles from the site of the ancient city of Troy but the horrors unleashed in that battle rivalled anything seen then or since. Imagine spending eight months in a trench dug under some cliffs at constant risk from snipers, suffering from dysentery spread by flies hopping from decomposing bodies to your food. The battle was fought in modern-day Turkey but in 1915 it was part of the Ottoman Empire who were fighting alongside Germany. The plan was to land at Gallipolli and take the capital Istanbul. The plan did not work. In fact it was a disaster leaving over 200,000 Allied casualties with many deaths coming from disease. The number of Turkish deaths is not clear but it is generally accepted that they far exceeded 200,000. Next up is ‘Poor Michael’ a song about two blackbirds singing to a soldier ion France. The song is sung acapello without backing. This is something The Dreadnoughts can claim credit for within the celtic-punk scene with many bands now following their lead and including one or two tracks within their sets. As you can imagine it’s a beautiful song with strong voices and even more powerful words.

‘Cold Rain And Snow’ is up next and its a fast and catchy number written by the bands lead singer Drew Sexsmith who was always known as the Dread Pirate Druzil on previous albums. Like on the album the lyrics belie the upbeat music and I’m sure it will take a few listens for the words to penetrate. The EP comes to an end with ‘The Best Of ‘Em’ again written by Nicholas Smyth and its simply Drew accompanied by piano and a faint accordion. The song is a tribute to the best of them. Those that didn’t come home. I can certainly see why The Dreadnoughts put this EP out. They are four excellent songs that deserved a release but they must come accompanied by the album so if you haven’t got it yet then I suggest you get onto it as soon as possible!

(listen to the whole EP below on the Bandcamp player)

Discography

Legends Never Die- July 2007 (Golden Tee Record) * Victory Square- June 2009 (Stomp Records) * Polka’s Not Dead- October 2010 (Stomp Records) * Uncle Touchy Goes To College- 2011 (Bellydrop Records) * Foreign Skies- November 2017 (Self Released)

Buy Foreign Skies B Sides

FromTheBand  Bandcamp

Contact The Dreadnoughts

WebSite  Facebook  Bandcamp  YouTube

ALBUM REVIEW: RED OR DEAD- ‘Trotsky Waltz’ (2018)

The self-produced and self-financed debut album from a bunch of socialist folk-punkers from North Wales who will bring down the system or fall asleep trying!
So we can safely say we are into the new year in full swing with this our first review of 2018. Released on new year’s day it’s not yer typical celtic-punk but seeing as how Red Or Dead hail from the Celtic stronghold of north Wales it certainly justifies its place here. While musically its from the same sort of path as ‘festie’ bands like The Levellers, Folk The System or even Ferocious Dog it sticks pretty much to the more modern standard of what passes for folk-punk and while I think it could benefit from a few celtic flourishes it’s fine as it is! The band formed only a couple of years after meeting while protesting outside a UKIP conference. Folk has long been a way for people to push for change and in fact the folk scene could do with a real dose of it now.

Red Or Dead left to right: Dave Sunerton Burl- Bass, Guitar * Rob Murray- Guitar, Mandolin, Vocals * Gala Elvira- Vocals * Emma Sunerton Burl- Cajon/Percussion

Trotsky Waltz begins with ‘I Am The Fire’ and if they weren’t indeed Welsh then I would be bringing the names of some classic English folk-rock bands into the equation. The most stand out thing after first listen is the use of a cajon which is one of those wooden boxes that people sit on and tap and thump instead of having a drummer. This means that it doesn’t ever really fly off into punk remaining solidly within folk. It’s a rousing start to proceedings though and its always sensible to start with a standout track I think. Lyrically its all a bit right on but does at least manage not to fall into cliche, or even worse parody. Robs vocals are strong and with Gala’s backing the two of them work brilliantly together. The following two tracks first appeared on their debut EP from last year and both have been improved on significantly. ‘No One Is Innocent’ sees Gala take over on vocals and she has a certain anarcho-punk sound to her voice reminding me of early Chumba’s perhaps. Looking back I think lot of what we called anarcho-punk back in the day would now be classed as folk-punk. Back when I first going to pubs when I was just a young spotty punk rocker the pubs and clubs use to be full of socialist folky bands, or at least the ones I went to, and how Red Or Dead would have loved those days. 
(listen to their debut release below)
‘Watch It Burn’ is like the rest of the album a call to arms, or at least the street and I will try not to overuse the word ‘catchy’ here though it is going to be hard. Gala belts out the angry ‘In America’ and its on songs like these that the band could benefit from a drummer to give the songs a bit of extra bite. Nevertheless it still trips along nicely until Rob chimes in with
“Land of the free? Fuuuuuck Off!  Land of the rich white man”
bawled out and follows a rant about the state of the nation over there in the USA. I do wonder though how Obama fits into this narrative of the “rich white man” seeing how many dead bodies he was responsible for around the world? ‘Colin Cambridge’ slows it all down and chucks in something you don’t often hear in modern day music of any genre… whistling!
(here is ‘Colin Cambridge’… minus the whistling though!)

In a song that is crying out for tin whistle I suppose you got to go with what you got in a song about privileged people who go on to do nothing with their lives. The best song since the opener is up next with ‘Steeltown’ and is a simple track beginning with acoustic guitar and mandolin and Rob singing over the top about the decimation of the working class and their industries. Coming from a coal-mining family myself I can only agree that it was the Tories and Labour who share the blame for screwing the working class. Its often been said that the Conservatives defend their class and Labour hate theirs. Wales is owed a hell of a lot by the Labour Party for a loyalty that was never deserved. ‘A New Day’ is yer standard victory is in sight song but wishful thinking methinks. While the left is obsessed by poisonous identity politics we are going absolutely nowhere.

‘Never Again’ is a well cliched song title but the song manages to be both angry and gentle and I love that they name check Jimmy Reid the old Scots trade unionist.
“Never again will I bow down to a false ideal or a faded crown”
‘All The World’ plays more of the same and for once the politics take a bit of a back seat. With influences from across punk you can hear The Clash loud and proud within ‘Travel Home’ which comes over as a tribute to ‘Armagideon Time’ and in the following song, ‘Strummer And Burnel’, Rob pays his debt to the heroes who inspired him into a life of music. Bemoaning, and quite rightly, the quality of both today’s music and today’s protest.
Students they don’t march no more the middle class won that war”
Catchy and thoughtful and with a nice bit of electric guitar that threatens to rock out but just resists. We are coming up towards the final bend and ‘Living In A Life’ is another standout number here and I feel they could certainly rock out more on numbers like this. Would still be a real foot tapper live but just in need of a little extra oomft! The album comes to an end with ‘Make A Stand’ and is the perfect way to end things with a ‘lighter waving in the air’ song.
So a whopping thirteen songs that come in at a also whopping forty-five minutes and if I’m being honest then I would say the album may have benefited from being maybe two or three songs shorter. While the cajon is absolutely fine live it does get a wee bit thumpy on disc and dare I say it monotonous. The music is catchy and solid and lyrics are straight from the heart and sometimes burn with passion making you wish the music was a bit up there too. The major criticism people have of folk-punk is that it is boring but Red Or Dead steer well clear of that and the album is very well paced and recorded with a clear and crisp production too. Unashamedly left-wing and idealistic they are the sort of band that would appeal to fans of all the usual suspects of festival bands and may well pop up playing at a political benefit near you at anytime soon.
(you can listen to the entirety of Trotsky Waltz for *FREE* below on the Bandcamp player)
Buy Trotsky Waltz
Contact Red Or Dead