Category Archives: Free Download

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

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

WHO DO YOU THINK YOU ARE KIDDING MR. HITLER?

Now this is an American release so that means the theme tune from Dad’s Army is sadly missing but that is still no reason to not to indulge yourself with a free download of this collection of anti-fascist songs written, performed and released between 1940 and 1944. Its often thought that the Japanese attack on Pearl Harbour started the American involvement in the war but America had already made massive loans to the British war machine and having placed a oil embargo on Japan steps were being made to join the war before they were pre-emptied by the attack on Pearl Harbour. The US army for instance had grown massively from 267,767 in 1940 to 1,460,998 by mid-1941, an increase of 446%. Pearl Harbor was an American naval base in Hawaii, that was the scene of a devastating surprise attack by Japanese forces on December 7, 1941. Just before 8 a.m. hundreds of Japanese fighter planes descended on the base. More than 2,400 Americans died in the attack and another 1,000 people were wounded. The day after the assault, President Franklin D. Roosevelt declared war on Japan.
Knowledge coming out of Europe was slow but many in America, and not just on the left, realised the danger of Hitler’s rise to power and sought to agitate against it. It’s a little known fact that Germans made up the largest ethnic base in the States at around 17% which just happened to be the exact percentage of the American population who did not express support for Britain. Only 1% wished for a German victory suggesting that even this was inspired as much by pride in Germany as any dislike of Great Britain. The artists featured here contain such renowned figures as Woody Guthrie and The Almanac Singers folk singers from the from the protest movement all the way to bluesmen like the legendary Lead Belly and jazzmen like Spike Jones & His City Slickers. The album contains eighteen songs from fifteen diverse artists who in the main have disappeared from the air-waves but deserve to be known and studied and celebrated. Of course God is assumed to be solely on the Allies side, something I’m sure all in war believe.

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

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

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

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

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

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

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

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

To download Kickin’ Hitler’s Butt click

HERE

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

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)

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

Facebook event here

HAPPY ST. PATRICK’S DAY TO ALL. CELEBRATE WITH A FREE TEMPLARS OF DOOM DOWNLOAD!

It’s here again. The day when everyone is just a little bit Irish, except for the gays and the Italians obviously (©Simpsons!). St. Patrick’s Day a day of wearing the green and celebrating the land of your birth or of your ancestors in whichever way you see fit. For some it’s a religious holiday that may make you want to attend Mass while for others it’s a time to have a few drinks and party. After all today all Lenten restrictions are eased and so I will be personally celebrating with the biggest bar of chocolate known to man!

When we were young ‘uns we knew St. Patrick’s Day wasn’t far off when bunches of pre-paid postcards from relatives in Ireland would appear on the doorstep and then as the day got closer a strange bulky package containing strange green leaves would arrive.  Some would pinned to your coat and you’d be sent off to Catholic school which would be a sea of green for the day. The one day of the year we were allowed to be Irish in a country that if not hostile just ignored us. You see I’ve always thought of St Patrick’s Day as a day for the Irish overseas. It’s our day. A day to remember our roots and while we may have been airbrushed out of history and school curriculum’s and our contributions ignored it was a day to assert ourselves and say We Are Irish! We are still here and still fighting as the sticker goes. It was in the United States that Saint Patrick became the symbol of Irish heritage and culture that he is today. As more Irish came across the Atlantic, the Feast Day celebration slowly grew in popularity. In fact the first ever St. Patrick’s Day parade was in Boston in 1737. Celebrated around the world wherever an Irish person has ever set foot or settled it is celebrated on the anniversary of Patrick’s death, which was believed to be March 17, 461 AD.

So you won’t find anyone sneering at you condescendingly from the London Celtic Punks for whichever way you choose to celebrate. Get to mass or the pub (or like me both!). Dust off the auld Eire/GAA/Celtic top or even your leprechaun outfit and whatever you choose to do be proud of your roots if you got ’em. In amongst all the fun why not spare a moment to remember those who passed that pride onto us and are not here anymore so raise a glass to the sky for them.

Sláinte.

As our gift to you on this grand day we are happy to offer you a **FREE DOWNLOAD** of the new Templars Of Doom track ‘Saint Patrick Saved Ireland’, written especially for St. Patrick’s Day 2018. Templars Of Doom are a Irish-American band out of New York that have not long released their debut album which you can read all about here. Thanks to Michael X. Rose, Rory Quinn, Eric Pomarico, Marty Shane and Josie Rose for sharing.

Saint Patrick saved Ireland
Ireland saved the World
He drove out the snakes, (He) drove out the Druids,
the Pagans and Satan

The Vikings captured Patrick
Christ saved Patrick
Patrick saved Ireland
Ireland saved the World

Voices of the Irish cried out
We beg you holy youth,
come home and walk once more among us
Patrick answered the call

The Druid priests mocked Patrick
And were thrown in the air and died
On Easter’s eve Patrick lit the Fire
The Druid priests did not survive

Released last week the single is available free to all London Celtic Punks for the month of March so click here and follow the link to your free download! Simply click on ‘Buy Now’ button and put in 0.00 to get it for free or leave a donation if you wish.

Contact Templars Of Doom

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Today’s a good time of year to remember those we love who are no longer around. This year we want to dedicate our St. Patrick’s Day post to Joseph Patrick Michael Mullally the Grandfather of Michael of the Templars Of Doom and whose birthday it would have been today. Like many who crossed the broad Atlantic he never knew what he would find but through hard work and endeavour he made a success of his life and never forgot his roots in the auld country.

The Mullally family with Joseph in the gold shirt and tie and Michael the little boy who’s ear he’s twisting!

Born in Born in Kilross, Tipperary on March 17th, 1913. His mother had returned home from Boston to have the baby in a convent, which was standard back then. His Dad stayed working as a butler in Boston and didn’t see my Grandfather til the War ended, when he was 5 years old. He entered the United States at the age of 5 with his Aunt. Their names are on the wall at Ellis Island. He became a Doctor of Philosophy, (Thomas) via Columbia University, one of the youngest in the US. He taught at Notre Dame and then was the chairman of the Philosophy Dept. at Queens College NY, CUNY, for about 40 years. Loved and respected by all.

Raise a glass to him and yours today.

CLASSIC ALBUM REVIEW: PAUL ROBESON- ‘Songs Of Struggle’

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Paul Robeson was one hell of a man. Outstanding in so many areas- scholar, athlete, singer, actor, linguist – the list seems endless. He was also a fearless campaigner for human rights, which led to his persecution by the authorities. His powerful bass voice had an immense power but also a gentleness and a warm sincerity that made it special. A unique voice and a unique person and Songs Of Struggle is a great introduction.
We will never see his like again.
Born: April 9, 1898  Princeton, New Jersey
Died: January 23, 1976  Philadelphia, Pennsylvania
Paul Robeson was one of the greatest figures of the 20th century, but he has been almost written out of American history due to his fearless advocacy of the principles of civil rights, equality and democratic freedom. He was an athlete, a qualified lawyer, a professional singer and star actor, but above all he was a campaigner for human rights the world over. A giant of a man in all respects, perhaps his most notable single attribute was his fine bass voice, and that quality can now be enjoyed and appreciated again through this album of some of his best known songs, including many of the songs reflecting his political allegiances.

Robeson saw singing and acting as a part of political campaigning after a visit to Germany and the USSR in 1934. Two factors combined on that trip, his hatred of Nazi fascism, and his admiration for the Soviet Union’s legislation for racial equality. In 1937, he sang in Spain for the Republicans fighting fascism in the Spanish Civil War. The following year he came to Wales to film The Proud Valley, a film which meant more to him than any other, and which introduced him to the miners of the Rhondda Valley, and they struck up a friendship which lasted for the rest of his life. Returning to America, his fame grew with the nationwide broadcast of ‘Ballad For Americans’ in 1939, a song which was at once a declaration of love for America and a strong demand for equality. He travelled the country enthralling audiences with his songs and speeches, refusing to perform to segregated audiences, and encouraging black support for the war effort to defeat fascism which

“would make slaves of us all”.

As America entered World War 2, Paul achieved massive success on Broadway and nationwide, from 1942 to 1944, and redoubled his political campaigning against fascism, racism and colonialism, espousing the right of black people to full equality, the right of African peoples to self-government, and the progressive labour movement. His support for the war effort shielded him from criticism at first, but after the war, his views regarding the Soviet Union and African independence brought him into conflict with President Truman’s policy of containment, and it also became evident that Truman was not going to move on human rights. A growing number of Americans were also turning against him, and attempts were made to curtail his public performances. In 1947, in total disgust at such attitudes, he announced he would take two years away from the theatre and concert stage, in order to

“talk up and down the nation against race hatred and prejudice. It seems that I must raise my voice, but not by singing pretty songs”.

In 1949 he made his most controversial speech at the World Peace Conference in Paris, in which he decried the concept of American Blacks’ participation in foreign wars on behalf of a government which treated them as second class citizens. He returned to an America which was rapidly turning against him, the FBI held an ongoing investigation into his alleged ‘communist ties’, their were riots outside his concerts, and all this culminated in the revoking of his passport in 1950. This attempt to silence Paul Robeson started a period of political resistance using songs as his weapons which is unparalleled in modern history. In 1952, Canadian union leaders organized a series of concerts at the Peace Arch Park on the US-Canadian border, and invitations flowed offering Professorships and performances of Othello at Stratford. He was also invited by the workers he had befriended during the filming of The Proud Valley to sing at the South Wales Miners’ Eisteddfod.

In 1957, with the laying of the transatlantic telephone cable, Robeson gave his first Transatlantic Concert to an audience in Manchester in May, and the second in October to the Grand Pavilion at Porthcawl. In his autobiography Here I Stand, Robeson said

“I cannot say how deeply I was moved on this occasion, for here was an audience that had adopted me as kin and though they were unseen by me, I never felt closer to them”.

His passport was returned to him in 1958, and Wales was one of his first destinations, where he appeared and spoke at both the National Eisteddfod at Ebbw Vale, and the South Wales Miners’ Eisteddfod at Porthcawl.

Paul Robeson singing with a choir in a scene from The Proud Valley.

He spent the last years of his performing life abroad, but returned to the US when ill-health led to his retirement in 1963. He lived the final years of his life in seclusion in Philadelphia and died there on January 23rd, 1976. On his tombstone is his personal statement that

“The artist must elect to fight for Freedom or for Slavery. I have made my choice. I had no alternative.”

Addressing the National Eisteddfod of Wales, Ebbw Vale, 1958.

Thus this particular compilation of music highlighting both Robeson’s voice as well as his strong convictions is extremely appropriately themed. Much of this music is about political struggle. Opening with ‘Joe Hill’ one of America’s most famous folk songs and finding time to support the Irish people

“the only people ever persecuted in their own country were the Irish”

by singing one of the most spectacular versions of ‘Kevin Barry’ ever recorded. There is a superb article here by the Dublin based Come Here To Me web-site on Paul’s visit to London and how he came to learn the song. Kevin Barry was 18 years old when he was hanged in Dublin on November 1st 1920. Arrested after a battle with the British Army reports of his torture in Mountjoy Jail soon circulated but Barry refused to name his comrades. He was given a death sentence but it was widely believed that this sentence would be commuted, and that the British authorities would not dare to execute such a young man. His death is possibly the most poignant in Irish history.

Other pieces concern the simple struggle to continue life in the face of tribulation. They all display a worldly strength and the understanding of a man that clearly was familiar with these emotions. The performances are often minimal, using only piano and voice. Highly appropriate to these works, as this lends a highly personal atmosphere. Additionally it brings solid focus to the incredible talent that Robeson possessed. He was well known for learning languages, and singing/recording in the original tongue and here we have songs in English, German, Russian and Spanish. The sound on these recordings is a revelation. No tape hiss and no noticeable album noise. The fidelity is bright and far better than many vintage recordings. The recordings are from 1927-1942 and his most famous song ‘Ol’ Man River’ is one of the earliest here and sounds fantastic. More than 70 minutes, including a surprise 1939 poetry reading to conclude, just listen to that diction and voice control! 

FOR YOUR FREE DOWNLOAD CLICK

HERE

This is a collection that can be truly recommended.

(a tribute to Paul Robeson from the New York Irish rockers Black 47)

 with thanks to Zero G Sound- if you want music like this to light up your life then go find them here.

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

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

You can find our Steppin’ Stones page here with the full list of albums to choose from.

(if any links are broken please leave a comment and we will try to fix it)

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Candy Cane’ (2017)

Twas only a couple of weeks ago that we reviewed Flatcaps & Fisticuffs debut EP and low and behold straight after another one lands on our doorstep. This time it’s a Christmas themed romp and it’s also available as a *FREE* download!

We kind of compared them to Matilda’s Scoundrels in our review of their debut EP Raspberry Cheesecake (here) but releases in a month is even beyond Matilda’s level of prolificness! Poor Bing will be rotating in his grave as the Bhoys annihilate the old-school Christmas banger ‘White Christmas’ as your starter, lay into ‘Good King Wenceslas’ as the chicken-in-turkey mains and then shock us all, especially me, with a cover of Run-D.M.C.’s ‘Christmas In Hollis’ bringing down the curtain as the classic Christmas Pudding dessert. A trio of tunes that will be sure to get your nan swinging from a low-hanging branch of the Christmas tree!

(as filmed in one take!)

You can download Candy Cane for free from SoundCloud or the Flatcaps & Fisticuffs website but you can play it using the Soundcloud player below.

Download Candy Cane

*FREE* FromTheBand *FREE*

Contact Fisticuffs & Flatcaps

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Further Christmas themed fun with this London Celtic Punks Top Twenty

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

CLASSIC ALBUM REVIEW: FLOYD WESTERMAN- Custer Died For Your Sins (1969)

Floyd Westerman was a Dakota Sioux musician, political activist, and actor. After establishing a career as a country music singer he later in his life became the leading actor depicting Native Americans in American films and TV. He worked as a political activist for Native American causes and released two full-length albums, one of which features here, Custer Died For Your Sins, which took its title from a popular book.
Floyd ‘Red Crow’ Westerman
August 17, 1936 – December 13, 2007 
On the tenth anniversary of his sad passing (or entering the spirit world as he would himself put it) we offer up Floyd Westerman’s debut album as part of our Classic Album Review series. It comes with a free download which you can find further down the page and we hope you will take us up on this. Floyd was an engaging singer-songwriter and it’s a shame he never got around to making another dozen albums of protest songs. After all his people and their sad and tragic history could certainly supply the material to fill them.

CUSTER DIED FOR YOUR SINS

For the lies that were spoken
For the blood we have spilled
For the treaties that we broken
For the leaders you have stilled
Custer died for your sin
Custer died for your sin
Now a new day must begin
Custer died for your sin
For the tribes you terminated
For the myth you keep alive
For the land you confiscated
For our freedom you deprived
Custer died for your sin
Custer died for your sin
Now a new day must begin
Custer died for your sin

Now A new day must begin
Custer died for your sin
For the truth that you pollute
For the life that you have cost
For the good you prostitute
And for all that we have lost
Custer died for your sin
Custer died for your sin
Now a new day must begin

Custer died for you sin
Now a new day must begin

SLEEVE NOTES

From our hearts thank you by Vine Deloria Jr.

By a thousand campfires, traveling the endless miles of reservation frustration, huddling in the desolate urban centers and Indian bars, the soul of the American Indian cries out to his gods for justification.

Until now there has been no answer, no joyous cry of freedom. With this album. Floyd Westerman takes the giant step across cultures to bring the anguish and unquenchable pride of the American Indian to the forefront.

Raised in government boarding schools, supporting himself since he was fourteen, victim and conqueror of the society that betrayed his ancestors, Floyd is the only person who could have done these songs.

A veteran of the contemporary Indian movement, his rendition of Where Were You When? reflects the bitterness of those who have fought too hard only to be shunted aside in favor of newly arrived “Indian experts” who have all the answers.

The defiant title song, Custer Died For Your Sins, could only be sung by one who has glimpsed the Indian renaissance in the reservation backwash of American society.

Thirty-five More Miles, the story of Floyd’s mother represents the senseless waste of Indian lives by a society that does not understand and could not learn to care.

Red, White and Black and Missionaries tell of the struggle against hopeless odds which seeks to create in American society new sense of the dimensions of cultures.

Floyd was born to sing these songs and they were written in search of a singer like Floyd. Like the eyapaha, the cryer of old who summoned the camp to action, Floyd will provide the spark, the badly needed war songs that thousands have waited to hear. Hear him well.

The songs, brilliantly penned by Jimmy Curtiss, are a testimony to Jimmy’s ability to transcend time and space and live with the people in their sorrow and triumphs, to understand their sense of hopelessness and yet to see their vision.

With this album the continental divide of oppression is crossed and a new day begins. Remember it as the years pass and a new history for the American Indian is forged out of the decades. Remember how the world was before the songs were heard. The day is corning when you will not remember how it started — that it started with this record.

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Floyd Westerman was born on the Lake Traverse Indian Reservation, home of the Sisseton Wahpeton Oyate tribe. It is one of the tribes of the Eastern Dakota subgroup of the Great Sioux Nation, living within the U.S. state of South Dakota. At the age of 10, Floyd was forced to go to the Wahpeton Boarding School, where he met Dennis Banks, who would later become a leader of the American Indian Movement. There Westerman and other boys were forced to cut their traditionally long hair and forbidden to speak their native tongue. This experience would profoundly impact his later life and as an adult he would champion his own heritage. He graduated from Northern State University with a B.A. degree in secondary education and also served two years in the US Marines, before beginning his career as a singer.

Custer Died For Your Sins was his debut release and is one of his few. He never created a large body of work throughout his career, but the tricks he had up his sleeve were good ones. Whilst playing in Colorado he met and became friends with the author Vine Deloria Jr., also a songwriter. They talked about the lack of Native American issues and traditions in song and a collaboration began. Floyd took sections of Deloria’s book, Custer Died for Your Sins, and created profound, sometimes humorous songs from the subjects. This led to the release of his debut album, titled after his friend’s book. The album has a strong country flavor that suited Westerman’s voice and has remained a sought-after classic ever since. The title song is tough and to the point, while other songs such as ‘Here Come the Anthros’ reveal a stinging satirical sense of humor. Two anthems on Side Two are particularly hard-hitting: ‘Missionaries’, certainly a well-deserved jab and ‘Where Were You When’ which takes a poke at Native American pride of the opportunistic sort. He established a solid reputation as a country-western music singer and his recordings offer a probing analysis of European influences in Native American communities. In addition to his solo recordings he collaborated with Willie Nelson, Harry Belafonte, Joni Mitchell and Kris Kristofferson among others.

After years of performing as a singer Floyd became interested in acting and he debuted his film career in Renegades (1989) alongside Lou Diamond Phillips. Additional film roles included Dances with Wolves (1990), The Doors (1991) and numerous others. His television roles included Walker, Texas Ranger, Northern Exposure and multiple appearances as Albert Hosteen on The X-Files. Westerman was recognized for his political advocacy for Native American causes and at times he participated in and supported the American Indian Movement. Floyd Westerman died on December 13, 2007, at Cedars Sinai Hospital in Los Angeles, California after an extended illness and complications from leukemia.

MISSIONARIES

Spread the word of your religions
Convert the whole world if you can
Kill and slaughter those who oppose you
Its worth it if you save one man

Take the land to build your churches
A sin to tax the house of god
Take the child while he is supple
Spoil the mind and spare the rod

Go and tell the savage native
That he must be christianized
Tell him end his heathen worship
And you will make him civilized

Shove your gospel, force your values
Down his throat until he’s raw
And after he is crippled
Turn your back and lock the door

Like an ever circling vulture
You descend upon your prey
Then you pick the soul to pieces
And you watch as it decays

‘Cause religion is big business
As your bank account will show
And Christ died to save all mankind
But that was long ago

Missionaries, missionaries go and leave us all alone
Take your white god to your white men
We’ve a God of our own

Musicians: Floyd Westerman: Vocals, Rythm Guitar *John Palmer Trivers: Bass * Bob Abrahams: Acoustic Lead Guitar * Jerry Shook: Harp, Dobro * Barry Lazarowitz: Drums * J.C. (Jim Curtiss): Rhythm Guitar * Pete Drake: Steel Guitar

Produced by Jimmy Curtis & Terry Philips

Recorded at Al Studios, New York City and Music City Recorders, Nashville, Tennessee

More On Floyd Westerman

Wikipedia  WebSite  Obituary  JohnKatsMusic

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

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

You can find our Steppin’ Stones page here with the full list of albums to choose from.

(if the links are broken please leave a comment and we will fix)

 

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Raspberry Cheesecake’ (2017)

*FREE* download of the debut release of delicious country Folk-Punk from Flatcaps & Fisticuffs from the town of Berkhamsted!
Ukulele, mandolin, guitar, cajon, trumpet and a fragrant hint of rap!
You know when you have made it as a band when you find other bands being compared to you and so it is with Matilda’s Scoundrels and Flatcaps & Fisticuffs. They are by no means clones but I think you could easily bracket them in the the same style of folk-punk with a bit of celtic-ness! I literally found out about them this week so made the short leap to the free download and bloody loved it so thought I’d get in touch with the guys and find out what’s the score with them. Long, long ago is how it usually starts but not this time! Duncan the mandolin player had just arrived in England from South Africa and on meeting Ben the guitar player in a pub and over a few (!) beers it was suggested they start a band. The hardest thing about starting a band, I’m reliably informed, is to find a drummer but they already knew one so it wasn’t too long before they progressed from playing open mic gigs in pubs around Hertfordshire to making their own folk punk sound with uke, mando and other standard band instruments.
The band hail from Berkhamsted, a historic market town in Hertfordshire in the south of England. Now any new appearance of a band in England even remotely sounding just a little celtic-punk is a joyous event to us and so we were more than a little excited to press play and see if they warranted all this excitement.
…well I am glad to say it’s a blooming excellent EP and you’d have to be a right mug not to take them up on their fantastic offer of a free download of it.

Flatcaps & Fisticuffs left to right: Ben- Guitar / Backing vocals * Duncan- Mandolin / Vocals * Adam- Uke / Vocals * Ben- Drums * Will- Percussion / Vocals * Tom- Bass

Raspberry Cheesecake begins with ‘Socks’ and it’s right up my alley with this ode to yer man’s socks hitting all the right notes for me.

“My socks, my socks, without them I’d be lost”

Fast paced with plenty of slow bits and a lovely gang chorus that’s easy to singalong to. It’s a bit daft but hey-ho give me the Toy Dolls over The Subhumans any day of the week. As stated already it has a tinge of Matilda’s Scoundrels about it with classic English folk and punk colliding and almost very nearly spilling over into celtic-punk.

On ‘Capo On A Jew Harp’ it’s more of the same if not punked up a bit but just as accessible and as catchy. The lyrics take a harder edge while still keeping the fun element. Politically directed lyrics but with a good sense of humour thrown into the mix is always going to be a winner. Bland virtue signalling has had its day and with the world seemingly on the brink every couple of months we want our politics to lift us don’t we? The final song here is a cover of the, frankly annoying, New Zealander Lorde’s debut single ‘Royals’. While her version is ok Flatcaps & Fisticuffs blow her away with the cobwebs with the catchiest little number here. The uke stands out loud and proud and it all has a bit of a celtic-ska thing going on. Seriously a fantastic number and enough here to keep fans of about five different genres delighted!

Raspberry Cheescake (where on earth did they pluck that name out of??) was released only last month and so we have been lucky to have found it so quickly. Flatcaps & Fisticuffs have made it available for free so just follow the link at the bottom of this review and I am absolutely certain you will be extremely glad you did. In this country we don’t have a wealth of bands playing this style of music so when one comes along its always a bit of an event and even better when they deliver something so special. So now that we have found them our next step is to get them on the short road to a London Celtic Punks gig. So here’s what to do… download the EP, find them and then like them on Facebook (link below) and lastly keep an eye out for them playing very, very soon. Enjoy!

Download Raspberry Cheesecake

*FREE* FromTheBand *FREE*

Contact Fisticuffs & Flatcaps

WebSite  Facebook  Soundcloud  Twitter  YouTube

While plans are afoot to bring Fisticuffs & Flatcaps for a London Celtic Punks show you can catch them at The Horn in St Albans on 18th of January, Nottingham on the 27th of January for a Homeless charity fundraising gig (TBC) and in London for somebody else at the Finborough Arms in Kensington on the 3rd of February. See you at the bar!

CLASSIC ALBUM REVIEW: DICK GAUGHAN- ‘Handful Of Earth’ (1981)

AND FREE DOWNLOAD

Considered one of the great folk voices of our time and acknowledged as one of Scotland’s most outstanding musicians. Handful Of Earth is renowned as not only his best album but also as one of the best folk album’s of all time.

Dick 1

Though steeped in the traditions of folk and Celtic music, Scottish singer/songwriter Dick Gaughan has enjoyed a lengthy and far-reaching career in a variety of pursuits. The eldest of three children, he grew up surrounded by the music of both Scotland and Ireland. His mother, a Highland Scot who spoke Gaelic, had as a child won a silver medal for singing at a Gaelic Mòd and his Leith-born dad played guitar while his Irish grandad the fiddle and his Glaswegian grannie played button accordion.

The family experienced considerable poverty, but the area they lived in possessed a strong community and many of Gaughan’s songs celebrate his working-class roots. In his teens Gaughan served an apprenticeship at a local paper mill, but had wanted to be a musician since he first started playing guitar at the age of seven. Born in 1948, he first picked up the guitar at the age of seven, and released his debut solo album, No More Forever, in 1972. He then joined the Scots folk-rock group the Boys Of The Lough before returning to his solo career with 1976’s Kist o Gold. However, he soon formed a band named Five Hand Reel. Over the next two years, Gaughan issued four more records – two solo releases (1977’s Copper and Brass and 1978’s Gaughan) as well as two more Five Hand Reel outings (1977’s For a’ That and 1978’s Earl o’ Moray).

In the late ’70s and early ’80s, he worked as a writer and in a theatre company but after a three-year absence from the studio, Dick returned to regular musical duty with the release of 1981’s Handful of Earth. The album has gone onto become one of the greatest recordings of traditional folk song’s ever made. His guitar playing is innovative, expressive and powerful and his voice is by turns tender, angry and passionate and even old songs sound new in his hands. The mixture of love songs, odes of parting and political commentaries such as ‘Worker’s Song’ and ‘World Turned Upside Down’ is Gaughan’s most complex and emotional work, and has come to be recognised as a masterpiece being named as Album of the Decade by Folk Roots magazine.

His version of ‘Song For Ireland’ is the album’s highlight capturing the sadness of emigration and evokes perfectly the feelings that those poor Irish must have felt when forced to leave their homes. Handful Of Earth is a brilliant album and features Brian McNeill, Phil Cunningham, and Stewart Isbister and is, without doubt, Gaughan’s best blend of traditional and contemporary songs.

In Dick Gaughan’s own words on Handful Of Earth

“This was the first album I had recorded in Scotland. For some reason, it seemed to strike a chord with people and it is the most successful recording I have made in terms of acclaim and sales.

It was Melody Maker’s Album of the Year in 1981 and in 1989 it was voted in the Critics’ Poll, and more important to me, the Readers’ Poll, in Folk Roots as Album of the Decade. I have had hundreds of reviews, good and bad, and I pay little attention to them. But when the actual people you’re playing to confer an honour like that upon you, you shed the odd tear of thanks that you’ve been privileged to be able to do something which means something to them.

Why they voted it such was a complete mystery to me then and still is today. As a friend of mine says, “Never ask one of the actors what they thought of the play”

A Different Kind of Love Song followed in 1983, and in 1985 he released a live album and a year later True and Bold. After 1988’s Call It Freedom, Gaughan again retreated from view devoting much of his time to his increasing interest in computer technology. In the mid-90’s he formed a new band, the short-lived Clan Alba, who disbanded after releasing a 1995 self-titled debut and he returned to making solo album’s and began to tour the country regularly to packed audiences everywhere. That was sadly until September 2016 when he announced that he was cancelling all public performances until further notice. This was because he believed that he had had a stroke, which was affecting his ability to perform. 

Statement from Dick Gaughan’s management

‘”This statement about Dick Gaughan’s health should be read before reading or believing anything else. Dick has now stated publicly at two recent gigs that, “In order to prevent rumours spreading, I think I have had a stroke”. It is untrue to say that he cannot sing or play guitar. However in saying what he has said, Dick is acknowledging that ‘something’, as yet unconfirmed, is not right. Dick has an appointment with a neurologist in early October 2016 when the situation will, it is hoped, be clarified. Until then “I think I have had stroke” is not an opinion based on medical fact”

London Celtic Punks send our best wishes to Dick wherever he may be laid up and look forward to seeing him performing again down here in the smoke. Get well soon Dick the scene needs you.

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Password: folkyourself.blogspot.com

Track-Listing
1 – Erin-Go-Bragh
2 – Now Westlin Winds
3 – Craigie Hill
4 – World Turned Upside Down
5 – The Snows They Melt the Soonest
6 – Lough Erne-First Kiss at Parting
7 – Scojun Waltz-Randers Hopsa
8 – Song for Ireland
9 – Workers’ Song
10 – Both Sides the Tweed

Dick Gaughan: Vocal, Guitars, Brian McNeill: Fiddle, acoustic bass, Stuart Isbister: Bass, Phil Cunningham: Keyboard, Whistle

All tracks trad. arr. Dick Gaughan except Track 4 Leon Rosselson; Tracks 6b, 7a Dick Gaughan; Track 8 Phil & June Colclough; Track 9 Ed Pickford

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

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

You can find our Steppin’ Stones page here with the full list of albums to choose from.

(if the links are broken please leave a comment and we will fix)

CLASSIC ALBUM REVIEW: VARIOUS ARTISTS- ‘Steady As She Goes. Songs And Chanties From The Days of Commercial Sail’ (1976)

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As performed by Louis Killen, Jeff Warner, Gerret Warner and John Benson
We’ve done it again for you. Here’s another in our Classic Album Reviews- Celtic-Punk Steppin’ Stones series of olde-timey records that deserve another spin in our modern age. Now celtic-punk has several distinct theme’s that every band sing about and one of those is the sea and  Steady as She Goes is an album dedicated to the workers on the sea. That work was undoubtedly hard and very often tyrannical under many a vicious Captain’s rule. The workers said
“a song is as good as ten men”
The songs were used in the manner of field work song’s in the fields and these shanties tell the tales of loneliness, the families these men left behind and the daily hardships of an unkind sea and nautical life. There is some hope though but also about raising anchor with raising anchor with the certain knowledge that you’re heading home. Now read on and download and then sit back and smell the salt air!
In keeping with the ethos of the series here are some raw and evocative recordings of sea shanties whose roots are as obscure as the men who originally sung them. All we can say it that we are lucky that people wrote them down and recorded them otherwise they may have been lost forever. Most of the songs here are recorded a capella without backing but a few feature Louis Killen and his concertina.
There is some harmony and what we know would call gang vocals, but there is no classically-arranged stuff. Some of the songs here I first heard at Primary school when the teachers bored of trying to get the boys to sing hymns would let us sing songs that didn’t require so much of a decent singing voice as a big pair of lungs! These were of course the sanitised versions and I certainly don’t remember singing of whores and wenches much…

1- Paddy Lay Back, (Benson)
2 – Bold Riley, (Jeff Warner)
3 – Rolling Down To Old Maui, (Jeff Warner)
4 – Jolly Roving Tar, (Garret Warner)
5 – Topman And The Afterguard, (Killen)
6 – Off To Sea Once More, (Killen)
7 – Strike The Bell, (Jeff Warner)
8 – Ship In Distress, (Killen)
9 – Blow The Man Down, (Benson)
10 – The Coast Of Peru, (Garret Warner)
11 – All For Me Grog, (ALL)
12 – Shallow Brown, (Garret Warner)
13 – Bring ‘Em Down, (Killen)
14 – Away Rio, (Jeff Warner)

ALBUM SLEEVE NOTES

PADDY LAY BACK: A capstan shanty (used for hauling up the anchor) describing the feelings of a sailor towards his shipmates when landing on a new ship. There are, as well, some terse words concerning the Captain, the Mate, and the agent who got him the job.

BOLD RILEY: A halyard (literally haul on the yardarm) shanty. According to A.L. Lloyd, it got its start in ships carrying sugar and rum from the West Indies to Bristol and Liverpool. “White stocking day” refers to the days when wives would put on their most attractive attire to make their trips to the shipping office for their allotment pay.

ROLLING DOWN TO OLD MAUI: Stan Hugill of Liverpool says that as early as 1820 Maui, one of the Hawaiian Islands (then the Sandwich Islands), was considered “home” by the Yankee sailors who hunted the northern grounds of the Behring Straits for right and bowhead whales. This is an off-watch song, as distinct from a working song, of whalermen longing for the women and weather of better latitudes.

JOLLY ROVING TAR: Frank and Anne Warner collected this song from Mrs. Lena Bourne Fish of East Jaffrey, N.H. in 1941. The vitality of the melody doesn’t hide the feelings of Jack Tar towards the shoreman who loved the sailor when he had money and despised him when he didn’t.

TOPMAN AND THE AFTERGUARD: Conditions in the navies of the world were always bad in the days of sail. Here is the story of the British Royal Navy as told by the afterguard or Marine who worked in the topmast and by the topman or sailor who worked in the ship.

OFF TO SEA ONCE MORE: The most realistic of all songs about the conditions of seafarers under sail. This is what life was like both ashore and at sea.

STRIKE THE BELL: Four hours on watch and four hours off, day and night, was a hard life aboard ship. Eight bells marked the end of the watch, as well as the time, and answered the plea of the sailor for a few moments rest in his bunk, even if the call would soon be “all hands on deck” to weather the storm. The “glass” referred to in the chorus is the barometer.

SHIP IN DISTRESS: One of a number of traditional songs dealing with the terror of a sailor adrift in an unsellable vessel.

BLOW THE MAN DOWN: A halyard shanty with a story line favored by all sailors who had to spend much time away from the ladies.

THE COAST OF PERU: A nearly step-by-step account of the hunting and killing of a whale. The song was collected by Gale Huntington of Martha’s Vineyard, and is thought to date back to the last quarter of the 18th century.

ALL FOR ME GROG: Another off-watch song describing both of the major pleasures of Jack Tar ashore.

SHALLOW BROWN: Another halyard shanty from the West Indies, this one collected by English folklorist Cecil Sharp in the early part of the twentieth century. Some versions of this song indicate that Shallow Brown might have been a slave who was sold to a Yankee shipowner. Free man or slave, he is jumping ship “… to cross them Chili mountains” and seek a better life.

BRING ‘EM DOWN: One of the shanties used for “bracing” the ship when short, sharp pulls of the line were needed. Bracing turned the yards when the ship was being tacked or changing course.

AWAY RIO: A capstan shanty used to ease the work of “heaving a pawl” and raising the anchor. A favorite song of the day, it would have been known by old hands and green recruits alike, and was most often used as the first song of a voyage when outward bound from home port.

The work songs of the sailing ships were “chanteys” or shanties”-both spellings are used, but the pronunciation is always with the soft “sh”. That’s why some experts believe the origin is French from “chanter”, but no one knows for certain.

FOR YOUR FREE DOWNLOAD PRESS

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 THE PLAYERS

Louis

Louis Killen. (1934 – 9 August 2013) Lou was a Geordie, born and bred in Gateshead, Tyneside and raised in a Irish-Catholic home where singing was a part of everyday life. From Irish ballads to native songs of the area about working class life in the coalfields and stockyards. An accomplished folk singer and concertina player he formed one of Britain’s first folk clubs in 1958 in Newcastle at a time when folk clubs were numbered in the tens. Emigrating to the USA in 1967 he worked with folk legend Pete Seeger before joining The Clancy Brothers. They recorded four albums before he left in the mid 1970’s. He resumed his solo career and a major English tour in 1991 drew large audiences which confirmed that his fine singing had not been forgotten. In 2003 he finally returned to England and passed away still performing to the end ten years later. Towards the end of his life Louis decided to fulfill an almost lifelong desire and came out as a woman called Louisa Jo.

Gerret and Jeff

Gerret and Jeff Warner. Brothers who grew up listening to the songs and stories of his father Frank and the traditional singers his parents met during their folk song collecting trips through rural America and they often accompanied their parents on their field trips throughout rural working class America. Jeff has performed widely, from large festivals in the UK, to clubs, festivals and schools across America while Gerret began a career as an award winning filmmaker before joining his brother on stage to perform.

Fud

John ‘Fud’ Benson. Born in Newport on Rhode Island he grew up sailing the waters of Narragansett Bay. Again from a musical family his interest in sail and song found expression in the traditional music of the sea and this is one of the rare recordings he made. Also very well known as a stone carver and mason who has carve the inscriptions for such iconic monuments such as the John F. Kennedy memorial at Arlington National Cemetery, the Franklin Roosevelt Memorial and the Vietnam Memorial in Washington. In 2007, he received a National Heritage Fellowship the nation’s highest award for excellence in the traditional arts. He is still hard at work in his studio in his home town of Newport.

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

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

You can find our Steppin’ Stones page here with the full list of albums to choose from.

EP REVIEW: AND THE WASTERS- ‘State Of Repair’ (2017)

Will Tun And The Wasters carry on exactly where they left off except without Will Tun and with kind of a new name but still with plenty of that explosive folk’n’punk’n’ska rebel rocking they are renowned for!

and-the-wasters

We first heard of Will Tun And The Wasters a good few years back when I got a call out of the blue from someone begging me to let their band support The Dreadnoughts and The Lagan at Mannions in north London. They would even do it for free they were so desperate. Music to any music promoters ears so they were booked straight away. They arrived at the venue from universities from right across England and played a blinder, going down an absolute storm. Very young and enthusiastic, their energy was infectious as well as their music bringing with them equal doses of folk, celtic, punk and ska. Fast forward a few years and now mostly settled in Bristol they had become firm festival favourites as well as gigging and touring the length and breadth of these islands. Then all of a sudden vocalist Will Tun announced he was off. Nothing personal but it was time to get a proper job or something. Rather than agonise over what to call themselves they just dropped Will from their name and decided to just call themselves And The Wasters. I love it and think its genius!

atw-1

Last year And The Wasters played the main stages at popular English festivals such as Bearded Theory and Boomtown Fair and also completed an extensive tour of Europe. Adding elements of Latin, dub and even jazz to their usual brand of folk, punk and ska played with accordion, trumpet and fiddle. So after a year of playing as And The Wasters this new 5 track E.P State of Repair is their first release post-Will Tun and stands up well next to their album release from September, 2015 The Anachronist’s Cookbook which came out not long before Will’s decision to leave the band.

The EP kick’s off with ‘Lions Share’ and this is proper what we use to call festival music. Catchy ska based music but with hints of something a bit more aggressive below. The trumpet is leading the way and the band gel fantastically well and it’s a grand start to proceedings. Jo’s accordion rears its head towards the end and if we thought they would be hampered by Will’s absence then we were wrong. Next is ‘Small Victories and it’s more of the same. Still catchy and music to get you on your feet.

They may have left their more overt celtic-punk/ folk-punk sound behind but it’s back with a vengeance on the re-cycling anthem ‘Reduce, Reuse, Rebel’ all being it smothered in a rather lovely ska beat with again some great trumpet playing. ‘Bound as One’ adds Balkan folk into the mixture and stirs it about. This band sure do catchy well before the EP wraps up with the slow ‘Intro Dub’. None of the rowdiness of before bit more of a head nodder this one!

The past few years have seen the band taking their feel good music out beyond the usual safe spaces bands normally go. This band would literally play anywhere they can so attached are they to the idea of DIY music. The idea that bands can do it all themselves without the need for managers, publicists or record deals. But don’t be thinking they are just some happy-go-lucky ska-punk band version of The Wurzels though. Their music is only matched by what they have to say. That attachment to DIY only echos their positive message of solidarity, friendship and collective action. The band live by their message and their beliefs, being active within the DIY music scene and by lending support to various good causes.

(have a listen to State Of Repair before downloading it for *FREE* below)

GET STATE OF REPAIR

FromTheBand  RiotskaRecords

CONTACT THE BAND

Facebook  Soundcloud  Bandcamp

THE LANGER’S BALL FROM MINNESOTA ANNOUNCE DISCOGRAPHY AVAILABLE FOR FREE DOWNLOAD!

Straight up, no-frills Irish ballads from the frozen Mid-West with just a hint of razor blades, safety pins and American rock ‘n’ roll!

The Langer's Ball 2

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. Just recently they took the unusual step of releasing their entire Bandcamp back catalogue for free download,a move that will I am sure get them the recognition they so richly deserve.

The Langer’s Ball two studio albums

Hailing from Saint Paul in Minnesota in the frozen mid-west of the USA have long been at the forefront of the celtic music scene in the area and now their fame reaches right across the America’s and it’s time us over this side of the Atlantic tuned into what they have to offer. The story of the Irish in Minnesota is remarkably similar to many other states across the States. They may only be the second largest population of the city at 14% but despite being only half the number of those of German descent they managed to somehow (I wonder how they managed that?!?!) control all facets of government for decades. Of course the days when the Irish ran the city are long gone now but still many of those in local government, the Police and Fire Service come from typical Irish backgrounds.

The Langer’s Ball began life as a duo back in 2007 and the release by Michael and Hannah of a couple of low key album’s that were well received by the celtic-punk community. This persuaded them to fill out the sound somewhat and so they recruited a few local musicians expanding from a duo into a full on band and so The Langer’s Ball were born. Taking their name from the Irish word ‘Langer’ which has its origins in county Cork and can mean up to three things. A right eejit, being pissed or your dick! After those two early albums back in 2007 and 2008 The Langer’s Ball went on to release ‘Drunk, Sick, Tired’, a live St Patrick’s day recording, in 2011 and ‘The Devil, Or The Barrel’ in 2012. Their first studio album went on to garner #1 Rock/Trad Album Of The Year by Grinning Beggar, #2 Album of The Year 2012 for Shite’n’Onions and #3 Album of The Year for Paddy Rock as well numerous outstanding reviews across the board and not solely from the celtic-punk media.

They followed this with 2014’s ‘7 Year Itch’ their last release from a couple of years ago which we reviewed here and described it as

“The title of the EP refers to this being the bands seventh year together and with a bunch of new songs they were itching to release and with the success of the session it all came together perfectly to release this to The Langer’s Ball growing army of fans at home and abroad. The music itself is reminiscent of the more folkier side of celtic-punk but with plenty of bite with the extremely well played accordion to the fore throughout the EP”

They followed this up last year with the stunning Whiskey Outlaws, their first full-length studio album in 4 years. 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.

Brilliant originals and a superb choice of covers complement each other well. When we reviewed it here we thought

“One of the things I love about The Langer’s Ball is their sense of humour and its evident on every recording I have heard of theirs. ‘I’m Looking Over A Four Leaf Clover/Bye Bye Blackbird’ just about sums them up. A three minute romp that is guaranteed to get you up and jigging about”

From the band’s interesting and knowledgeable choice of traditional folk covers to their incorporation of Americana, country, rockabilly, hardcore, baroque, klezmer and even psychobilly alongside the Irish punk The Langer’s Ball are constantly evolving and constantly improving and you can get on board and check out that from begiinning to present with their very generous decision to make it all *FREE!!!!* So don’t delay you never know how long these offers are going to last do you?

Contact The Langer’s Ball

WebSite  Facebook  Twitter  YouTube  ReverbNation  Bandcamp  Google+  Soundcloud

The band have made their entire Bandcamp discography ‘Pay What You Like’ which means you can download for free. Just click the ‘Buy Now’ option, which will ask you to ‘name your price’ but there is no minimum price, so just have it, the band want people to share their music.

“The music business is an odd one, especially when you love to make music and have people enjoy it. We have worked for nearly 10 years to better ourselves as musicians and play as often as we can. We are still trying to make the transition to full-time musicians, and are of the mind that if people love what we do, we can do it! That said, people have to hear what we do before they can love it, so we want to afford them the opportunity to do just that”

So what are you waiting for?? BUT if you’re feeling generous then chuck them a few bucks and if you like what you hear then why not visit their store here and get the  physical CD’s.

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

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

FREE DOWNLOAD

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

johnny-cash-christmas

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

cash-christmas

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

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

The Christmas Spirit by Johnny Cash

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

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

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

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

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

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

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

cash-and-june

Johnny and June

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

FREE DOWNLOAD CLICK HERE

cash-csc

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

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

You can find our Steppin’ Stones page here with the full list of albums to choose from.

(if the links are broken please leave a comment and we will fix)

CLASSIC ALBUM REVIEW: THE DUBLINERS- ‘A Best Of The Dubliners’

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The Dubliners are without doubt the best known band in the Celtic music world. Formed in 1962 their first hit single ‘Seven Drunken Nights’ launched them into international stardom. Non stop touring and a stint with The Pogues ensured that the popularity of their music never ebbed. Without them it is highly debatable whether or not celtic-punk would have ever come about as Shane McGowan himself has said.  The Dubliners- The first and original celtic-punk band.

dubs

The Dubliners, now one of the most legendary bands in the world, started off in O’Donoghue’s pub in Dublin in 1962 under the name of The Ronnie Drew Folk Group. Then they were four, Ronnie Drew (vocals and guitar), Luke Kelly (vocals and 5-string banjo), Barney McKenna (tenor banjo, mandolin, melodeon and vocals) and Ciaran Bourke (vocals, guitar, tin whistle and harmonica). In 1963, they played a gig in Edinburgh where they met the head of Transatlantic Records, Nathan Joseph, for whom they started recording. In 1964, Luke Kelly left, and Bobby Lynch (vocals and guitar) and John Sheahan (fiddle, tin whistle, mandolin, concertina, guitar and vocals) were added. When Luke Kelly returned and Bobby Lynch left in 1965, we have what is considered as the original Dubliners, five individualists, five men whose talents were mixed together in a superb blend and just wanted to play and have a good craic. If they only knew what was awaiting them!

In 1967 their major breakthrough came as a result of a coincidence. Their song, ‘Seven Drunken Nights’ which was recorded in one take, was snapped up by a pirate radio station which started playing it along with the Beatles, the Mamas and the Papas, the Who, Kinks and Jimi Hendrix. Suddenly, The Dubliners were a major band, playing all over the world, getting into the charts, and receiving gold discs. Not what you expected from a bunch of hairy people who as Colin Irwin in the reissue of Live at the Albert Hall says

“looked like they’d just been dragged out of a seedy bar via a hedge (backwards) and dropped on London from a very great height”

The seventies started like the sixties ended – wilder touring, drinking and playing. They started doing regular tours, and they were still recording, of course. Then, in 1974, Ciaran Bourke collapsed on stage with a brain hemorrhage, which eventually led to his death. He first, though, recovered remarkably and was back on stage with The Dubliners, but collapsed again. At the same time, Ronnie decided to take a break, and Jim McCann took his and Ciaran’s place in the group.

dubliners

In 1979, Ronnie decided to make a comeback as a member of the group, although he probably never really left it. In the five years, he had recorded two solo albums, and The Dubliners three albums. With Ronnie returning, Jim left, and The Dubs were almost back where they started. Then Luke Kelly became ill, he collapsed on stage with a brain tumor, for which he received surgery several times. He too, made remarkable recoveries, and went on touring with the Dubliners, at the same time continuing his wild and unhealthy lifestyle. Sean Cannon, a long time friend, stepped in for Luke, when he couldn’t be on stage. Sean’s appearance wasn’t that well received by the audiences at the beginning, but he has later turned out to be an important addition to The Dubliners, and their repertoire. In 1984, Luke Kelly died, but The Dubliners, now with Sean Cannon as a member, decided to keep on.

1987 turned out to be one of the best – and busiest – years for the Dubliners. Their long time friend, and guest musician, Eamonn Campbell, brought the group together with the Pogues on the hit single ‘The Irish Rover’. This single took the Dubliners back to the charts, and also gave them a completely new audience; people who weren’t even born when The Dubliners started off. And with Dublin celebrating its millennium in 1988, The Dubliners also received more attention than for years. Eamonn Campbell joined them on regular basis, a move that has turned out to be one of the most important in their history. In 1988 Ciaran Bourke died, after years of pain and difficulties. He always was, and still is very much remembered by The Dubliners, just like Luke Kelly is.

The eighties finished off with rumours that The Dubliners were to retire, probably something that’s always been following the group. However, they didn’t, and celebrated their 30th anniversary in 1992, with a double CD and extensive tour. The nineties brought a tour video from the German tour 1995, and the “shock” news that Ronnie Drew was leaving. He left in December 1995, after releasing a superb album, Dirty Rotten Shame a few months earlier.

dubliners2Now, even the most optimistic Dubliners fans thought it was the end, but the lads decided to convince Paddy Reilly to join them, and they continued their busy touring and recording schedule. This move has also turned out to be excellent. Paddy, not very well known in Europe, had never been touring there, so he too enjoyed the experience, as well as being part of a band. He still, though, does tours in the USA in the winter and summer months. In 2002, they temporarily reunited with Ronnie Drew and Jim McCann, for their 40th anniversary tour but sadly after the tour, Jim McCann was diagnosed with throat cancer and, though he fully recovered, his voice was severely damaged, and has not been able to peform since his illness. Despite this, he regularly acts as MC at folk gigs, notably at The Dubliners reunion shows, and at the 2006 ‘Legends of Irish Folk’ shows (where he also played guitar in the finale).

Leader and legend Ronnie Drew passed away in 2008 meaning the end of the original Dubliners. Before he passed though he recorded with The Dropkick Murphys in a memorable version of ‘Flannigan’s Ball’ therefore passing on the baton to the only group comparable to them in what they mean to the Irish diaspora.

It was The Dubliners (and The Clancy Brothers And Tommy Makem who will be next in our series) pioneered the way for untold number of bands from Ireland and for Celtic music, like the Chieftains, the Pogues, U2, the Fureys and so on. The artists that list The Dubliners as one of their major influences and idols is endless. They brought folk music to millions of people all over the world, people who never otherwise have been interested at all. That isn’t only because of the music, it’s because of The Dubliners, their astonishing voices, their indescribable instrumentals, the wild life style and drinking, late sessions, their enormous beards, their extensive touring, their charisma and their characters. It was, and still is to a certain extent, a blend the world will never see again. The Dubliners brought Ireland to the world in a way that emigration hadn’t, they have brought the world to Ireland, and they have brought people all over the world closer together. When it ended, the world was never going to be the same again.

The Dubliners 1962-2012
Over the 50 years there were 12 people in The Dubliners.  Ronnie Drew (’62-2008), Luke Kelly (’62-84) , Barney McKenna (’62-2012), Ciaran Bourke (’62-74), John Sheahan (’64-2012), Bobby Lynch (’62-65), Jim McCann (’74-79), Sean Cannon (’82-2012), Eamonn Campbell (’88-2012), Paddy Reilly (’96-2005), Patsy Watchorn (2005-12) and Gerry O’Connor (2012).

The surviving members of the group – Sean Cannon, Eamonn Campbell, Patsy Watchorn and Gerry O’Connor, except John Sheahan, are still touring in 2014 under the name The Dublin Legends.

The Dublin Legends 2012-

After the departure of John Sheahan and the official retirement of the name The Dubliners in late 2012, the remaining members of the group – Seán Cannon, Eamonn Campbell, Patsy Watchorn and guest musician Gerry O’Connor – formed a folk band called The Dublin Legends to keep The Dubliners’ legacy alive. The band released their first live album entitled An Evening With The Dublin Legends: Live In Vienna in January 2014. They continue to perform extensively and you can find their web site here.

Tracklist:

1. The Wild Rover (2:50)
2. Medley: Doherty’s Reel / Down The Broom / The Honeymoon Reel (3:36)
3. The Holy Ground (2:26)
4. A Parcel Of Rogues (4:21)
5. God Save Ireland (1:57)
6. A Nation Once Again (1:31)
7. Spancil Hill (4:03)
8. Molly McGuires (2:01)
9. The Old Triangle (2:55)
10. And The Band Played Waltzing Matilda (6:16)
11. Johnston’s Motorcar (1:50)
12. Seven Drunken Nights (3:23)
13. Black Velvet Band (3:18)
14. Free The People (3:08)
15. Van Diemen’s Land (2:15)
16. Dirty Old Town (2:59)
17. Medley: The Maid Behind The Bar / Toss The Feathers (2:18)
18. Lord Of The Dance (2:27)
19. All For Me Grog (2:24)
20. Whiskey In The Jar (2:47)

(listen to the album below and follow the instructions to download for free)

The Dubliners On The Internet

OfficialDublinersSite  TheDubliners  It’sTheDubliners

“They brought folk music to millions of people all over the world, people who were converted to their charm. That isn’t only because of the music, the instrumentals or the stories, it’s because of The Dubliners, their astonishing voices, their indescribable instrumentals, the wild life style, the drinking, late sessions, their enormous beards (I even tried to copy them in the 70’s), their extensive touring, their charisma and the enigmatic characters. It was a blend the world will never see again.  It was an entire package that invented the word unique. How do you top that?Every artist in the world is trying to achieve success by getting their ‘sound’ and being unique.  The Dubliners did it”  –Robert Tallent

THE LONDON CELTIC PUNKS ‘Stepping Stones’ CLASSIC ALBUM REVIEW SERIES

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

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

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

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

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

LEADBELLY- ‘Easy Rider’ (1999)  here

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

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

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

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

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

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

EP REVIEW: SINFUL MAGGIE- ‘Demo EP’ (2016)

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Four piece accordion punk rock’n’roll out of Dorset…yarr!

Sinful Maggie

Here we go again. I say that as we have been down this road many a time over the last few years I can tell you! I refer of course to that hot-bed of celtic-punk the South coast around Devon, Dorset and Cornwall throwing up yet another marvellous young band for us to slap our thighs and tap our toes to here at London Celtic Punks. Not sure what they are putting in the water down there but give me a pint of it! You would think that such a small scene such as ours would mean that any new bands would come to our attention straight away but still they occasionally slip us by and if not for fellow Dorseter’s Black Water County then Sinful Maggie they may still have sailed past unbeknown as well.

First things first though the band see themselves as a punk band and nothing else as Deano, Sinful Maggie drummer, said in conversation to me

“we try and avoid the Celtic punk ‘banner’ if you like. Really we see ourselves more as a punk band that opted for an accordion instead of another guitar. We’re not really influenced by folk or anything like that so we try and avoid it so people aren’t misled”

Still what ever label they want to attach themselves, or none, they are welcome into our little world any time they fancy it… just let us know!

Sinful Maggie

Formed back in 2014 and based in the lovely seaside town of Bournemouth (the nicest beach I’ve ever been to!) in Dorset, Sinful Maggie come from a tradition of music as well as an attitude unique to those part’s of England and Cornwall. In Georgian times, the entire Dorset coast was a smuggling hot-spot and virtually completely lawless and those times and that attitude is still be celebrated as ever in song.

(most of Sinful Maggies set at Chaplin’s Cellar Bar, Boscombe July 2016)
1. Take Out The Sun 2. Rock ‘n’ Roll Prowess 3. Old Dog, New Tricks 4. Mr Know It All 5. Long Walk Home 6. St Mary (Rancid) 7. Shitfaced 8. Everyone I Need 9. Rebel Without A Cause 10. Did You Have A Nice Life Without Me? (Cock Sparrer)

Coming at you definitely on the more punkier side of the fence the EP begins with ‘Lost and Long Forgotten’ and sure enough from the very start its fast and furious punk rock but with the superb addition of the accordion. More than ably played by the wonderfully named Briony Ireland who also played in the now defunct Dorset band The Devil’s Rejects who raised the flag for celtic-punk in Dorset and though they gigged relentlessly around the South-coast never did get a fair crack of the whip around the country. This is something that Sinful Maggie are hoping to change and they are already looking for gig’s in London and further afield. Next up is ‘Nature of Man’ and the highlight of the EP for me. Still got the same punky attitude of the opener and slower without being slow. Great vocals from Charlie that are both clear and shouty and fit a song that bursts between pop-punk, ska and Rancid’ish’ punk but all the time with that great accordion out front. The EP ends with ‘Shitfaced’ and as you’d expect from the title its the most raucous of the three and an ode to our favourite subject here and they certainly don’t let us down. This is the one at gig’s that gets people onto their feet I’d bet. Absolutely superb. Again all the elements are there and Sinful Maggie manage to do it all without aping anyone else or harking back to the past.

Sinful

Three songs and just over ten minutes of solid as feck hardcore folk-punk! The EP is a wee bit rough’n’ready and was recorded to give away to fans clambering for something to listen to. All the songs will be re-recorded and are set to feature on the bands forthcoming album later in the year. Sinful Maggie are a extremely welcome addition to the scene whatever it’s called! The EP is free to download so there is no reason at all not to take a chance and get it and then keep an eye on Sinful Maggie they may be popping up in a town near you very very soon.

Download The Single (for **FREE** remember)

FromHere or Here

Contact The Band

Facebook  Soundcloud  Twitter

  • learn a bit more about the fascinating subject of smuggling over at Dorset Smugglers here.

CLASSIC ALBUM REVIEW: THE GREATEST SONGS OF WOODY GUTHRIE (1972)

“I hate a song that makes you think you´re not any good! I hate a song that makes you think you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are either too old or too young or too fat or too thin or too that. Songs that run you down or songs that poke fun at you on account of your bad luck or your hard travelling”

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Woody Guthrie

Woody Guthrie was the single most important American folk music artist of the 20th century, in part because he turned out to be such a major influence on the popular music of the second half of the 20th century, a period when he himself was largely inactive. He performed continually throughout his life with his guitar frequently displaying the slogan ‘This Machine Kills Fascists’. His greatest significance lies in his songwriting. Songs like the standard ‘This Land Is Your Land’ and much-covered works as ‘Deportee’, ‘Do Re Mi’, ‘Hard, Ain’t It Hard’, ‘Hard Travelin’, ‘1913 Massacre’, ‘Pretty Boy Floyd’ are all featured on ‘The Greatest Songs Of Woody Guthrie’ in one way or another.

Woody1Woodrow Wilson Guthrie was born in the oil boom town of Okemah, Oklahoma in 1912. He went on the road when only 13 years old after his mother was debilitated by Huntington´s Chorea, a incurable nerve disease which would eventually kill Woody himself in 1967. During the years leading up to the Second World War he was with the refugees of the Dust Bowl on their trail westward, with the migrant workers in the California orchards, in the factories and mines where workers struggled for union recognition to gain better pay and conditions, with the black Americans against the prejudice facing them and during the war he was in the navy. Throughout all these experiences and a life full of tragedy his faith in people and his belief that the ordinary person would win in the end never faltered.

Most of those performances and recordings came after Guthrie’s enforced retirement due to illness in the early ’50s. During his heyday, in the 1940s, he was a major-label recording artist, a published author, and a nationally broadcast radio personality. But the impression this creates, that he was a multi-media star, is belied by his personality and his politics. Restlessly creative and prolific, he wrote, drew, sang, and played constantly, but his restlessness also expressed itself in a disinclination to stick consistently to any one endeavour, particularly if it involved a conventional, cooperative approach. Nor did he care to stay in any one place for long. This individualism was complemented by his left-wing political views. During his lifetime, much attention was given in the U.S. to whether left-wingers or even liberals were or had ever been members of the Communist party. No reliable evidence emerged that Guthrie was, but there can be little doubt where his sympathies lay!
Sadly it was as Woody’s health declined to the point of permanent hospitalization in the 1950’s that his career took off. His songs and his example served as inspiration for the folk revival in general and, in the early 1960’s, Bob Dylan in particular. By the mid-’60s, his songs were appearing on dozens of records, his own recordings were being reissued and, in some cases, released for the first time, and his writings were being edited into books. This resurgence was in no way slowed by his death in 1967; on the contrary, it has continued for decades afterwards. New books are published and the Guthrie estate has invited such artists as Billy Bragg and Wilco in to write music for Guthrie’s large collection of unpublished lyrics, creating new songs to record.

So now you know a little bit more about the man in question what’s the story with the album?Woody2

There are two reasons why calling this album ‘The Greatest Songs of Woody Guthrie’ rather than some variation on the greatest hits idea makes sense. First, Guthrie was out singing these songs before there ever were any Billboard charts to help defiine exactly what constituted a hit. Second, although this album starts with Guthrie himself singing ‘This Land Is Your Land’ clearly his most famous and most popular song, the track shifts to the song being sung by the Weavers. Guthrie sings a few songs and a few duets, but mostly his songs are sung by other artists. So what we have here is a tribute album, originally a double-album now on a single CD, that represents some of the best first and second generation folk singers who followed in the path blazed by America’s troubadour. The first generation would be those artists that actually got to play with Guthrie, which would be not only the Weavers with Pete Seeger (the artist who most closely followed in Guthrie’s footsteps), but also Cisco Houston, Sonny Terry and Ramblin’ Jack Elliott. The next generation is represented on the album by Odetta, Joan Baez, and Country Joe McDonald. Yes, there is an authenticity to hearing Guthrie sing his songs that nobody else can touch, but there is also something to be said for other artists replacing his rawness with more of the inherent beauty of his songs. Whichever you prefer there is a wealth of Woody material out there for you. Happy hunting!

Track Listing:
1. This Land Is Your Land- Woody Guthrie/The Weavers
2. Do Re Mi- Cisco Houston
3. So Long, It’s Been Good To Know Yuh- The Weavers
4. Pastures Of Plenty- Odetta
5. Deportee (Plane Wreck At Los Gatos)- Cisco Houston
6. 900 Miles- Cisco Houston
7. Roll On Columbia- Country Joe McDonald
8. Hard, Ain’t It Hard- Woody Guthrie and Cisco Houston
9. Dirty Overhalls- Woody Guthrie
10. Riding In My Car (Take Me)- Woody Guthrie
11. Ship In The Sky- Cisco Houston
12. The Sinking Of The Reuben James- The Weavers
13. Rambling Round Your City- Odetta
14. Jesus Christ- Cisco Houston
15. When The Curfew Blows- Country Joe McDonald
16. 1913 Massacre- Ramblin’ Jack Elliott
17. Talking Fishing Blues- Ramblin’ Jack Elliott
18. Curly Headed Baby- Cisco Houston
19. Jackhammer John- The Weavers
20. The Great Historical Bum- Odetta
21. Pretty Boy Floyd- Joan Baez
22. Buffalo Skinners- Jim Kweskin
23. Hard Travelin’- Woody Guthrie, Cisco Houston and Sonny Terry

CLICK

HERE

FOR YOUR FREE DOWNLOAD

“A folk song is what’s wrong and how to fix it or it could be
who’s hungry and where their mouth is or
who’s out of work and where the job is or
who’s broke and where the money is or
who’s carrying a gun and where the peace is”

For More Information On Woody Guthrie:

best place to start is the OfficialWebSite * a selection of free music is available at LastFM * Wikipedia * the WoodyGuthrieCenter  is dedicated to celebrating Woody’s life and legacy * Woody100 * the quotes of Woody Wikiquote * The RollingStone articles on Woody * Gerry Adams on Woody Guthrie Léargas *

THE LONDON CELTIC PUNKS ‘Stepping Stones’ CLASSIC ALBUM REVIEW SERIES

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

FILM REVIEW: THE REVENGE OF THE MEKONS (2013)

“the band that took punk ideology most seriously”

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

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

Revenge-of-the-Mekons

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

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

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

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

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

mekons mekons mekons

click for download link

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

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

Mekons at the Poetry Foundation July 2015

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

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

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

WATCH REVENGE OF THE MEKONS

HERE

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

Buy The Documentary

Here

Contact The Band

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The Mekons On The Web

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

EP REVIEW: DRUNKEN FAIRY TALES – ‘Пьяные Сказки’ (2016)

A band from Moscow playing Irish punk.

Songs about pubs, Guinness, streams of whiskey, docks and romantic Irish fairy tales!

FREE DOWNLOAD

Drunken Fairy Tales

One of the best things about celtic-punk over the last few years has been the emergence of bands from all over the world who play the music as good as any band born on the ‘auld sod’ would. One of the best scenes going has to be the one in Russia with some truly great bands and people who work together to help push the scene along and keep it moving in a positive direction.

Drunken Fairy Tales 2Drunken Fairy Tales are one of those bands involved in promoting the scene. They have been around since Christmas Eve 2010 and have been extremely prolific in that time recording and releasing several records and becoming very popular in Moscow and beyond. So it is in their sixth year they have released their best record yet and not just that but they have shown a progression that is sometimes lacking in the celtic-punk scene. Their can be a tendency sometimes for bands to rest on their laurels and coast along and as much as we like to hear what we know and love it’s also good to hear bands shake it up a bit and try different things.

Drunken Fairy Tales 1

The EP is six songs long and is to be filed alongside Flogging Molly/the traditional Irish style of celtic-punk. Vanes accordion and Sasha’s fiddle lead the way and from the very first few bars of ‘Картошка’ (‘Potatoes’) the music leaps right out at you. Fast, furious and extremely well played. The boys sing in Russian through out and as we have mentioned often time before we totally respect that and we even go as far as to promote it. This is followed by ‘Пьяные Сказки’ (‘Drunken Fairy Tales’) and is the bands signature tune. Starting off firmly in the celtic-punk camp it doesn’t take long to veer through Russian folk and then ska before ending with a right auld Irish flourish! Sadly we can’t tell you what the lyrics are about but you can bet your bottom dollar its pure uplifting stuff. No time for maudlin here with some proper party music. Another thing mentioned by us often is the ability of bands to capture on record their manic live performances and this is what Drunken Fairy Tales have managed. It is so well recorded that in parts it almost sounds a live gig! ‘О’Хара’ (‘O’Hara’) is next and the pace doesn’t let up for a second with the accordion on fire and keeping it well lit! ‘Старушка Молли’ (‘Old Girl Molly’) as you could possibly guess has more than just a wee nod in the direction of those other famous Molly’s and ‘Изумрудная Борода’ (‘Emerald Beard’) may be the slowest song on the EP, not that that means its slow, but for me works the best and is my favourite track here. The EP ends with ‘Скейтборд’ (‘Skateboard’) and sounds just like an Irish folk Rancid with that accordion again working overtime and the EP ends as it began… breathlessly!

‘Пьяные Сказки’ was released on March 21st and comes in just shy of twenty minutes. The band have been very very generous and have made the entire EP available for download for free! The boys don’t even want a donation off you either… so you simply have no excuse at all NOT to download this great EP right away. DO IT NOW!!!!

(you can listen to the entire EP below by pressing play on the Bandcamp player and then follow the link below to download it)

Contact The Band

Facebook  Bandcamp  VK

Download The EP

FromTheBand (for *FREE*!!!) or try the Bandcamp link above

(a full concert from Drunken Fairy Tales. sound a bit iffy but still great)

ALBUM REVIEW: TRIBUTE TO THE POGUES- Various Artists (2016)

A huge compilation of songs written by the world’s #1 celtic-punk band as covered by today’s generation of modern celtic-punk bands from every single corner of the world!

FREE DOWNLOAD!

Tribute To The Pogues

We were sent this brilliant album by our good mate Vladimir, who also did the fantastic artwork and also seems to do the artwork for most celtic-punk releases in Russia, just before St Patrick’s Day. I had to warn him that we wouldn’t be able to do it justice in time to put a review up on release day as we would all be in the pub busy celebrating our Irish ancestry so here a few days late is our opinion on this years must hear compilation album.

As far as I know this is the first international tribute to the Godfathers of celtic-punk – THE POGUES! Everything we hold dear in celtic-punk comes out of the influence of The Pogues and their seminal and legendary front man Shane MacGowan. What they mean to celtic-punk is unmeasurable and the only question you must ask of this album is whether or not this is a worthy tribute to them or not and the answer is of course is that it most definitely, certainly  is!!! The whole thing clocks in at nearly ninety minutes and has 27 bands from right across the entire globe with just about every corner covered. The list of countries here goes from the obvious ones like the USA, Norway, England, Italy, to some ones that may surprise you like Poland, Slovenia, Czech Republic,  and Russia to some that will downright shock you like Indonesia, Ukraine or Belarus. They have all combined to bring you The Pogues most popular London Irish ballads from the era of safety pins, ripped jeans and dishevelled hair!

Now this has been put together by our mucker and artist Vladimir from Novosibirsk in Russia and has a whole host of bands that are both new to us as well as some that are already firm favourites. It would be pointless here to go too far into the history of the songs as they are surely known to even the slightest fan of The Pogues. The whole thing kicks off with one of The Pogues least known songs ‘Curse Of Love’, which was a bonus track on the Hell’s Ditch re-issue album, by Indonesian band The Cloves And The Tobacco. They recently released a new album and it has been making huge waves across the international celtic punk scene and it is a fantastic start and swiftly followed by ShamRocks from the Ukraine and Dzieciuki from Belarus before the London Irish very own The Craicheads weigh in with ‘Sally MacLennane’. They give it plenty of oompf and one of The Pogues fastest ever songs is delivered more than safely with a hint of country and bluegrass. Next up is easily one of the most inventive bands in the whole scene, and one of my own personal favourites, from California are Craic Haus playing ‘A Pair Of Brown Eyes’. You won’t have heard another band like them in the world of celtic-punk I can guarantee it. They have even invented their own genre called ‘Shamrockabilly’ and though their rock’n’roll may be a little lacking on this track it is still outstanding and worthy of you checking out the rest of their back catalogue. Another bunch of my favourite bands roll up next playing some of my fave Pogues songs. A good combination indeed. Happy Ol’ McWeasel from Slovenia doing ‘Sunny Side of the Street’ with the band I once described as being a cross between The Exploited and The Chieftains Middle Class Bastards from Russia next with ‘Big City’, Ukrainian band O’Hamsters sing ‘The Sick Bed of Cuchulain’ before possibly the album’s biggest band The Greenland Whalefishers from Norway chipping in with a brilliant version of ‘Birmingham Six’. A couple of bands I don’t know follow with Kelush and the Bastards (feat. Chris Dutchak) from the Ukraine with an absolutely fantastic skate punk ‘Fairytale of New York’ before Harley McQuinn from Russia nails it with ‘London Girl’. Keeping just enough of the originals rock’n’roll sound before adding some great guitars and gang vocals. Czech’s Benjaming’s Clan and Italians Dirty Artichokes are both bands that have impressed us here over the years and you could almost call them celtic-punk veterans compared to some of the groups here! Russian band The Real Blackbeards I don’t know but they present a great fun pirate version of ‘Sea Shanty’. Americans CRAIC are another big hitter here and they also do a Hell’s Ditch classic ‘Sayonara’ and is one of the many album highlights. Troty hail from Poland and are one of the few bands with a female vocalist. They give us a faultless Polish version of Bottle of Smoke while Hell’s Ditch is revisited again by another Indonesian band Forgotten Generation with ‘Rain Street’ and again it is absolutely superb. Amach  I don’t know but they offer up ‘Transmetropolitan’ and bloody great in its simplicity it is too. They come from the Crimea and like the best bands here they don’t over complicate things but just add a twist to add their own stamp to the songs. Yet another Indonesian band pops up next and The Working Class Symphony give it plenty in their cover of ‘Fiesta’. Never one of my favourite songs but this version bloody rocks and I have fallen for it big time. Like all the Indonesian bands here they play traditional Irish folk influenced punk and is so well played you would think they were all Irish if heard them on the radio! БНД I can’t even pronounce their name but ‘Boys From County Hell’ keeps up the high standard while The Humble Hooligans are a band I only got into recently and these Californians give Turkish Song of the Damned a right auld kicking complete with proper authentic moans and wails. Great accordion leads and Troy’s perfect vocals mark them out as a band to watch out for. Red Box from Russia again I don’t know but offer up a decent ‘If I Should Fall from Grace with God’ before Rum Rebellion from Portland, USA serve up an epic ‘Boat Train’. Been fans of these for a long time and they do not disappoint. Всё_CRAZY are from Belarus and their ‘My Baby’s Gone’ is another album highlight. Taken from the first post-Shane Pogues album Waiting For Herb it’s a brave choice and fits in and works perfectly. We are nearing the end of the album and the last band I know here is the marvellous Moscow Celtic Punks group Drunken Fairy Tales. Keep an eye out soon for the review of their new EP it’s both fantastic and free to download! Crow Dog Clan have another brave choice with ‘Oretown’ from the final (non-Shane) Pogues album Pogue Mahone. They take the song and give it a real shake to come up with something outstanding. Almost gothic country its actually great to hear something not so celtic. Finally the album comes to a sad end with Kozlobar from Russia bringing down the curtain on this amazing tribute with the mental instrumental ‘Battle of Brisbane’.

Well what to say now in summing up. With 27 bands you’d think their would at least be a few duffers here but you’d be mistaken. I’m sure if their were any they ended up on the cutting floor as from beginning to end the whole thing is simply fantastic. From the selection of bands to the bands own selection of songs this is as good as it could have possibly have mine. Yes this is kinda dominated by eastern European groups but it has been put together by a Russian guy and I for one am glad its not dominated by American bands. If celtic-punk exists and is to prosper beyond The Pogues/Dropkicks/Molly’s then it must also exist outside the countries of the Irish/celtic diaspora like the States, Canada, Australia or England. Compilations serve a purpose in introducing you to new bands and if there was a problem in celtic-punk it is that far too many people think the scene these days revolves solely around the Dropkicks or The Molly’s. I am sure this album will introduce everyone hearing it to today’s generation of bands that are carrying the torch for Shane and his buddies and not only that but will inspire another generation of fans as well.

Tracklist

1. The Cloves and The Tobacco feat. Cathy Shannon – Curse of Love
2. ShamRocks – Wild Unicorns of Kilkenny (Wild Cats of Kilkenny)
3. Dzieciuki – Не Саскочу! (Streams Of Whiskey)
4. Craicheads – Sally MacLennane
5. Craic Haus – A Pair of Brown Eyes
6. Happy Ol’ McWeasel – Sunny Side of the Street
7. Middle Class Bastards – Big City
8. O’Hamsters – Лiжко Кухулiна (The Sick Bed of Cuchulain)
9. Greenland Whalefishers – Birmingham Six
10. Kelush and the Bastards feat. Chris Dutchak – Fairytale of New York
11. Harley McQuinn – London Girl
12. Benjaming’s Clan – The House of Gods
13. Dirty Artichokes – The Rake at the Gates of Hell
14. Real Blackbeards – Пират и Колдун (Sea Shanty)
15. CRAIC – Sayonora
16. Troty – Butelka Smoke (Bottle of Smoke)
17. Forgotten Generation – Rain Street
18. Amach – Transmetropolitan
19. The Working Class Symphony – Fiesta
20. БНД – Boys From County Hell
21. The Humble Hooligans – Turkish Song of the Damned
22. Red Box – If I Should Fall from Grace with God
23. Rum Rebellion – Boat Train
24. Всё_CRAZY – Ты Ушла (My Baby’s Gone)
25. Drunken Fairy Tales – Плот “Медузы” (The Wake of the Medusa)
26. Crow Dog Clan – Oretown
27. Kozlobar – The Battle of Brisbane
So there you have it. Don’t forget to tell all your friends about it now! Share it with all you know and let the world enjoy this superb free compilation! And a happy (belated) St. Patrick’s Day to you!!!
(you can listen to the entire record here for free by pressing play on the Bandcamp player below and follow the link below that to get the download)

Download The Album- Bandcamp

any problem with Bandcamp then you should try here)

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

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

Women Folk

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

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

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

ODETTA

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

ETTA BAKER

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

BARBARA DANE

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

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

JEAN RITCHIE

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

CAROLYN HESTER

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

Tracklist:

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

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

HERE

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

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

BIBLE CODE SUNDAYS CHARITY SINGLE ‘Something Inside So Strong’

Charity Single Released with Ginger Melodeon Experience Music Collective for The Lymphoma Association.
FREE DOWNLOAD!!

click above for your free download don't forget to donate!

click above for your free download
don’t forget to donate!

All we ask is that you make a donation, any amount you like!

Tracie O’Sullivan is a friend, she is one of the lucky ones and is the reason why The Bible Code Sundays have recorded this song. This is her story in her own words:

“In April 2013 my world was shattered, a routine blood test showed an abnormality in my liver, laughing I told the Doc I would slow down on the shots!  Her face wasn’t smiling, it was full of sorrow for me, it was nothing to do with shots, it was Lymphoma a blood cancer.  After eleven weeks of tests and an operation my sub type was found and a treatment plan put in place for 6 sessions of aggressive chemo.  There are so many types of Lymphoma cancer, and mine was a rare one, Nodular Lymphocyte Predominant Hodgkins Lymphoma, what a mouthful!  You immediately google it, and get a load of scary non truths, the Lymphoma Association had the answers for me and all written in easy to understand jargon.  My daughter was living in Australia; I had to tell my only child I had cancer and might die.  She was terrified and so distraught, being so far away.  The Lymphoma Association to the rescue again!  Loaded with information and realisation that, although a rare type, my type of cancer could be cured.  After a gruelling six months and the support of my family and friends I am out the other side, bald but better!! I am in remission and I am one of the lucky ones.  The Bible Code Sunday lads, are included in my group of bestest buddies, they were a huge support and comfort to me and the family, we love them dearly.  Along with the other talented Musicians on this track, my cancer anthem ‘Something Inside So Strong’ has been recorded.  It’s a free download, and is a fantastic version, it’s a free download, all we ask is you make a little donation, anything you can spare, no matter how small will go to the Lymphoma Association. I intend, when fully better, to volunteer to be a Lymphoma Buddy.  This is a free service for those who are diagnosed to talk to someone who has been through the experience, some people are not as lucky as me and don’t have the wonderful friends and family that I have around them. Your donations will help fund these types of schemes.  Every forty minutes someone in the UK is diagnosed with Lymphoma and it is particularly common in the younger population.  Thank you to the best group of lads and lassies ever, musical geniuses!  – The Ginger Melodeon Experience”

inspired by our friend Tracie O’Sullivan.
to donate to this great cause

http://www.lymphomas.org.uk/
http://www.lymphomas.org.uk/

THE BIBLE CODE SUNDAYS

The name…
The band started out as ‘Slainte’, originally formed by Ruairi and Kieran MacManus, Ronan’s brothers, before being joined by Ronan and other brother Liam, playing traditional Irish music. Slainte grew and evolved, with many musicians joining the band as part-time members. Simultaneously, Ronan and other band members had started to write original material for other bands. Over time other band interests quickly faded and writing and performing their own material became the band’s focus. It was in 2006 that the band changed their name to The BibleCode Sundays, at the time, the band were playing back to back gigs every Sunday in small pubs full of hard-drinking Irishmen

“…we used to have to join them in their drinking just to get through the gigs because they were so crazy!”- Ronan

And so, the band would routinely find themselves up in the small hours talking, usually about conspiracy theories, including the so-called Bible Code, which refers to an encryption in the Torah believed by some to prophecy future events. These drink-fuelled discussions would happen every Sunday around 4am, and hence became known as BibleCode Sundays…
The journey…
The band celebrated their name change with a self-titled album of covers of Irish crowd-pleasers and then, with new material, and a packed schedule of gigs around London, their popularity in London took off, winning the award for ‘Best Band on London Circuit 2006’ by the readers of The Irish World newspaper.
The Band released their first original album, ‘Ghosts of Our Pasts‘ in 2007, to great critical acclaim, both in the UK and North America. The album included three songs, ‘Bang, Bang, You’re Dead’, ’Honour Of The Gael’ and ‘My Town’ especially written for Mike O’Dea’s Boston-based movie ‘Townies’, subsequently retitled ”The Code Of Silence’. The album also included the bitter-sweet ‘Boys of Queens’ dedicated to the FDNY, inspired by the events of 9/11, and subsequently used in the 2011 CBS show ‘Unforgettable‘.
Second album ‘Boots or No Boots’ followed in 2008, and included the track ‘Maybe It’s Because I’m an Irish Londoner‘, which was subsequently adopted by premiership rugby club, London Irish RFC, as the club’s anthem. With their growing popularity and adoption by both Celtic FC and London Irish RFC supporters, the band’s fanbase has grown to include Europe and the States, with performances at major sporting events and stadiums, including Twickenham and music festivals, including Glastonbury. In 2007, they were invited to perform on the Sky Sports Christmas Day special. In 2009, with growing popularity in the US, the band were invited to support The Dropkick Murphys for their Boston St Patrick’s Day concert, a relationship which continues to date with BCS supporting The Dropkick’s on their 2012 UK Tour. With the addition of Kian on lead guitar and ever-maturing song writing, a new BCS sound started to emerge which began to find its way into their live performances.
The new BCS album New Hazardous Design was released in November 2013 and was launched with a sell out gig at swanky London venue Under The Bridge and we loved it so much we awarded it the London Celtic Punks Album Of The Year For 2013 by us here. A great band and a London Irish treasure.

From the community, For the community, Of the community

Palestine GigYou can catch the Bible Code Sundays playing pretty much week in and week out throughout London and the surrounding areas throughout the year but what about this for a great gig. Next Friday on December 11th ‘Irish Music For Palestine’ presents The Bible Code Sundays live on stage at Hennessys Bar in South Harrow with the original post-Pogues celtic-punk legends Neck. This will be the first time they have played together since the old days of the famed London Irish nightclub The Galtymore back on St Patrick’s Day in 2007 I think it was. Also supporting is Anto Morra. London Irish singer-songwriter of great standing. A great roster of bands and wrapping it up Greenford Bhoy will bt DJing all your favourite Irish rock and rebel all through the night and after the bands have finished. And all for the children of Gaza as every penny will go to the educational charity ‘Voices Of Gaza’. You can find out a whole lot more at the Facebook event here. Tickets are a straight £10 and you can get them here.

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EP REVIEW: THE HYDROPATHS- ‘Wailing Away’ (2014)

Yorkshire! Yorkshire! Yorkshire!

A beacon of good, old fashioned, no frills celtic-punk music.

Hydropaths

The policy on 30492-London Celtic Punks blog is to only review music from the current year. We have broken this maybe once or twice tops over the years but I had no hesitation in doing it again when I heard this release from Leeds based celtic-punk band The Hydropaths. I must admit that until the band posted something on our Facebook page I had never heard of them but that soon changed very quickly!

Hydropaths Gig

The Hydropaths play their first gig in north London in six years on Wednesday 11th November at The Unicorn, 227 Camden Road, London NW1 9AA. Click on the gig flyer to go to the Event page.

‘Wailing Away’ is the first official release from the band though they also have a five track release called ‘Basement Demos’ which is also available for Pay What You Like so click on the record sleeve to go to the download page. The band rose out of the ashes of a great Leeds punk band The Dead Pets that I had the pleasure of seeing quite a few times. They were famous for great energetic live shows and raucous punk rock cabaret so it seems kind of natural, to me at any rate, that they should have morphed into a celtic-punk band. ‘Wailing Away’ was recorded in the summer of last year in Leeds and is a real gem.

Hydropaths Demos

click to be directed to the download page

Leeds is without a doubt the most Irish place in Yorkshire with emigrants drawn to the city from the time of the Great Hunger onwards. It was in the forties and fifties though that Irish emigration to Leeds, and England, hit its peak. By the early seventies the Irish community numbered well over 30,000 and in fact, in 1971 there were more Irish per square kilometre in inner-city Leeds than in Co. Mayo! Irish culture, sport and traditions are alive and well in the city and have been throughout the subsequent decades and are still flourishing now. The story of the Irish in England is often neglected and the children and grandchildren of those immigrant Irish who grew up in working class communities with the children of other immigrants do have a unique take on life. Dismissed as either English or ‘plastic’ many of us turned to punk and/or politics and its certainly not unusual to find multiple Irish backgrounds in punk bands (maybe its something to do with our Catholic education?!?!). The Hydropaths vocalist Joe explains how his Irish background influenced him as a lyricist

“Growing up listening to traditional songs like The Rising Of The Moon and Kelly, The Boy From Killane had a huge impact on me as a writer. It’s about story telling”

The band was formed way way back in 2006 when The Dead Pets broke up but only lasted for four years till the band split. They reformed last year for a four gig tour with fellow Leeds band Kleine Schweine and are now embarking on a tour from November 8th-15th. They play Sun 8th 0The Union Bar Hastings, Weds 11th Unicorn in Camden, Thurs 12th The Parish in Huddersfield, Fri 13th Corner House in Cambridge, Sat 14th McGuires in Liverpool and finally their home town for the Pie Race Festival on Sunday the 15th. Check their Facebook page for more details.

The Hydropaths

The Hydropaths

 The EP begins with the title track ‘Wailing Away’ and the mandolin begins the tune before the band join in and Joe’s distinctive voice starts up and its classic celtic-punk we’ve got here. The shitty state of the country for the working class is their concern and how nothing changes by just talking about it. A great song and superb all round production with the mando out loud and clear but all the multitude of instruments as clear as anything. ‘Where Have All The Good Men Gone?’ is again a fantastic tune with, again, Joe’s voice and words dominating proceedings. If I had to declare a band as a comparison I think The Tossers would be close but as for anyone here in Blighty their sound is their own. The song name checks Brendan Behan, Luke Kelly and Joe’s dad among others. ‘Long Gone Feeling’ is my favourite song here with the accordion giving it a Poguesy feel and once again the superb lyrics reminding me of MacGowan.

‘Another Night In Hell’ is about six stories in three verses including spending the night in a police cell or how the Bhoys put it

“a working class hotel”

Fast paced, as the whole EP has been so far, and no let up for ‘In Romance’ either. The song slows down a little but as you can imagine that aint saying much and finally ‘Wailing Away’ ends with I suspect with the song closest to The Hydropaths hearts. ‘To Sinners And Saints’ is the story of the lads ancestors leaving the green of home and coming to West Yorkshire to live and die and survive. The story is familiar to all of us who come from similar backgrounds. ‘To Sinners And Saints’ ends the record on a real pint (or fist) in the air/ arms round your mates moment that the The Pogues or The Tossers would be proud of.

So what you get here is over twenty minutes of absolutely brilliant Irish influenced folk-punk with plenty of rabble rousing with not much room for many ballads but a whole lot more than you’d imagine from this great band. The EP is available to download for whatever you want to pay so whether you think its worth £20 or 20p get it downloaded and be sure to make your way to Camden town for November 11th. Its my birthday so I may even let you buy me a drink and I can think of no better way to spend my 21st (ahem!) birthday than seeing The Hydropaths for the first time. I am positive it will be the first of many.

(you can listen to the whole of ‘Wailing Away’ by pressing play on the Bandcamp player below. To get the album follow the link below the player)

Buy The EP

FromTheBand

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More On The Leeds Irish
B. McGowan, ‘Taking the Boat: The Irish in Leeds: 1931-81’, 2009.
M. Patterson, ‘The Ham Shank’, 1993.
C. Silva & B. McGowan, ‘Róisín Bán: The Irish Diaspora in Leeds’, 1996.

CLASSIC ALBUM REVIEW: EWAN MacCOLL- ‘Scots Drinking Songs’ (1956)

AND FREE DOWNLOAD!

Ewan

2015 marks the 100th anniversary of the legendary Ewan MacColl’s birth and although ‘The First Time Ever I Saw Your Face’ and ‘Dirty Old Town’ remain his biggest ‘hits’ he also wrote and recorded hundreds of traditional songs baring the experience of the working class. A huge body of work that demands to be heard. We have often featured Ewan on these pages, much to the chagrin of some who don’t see what he has to do with celtic-punk, but here we like to introduce a bit of history and context into proceedings. Good old Wikipedia states

 “celtic punk is punk rock mixed with traditional celtic music”

so as much as the punk bands have influenced the music it is really the folk and traditional music of our parents and grandparents generation that have really  made celtic-punk what it is today. In this series of ‘Classic Album Reviews’ we have seen their have been musicians who would put Ozzy Osbourne to shame with tales of their excess, or dazzle you with their wordplay, stories of sadness and joy and of rebellion and death and of remembrance and much much more. All music that has had an untold influence on modern music. We would ask you to take a chance. Check out this music from another era and remember at the time this was the music that your parents AND the government did not want you to hear!

Ewan MacColl

EWAN MacCOLL was the Scots-born son of a Gaelic-speaking mother and Lowland father from whom he inherited more than a hundred songs. He worked as a garage hand, builder’s labourer, trade union organizer, journalist, radio scriptwriter, actor and dramatist. MacColl wrote and broadcast extensively about folk music and frequently took part in radio and TV shows.

Of the songs he included in this album, MacColl recalled

“I can remember as a child being allowed to stay up at Hogmanay parties when a dozen Scots iron-moulders and their wives would settle down to serious drinking. ‘A Wee Drappie O’T’ would be sung with everyone joining in the chorus with maybe a few English friends looking a bit embarrassed at this display of celtic emotion and the beer jugs would be circulating freely and whiskey bottles would empty at an alarming rate. In between the songs the company would argue the merits of Edward Clod’s ‘History of Creation’ and Volny’s ‘Ruins of Empires’ and then as the singing became more and more rough I would be sent off to bed. As these junketings often lasted for a whole week I had plenty of opportunities to learn the songs”

‘SCOTS DRINKING SONGS’ ALBUM LINER NOTES

It has been observed that the pattern of social drinking in Scotland corresponds roughly to the three movements which comprise a pibroch[1]. First, there is the leisurely philosophical discussion, argument or monologue during which the theme of the evening is stated. The second movement consists of a set of variations in the form of repeated patriotic utterances and the last movement is a scherzo in which amorousness and bawdiness are combined to show the national prowess in a sport which, as far as we are concerned, has all the competitive features of international football. The first movement is non-melodic; being confined to pure talk. The second movement is a synthesis of talk and patriotic song and the third and longest movement is wholly song.

Scots licensing laws have done their best to destroy this ancient pattern by making singing in pubs an offence and, wherever possible, by segregating the sexes. The legislators appear to have operated on the basis of the good old Calvinistic maxims that women are the root of all evil and that singing and licentiousness are interchangeable words. However, what is lost in the pubs is gained in the family circle and many a child who might otherwise have grown to ignorant maturity has learned some of the more interesting and pleasurable facts of life from listening to songs sung by Auntie Mag and Uncle Alec at a Hogmanay (New Year) party.

As in Italy, love is the great theme of Scots folk song but, unlike Italy, it is the act of love rather than the emotion which is celebrated. John Knox might rave against the sins of the flesh and numerous Holy Willies might rant against evildoers but the commons of Scotland had a healthy, realistic attitude on love which no amount of Calvinistic preaching could pervert. True, there were the prying elders and the cutty stool to be faced after the act but the joys of love and the body’s needs outweighed all such considerations.

The frank expression of physical desire in Scots folk song has been a subject for dismay with collectors and anthologists for more than two hundred years. Only David Herd’s collection (“The Ancient and Modern Scots Songs,” 1769) escaped the embalmer’s knife of polite hypocrisy. Bishop Thomas Percy, famed for the “Reliques of Ancient English Poetry,” offered to clean up Herd’s collection but Herd, being an honest man, refused and published the songs as he had found them.

Since that time, the majority of Scots collectors, apparently unaware of the fact that babies are not found under cabbage leaves, have divided their time between attempting to castrate the muse and apologizing for Herd and the lower classes’ capacity for lovemaking.

The fig leaf of Calvinism cannot disguise the virility and appetite of the Scots muse and under the influence of a few drinks the fig leaf disappears through the window and the muse, with a smacking of lips and a bellow of laughter, proceeds to celebrate the most universal of man’s pastimes.

SIDE ONE—

1. WE’RE A’ JOLLY FU’: This centuries-old song lends itself to interminable improvisations and is a great favorite at all-male drinking sessions where the fantasy tends to become exclusively sexual after a while.

2.  THE CALTON WEAVER: The linen mills of the Calton district of Glasgow have been gone these fifty years but this song is still well known among those who take their drinking seriously. Alf Edwards accompanies me on the concertina.

3.  WHEN SHE GAME BEN SHE BOBBIT: I learned this from William Miller of Stirling. The Laird of Cockpen, though largely a mythical figure, is the questionable hero of scores of Scots songs and ballads. A brushed up version of this song was made by Robert Burns but the folk song anthologists have, without exception, avoided the older and broader versions and made use of Lady Nairn’s admirable little song The Laird of Cockpen in which the original ribaldry is replaced by a rather pawky humor.

4.  THE LAIRD OF THE DAINTY DOON BYE: It is strange that Professor Child did not include a version of this traditional ballad in his collections for it was already of considerable age when it first appeared in print in Herd’s collection in 1776. It is still a prime favorite with good company. I learned it from Jeannie Robertson of Dundee.

5.  BLOW THE CANDLE OUT: Originally an English song, but now widely sung throughout lowland Scotland. It has been popular in various versions in the bothies for the best part of three quarters of a century. In this and all other numbers employing the guitar I am accompanied by Brian Daly.

6.  DONALD BLUE: The drunken wife is a popular subject in Scots folk song and, indeed, Scots classical literature, too. It was from songs such as this one and The Drunken Wife of Galloway that the 16th and 17th century poets like William Dunbar and Sir David Lyndsay of the Mount took their fabulous heroines.

7.  THE BREWER LADDIE: A ‘cornkister’, this song has been popular in the North East for at least the last hundred years. The forsaken and jilted heroes and heroines of the bothy ballads do not die for love; instead they meet their misfortunes head on and, with a good deal of sound sense, start looking around for another sweetheart.

8.  WE’RE GAYLY YET: This is sung at the height of the party, when the drink is flowing freely and all the barriers are down. I learned this from Samuel Wylie of Falkirk.

9.  A WEE DRAPPIE O’T: This is the work of Robert Tannahill (1774-1810), the cotton weaver bard of Paisley. Like many other Scots workers of his time, he was inspired by the example of Robert Burns to write poems and songs in the language of his workmates. At least three of his songs have become part of the. Scots tradition. This one belongs to that part of a drinking session which is characterized by the first glow of good fellowship and a good deal of philosophizing.

10.  THE CUCKOO’S NEST: The veneer of Calvinism is wafer-thin as far as the Scots working class is concerned. A few drinks are all that is needed to set the company singing songs like this one. I learned it from Jeannie Robertson.

SIDE TWO—

1. GREEN GROW THE RASHES, O: In spite of Burns’ remaking of this old song, the old version continues to be sung fairly widely. Both the original and Burns’ song would be likely to turn up at most any drinking session.

2.  THE DAY WE WENT TO ROTHESAY, O: In rural Scotland they still sing The Tinker’s Weddin’ O, but in the towns the tune has become fixed as part of Urban folklore and the saga of a rough weekend in Scotland’s most popular resort will bring down the house at any south Scots ceilidh.

3.  THE BONNIE LASSIE WHO NEVER SAID NO: This is a real song of low life, one of the great corpus of such songs which inspired Burns’ folk cantata, The Jolly Beggars. The scene is a drinking howff (part pub, part brothel). A man and a harlot make a night of it and when the woman passes out the man robs her. The choice of gin as the liquor suggests that the song is the product of the early eighteen hundreds when every town in Britain had its ‘Gin Alley’. It is unusual for any other drink than whiskey to be celebrated in a Scots song.

4.  THE MUCKIN’ O’ GEORDIE’S BYRE: This is probably the most well known song in Eastern Scotland and no “boose-up” is complete without at least one rendering. I know it from the singing of Jimmie MacBeth of Elgin.

5.  JOCK HAWK’S ADVENTURES IN GLASGOW: This is a bothy song set to a tune dear to all bothy singers, The Guise O’ Tough. The basic bothy theme of the ploughman being taken-in by the rich farmer is altered slightly and becomes the ploughman taken-in by smart city folk. The general bothy pattern is, however, the same; as always, the ploughman implies that nobody is to blame but himself.

6.  THE BRISK YOUNG LAD: Here is a song of rich, native humor. The boisterous chorus makes it a natural for a boozy gathering. I originally learned it from my mother and later collated the text with the one found in Herd’s collection.

7.  I WISH THAT YOU WERE DEAD, GUIDMAN: Here is another song that first appeared in print in Herd’s collection. It is still popular at masculine drinking sessions at which a number of verses are sung which never get into print.

8.  THE WIND BLEW THE BONNIE LASSIE’S PLAIDIE AWA’: A great favorite in the bothies, this ballad has appeared in a number of printed collections usually somewhat cleaned up for popular consumption. It is a typical example of the Scots’ genius for calling a spade a spade, Presbyterianism notwithstanding.

9.  ANDRO AND HIS CUTTY GUN: Burns described this as “one of the bonniest and certainly one of the most vigorous of our old songs.” As a record of a drinking party it is certainly unequaled in Scots national music.

1 The dictionary defines pibroch as: “A wild, irregular form of martial music played by Scottish Highlanders on the bagpipe, consisting usually of an air with profusely ornamented variations.”

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HERE

For more on Ewan MacColl the internet is awash with sites but trust us and head straight to Wikipedia for the basics as well as this tribute from the Working Class Movement Library here. You can listen to his music for free here on LastFm but for absolutely everything you need to know then check out the Official Ewan MacColl Website here.

“My function is not to reassure people. I want to make them uncomfortable. To send them out of the place arguing and talking.” – Ewan MacColl

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

EP REVIEW: THE CRAZY ROGUES- ‘Chapter One’ (2015)

Irish-country folk-punk from Veszprém in Hungary

The Crazy Rogues- 'Chapter One' (2015)

FREE DOWNLOAD

It has been a funny old year in the celtic-punk world I tells you. Last year the most outstanding records and bands seemed to come from faraway Indonesia. An amazing scene with equally amazing bands and releases. Young and vibrant and massive and pretty much everything the celtic-punk scene isn’t in good old London town (only kidding!!). Well this year it is the year of the Hungarian celtic-punk scene. I am beginning to lose count of the number of reviews I have done so far, just this year, of bands from Hungary. A quick check and so far we have already featured this Loch Nesz, The Jolly Jackers and The Scarlet  (and it’s only September!) on top of them there’s a whole host of other bands who haven’t released anything this year like Paddy And The Rats, Firkin and Colleen and Punk Whiskey. The thing that sticks out and I have mentioned it many a time is that even in a small scene, like the one in Hungary, the bands manage to sound quite different to one another with each offering up something fresh and appealing, even to a jaded auld sod like meself!

The Crazy Rogues

The Crazy Rogues Standing: Godár Máté (Electric Guitar, Vocals) * Fellegi Krisz (Banjo) * Biermann Teo (Flute) * Szelényi Dániel (Acoustic Guitar, Vocals) * Faragó Dániel (Violin) Front: Nagy Ákos (Drums) * Fazekas Gábor (Bass, Vocals)

The EP is four songs and comes in just slightly shy of fifteen minutes and The Crazy Rogues certainly know a good tune. ‘Chapter One’ begins with ‘Hello World’ and straight from the beginning the sound of banjo and fiddle and flute grabs you and you know this isn’t just a straight up punk band. They sing in English which doesn’t particularly bother me, as if anything I have always preferred bands to sing in their native language, but in a scene dominated by north American bands you would have to agree it’s sadly the easiest way to get known. The song changes in tempo all the way though and at first it seems unusual but you soon get used to them and before you know it you’re not even noticing them anymore.

“When you’re lost for words to tell
If you go to fight in hell
When you meet an Irish fellow
Doesn’t matter, just say hello”

‘Mighty Cowboys’ follows and is the highlight of the EP for me with great music and a superb tune that encompasses both folk and country and Irish traditional. Any second it could break into a ‘hoe-down’ that is kept at bay by the punk rock guitars and drumming. Great lyrics telling of the life of a cowboy.

“Taking all the gold of people
Spending it for beer and trouble
Such a cool life in the wild west
They said my life would be harmless”

It seems to be the way now that new bands must have a signature tune and The Crazy Rogues are no different with ‘The Crazy Rogues’ that kicks off with electric guitar and vocals that remind me of the legends that are The Greenland Whalefishers.

“Here we stand seven old friends folking down the road
That’s exactly how we like it we are the crazy rogues”

‘Rolling Barrels’ brings us the end and in the tradition of celtic-punk they give us a good auld pub song to quench our thirst.

“We can’t be heroes
Just employed slaves
Pieces of machine
That no-one saves
Eight hours of work
Eight hours of rest
Eight hours of fucking entertainment”

The Crazy Rogues

A EP that sounds like the band had a bloody good time recording it and you get the impression from ‘Chapter One’ that they are a band that is to be seen live to get the most from them. The Hungarian celtic-punk scene has a lot of very good, interesting and different bands and not only that but it seems to be a very friendly scene as well with the bands helping each other out rather than competing with each other. The majority of the bands make their recordings free to download (in fact check here and go download crazy) though you ought to leave a few pence for them. An all-dayer starring all these bands might even get me to blow the cobwebs off my passport and shift my lazy arse to Hungary. Thats how good they all are!

(you can listen to the whole of’ Chapter One’ below on the Bandcamp player…just press play and the download is free but also ‘Pay As Much As You Like’)

Crazy2Buy The EP

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you also can hear it on YouTube here

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  • their is even more Hungarian celtic-punk to come as I just found out that Paddy And The Rats are releasing a new album very soon to be called ‘Lonely Hearts Boulevard’. So keep watching this space!

TRIBUTE TO BALLYDOWSE

Ballydowse were an American Christian celtic-punk band that sang about social and economic injustice.

Ballydowse

(1998-2003)

Ballydowse were a celtic punk rock band from Chicago, Illinois with a rare mix of both anarchist and religious ideas infused into their music. Formed from the ashes of streetpunk/Oi! band Crashdog many of the group’s members were from the Jesus People USA commune. In addition to the group’s Mekons/Pogues-style celtic punk influences, the group also drew influence from world music such as klezmer and Tibetan throat singing. Ballydowse released two fantastic albums both engineered by the legendary producer Steve Albini. Their debut album was entitled ‘The Land, the Bread, and the People’ and was a home place for many who found common cause with certain elements of Christianity while rejecting the American right wing bias so prominent in the church at the time. Their second album ‘Out Of The Fertile Crescent’ continued this trajectory with a growing Eastern European flavor. The group’s political activism over the economic sanctions on Iraq in the 2000s, prison reform, death penalty and the short-comings of capitalism was unique among Christian bands of the time. They are credited with being at the forefront of the hardcore Christian music scene. Sadly Ballydowse disbanded in 2003 but don’t let those cocky corporate music execs keep you from hearing quality music. Let’s prove them dead wrong, join the revolution, and turn the world upside down. A double dose of Ballydowse is a great place to start to get your motor running, heart pounding, brain thinking and your spirit soaring.

“Holy Father we all want bread,

Both from heaven and your fields so green.

I know your grace is man’s first need,

But I can no longer hold the pain I’ve seen.

I am my brother’s keeper and that I’ll always be.

I’ll not turn my back be he stranger of blood

And embrace a life of greed.

I am my sister’s keeper and that I’ve always been.

Every day I’ve left her out in the streets”

from ‘The Land, The Bread And The People’

Ballydowse- 'The Land, The Bread, And The People'  click on the record sleeve for your download link password: freepunk77

Ballydowse- ‘The Land, The Bread, And The People’ (1998)
click on the above record sleeve for your download link
password: freepunk77

(click on play below to hear the entire album)

Ballydowse- 'Out Of The Fertile Crescent' (2000) click on the above record sleeve for your download links password: freepunk77

Ballydowse- ‘Out Of The Fertile Crescent’ (2000)
click on the above record sleeve for your download links
password: freepunk77

(click on play below to hear the entire album)

The Band

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there’s an extensive interview with Andrew and Brian from the band here on the web-zine ‘The Phantom Tollbooth’.

if you’re interested in Christian celtic-punk then go here for a big section on it from the ‘Celtic Folk Punk And More’ web-zine.

*any links don’t work simply leave a comment and we will update them.

CLASSIC ALBUM REVIEW: GIL SCOTT-HERON- ‘The Revolution Will Not Be Televised’ (1974)

The godfather of rap and hip-hop and son of Celtic’s first black player

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Gil Heron

Gil Heron 1922-2008

Today we are giving you something well out of our loop as part of the ‘Classic Album Reviews’. Whereas normally we’d give you some out of print folk album from the 30s/40s/50s here’s something a bit more recent (still its forty one years young) and, some would say the very first hip-hop/ rap album. Well, I hear you say, so what? Whats the connection to us? Well it’s a little known fact (though it has appeared here before) that Gil Scott Heron’s old man, Gil Heron was the first black player to play for Celtic. Known as ‘The Black Arrow’ the Jamaican-born Heron played one season, 1951-52, in the hoops and played five games and scored two goals. His son, also Gil, is who we celebrate here though. Known in recent years as the ‘Godfather Of Rap’ he was an articulate voice for change but despite being a well respected composer, musician, author and poet he remains best known for writing and performing the spoken-word track ‘The Revolution Will Not Be Televised’. He wrote the song when he was just 21 years old and would go on to perform and release several re-workings of it in his lifetime. He once said

“The revolution takes place in your mind. Once you change your mind and decide that there’s something wrong that you want to effect that’s when the revolution takes place. But first you have to look at things and decide what you can do. ‘Something’s wrong and I have to do something about it. I can effect this change.’ Then you become a revolutionary person. It’s not all about fighting. It’s not all about going to war. It’s about going to war with the problem and deciding you can effect that problem. When you want to make things better you’re a revolutionary”

It was never a hit, which suggests that Gil’s point that attempts at revolution are always suppressed by those in power was completely right! It is said that fans would turn up to his gigs wearing Celtic shirts but the poet-singer was estranged from his father until adulthood. Still it is truly amazing that both father and son were such pioneers in their chosen fields. His own term for himself was ‘bluesologist’, which he defined as

“a scientist who is concerned with the origin of the blues”

GIL SCOTT-HERON- 'The Revolution Will Not Be Televised' (1974)

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You will not be able to stay home, brother
You will not be able to plug in, turn on and cop out
You will not be able to lose yourself on skag
And skip out for beer during commercials
Because the revolution will not be televised

The revolution will not be televised
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions
The revolution will not show you pictures of Nixon
Blowing a bugle and leading a charge by John Mitchell
General Abrams and Spiro Agnew to eat hog maws
Confiscated from a Harlem sanctuary
The revolution will not be televised

The revolution will not be brought to you by the
Schaefer Award Theater and will not star Natalie Woods
And Steve McQueen or Bullwinkle and Julia
The revolution will not give your mouth sex appeal
The revolution will not get rid of the nubs
The revolution will not make you look five pounds thinner
Because the revolution will not be televised, Brother

There will be no pictures of you and Willie May
Pushing that shopping cart down the block on the dead run
Or trying to slide that color TV into a stolen ambulance
NBC will not be able predict the winner at 8:32
Or report from 29 districts
The revolution will not be televised

There will be no pictures of pigs shooting down
Brothers on the instant replay
There will be no pictures of pigs shooting down
Brothers on the instant replay

There will be no pictures of Whitney Young
Being run out of Harlem on a rail with a brand new process
There will be no slow motion or still life of Roy Wilkens
Strolling through Watts in a red, black and green
Liberation jumpsuit that he had been saving
For just the proper occasion

Green Acres, The Beverly Hillbillies and Hooter ville Junction
Will no longer be so damned relevant
And women will not care if Dick finally gets down with Jane
On search for tomorrow because black people
Will be in the street looking for a brighter day
The revolution will not be televised

There will be no highlights on the eleven o’clock news
And no pictures of hairy armed women liberationists
And Jackie Onassis blowing her nose
The theme song will not be written by Jim Webb
Francis Scott Key, nor sung by Glen Campbell, Tom Jones
Johnny Cash, Englebert Humperdink or the Rare Earth
The revolution will not be televised

The revolution will not be right back after a message
About a white tornado, white lightning, or white people
You will not have to worry about a dove in your bedroom
The tiger in your tank or the giant in your toilet bowl
The revolution will not go better with Coke
The revolution will not fight the germs that may cause bad breath
The revolution will put you in the driver’s seat

The revolution will not be televised, will not be televised
Will not be televised, will not be televised
The revolution will be no re-run brothers
The revolution will be live

I won’t pretend to be too knowledgeable here so I am just gonna put it out there and give you a bit of history about the guy and the album and impact it had and hopefully you will download it and make up your own minds. That after all is all we ever want.

If the people were to rise to rebellion, there will be no news coverage of the event. That is in a nutshell what Gil is getting at. The years preceding this album America was rocked with scandals and assassinations and political strife that had shaken the very foundations of the state. There was a feeling that revolution was on the cards, though looking back it now seems mad to have thought that. Nevertheless some things did change for the better and music was at the forefront of pushing for that change. Gil was known primarily as a jazz musician though ‘The Revolution Will Not Be Televised’ is more a collection of Rhythm and Blues and spoken poetry. While it would be hard to say that Gil invented rhyming there are definitely parallels between angry poems like ‘Whitey on the Moon’,

“Taxes takin’ my whole damn check
The junkies make me a nervous wreck
The price of food is goin up
And if all that crap wasn’t enough
A rat done bit my sister nell
With Whitey on the moon”

‘No Knock’ and ‘Brother’ and 1980s onwards hip hop. Poetry doesn’t dominate though and most of the selections illustrate his excellence as a singer, including ‘Home Is Where the Hatred Is’

“A junkie walking through the twilight
I’m on my way home
I left three days ago, but no one seems to know I’m gone
Home is where the hatred is
Home is filled with pain and it,
might not be such a bad idea if I never, never went home again”

‘Did You Hear What They Said?’ and the poignant ‘Save the Children’. One of the less political tracks is ‘Lady Day and John Coltrane’, an R&B classic that articulates how easily jazz can lift a person’s spirits. ‘The Revolution Will Not Be Televised’ is  not the last word on Scott-Heron’s but it’s certainly one of the best places to start if you’re exploring his work for the first time. Besides influencing contemporary musicians, Gil remained active until his death in 2011. A memoir he had been working on for years up to the time of his death, ‘The Last Holiday’, was published, posthumously in January 2012.

“My father still keeps up with what Celtic are doing. You Scottish folk always mention that my Dad played for Celtic, it’s a blessing from the spirits! Like that’s two things that Scottish folks love the most; music and football and they got one representative from each of those from my family!”

Tracklist
1. The Revolution Will Not Be Televised
2. Sex Education – Ghetto Style
3. The Get Out Of The Ghetto Blues
4. No Knock
5. Lady Day And John Coltrane
6. Pieces Of A Man
7. Home Is Where The Hatred Is
8. Brother
9. Save The Children
10. Whitey On The Moon
11. Did You Hear What They Said
12. When You Are Who You Are
13. I Think I’ll Call It Morning
14. A Sign Of The Ages
15. Or Down You Fall
16. The Needle’s Eye
17. The Prisoner

DEDICATED TO ROBERT KING

Robert King

Robert Hillary King, aka Robert King Wilkerson, was part of a trio of American political prisoners collectively known as The Angola Three. Robert became a Celtic supporter through the influence of Gil and recently appeared on worldwide televison wearing the hoops. Robert’s membership in the only prison-recognized chapter of the Black Panther Party, and his work organizing against prison injustices, resulted in his being targeted for retaliation by prison officials. Despite overwhelming evidence exonerating him, prison-snitch testimony alone convicted him and he received a life sentence for the death of a fellow inmate. Robert’s tenacity in proving his innocence came to fruition when a Federal Appeals Court finally found him “probably innocent.” In February 2001, after thirty-one years of imprisonment and twenty-nine continuous years of solitary confinement, King walked out of the gates of Angola Prison a free man. He has spoken at universities, conferences and other venues. He has made appearances on radio and television and addressed members of the European Parliament. He worked hard to win the release of his comrades, the release of all political prisoners, and an end to the new slavery that is the Prison Industrial Complex.

“I may be free from Angola, but Angola will never be free of me!”

find out more about the Angola Three case here.

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

EP REVIEW: SOUTH SHORE RAMBLERS- ‘Open Room Sessions’ (2015)

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The South Shore Ramblers blend traditional forms of folk music with rock and punk, with lyrics about hard times, friendships, mistakes we make, tragedy, love and loss, as well as trying to survive in South Africa in this current day and age.

South Shore Ramblers- Openroom Sessions

The follow up EP to last years Bare Knuckle Blackout hits the streets running and again its a blooming brilliant slice of full on celtic-punk rock. South Africa’s South Shore Ramblers have again come up with a quality record that demands being heard well outside Africa. We’ve said before how lonely it must be being the only celtic-punk band in their entire continent but their are well established Irish and Scots communities and these days that doesn’t seem to matter anyway as the appeal of celtic-punk spreads.

(great live vid featuring ‘Own Wicked Device’ and ‘A Novel Fate’)

Based in Johannesburg, South Shore Ramblers inhabit the punkier side of the celtic-punk world but without losing their folk roots at all, their early beginnings were in The Sunday Punchers, who released a whole host of excellent records, before they split and The South Shore Ramblers were born last year. Their debut EP landed them at a very healthy fifth in the London Celtic Punks EP Of The Year poll (here) and if they can keep up the momentum of this EP then they will be troubling the top of the chart come next year too!

South Shore Ramblers

‘Open Room Sessions’ was recorded at Open Room Studios in Johannesburg, live and mixed a long the way by Darryl Torr. While Bare Knuckle Blackout was as smooth and as perfect as you could get this EP is a lot more rough and ready, but in a good way, and shows the band as close to a live gig as would be possible. They have captured that live sound exactly and from this I am now gagging to catch them one day live. Only three songs and just over ten minutes but the quality of their songs is what rises this about the crowd. Kicking off with ‘Own Wicked Device’ possibly their best song to date and all the elements that make celtic-punk so great are there.  A folky start before Martin’s great vocals come in. Just this side of shouty/raspy without being over the top they fit the music perfect and the band play with a wild abandon that few can match.

‘A Novel Fate’ follows and is the only new track on the EP and keeps up the good work. What sounds like dual vocals works really well and excellently played accordion leads the track along nicely. Plays like two different songs with the two vocal styles. Not quite as punky but still great. The EP ends with ‘Bare Knuckle Blackout’ and a slowish track that perhaps has a Dropkick Murphys sound to it. Again the accordion leads with the mandolin keeping well up.

(left to right) Martin Bezuidenhout - Vocals, Kenneth Dennis - Accordion, Shaun Hillary - Mandolin & Banjos, Pete Kellerman - Bass, Les Bainbridge - Acoustic Guitar, Sean Barron - Electric Guitar, Darryn Small - Drums

(left to right) Martin Bezuidenhout – Vocals, Kenneth Dennis – Accordion, Shaun Hillary – Mandolin & Banjos, Pete Kellerman – Bass, Les Bainbridge – Acoustic Guitar, Sean Barron – Electric Guitar, Darryn Small – Drums

All in a fantastic EP and all the better for not being so polished. Three superb tracks of as good a celtic-punk you will find anywhere and available to you lucky bleeders for nothing (or a couple of quid if you’re feeling generous…no pressure sales here) from the link at the bottom of the page. As I say only the lucky few will have a chance to get to see The South Shore Ramblers in the flesh (the bhoys are looking at getting over to Europe at some point and we are REALLY hoping they manage it) so this EP captures that sound exactly. I defy anyone to not to love this band so get downloading and feast your lugholes on the best celtic-punk band in Africa!

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

Contact The Band

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Download The EP

FromTheBand (available for free or pay however much you want!)

to read our review from earlier this year of the South Shore Ramblers debut record ‘Bare Knuckle Blackout’ click here. its also available for FREE you lucky people!

EP REVIEW: SIGELPA- ‘Ens Van Diagnosticar Un Transtorn’ (2015)

Sigelpa are truly one of the best and inventive celtic-punk bands in the scene right now!

SIGELPA- ‘Ens Van Diagnosticar Un Transtorn’ (2015)

Late last year Mrs London Celtic Punk decided it was time we go off on a proper holiday somewhere. Sick and tired of going to the seaside with me she said what about Barcelona? Now i don’t have travellers legs to be honest. I made it to London and that has been it really, but Barca… hmm “why not” I thought. So off she went to book the tickets and off I went to message Sigelpa that I would be coming to visit and would they be playing anywhere that week. I was heart broken to hear their reply that they were out on tour and my heart sank even further when The Drink Hunters said they were too! Still a lovely week was had wandering around that lovely city getting incredibly sun burnt thanks to my Celtic genes, plastering the place in London Celtic Punks stickers and getting plastered on Estrella!

The word on the street has it that Sigelpa will be releasing their follow up album to last years brilliant ‘TerraMorta!’ later in the year but in the meantime heres a wee five track EP of four originals and one cover to keep us going. That first album ranked very highly for us and it strolled in at 13 in our ‘Best Albums Of 2014’ list (read article here) so to say we are looking forward to the follow up is an understatement.

from left to right: Alba (diatonic accordion), Robert (electric guitar), Pol (singing and guitar), Albert (violin), Bruna (singing), Xavi (bass guitar), Guille (drums)

from left to right: Alba (diatonic accordion), Robert (electric guitar), Pol (singing and guitar), Albert (violin), Bruna (singing), Xavi (bass guitar), Guille (drums)

Sigelpa come from Terrassa in the Barcelona region of Catalonia and they mix up punk, hardcore and good old fashioned Irish folk music. Everything about the band is pretty amazing right down to their extremely clever name. Its a acronym of the initials of the seven deadly sins in Catalonian. Superbia/ Pride, Ira/ Wrath, Gula/ Gluttony, Enveja/ Envy, Luxuria/ Lust, Peresa/ Sloth and Avaricia/ Greed.

Sigelpa

‘Ens Van Diagnosticar Un Transtorn’ means ‘We Got Diagnosed A Disorder’ in Catalan but theres certainly nothing wrong with this band! The EP’s five tracks sail past incredibly in just over ten minutes. The energy is boundless and will have you leaping around on first listen. The instrumental ‘3.0’ kicks the EP off with some great solo Irish fiddle until the guitar and drums kick in and accordion soon follows. A great tune of pure bred Irish folk-punk. ‘Necroguateke’ follows and sorry but I can’t tell you the story as its all in Catalan like the majority of their recordings. Dual male/ female vocals work extremely well, especially in a scene where there is a lack of female vocalists. Just when you start to think that Sigelpa have stood still and are happy to stay within the confines of celtic-punk ‘Sant Jordi’ follows and gruff vocals and fast loud guitar can’t hide the bluegrass roots of the superb tune and the bands progression. ‘Dacrifilia’ returns them to what they are best at. Again the dual vocals are there and again the accordion is to the fore with fast guitars before it all slows down for a nice bit of ska before building up again and letting go again. The mental Pogues classic ‘Bottle Of Smoke’ ends the EP and Sigelpa keep the pace and manicness of the original going. A great tale of one of lifes losers bet on the horses coming in accordion starts before Shane MacGowans words are spat out over fast Catalan celtic-punk. The man himself would be as proud as punch.

“The moon is clear
The sky is bright
I’m happy as the horses shite
Up came the Bottle of Smoke”

Sigelpa are a great band who put great thought into all they do. Their debut album was outstanding and ‘Ens Van Diagnosticar Un Transtorn’ is as well. The sound that has served them so well has been expanded on and developed and I can only see Sigelpa getting bettter and better. The band have generously made it available for free (or ‘name your price’) so its not even a gamble like the ‘Bottle Of Smoke’ get it downloaded now and sit back (or go mental!) to one of the best, and certainly one of the most inventive, celtic-punk bands in the scene right now.

(you can listen to the entire EP below by pressing play below. Its available to download on ‘Name Your Price’ so please be generous if you can but if you are short then download for free… guilt free!)

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Buy/Download The EP

EP REVIEW: O’HAMSTERS- ‘Kiss My Irish Ass’ (2015)

Drink, Feck, Fight, Ireland!

O'Hamsters

With the London Celtic Punks gang on tour in Dublin for this last St Patricks Day we missed the bunch of releases that all came out on the glorious 17th so we are now slowly slowly working our way through them for you. One of the best of the bunch is this four track EP from the Ukrainian celtic-punk band O’Hamsters, hailing from Kiev. With a bunch of solid releases, both albums and EP’s, behind them they have risen to the top of their scene and have been recognised by those in the know as one of the best bands around.

O'Hamsters1

The EP starts off with ‘Kiss My Irish Ass’ a cover of the classic celtic-punk standard written by Frank Mackey of the American band The Keltic Cowboys. Starting off slowly before thrashy guitars and celtic instruments, a wee ska bit and growly lead vocals and shouty gang choruses storm in and set the pace for rest of the EP.

“We’re stubborn as mules, with our blood on fire,
When we ain’t at Sunday mass
We’ll look any man straight in his eyes
and say “kiss my Irish ass,
you better kiss my Irish ass”

but don’t expect to be able to follow any of the song’s as its all sang in Ukrainian. Not that I mind and I for one applaud them for that. Too many bands sing in English including ones from the celtic nations so it makes for a refreshing change to hear a band singing in their native language. So with it impossible to judge them from their lyrics we have to judge them on their music and luckily for us the rest of the EP is just as worthy with much the same formula as ‘Kiss My Irish Ass’ with tin whistles, fiddles and accordion competing but never smothered by the sometimes loud electric guitars. The final track sounds reminiscent somewhat to me of the great Breton celtic-punk band Les Ramoneurs De Menhirs with a Breton sounding fiddle dominating and female vocals.

O'Hamsters

All in all yet another great record from a great band and, like a lot of Eastern European bands, they have made it available for free download. You can also go to their Bandcamp page and download all their previous records as well. O’Hamsters have gone a long way with their music but it would be a awful shame if they didn’t get the popularity they deserve simply because they sing in a language other than English for they deserve to be fecking massive!!

(click play below to hear the entire record)

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Download This Album

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CLASSIC ALBUM REVIEW: LEADBELLY- ‘Easy Rider’ (1999)

FREE DOWNLOAD
Huddie Ledbetter, known as Leadbelly, is a truly unique figure in American music of the 20th century. Often mistaken as a blues performer he was a profound influence on the folk stars of the 1940s such as Woody Guthrie and Pete Seeger, who in turn influenced the folk revival and the development of rock music from the 1960s onward, which made his induction into the Rock’n’Roll Hall of Fame in 1988 wholly appropriate.
Leadbelly- 'Easy Rider' (1999)

click on the album sleeve to be re-directed to your free download

Lead Belly was an old-school wrecking ball of folk-singing awesomeness who worked hard labour as a sharecropper in the Depression-era South, lived it up with hot chicks, stiff drinks and smoke-filled clubs in Harlem, kicked his enemies’ arses in at least five hardcore back-alley knife fights, escaped from jail once, convinced the governors of two states to pardon him from murder raps using nothing more than a guitar and his singing voice, and went on to basically help create modern music by influencing everyone from Johnny Cash and Frank Sinatra to Kurt Cobain and Jack White. Tough as hell, built like a brick shithouse, he drank hard, fought harder, played the twelve-string guitar better than any man alive and once responded to being stabbed in the throat with a prison shank by pulling the shiv out of his own neck and almost murdering the chap with it.

Huddie William Ledbetter was born on a Louisiana bayou in January of 1888. One of five kids, Ledbetter’s dad was a sharecropper – a tough, calloused-handed wandering manual laborer who worked twelve-hour shifts in the hot Louisiana sun for basically zero pay. Huddie Ledbetter quickly realized that bouncing around the countryside with his dirt-poor family looking for backbreaking jobs wasn’t his thing, so he decided to get the hell out of there, beat the crappy hand that circumstance dealt him and become a superstar musician. By twelve he’d dropped out of schooland by fifteen he’d taught himself how to play the accordion and was playing shows in the St. Paul’s Bottom neighborhood of Shreveport, Louisiana – a hardcore red light district. Surrounded by drunken debauchery didn’t derail Lead Belly’s quest and by the age of sixteen he was married with two kids. By twenty he was divorced, out of Shreveport, wandering the South playing shows in any venue that would have him and working hard labor jobs when the music didn’t pay the bills.

Lead BellyI imagine Lead Belly’s early life being kind of like Tommy Johnson in ‘O Brother, Where Art Thou’, only with more face-shanking brutality. Lead rode the rails, traveling the land from the beer-soaked streets of Shreveport’s seediest neighborhoods to the hottest clubs in Deep Ellum, Texas, hanging out at every bar, saloon and music venue along the way. But Lead wasn’t just there to party. He made it his life’s mission to listen to every musician he could find and absorb all the musical knowledge he could. He learned to play the piano, guitar, harmonica, mandolin and violin, became the undisputed master of the twelve-string guitar, and spoke to so many famous blues and folk musicians that he became a walking encyclopedia of American folk tunes. Before long he could play basically every folk song there was and when he wasn’t putting a new spin on old standards he was writing badass songs about cowboys, sailors, women, booze, prison and God. And Hitler. Along the line he worked hard jobs to earn enough cash to put food on the table, hammering railroad spikes, picking cotton, herding cattle as a cowboy, and hammering fence posts. Real work and work he was damn good at thanks to his being basically gigantic and stronger than a team of oxen.

Leadbelly’s budding music career hit a slight hitch in 1915, when the folk guitarist was arrested for punching a dude in the face, pulling a gun in the middle of a barroom brawl, then pummeling someone with it. He was sentenced to serve an unspecified period of hard labour on a chain gang in Texas, hard work that paid even worse than sharecropping. Two days into his mandatory community service whacking rocks with a pickaxe Lead slipped off when the shotgun-toting guards weren’t looking, bolted out of there on foot, escaped the prison work patrol, fled to the next county, changed his name, and went right back to work as a manual laborer by day and an aspiring musician by night.

Lead Belly

He managed to lay low long enough for the heat to die down, but this stone-cold, two-fisted badass was a hot-blooded man whose profession required that he frequent a lot of divey bars populated by a fair number of douchebags, and trouble found him once again a few years later. The details of this particular story are a little sketchy, but apparently in 1918 Lead’s cousin’s husband was doing some fucked-up bullshit, so Lead decided that the best way to resolve the situation was to show up at the dude’s house with a knife and a pistol and beat the shit out of him and all of his friends. In the ensuing battle Lead Belly shot the husband dead and knocked another guy unconscious, a feat of badassitude that earned our hero a sentence of 7-to-35 years in the Texas State Penitentiary.

During his stay in the clink, Lead Belly made a hell of a name for himself by smuggling in a guitar and spending all of his free time singing songs and playing music for the guards and prisoners. Eventually, the Governor of Texas got word of what was going on and decided he needed to see this ‘Singing Convict’ for himself, and he was so goddamned impressed that he ended up bringing his entire family and friends back a couple times just to hear Lead Belly shred the twelve-string. Six years into his sentence, Lead Belly wrote a song asking the Governor for a pardon.

He got it.

Most music historians agree that it was in prison that Huddie Ledbetter got his now-famous nickname. There are tons of theories as to why ‘Lead Belly’ is the name that stuck, and I dare say all of them are awesome. Some folks claim it’s because he was tough as hell, built like a wall of iron and muscle and capable of swinging an axe or shovel with twice the strength of any other inmate. Some say it’s because he could drink even the nastiest fucking bathtub moonshine and show no ill effects. Others claim that he once took a bullet (in some versions a full-on blast of shotgun buckshot) to the abdomen and survived. We will probably never know for sure, but we do know that from this point on Huddie Ledbetter was only known as Lead Belly.

Lead spent the next five years playing shows and working hard shitty day jobs, but trouble found him once again in 1930 when he and some friends got into a back alley New Orleans knife fight with a gang of white guys who were presumably looking for trouble and found a hell of a lot more of it then they’d bargained for. Lead was arrested for stabbing one of those fucks, and was sentenced to another lengthy stay, this time in the Louisiana State Penitentiary. Just like before, Lead Belly entertained the guards, inmates, and wardens with his music, but it turns out there are asshole critics everywhere – a couple years into his stay, some inmate jumped Lead Belly from behind and drove a prison shank into the side of his neck. Lead responded by throwing the dude down, pulling the fucking knife out of his own neck, and almost killing the guy with it. For the rest of his life he had a hardcore scar that spanned several inches across his throat.Lead Belly

Just like before, Lead Belly’s ‘singing convict’ thing began to draw some local attention, and it was in 1934 that a historian and folklorist named John Lomax showed up at the Lousiana State Pen to see what was up with this guy. He was so blown away that he had Lead record some tracks on a phonograph disc (this would mark the first time he was ever recorded). Lead recorded a song called ‘Goodnight, Irene’ that he’d learned from his uncle, as well as a couple other tracks. Lomax played them for the Governor of Louisiana, asking for a pardon, and once again, Lead Belly was let out of jail solely on account of his singing voice and musical prowess. The two men then spent the entirety of 1934 driving around the Depression-Era American South working together to collect and archive priceless samples of American folk music.

By 1936 Lead Belly found himself playing twice a night at the famous Apollo Theatre during the Harlem Renaissance, being recorded for TIMEnewsreels, having a bunch of awesome shit written about him in the People’s Daily (the official newspaper of the American Communist Party, which is slightly interesting considering he was not actually a communist) and getting his songs recorded by Columbia Records. His new-found fame was slightly derailed in 1939 when he was arrested for stabbing a guy during a knife-fight in Manhattan (this is documented knife-fight number five, for those of you keeping track at home), but once he got out of jail he jumped right back into action, getting a regular spot on a weekly CBS radio show where he played songs with guys like Woodie Guthrie and Pete Seeger.

Lead Belly was known as the ‘King of the Twelve-String’. Using a thumb pick to play the walking base line and finger-picking the rest, Lead accentuated his songs by stomping his foot and shouting out calls and cadences that he learned while working hard labor on the railroad line. His songs are interesting because Lead just tuned his guitar strings with one another rather than to the standard E, then adjusting his voice accordingly. He played shows every single day of his life, recorded a definitive collection of folk and blues songs, took requests at his shows and could instantaneously recall any of the 500 songs he knew from memory, and played whatever the hell he wanted whenever he felt like it. He never really saw any of the money he made, and lived basically in poverty in Harlem with his fourth wife, but I guess he was just happy doing what he liked to do- play music.

At the age of 53 Lead Belly registered for the Draft to enter World War II, but was never called up. He continued living it up and playing music, but during a European tour in 1949 (he was one of the first American folk artists to become popular in Europe) he was diagnosed with Lou Gehrig’s Disease and forced to return home to the States. He died of ALS in December 1949 at the age of 61. One year after his death, Pete Seeger’s band, The Weavers, recorded a cover of Lead Belly’s ‘Goodnight, Irene’. The song that got Lead Belly out of prison became a number one hit in 1950, earning the Weavers millions of dollars. A decade after that, Lead Belly’s arrangement of ‘The House of the Rising Sun’ would be covered by some Brit band who are still living off the royalties of that one song.

There’s a life-sized statue of Lead Belly across from the courthouse in Shreveport, Louisiana and the state erected a marker at his grave site. He was inducted into the Rock and Roll Hall of Fame early in the Hall’s life, and his music, which became insanely more popular after his death, has been covered by dozens of bands, all of whom cite the hard-drinking, hard-fighting Leadbelly as a major influence on their careers.

 Leadbelly Information

Leadbelly Foundation

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

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

AND FREE DOWNLOAD

Joe Hill’s powerful words have moved countless artists to blend politics and song and this dramatic tribute to the Industrial Workers of the World songwriter and activist Joe Hill, features songs by and about Hill performed by Billy Bragg, Pete Seeger, Earl Robinson, Paul Robeson and others. An absolute treasure for anyone interested in American folk and labour music.

for your free download click on the album sleeve

for your free download click on the album sleeve

Joe Hill, poet, songwriter, and organizer is arguably the most popular working class artist in American culture. This album, named after Joe Hill’s famous last words before he was executed by the State of Utah, is a testament to his power as a musical and cultural figure. It also attempts to secure his place in our memory. The album consists of two elements, Joe Hill songs performed by important interpreters and songs about him, again in historically important performances. Among the former, number Harry McClintock singing ‘The Preacher and the Slave’, Pete Seeger doing ‘Casey Jones (The Union Scab)’ and Cisco Houston’s version of ‘The Tramp’. The latter category contains the more varied and more interesting contributions. Among these are poet Kenneth Patchen’s spoken word piece ‘Joe Hill Listens to the Praying’, Billy Bragg singing Phil Ochs ‘The Ballad Of Joe Hill’ and both Paul Robeson and Earl Robinson performing the Robinson-penned number Joan Baez made her own, ‘Joe Hill’ with its immortal lines

“I dreamed I saw, I dreamed I saw, Joe Hill last night
Alive as you and me
Says I “But Joe, you’re ten years dead”
“I never died” says he, “I never died” says he
“I never died” says he”

He was born Joel Emmanuel Haggland in Sweden, the ninth son of a railroad worker. His father died when he was eight years old, and he went to work in order to help support his mother and six siblings. When Hill’s mother died in 1902, he emigrated to the United States. Until 1910 practically nothing is known of Joe Hill’s life. It is known that he was in San Francisco during the 1906 earthquake, as he sent back an eyewitness account of the horror and devastation caused by this disaster to Sweden, where it was published in a local newspaper. Somewhere along the line he changed his name to Joseph Hillstrom and this was shortened by work mates to Joe Hill. By the time he finally surfaces in San Pedro, CA, in 1910, it is clear that he had been working a long time as a migrant laborer, and was on intimate terms with the suffering and misery experienced by the families of his fellow workers under the conditions of this era.
Joe Hill
In San Pedro, he joined the International Workers of the World, or as popular slang had it the ‘Wobblies’, a Chicago-based labour organization which set itself up as a worldwide advocate and agitator for the cause of worker’s rights and the unionization of industries. Towards the end of 1910, Hill published a letter in the IWW’s in-house publication International Worker, identifying himself as a member of the Portland chapter of the IWW. At the beginning of 1911, Hill is found in Tijuana, attempting to mobilize an IWW offensive to assist the overthrow of the Mexican government. From then until January 1914, Hill’s trail once again runs cold, this time not due to a lack of information, but to an impossible wealth of Joe Hill sightings; Hill became such a legendary ‘wobbly’ that he is accredited as being present at practically all IWW functions nationwide.
Joe HillIt was during this time that Hill established himself as the main event of IWW rallies, singing songs he had written that pilloried capitalist bosses, scabs, glorified the ordinary American worker, and urged on the creation of unions. The lyrics to these songs were published in the IWW’s ‘Little Red Song Book’ and achieved wide distribution therein, but most of the thousands who got to know such songs as ‘Union Maid’, ‘The Preacher And The Slave’, ‘There Is A Power In The Union’ and ‘Workers of the World, Awaken!’ heard them sung by Joe Hill in person. The lyrics were usually simple, easily memorized and set to tunes that were already known to the assembly at the IWW meetings. As Joe once said
“A song is learned by heart and repeated over and over and if a person can put a few common sense facts into a song and dress them up in a cloak of humor, he will succeed in reaching a great number of workers who are too unintelligent or too indifferent to read.”
In January 1914, Joe was apprehended in Salt Lake City on a entirely circumstantial charge of murdering a local grocer who also happened to be a retired law enforcement officer. During the trial he offered little to no evidence in his own defense, and was more openly hostile to the volunteer attorneys representing him than he was to the prosecution, who sought the death penalty. Hill was convicted and executed by a firing squad on November 19, 1915, despite the protestations of the Swedish Ambassador to the United States, Helen Keller, and President Woodrow Wilson himself, all of whom had pleaded with the governor of Utah for a new trial for Joe. His own unexplainable behavior under these dire circumstances suggests that, though innocent of the charge, he had resigned himself to the notion of becoming a martyr for the cause of the unions. After his execution, the coffin containing Joe’s body was hastily transported to Chicago, where it was joined by a crowd of 30,000 mourners in a massive IWW funeral procession through the city streets.
Joe HillThe thirty or so songs that Joe Hill wrote were once thought so dangerous that many would dare not sing them in public or risk arrest. To this repertoire was added an additional powerful anthem of the left, entitled ‘Joe Hill’ and written in 1925 by the poet Alfred Hayes and set to music by Earl Robinson. This was sung at workers’ rallies in the 1930s and 1940s, when millions were in attendance. Although the red-baiting of the 1950s would eventually decimate the American left, by this time, Joe’s work had already left its mark on such singers as Woody Guthrie, Cisco Houston and Pete Seeger and other left-leaning folk singers who would further influence Bob Dylan, Joan Baez and those who would become leading voices in the 1960s protests against the Vietnam War. Famously Baez began her appearance at the 1969 Woodstock Festival by singing ‘Joe Hill’ as her first number.
“If the workers took a notion they could stop all speeding trains; Every ship upon the ocean they can tie with mighty chains. Every wheel in the creation, every mine and every mill; Fleets and armies of the nation, will at their command stand still”
Unfortunatly Joe Hill never found himself in a situation where he could be recorded and his influence was mainly spread from singer to singer. Only in the late ’90s did historians take much interest in Joe Hill as a performer and artist and the study has already revealed much about the origins of politically oriented folk songs in America. It appears that Joe Hill was truly the first protest singer in America and certain of his specific metaphors, such as his notion of ‘pie in the sky when you die’ are encountered repeatedly in subsequent generations of folk songs that deal with social and political change.

Excellent both as an album and as a cultural document, we will not forget the important legacy Joe Hill bequeathed to us. It’s a beautiful album for a beautiful man.  This is REAL subversion, from real people, native Americans and immigrants like Joe, who weren’t playing games or striking poses, but who really saw things as they are and really wanted to change the world. Joe Hill was a hard core working class true American hero.
“I will die like a true-blue rebel. Don’t waste any time in mourning – organize”
International Workers Of The World

 JOIN THE INTERNATIONAL WORKERS OF THE WORLD 

Facebook  WebSite  Twitter  YouTube

IWW in Ireland, England, Scotland and Wales

in Joe’s words “good luck to all of you”…

for an excellent piece on Joe Hill go to the Black 47 Blog here where New Yorks finest celtic-punk band give you there spin on the life and death of Joe. Well worth reading…

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

CLASSIC ALBUM REVIEW: EWAN MacCOLL AND PEGGY SEEGER – ‘The Jacobite Rebellions’ (1962)

AND FREE DOWNLOAD

Ewan MacColl and Peggy Seeger - The Jacobite Rebellions (1962)

to get your free download of this great album simply click on the album sleeve

It has certainly been a year of contrasts for the proud nation of Alba/ Scotland. With the loss of the Independence vote I’m sure I was not alone to slump into a form of depression but the wave of proud and non-sectarian nationalism that has swept Scotland since has been a joy to behold. With the red tories of the Labour Party about to swept into oblivion things have never looked beter and that election loss can be seen for what it is. A small blip on the way to a fully independent Scottish republic.

The Jacobite Rebellions

This review is another in our series of ‘Classic Album Reviews’ (here) where we aim to introduce you to lost gems that have inspired and provoked music and musicians right up to modern celtic-punk music. Here we have the legendary Ewan MacCool with an album from over fifty years ago dedicated to the memory of the Jacobite Rebellions. They were a series of uprisings, rebellions, and wars across Scotland, Ireland and England between 1688 and 1746. They ended in failure and the repression that the english rained down on the Scots after their victory would end with untold thousands leaving Scotland to make better lives in the America’s.

In these Jacobite songs every battle became a cry against oppression, and every soldier exhibites ideal courage, boldness and strength, without blemish. The songs are glorious. Through them the Jacobites have won their rebellions, for the songs live on, moving us who are so far removed from the events, the causes, the feelings of the Fifteen and the Forty-Five; who live in other countries and pursue other destinies. As Ewan MacColl writes

“To a world which has become familiar with the concept of genocide, which has known fascism and two world wars, the Jacobite rebellions appear as no more than cases of mild unrest. They have grown dusty in history’s lumber room along with all the other lost causes. The Stuart cause is forgotten and nothing, remains of it except the songs. And what songs they are”

As with everything Ewan put his hand, and voice, to it is witty, tender, proud, bitter, ribald, delicate and passionate. Genius is a word easily matched with his name. These are the songs of the Scottish people. People with a great zest and appetite for life. The songs of a people who after all these centuries are optimistic again. Freedom is in sight and we can see it. Let these songs inspire us all to make that push towards it.

“What force or guile could not subdue,
Thro’ many warlike ages,
Is wrought now by a coward few,
For hireling traitor’s wages.
The English steel we could disdain,
Secure in valour’s station;
But English gold has been our bane –
Such a parcel of rogues in a nation!”

Such A Parcel Of Rogues In A Nation. Robert Burns. 1791

the following essay is taken from the original album’s sleeve notes

After centuries of conflict, the kingdoms of Scotland and England had been brought together in 1603 when the Stuart King James VI of Scotland became James I of England. Although united in the person of their ruler the two states retained quite different governments and institutions. They remained separate until the Act of Union in 1707 established a single government for the ‘United Kingdom’. By this time the Stuart dynasty had been deposed in the so-called ‘Glorious Revolution’ of 1688, when the Roman Catholic James II (VII of Scotland) was replaced by the Dutch ruler William of Orange, who had married James’ elder daughter Mary. This had been a victory for the powerful landowning and commercial classes which had been rapidly increasing in strength during the preceding century. They were strongly Protestant in religion and they were, moreover, determined to restrict the power of the monarchy permanently.

The Jacobite RebellionsScotland benefited materially from the Union with England. Its trade and manufacturing industry increased enormously and, thanks to the superiority of Scottish education over anything, existing south of the Border in the eighteenth century, Scottish businessmen, inventors and intellectual leaders figured amongst the giants of the Industrial Revolution. Adam Smith, the economist; James Watt, inventor of the improved steam engine; and Macadam and Telford, the famous road builders, were amongst the most outstanding.
The real increase in the prosperity of Scotland as a result of this important contribution to the processes of industrialisation was, however, unevenly spread. It was concentrated in the Lowlands and in particular in Glasgow, which was rapidly becoming a large commercial centre. The Highlands were scarcely affected by it. In this extensive mountainous area an ancient feudal system based on subsistence farming remained dominant. The clans which maintained it were cut off from both the material developments and currents of thought of the outside world. Personal loyalty was highly valued; the old religion of Roman Catholicism was still strongly entrenched; and with it affection for the exiled ‘King across the water’ and a romantic attachment to the ‘auld alliance” with France against England. In view of this dour resistance to all the forces of innovation which were beginning to transform England and the Lowlands in the eighteenth century, it was natural that the Stuarts should look to the Highlands as their main hope for a revival of their fortunes.
James II had gone into exile in France, where he died in 1701. His son James, the ‘Old Pretender’, inherited the claim to the thrones of England and Scotland, and it was in support of him that the Jacobite Risings occurred. The Act of Settlement of 1701 had ensured that the crown would pass to the Protestant House of Hanover. This happened in 1714, and the first Rising was thus timed to take advantage of the unpopularity of George I. But as it was inadequately planned and badly led, the Rising of 1715 never presented a serious challenge to the new regime. Apart from an abortive expedition in 1719, thirty years passed before the Stuarts made their next and final bid to recover power.
On the 25th July 1745, the 25 year old Prince Charles Edward Stuart, the ‘Young Pretender’, set foot on the Scottish mainland. Less than a month later he raised the standard of his father at Glenfinnan, and the clansmen began to rally to him. By a daring march on Edinburgh the Jacobites captured the city and repulsed an effort to dislodge them at the Battle of Prestonpans. The Prince then led his army southwards towards London, hoping that support would come to him from the inhabitants of the northern English counties. He was disappointed. Although he reached the River Trent just south of Derby on 4th December, he received an extremely cool welcome from the towns and countryside through which he passed. And his clansmen became increasingly disgruntled the further they moved from their native glens.
Meanwhile, the government had been desperately raising an army, and although hampered by incredibly bad communications a force was now ready to take the field under the generalship of the Duke of Cumberland.
The Prince was forced to retreat, and his forces fell back into Scotland and then into the Highlands, Cumberland pursued them towards the inevitable engagement. This took place on the morning of 16th April 1746, when the clansmen were mown down by the superior armaments of the government forces on Culloden Moor.The Jacobite Rebellions
The Battle of Culloden marked the extinction of the last Jacobite hope of recovering the British crown, and Prince Charles spent many hunted weeks as a fugitive before he managed narrowly to escape to France. But it marked more than that — it was also the end of an ancient social order. The government determined that there should never be another rising in the Highlands, and Cumberland earned himself the nickname of ‘The Butcher’ by ruthlessly carrying out the policy of breaking the clan system. Estates of the leading Jacobites were confiscated, and the wearing of the tartan prohibited. Even more important, the feudal powers of the clan chieftains, with their own law courts and the right of claiming military service from their tenants, were abolished.
These measures were effective. Law and order was imposed on the Highlands. Roads, bridges and harbours were built and improved. The introduction of English practices of land ownership led in time to the establishment of large estates as deer parks, and resulted in large scale depopulation. By 1759 Pitt was able to remove the ban on tartan wearing and to recruit regiments of Highlanders to assist in the conquest of Canada. In 1784, the government felt able to restore most of the forfeited estates to their original owners. Meanwhile, the whole country had begun to show signs of the rapid acceleration in the processes of industrialisation which brought greater prosperity to the nation. Industrial and commercial success in the eighteenth century did more than Cumberland’s troops to cement the political foundations of Hanoverian Britain.
With the pacification of the Highlands, the Stuart cause was dead. But like many lost causes, that of the Jacobites has retained its attraction and its power to move the spirit. More than most, the Jacobite cause, though lost, has been won in the persistent appeal of the songs which it evoked. These songs recall a social order which has long since passed away under the wheels of the locomotive, the arterial road, the factory, and the hydroelectric power station. They recall the bravery of men who died for a cause in which they believed. And above all, they recall the loyalty felt towards the young prince who, with grace and charm, came to lead the clansmen in his fathers’ cause; and who, though doomed to failure, won the hearts and devotion of men and women in his own generation and in those which have followed.
– ANGUS BUCHANAN
for more on the Jacobite uprisings you can do worse than going to Wikipedia for a start before heading to The Jacobite Rebellions or Scottish Warriors.
Greentrax Records recently released a compilation album ‘For Freedom Alone- The Wars Of Independence’ and you can read our review here and order it too!
more information on the wonderful Robert Burns can be had from this great web site here.

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

AND FREE DOWNLOAD

Ewan MacColl - Bad Lads And Hard Cases (1959)

for your free download click on the above album sleeve

Man cannot live on celtic-punk alone and its long been one of the purposes of this blog to introduce you to music and bands/singers from the past who have inspired us, as well as celtic-punk to become what it has. A fine addition to any decent folk collection would be this extremely influential album ‘Bad Lads And Hard Cases: British Ballads Of Crime And Criminals’ by the legendary Ewan MacColl. Charting the penal history of these Isles in song it has stood the test of time as have many of the songs and as criminality and criminals have long been a subject matter for celtic punk bands then this album fully deserves a listen.

Ewan was the Scots-born son of a Gaelic-speaking mother and Lowland father from whom he inherited more than a hundred songs and ballads. He worked as a garage hand, builders’ laborer, journalist, radio scriptwriter, actor and dramatist. Since the end of World War II Ewan wrote and broadcast extensively in Britain about folk music. He was general editor of the BBC folk-music series, ‘Ballads and Blues’, and frequently took part in radio and television shows for BBC. Ewan MacColl 1His folksong publications include ‘Personal Choice’, a pocket edition of Scots folk songs and ballads, and ‘The Shuttle and the Cage’, the first published collection of British industrial folk songs. Eventually he was ousted from the BBC due to his socialist beliefs. He wrote many songs that have become folk (and celtic-punk standards) the most famous of course being ‘Dirty Old Town’ popularised by The Dubliners and then The Pogues its wrongly assumed to be about Dublin but it is in fact about his home town of Salford in Manchester. He is also famous for writing one of the greatest ever love songs ‘The First Time Ever I Saw Your Face’ which he wrote for his second wife, the influential American folk singer, Peggy Seeger. He was also the father of Kirsty MacColl who of course guested on The Pogues enormous Christmas hit ‘Fairytale Of New York’. After many years of poor health Ewan died on 22 October 1989 but it can be safely said of him that he was these islands Woody Guthrie and his songs and influence will live on forever.

On this album Ewan is accompanied on the guitar and banjo by Peggy Seeger. A real classic of folk that you all need to hear.

Ewan MacColl and Peggy Seeger

Ewan MacColl and Peggy Seeger

Here’s the actual sleeve notes from ‘Bad Lads And Hard Cases: British Ballads Of Crime And Criminals’ as written by Ewan himself

TURPIN HERO
According to Chappell’s ”Popular Music of the Olden Time’, this ballad was written in 1739. just before Turpin was executed. There are several broadside versions of it, the oldest of which is contained in a pamphlet entitled ‘The Dunghill Cock; or Turpin’s valiant exploits’ it is fairly widely known among south country traditional singers, but only in this version.

SPENCE BROUGHTON
This confession from the gallows tells of a Sheffield robber who was executed at York on April 14, 1752, for the robbing of the Rotherham postman on Attercliffe Common. After the hanging. his body was strung up on a gibbet post near the scene of the robbery. This song is still fairly widely sung by country singers to a variety of tunes. The version recorded here was learned from Harold Sladen of Manchester.

IVOR
The hero of this ballad is said to be a lately deceased matinee idol and writer of musical plays. The ballad had a great vogue in the middle ’40s and is said to be the work of a trusty doing time in Wormwood Scrubs prison. American listeners will recognize the tune as that of The Gal I Left Behind Me. The ‘sky-rocket diver’ referred to in the first stanza is rather elaborate slang for a pick-pocket.

THE BONNIE BANKS OF AIRDRIE (Child #14) —
This ballad is also known as Babylon, The Bonnie Banks of Fordie, and The Duke of Perth’s Three Daughters. In other versions, the crime is not only murder but sororicide. for the robber finds out, all too late, that it is his own sisters that he has slain. I learned this version from my mother.

SUPERINTENDENT BARRAT, and BARRATTY-PARRATTY
These are but two of the many songs which swept Scotland after the ‘lifting’ of the Stone of Scone from West-minster Abbey. So popular did these songs become that they even penetrated the dance halls where they were sung by crooners until such time as the police stepped in and put an end to this dreadful flouting of authority in public places. Both songs are the work of Thurso Berwick, a young Glasgow school-teacher and poet who has played a leading part in the Scottish folksong renaissance.

GO DOWN YOU MURDERER
In 1953. Timothy John Evans was sentenced and executed for the murder of his wife and child. He died protesting his innocence to the last. Later  John Christie, the mass murderer of Notting Hill Gate, confessed to having murdered Evans’ wife and child. The case made a profound impression on British public opinion and is quoted frequently in the campaign to abolish capital punishment.

VAN DIEMEN’S LAND
This is probably the most circumstantial and certainly the most detailed of all the known versions of Van Diemen’s Land. The tune is a variant of the widespread Banks of Sweet Dundee. I learned this version from the singing of Harry Cox, farm laborer of Dorset and probably the greatest traditional singer of that region.

WHISKEY IN THE JAR
A favorite Irish street song, this ballad appears to have been introduced into Scotland by Irish sheep herders during the 19th century. It has been collected widely throughout the English-speaking world, several versions having been recorded in Canada, the United States, and Australia. I learned this version from Hughie Graham of Galloway.

BILL BROWN
In 1769, a poacher by the name of Bill Brown was shot by a gamekeeper in the village of Brightside, near Sheffield. Various broadsides told of his unhappy death and carried the ballad into the southern English counties where it became widely known by traditional singers. This version comes from Kidson’s ‘Traditional Tunes’ (1891).

THE BANKS OF THE ROYAL CANAL
I learned this unusual prison song from the singing of Brendan Behan of Dublin. When I asked him where he had learned it, he answered: “In Mountjoy” “And what were you doing there?”, I asked him. “Eight years,” he said, “for shooting some detective sergeant or other, but praise be to God he was no countryman of ours.”

THE BLACK VELVET BAND
According to Harry Cox, this was a popular pub song among farm workers more than half a century ago. It has been collected as far away as Australia, and in the United States was a favorite hobo ballad — both as recitative and song. It still survives in England. Its history is rather obscure, but it appears to have originated in the last half of the 19th century.

HARD CASE
I wrote this song in 1933 while in prison awaiting trial for breach of the peace, i.e. for ‘resisting the police while carrying out their duty’. Actually I was on a hunger march and resisted being batoned by a couple of cops. The song has achieved fairly wide currency in the past 20 years; indeed, an old man who had just finished a stretch in Walton Jail, Liverpool, told me he had known it all his life.

THE BALLAD OF BENTLEY AND CRAIG
The title characters of this ballad were two teenage youths who shot a policeman in Croydon, Surrey, in 1951. The 17 year old Craig, who actually fired the shot, was considered too young to meet the hangman. Bentley, just turned 18, was not so fortunate. The trial and execution created widespread public indignation and. to some extent, resulted in a government ban on the importation of the more lurid type of American comics. This ballad, the work of Carl Dallas, a young Newcastle newspaper reporter, is one of half a dozen songs which the trial produced.

TREADMILL SONG
This song, from Sussex, is an unusually detailed account of life in stir in the early 19th century. Prisoners attitudes about incarceration have apparently changed but little since that time.

GILDEROY
In James Johnson’s ‘Scots Musical Museum’, we are told that ‘Gilderoy was a notorious freebooter in the highlands of Perthshire, who, with his gang, for a considerable time infested the country, committing the most barbarous outrages on the inhabitants’. He was finally apprehended and died on the gallows in July, 1638. The ballad is said to have been composed by a young woman ‘who unfortunately became attached to this daring robber, and had cohabited with him for some time before his being apprehended’. The version sung here is from a broadside published by Harkness of Preston, in the British Museum.

Here are Ewan’s sleeve notes from the original album insert

The mammoth sales of tabloid newspapers specializing in the gory and sensational, the popularity of detective novels and ‘thrillers’, the countless films and TV features dealing with acts of violence, all point to public interest in crime and criminals.

This somewhat morbid fascination with underworld activity is no new phenomenon. A glance through Professor Child’s collection of “The English and Scottish Popular Ballads” shows that rather more than one in three of the traditional texts assembled there deal with assorted acts of violence. Theft, treachery, assault, rape, kidnapping, cattle-rustling, piracy, murder in all its forms … there isn’t a crime in the police gazette that hasn’t been put to music.

Broadly speaking, the treatment of crime and criminals in our popular music falls into five main categories:

  1. Ballads about outlaw heroes;
  2. Ballads about crimes of passion;
  3. Songs of confession and remorse;
  4. Transportation ballads;
  5. Songs describing prison life.

The hard core of the real popular heroes of the traditional ballads is that swaggering band of hard-living, hard-riding and hard-fighting outlaws — Johnny Armstrong, Jock o’ the Side, Johnny o’ Breadislie, Hughie the Graeme — the moss troopers who ranged the debatable lands of the Scots lowland borders and refused to acknowledge the laws and proscriptions of Kings.

These guerillas of the border peasantry inherited the mantle of Robin Hood. Their qualities are the qualities of all the heroes of folk poetry. They were strong, courageous, skillful with weapons, scornful of authority, witty, fair-minded; they were loyal to their friends and just to their enemies, and they could face death with a jest on their lips. Though they were hunted men, they were the living embodiment of the peasantry concept of freedom, and this at a time when freedom was only a dream.

They were the progenitors of all the ‘bad men’ heroes of the English-speaking world: of Dick Turpin, Claude Duval, Brennan of the Moor, Jesse James, Sam Bass, Billy the Kid, Bold Jack Donahue and Pretty Boy Floyd.

Where crimes of passion are the themes of traditional ballads, the events move towards the violent climax with all the inevitability of a Greek tragedy. And, as with the characters in the plays of Aeschylus and Sophocles, the protagonists are larger than life, filling the landscape so that there is no room left for irrelevant detail. Here there is no moralizing on the evils of murder. It is sufficient to state the act of violence and the events which led up to it; the rest is silence.

The ‘Confession from the Gallows’ type of ballad belongs, both in feeling and in structure, with the ‘broadsides’ which flourished from 1500 to 1800, though confessional ballads continued to be made until such time as public executions were discontinued. For the most part the ‘broadsides’ deserve professor Child’s characterization as ‘veritable dunghills’ and yet, here and there, one comes upon flashes of pure feeling. And traditional singers, who always have the last word, have kept a surprisingly large number of them alive.

The element of protest, almost entirely absent in the confession songs, is a distinct feature of the ‘Transportation Ballads.’ Though these songs are generally cast in the same mold as the confession songs, they display fewer traits of Grubb Street construction and, on the whole, the poetry, though often crude, is not without vigor. As a body they represent the most recent and perhaps the last great impulse towards song-making on the part of the English peasantry.

Prison life in Britain has produced few genuine folk songs. Parodies exist in plenty, but they are generally of an ephemeral nature and rarely outlive a prison sentence. The only British songs which can compare with the convict group songs of U.S. southern prisons and state-farms are those which came out of the late 17th and 18th century treadmills. Several of these are still current with English south country singers. They represent an important part of our prison literature.

The present folksong revival in Britain has made many thousands of young people familiar with these old songs; it has, in addition, produced a growing number of new ballads about crime and criminals, ballads characterized by an understanding of the social causes of crime. In every city between Dundee and London, there may be found groups of young people who sing songs like The Ballad of Bentley and Craig and Go Down You Murderer.

Ewan MacColl

Find Out More On Ewan MacColl

Wikipedia 

listen to his music for free here on LastFm

tribute from the Working Class Movement Library here

many thanks to ‘Celtic Born And Bred‘ facebook page where I first heard this great album. Go and join them here and you’ll find a treasure chest of similar great music.

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

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

AND FREE DOWNLOAD

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

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

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

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

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

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

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

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

“I’ll take my boy back now.

The state’s finished with him.

The state’s finished with all of these bodies.

These poor, charred bodies!”

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


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

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

CLICK BELOW FOR FREE DOWNLOAD

DISC ONE- MAN v MACHINE

DISC TWO- MAN v NATURE

DISC THREE- MAN v MAN 

ARTWORK AND LINER NOTES

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

TRIBUTE TO WELSH PUNK ROCK LEGENDS ANHREFN

FREE DOWNLOADS OF THEIR ENTIRE DISCOGRAPHY

ANHREFN

THE WELSH CLASH!

Anhrefn

The Welsh Clash, apparently, although the Sex Pistols is an equally viable comparison. And very good they were, too. Not for them the mindless thrashings of hardcore, these guys wrote proper songs, with tunes. Playing fantastic melodic punk and only ever singing in Welsh they achieved a degree of stardom and popularity unthinkable now. Who knows how far they could have gone if they’d sung in a foreign language?

Anhrefn were one of the very few Welsh-language bands to find widespread success outside of their native country, Anhrefn (Welsh for ‘Disorder’, thereby avoiding confusion with the Bristol crusty punks name!) are often now cited as the band that put Wales on the guitar music map, preceding popular ’90s bands such as Manic Street Preachers, Stereophonics and Super Furry Animals.

Formed in 1980, the Gwynedd-based outfit were founded by bass-player Rees Mwyn, who set up the record label Recordiau Anhrefn in ’83, later gaining distribution from The Cartel/Revolver. Their most solid line-up throughout the ’80s was completed by Sion Sebon (vocals/guitar), Hefin Huws (drums) and Dewi Gwyn (guitar).

They released their debut single, ‘Priodus Hapus’, in 1984, and included tracks on various compilation LP’s alongside other Welsh bands over the next couple of years. In ’86 they featured on the debut release for Newport-based punk label Words Of Warning (who would later become home to popular acts such as Blaggers ITA, Oi Polloi, Cowboy Killers and Terminus) – an EP entitled The First Cuts Are The Deepest – with the song ‘Action Man’.

walesflag

The following year they became the first Welsh language band to sign an international recording deal when they were picked up by Alternative Tentacles subsidiary Workers Playtime. The label released the band’s debut LP, ‘Defaid, Skateboards A Wellies’ (‘Sheep, Skateboards & Wellies’), which was generally greeted with favourable reception – notably by DJ John Peel, for whom they would subsequently record a number of Radio One sessions.

With the record’s fresh-sounding brand of melodic punk, blending hints of hardcore, metal and goth, the band soon became underground favourites of the UK punk/hardcore scene, their name seemingly adorning every alternative music fanzine cover of the period. Around this time they began making a name for themselves overseas, playing gigs throughout Europe and the United States.

A follow-up LP, 1989’s Bwrw Cwrw, delved into the realms of dub reggae, while a split LP with Last Rough Cause the same year saw them treading more traditional old-school punk ground, including a cover of The Ruts classic ‘Staring At The Rude Boys’. It was the following year’s ‘Dragons Revenge’ set, however, which stands as their most impressive work, incorporating elements of traditional Welsh folk blended with solid, tuneful punk rock anthems.

Anhrefn8

The record was produced by one Dave Goodman, noted for his work with the Sex Pistols (it was released in Germany as ‘The Dave Goodman Sessions’), and, continuing the Pistols connection, the front cover art – a tongue-in-cheek concept depicting the Welsh dragon trampling over St. George – was designed by Jamie Reid, the man responsible for that now-classic pink and yellow Never Mind The Bollocks.. album sleeve. Sadly, this was to be the band’s last official recording, although they continued playing for the next two or three years.

In 1993, Rhys began working for Crai Records (the local label who had released the band’s third LP), and briefly stepped in as manager for Catatonia, who recorded a couple of EP’s for the label in the mid-‘90s before going on to bigger and better things. He later took over the running of Crai after Anhrefn officially split in ’94.

PASSWORD FOR ALL ALBUMS IS

freepunk77

Further Information

Anhrefn Records here

great article here from Louder Than War ‘Futile Gestures…ex Anhrefn bassist Rhys Mwyn looks back at his efforts to influence Welsh culture’ here

Anhrefn Wikipedia here

Facebook Anhrefn-Fan Page here

absolutely brilliant biography of the band and an interview with Sion here

*links all working as of 7th March 2018*

EP REVIEW: THE LANGER’S BALL- ‘7 Year Itch’ (2014)

AND FREE DOWNLOAD!

THE LANGER'S BALL- '7 Year Itch' (2014)

Straight ahead, no-frills Irish ballads with just a hint of razor blades, safety pins and American rock ‘n’ roll! 

American celtic-punk band The Langer’s Ball released a new EP last month and have also made it available for free download so there is absolutely no reason at all for you not to get this downloaded right NOW! Hailing from Saint Paul in Minnesota the Irish make up the second largest population of the city at 14% and despite being only half the number of those of German descent they managed to somehow (I wonder how that was?!?!) control all facets of government. Of course the days when the Irish ran the city are long gone now but still many of those in local government, the Police and Fire Service come from typical Irish backgrounds. Playing as a duo since 2007 Michael and Hannah released a couple of albums back then that were well received by the celtic-punk community which persuaded them to fill out the sound somewhat and they recruited a few local musicians and so The Langer’s Ball were born. As is usual in bands people come and go but what you hear now is as stable a line-up as the band have ever had.
The Langer's BallAs well as those two early albums back in 2007 and 2008 The Langer’s Ball have also released ‘Drunk, Sick, Tired’, a live St Patricks day recording, in 2011 and ‘The Devil, Or The Barrel’ in 2012. This Ep is their first release since then and was originally recorded as a session for Iowa Public Radio for the Fol Tree radio programme. The session aired on August 8th 2014 and was such a success the band decided to make it available to all. A extra track ‘ABCD’ Hannah & Michael did in the studio one night while messing around.
The title of the EP refers to this being the bands seventh year together and with a bunch of new songs they were itching to release and with the success of the session it all came together perfectly to release this to The Langer’s Ball growing army of fans at home and abroad. The music itself is reminiscent of the more folkier side of celtic-punk but with plenty of bite with the extremely well played accordion to the fore throughout the EP. ‘Jug Of This’ kicks off and begins the near 30 minute journey that takes us through The Langer’s Ball repertoire and elements of country sneak in but the music always returns to Irish reels and rocking! ‘Mackeys Daughter’ is the best example of this and is followed by ‘Johnny, You’re A Rovin Blade’ with the penny whistle taking centre stage over some thrashing guitars which could have been a wee bit louder me thinks. ‘Gods Gonna Cut You Down’ could well have been written by the Man In Black himself and starts all slow before speeding up and then settling into a tune that the Man would have been quite pleased with as well. 
“Well, you may throw your rock and hide your hand
Workin’ in the dark against your fellow man
But as sure as God made day and night
What’s done in the dark will be brought to the light”
‘Whiskey Chaser’ is yer typical tale of touring the States getting pissed and is followed by the first song I’ve ever heard extolling the virtues of ‘Cork Dry Gin’. Only ever spotting the stuff on the ferry in the duty free shop I don’t think I’ve ever seen a bottle outside of then and certainly none of my crowd ever drank the stuff but each to his or own and hearing this certainly paints it a pretty picture. ‘As I Roved Out’ ends the radio session on a fine note with a uplifting tune about a soldier taking advantage of a young girl. the final song ‘ABCD’ is the bonus track and brings the EP to an end and very good it is too. 
Many on this side of the ‘broad atlantic’ will not have heard of The Langer’s Ball and will have next to no chance of being able to get their records so why not take a chance and partake of this free download. It won’t cost you a penny and take my word for it you’ll be very happy you did.
 
 
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EP REVIEW: BLUNDERBUSTER- ‘Self Titled EP’ (2014)

AND FREE DOWNLOAD
Six crazy bastards making lots of noise!
Blunderbuster EP (2014)
Not sure what they’re putting in the water up north but hot on the heels of us reviewing the debut album of Stoke’s Headsticks (here) comes this EP from Blunderbuster from Derby. Blunderbuster were formed in 2010 and their sound mixes elements of traditional British folk music with punk and metal as well as elements of celtic music giving it a real celtic punk feel. Though be warned this EP is not for the faint hearted and any folkies out there may find it a bit too much but for us here its rocks our socks off and we cannot wait to hear more!
Formed out of a mutual love of all things folky and all things heavy. Blunderbuster started life with a vastly different line-up including a different bassist and drummer, as well as an accordian player and a tin whistle and banjo player. But as we all know sometimes life gets in the way and changes had to be made. The dropping out of most of the folk instrument players curved Blunderbuster’s sound to be much heavier and more punk oriented. Thus creating the sound that you can now hear on this EP.
Blunderbuster
The EP kicks off with ‘Danis House Party’ and with the gruff vocals and metally guitar it could steer itself into folk metal territory but luckily it stops just short and returns to good auld celtic punk with touches of the more punky side of The Dropkick Murphys. ‘OLd MacQuarie’ follows and begins with acoustic strumming and nice vocals until some furious drumming continues the assault. ‘Picked Up And F**ked Up’ is the alcholocaust song of the EP. Telling the tale we all know only too well of…well you know what! ‘Kick Arse Celtic Punk Band’ is definitly the most celtic sounding track of the EP but the guitar vocals drumming and frantic fiddling stop it well short of sounding like Enya! Final track ‘The Crucible’ rounds it all off nicely with a bit more of a metally song. 
Loadsa swearing and catchy choruses and not just fist in the air but fist through the window moments. Blunderbuster are for sure one of the heavier punk bands around at the moment in the celtic/folk punk world and carry it all off brilliantly. Just under 20 minutes and the band have made it available for free download so head over to their Soundcloud page and get clicking. Looking forward to hearing more from Blunderbuster and if you like the punkier side of celtic-punk then these ‘six crazy bastards’ will be right up your street!
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ALBUM REVIEW: SIGELPA- ‘TerraMorta’ (2014)

Sigelpa-'TerraMorta' (2014)

Sigelpa is a band from Terrassa in the Barcelona region of Catalonia that mixes up punk, hardcore and good old fashioned Irish folk music. Everything about the band is pretty amazing right down to their extremely clever name. Its a acronym of the initials of the seven deadly sins in Catalonian. Superbia/ Pride, Ira/ Wrath, Gula/ Gluttony, Enveja/ Envy, Luxuria/ Lust, Peresa/ Sloth and Avaricia/ Greed.

Catalonia Is Not Spain

A follow up to their 2011 demo ‘L’atac Dels Ultrapirates Pecadors’, the self produced ‘TerraMorta’ is their debut album and as ambitious a project has never, to my knowledge anyway, been tried within celtic-punk before.  ‘TerraMorta’ is a concept album which means that the songs are connected and tell a story from beginning to end. The album comes up just short of a hour with 14 tracks and is packed to the gills with references to celtic folklore. 

Sigelpa

Rather unfortunatly I cannot comment anymore on what the actual concept is about as the lyrics are in Catalonian and being a product of the english education system means i can only speak english so here’s what the band have to say themselves
It tells the story of a city called TerraMorta where people are subject to their god / ruler Saint Patrick. But 7 strangers arrive and push citizens to rebel against him.”
The excellent CelticFolkPunkAndMore blog published a much more detailed review than we ever could so head over there, here, and find out a bit more.
So as interesting a story ever told in celtic-punk and we can’t understand it… so our review has to concentrate more on the music and luckily for us the music doesn’t disappoint either! All your typical rock instruments are boosted by excellent fiddle and accordion playing and with male and female duo vocals that give Sigelpa a totally unique feel. There are so few female vocalists in the scene, except for Brutus Daughter and Irish Moutarde i cannot think of any, but it makes for a refreshing change and besides I’m a big fan of duo vocals. The music itself veers all over the genres but with celtic at the base and it always returns to a fast and furious reel. Taking in elements of ska, metal, punk all the songs bar one are their own compositions and hats off to the band for attempting something so risky for their debut album. I can heartily recommend ‘TerraMorte’ to any celtic punk fan as the musicianship is breathtaking and even though its annoying not to be able to pick up on the fantastic tale within it I am more than happy to hear a band singing in their native language especially one which has many parallels with the celtic languages but is surviving much better. There’s enough here to keep you all satisfied but if anyone wants to write a detailed review of the actual story of ‘TerraMorte’ please do and send it to us. You can get the album, and previous Demo, for free or donation from Bandcamp below as a ‘name your own price’ download so take a risk an give it a chance.

Some of the tracks are quite lengthy, as is the way with concept albums, but nothing drags and in fact their longest song ‘La Passio Del Trist’, coming in at just under nine minutes, is the albums standout track for me and demonstrates Sigelpa’s genre stretching perfectly. Starting
off with a metal flavour it soon bounces into punk before the celtic kicks in. The  vocals are perfect and the whole production is immaculate with all the musicians combining together seamlessly. Take a chance on Sigelpa you’ll not be found wanting at all!

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Sigelpa

OKLAHOMA CELTIC-PUNKERS THE RIGHS HANG UP THEIR STETSON’S

The Righs- 'Empty The Glass' (2014)
like a bar brawl between a local labourer
and a sailor on shore leave
Sad news reaches us from across the broad atlantic that the Oklahoma based celtic-punk band The Righs (pronounced ‘Rigz’) have decided to call it a day. Originally known as The Rivers, The Righs played Oklahoma City for nearly a decade from late 2005 to early 2014. They were: Nate Williams- Vocals, Acoustic Guitar, Jack Smith- Electric Guitar, Banjo, John Slawson- Bass, Omid Nowrouzi- Mandolin, Trumpet, Jian Azimi- Fiddle, Ronnie Meyer- Drummer.
The Righs- 'The Rivers Run Deep'From the bands first ever show back in Christmas 2005 The Righs made a huge splash amongst punk, rock and folk fans across the whole of Oklahoma, Texas and Kansas. As is usual people immediately drew comparisons to either Flogging Molly or The Dropkick Murphys but The Righs, quite rightly took pride in having their very own definite unique sound.
Their debut studio album ‘The Rivers Run Deep’ hit the stores in January 2008 and was a immediate hit with fans. Produced by Chris Harris at Bell Lab Studio in Norman, Oklahoma. It was praised by Stephen Carradini of IndependentClauses.com as
“an engaging and exciting listen, no matter what you normally listen to”
Drawing comparisons to all yer usual ‘wans’ as well as bands like Beirut, Neutral Milk Hotel and The Suicide Machines.
The Righs- 'Roses'Recording for their second studio album, ‘Roses’, began in the summer of 2009. Produced at Green House Recording Studio in Moore, Oklahoma, owned by drummer David Johnson. Once again the album garnered great critical and commercial success. Seventy minutes long and 18 songs wide ‘Roses’ expands upon the diverse sound of the band while maturing that sound musically and lyrically. The album came out in January 2010 and the standout track, which is typical of The Righs sound, is album opener ‘Double Edged Sword’ a fast paced celtic-punk classic rallying against apathy in a country filled with ‘little lives of luxury’ that showcases all the various instruments that The Righs were famous for..
“Stand up and fight,
Let Your voices be heard,
Show Them Your Right
An Raise Your Glasses High”

But now for the sad news…This is what The Righs recently posted on their Facebook page-
“Dear friends,
We’re sorry to break this news. Our show this Saturday at Belle Isle Brewery is going to be our last. We’ve discussed this matter and have realized that in the roughly eight and a half years since our first show, our lives, schedules, and interests have changed so much that continuing on as a band isn’t what’s best for us. It’s time for us to move on.
We’ll be removing our recordings from paid sites such as iTunes and Amazon, but we’ll be making them available for free download at therighs.bandcamp.com. We’ll also release for download our recordings for what would have been our third album, Empty The Glass.
We’d like to thank all the guys who’ve been part of The Righs over the years; Jian, Bryan, Rian, Kenny, Doyle, and Dave.
We’d like to thank all of the venues who’ve had us play. Our first shows were at the now-defunct Racket Room in Edmond, OK. Over the years, we’ve played at great places like the Conservatory, VZD’s, Belle Isle Brewery, the Diamond Ballroom, the Opolis, the Red Brick Bar, Leon’s Lounge, the Vanguard in Tulsa, PJ’s Pub in Manhattan, KS, and the Lone Star Country Club in Coppell, TX, amongst many others. Thanks to all of them for having us. We had a blast working with you.
We’d like to thank all the bands, local and touring, that we’ve shared the stage with. Bands like The Dead Armadillos, Dave McDaniel, Red City Radio, Sunny Side Up, Christophe Murdock, Thickwit, and Green Corn Revival help make this a great local scene. And being able to open for great touring bands like Reel Big Fish, Street Dogs, The Toasters, Peelander-Z, Flatfoot 56, Voodoo Glow Skulls, Jason and the Punknecks, Deals Gone Bad, and tons more has been fantastic.
Thanks to Jeremy Ralstin, Dave Johnson, and Chris Harris, for their hard work in recording us.
Most of all, thanks to all of you, everyone who’s come out to a show and for all of the support you’ve shown us over the years. We love all of you. Maybe some day The Righs will see the light of day again and, if we do, we hope to see you there.
See you around,
Jack, John, Nate, Omid, and Ronnie”
So plenty of free recordings hit the airwaves on the one hand but on the other we have the loss of one of the celtic-punk scenes greatest bands.The Righs The Righs third and final studio album ‘Empty The Glass’ came out in April after the band had decided to call it a day. Produced and engineered by Jeremy Ralstin at SMC Studios in Oklahoma city. Ten songs with two covers and eight originals. The covers are the celtic-punk standard ‘I’ll Tell Me Ma’ and the Animals hit ‘House Of The Rising Sun’. Both are laced with trumpets and thrashing guitar and wild fiddling and switch from ska to celtic to punk with ease. The original songs follow much the same pattern of fast wildly energetic and exuberant modern celtic-punk that’s hard to pigeonhole within the scene but will be sorely missed.
I’ll leave the last word to Rocking The Craic blog who had this to say about them
“The Righs have a very unique sound that could have some detractors for those more in tune with mainstream celtic-punk. With the use of brass instruments on some songs, there is a melding of ska, original songs, rough vocals and deep songs. to truly appreciate The Righs, you need to set time aside and REALLY listen- you won’t find many party anthems or songs that fit into the background- to really appreciate the hard thumping tunes and lyrics”
All the London Celtic Punks crew would like to thank and wish The Righs well for whatever the future holds for them. Good Luck bhoys and see you soon.
The RighsBand Fact
Righ is a modern spelling of the Gaelic word Rí, which means ‘king’.
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Download The Albums For Free
there’s a grand interview with The Righs at Punk Is OK blog zine here in which all the boys take part.

(Part Two of the show is here)

EP REVIEW: PIRATE COPY- ‘The Shape Of Piracy To Come’ (2014)

AND FREE DOWNLOAD
rum, wenches, grog, rum, treasure, pillage, rum, gold, rum, sailin’, cannons, fightin’, rum, rum and rum.
the missing link between The Ramones and Captain Blood
Pirate Copy

Some proper authentic celtic-punk like from the ancient celtic nation of Kernow! Formed in Portreath, a fishing port on the north coast of Cornwall, which is the spiritual home of smuggling and piracy and all that malarkey! Coming with that sort of heritage its no suprise that Pirate Copy play stripped down punk rock with a folk twist. The folk instrumentation is just the ukelele and its melodic punk rock that rules here but the whole thing does have a celtic-punk feel to it.
Pirate Copy
These are sea shanties you’d not want your Nanna to hear! Singalonga choruses give it that celtic touch and while lyrics about the sea and piracy are themes hardly unknown to the celtic-punk scene coming from a band with that history in their blood makes Pirate Copy something special.
The five track EP starts with ‘The Crew’ and with a slow mouth organ bit before erupting into great old style punk rock
“you don’t fuck with pirates from the Kernow shore”

Growling vocals over slowish mid paced punk rock hits the spot squarely in the jaw. ‘Sail For Adventure’ follows much the same route with more talk of rum and treasure and wenches over a chugging punk rock tune and a chorus reminiscent of The Ramones at one point. ‘#bringtherum’ is another as catchy as anything number, and i’m sorry if again i end up using the word catchy far too much in this review. The band sound like their having great craic playing this and its fantastic feel good music thats simply impossible not to have your toes atappin’ and your head abobbin’ within the first few seconds. ‘Yarrr!’ is, you guessed it, catchy as well and is a very well and clearly recorded live track. More pirate talk and even a wee guitar solo playing away for you.
Pirate Copy
The last track brings the uke out a bit more and ‘Walk The Plank’ is Pirate Copy at their acoustic best. Great way to end the EP and leaves you simply gagging for them to record an album as soon as possible. Sure it would have been nice to have heard an accordion in there but that’s hardly a complaint when Pirate Copy have got it nailed and play such uplifting fun punk rock music.
There’s a whole host of really great celtic/folk punk bands, The Jack Ratts and Black water County to name just two, down there on the English south coast…AND Cornwall! They unfortunately don’t seem to get away much, must be something to do with that sea air!, but Pirate Copy are crossing the border into England next Friday on June 13th and are heading to London to play a gig at The Enterprise in Camden town. Facebook event details here
so be sure to get yerself down chug back a rum and be prepared for a great night out…
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Get The EP
This is Pirate Copy debut EP ‘The Shape Of Piracy To Come’ –  and even though the boys and gal have made it available for free, if you can afford to chuck em a wee bit of change for it then I’m certain that it’d be greatly appreciated. But as the band say getting it out there is much more important to them, so go right ahead if you’re a bit skint! All you need to do is enter £0.00 when you choose how much to pay!
piratecopy.bandcamp.com/
Pirate Copy

EP REVIEW: LQR- ‘A Touch Of Liquor’ (2014)

And Free Download!

LQR- 'A Taste Of Liquor'
LQR hail from the town of Eersel in southern Holland and follow in the footsteps of fellow Dutch bands Circle J and The Royal Spuds in playing a brand of celtic-punk that’s tinged with country and bluegrass.
Formed back in 2007 they have previously released two other EP’s, ‘Murder By Liquor’ a 5-track EP in 2008 and ‘Boxpak’ a 4-track EP in 2012. With this their third EP the boys must be due a album out next. All their releases have so far only contained their own self penned numbers and they are to be applauded for taking that rather risky route rather than the tried and tested, and safe, route of throwing in a load of covers that everybody loves.
LQR
The music is a mish-mash of influences with ska and country mingling with celtic-punk and the spotlight on the accordion and mandolin even though the rock’n’roll pumped up to ten. The five tracks on here last just shy of twenty minutes and fly past before you know it in that way that only celtic-punk bands can. All the songs are fast as feck Irish tunes and only leave you wanting for more of the same. By the sound of LQR on here they must be amazing live so take the time to check out their YouTube channel. As is usual there’s touches of Flogging Molly and the Dropkick’s in there and it’s the opening track ‘I’ll Never Get Drunk Again’ that sounds most like either with it’s Molly-esque accordion ramped right up and lyrics that I’m sure need no explanation. It’s followed swiftly by ‘Wargames’ a great rocking anti-war song with great lyrics.

LQR1Coal mining songs feature quite heavily in American celtic-punk so was nice to hear ‘Black Mining Company’ even though the subject is suitably grim. There’s a fantastic tradition of folk songs from out of mining communities and ‘Black Mining Company’ can take its place among them. ‘Liquor’ is about drinking and has a real good pint in the air, sing yourself hoarse chorus. Last song ‘Coulrophobia’ shows LQR’s sense of humour and starts with a wee gypsy-punk feel to it before singer Mark tells us of his fear of clowns and the music goes flying off into a great celtic tune before slowing right down again.
Once again I find myself saying that if LQR were American, or even English, they would be massive…and if we had our way they f’ing would be!
 All of the songs from ‘A Touch Of Liquor, can be downloaded for free (yes that’s right for FREE!!!!) from Soundcloud, along with all their previous releases as well. The playlists of the EP’s are at the top of the page so simply scroll down to find the different tracks.
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FREE DOWNLOADS: PADDY PUNX COMPILATIONS VOLUME 1, 2 AND 3.

Paddy Punx

Paddy Punx Blog was started in 2009 and ran for a couple of years gaining a massive following and then just as quickly as it came it suddenly went off air. How it began or who told me about it I cannot remember but the site introduced me to literally 100’s of bands from all corners of the earth that I would never otherwise have got to see or hear. It has though left behind a legacy evident in pretty much every celtic-punk fans record collection and just in case you’re one of the poor unfortunates to have missed it we give you these massive collections put together by the blog. All contain well over 100 songs by the worlds best ever bands to have ever picked up a mandolin and play anything remotely similar to celtic-punk. We’re still none the wiser about who was behind the Blog but when it disappeared it was certainly the main inspiration for starting this one. The gap it left was huge and if we’ve filled it just a wee bit we can safely say we’re doing a decent job!

to get the download link for the correct album click on the record cover

PADDY O’REILLY PRESENTS PADDY PUNX VOLUME ONE.

165 BANDS!!!!!

Paddy Punx Volume 1

PADDY O’REILLY PRESENTS PADDY PUNX VOLUME TWO.

199 BANDS!!!!!

Paddy Punx Volume 2

PADDY O’REILLY PRESENTS PADDY PUNX VOLUME THREE.

150 BANDS!!!!!

Paddy Punx Volume 3

HOURS AND HOURS AND HOURS OF THE BEST CELTIC-PUNK, FOLK, FOLK-PUNK, REBEL TUNES AND TRADITIONAL CELTIC MUSIC FROM THE FOUR CORNERS OF THE GLOBE!

after a wee period of hibernation PADDY PUNX has returned and is back on Facebook so to re-connect go straight to

https://www.facebook.com/paddypunxofficial

and get hooked up!

as with the original Blog there’s no guarantee that these will stay alive very long before the ‘Big Controller’ orders them down so any problems please use the comments box and let us know and we’ll try and sort it out soon as we can.

 

 

Click on the blog logo at the top of the page to find much much more of the same!

EP REVIEW: ALBANNACH- ‘Independence’ (2014)

AND FREE DOWNLOAD

outlawed tunes on outlawed pipes

Albannach
Albannach is Scots-Gaelic for “Scottish” or “Scotsman”, and that’s exactly what Albannach are. All born and bred in Scotland and their purpose in life is to share Scotland’s culture, history and heritage with us by means of their music. In a folk scene dominated by pipe and drum bands Albannach are breathing new life into Scot’s music. Their first self titled LP came out in 2005 and has been followed by 2 more studio and 2 more live albums and a handful of EP’s.
AlbannachThe ‘Independence’ EP was first released in 2012 to lend support to the campaign for an independent Scotland.  Albannach are proud supporters of the YES Campaign for Scottish Independence. Something we at London Celtic Punks are totally backing as well. The EP has been re-released as a free download for all supporters of an independent Scotland. Consisting of five of Albannach’s most popular, rousing, and thought provoking tracks  – these songs are guaranteed to get your blood pumping and your pride flowing!
Albannach
Five tracks clocking up at just over 22 minutes beginning with ‘The Uprising’ a spoken word tribute to William Wallace over a slow daunting orchestral tune. Then begins ‘Scotland Is Her Name’ starting with some expert flute playing and the hardcore nationalist lyrics bely the beauty of the singing and the song. I must say its great to hear such angry pissed off words as Scotland has suffered greatly at the hands of various London governments and surely it must now be time for Scotland to be a independent nation. Third track ‘Kishmuls Galley’ is a traditional instrumental with the bagpipes flowing away over drums. Made famous by 70’s folk band The Corries it’s very tribal and if you close yer eyes and you could imagine it being played into battle against the English! ‘1320’ is another ballad telling the story of the Declaration Of Arbroath in which Scottish bishops, earls and barons declared Robert The Bruce as King and independence from England.
 “Yet, even the same Robert, should he turn aside from the task and yield Scotland or us to the English king or people, him we should cast out as the enemy of us all, and choose another king to defend our freedom; for so long as a hundred of us remain alive, we will yield in no least way to English dominion. For we fight, not for glory nor for riches nor for honour, but only and alone for freedom, which no good man surrenders but with his life.”
The EP ends with ‘Hornpipes’ a live track which demonstrates accurately Albannach’s live sound pretty damn well. More tribal drumming and bag-piping guaranteed to get you bouncing round your living room… check the video at the bottom to see exactly what I mean! It’s over far too quickly but what can you say it is a freebie after all but don’t worry there’s plenty more over at their web-site so support the band by having a wee look!
This EP is FREE to all supporters of an independent Scotland, so don’t forget to share with your friends !  You may download and redistribute the EP (free) as you wish.
Scotland YesContact The Band
YesScotland
Being independent – it is better if decisions about Scotland are taken by the people of Scotland.
http://www.yesscotland.net/
Yes Scotland is the all-party and no-party campaign for a Yes vote in the referendum on Scottish independence to be held on 18 September, 2014.
It is an alliance of the Scottish National Party, Scottish Green Party, Scottish Socialist Party and other groups and individuals who believe that it is fundamentally better for all of us if decisions about Scotland’s future are taken by the people who care most about Scotland – that is by the people of Scotland.
vote YES on Thursday 18 September 2014.

for all yer rebel Scots gear there’s some great merchandise here from Scotland Rising

 

ALBUM REVIEW: THE SUNDAY PUNCHERS –’High Tides and B-Sides 2010 – 2013′ (2013)

AND FREE DOWNLOAD!

must be pretty lonely when you’re the only celtic-punk band in your town or even your country but what about being the only one in your continent!?!?

The Sunday Punchers- 'High Tides And B-Sides' (2013)

The Sunday Punchers have that exact problem! Hailing from Johannesburg in South Africa they are indeed the continents only celtic folk punk rock and roll muck up!

Traditional Irish music, as well as deep rooted South African folk have a lot in common in terms of music styles. A couple of guys, some from Irish/Scottish heritage and others from their deep rooted Afrikaans heritage decided to do away with their noisy punk rock riffs and look a little deeper into their roots. 

The Sunday Punchers

The Sunday Punchers first set sail on their journey in mid 2010, with only two members, Shaun Hillary and Francois Mostert, who were then joined by Jose Mostert on drums, Michiel Kruger on electric guitar, Ankia Van Der Merve on Violin, Genedior Clarke on bass guitar and Clinton Hattingh on harmonica they were later joined by new drummer Quintin Koekamoer and began to ply their trade around ‘Jo’ wherever they could play.

Their first year was not smooth sailing, the waters of the South African music industry for a new band were not the easiest to navigate and with financial problems and commitment issues a few members where lost.
In early 2011, the original Punchers knew that they needed some new crew. This was when they added Darryn Small on the drums, Gavin Sadler on bass guitar and Brandon Ramnath on Keyboard/accordian.
The winds were changing for the Sunday Punchers and the sails were full! 

The Sunday PunchersThey were being invited to play some of the greatest shows of their musical careers! But once again, some of the members studies and personal lives had to take priority.
In late 2012, some new crew was recruited! Sails still FULL the Sunday Punchers were now set for the perfect journey.
Equipped with a serious, committed crew they are now ready to sail across the sunset and up into the stars…

The band have released a compilation of their early stuff and have put it out for free download so do yourselves a massive favour and click the link below to go direct to the download page…

THE SUNDAY PUNCHERS- HIGH TIDES AND B-SIDES FREE DOWNLOAD LINK

Contact The Band

Facebook  WebSite  Soundcloud  Twitter  Reverbnation

FREE DOWNLOAD: IRISH PUB SONGS COMPILATION

FREE DOWNLOAD!

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To celebrate Saint Patrick’s Day 2014, and courtesy of GET ROCK MUSIC, we are super pleased to offer you this superb collection of some of the finest celtic-punk bands around to download completely for *FREE*. Seriously this is as good a sampler as you’ll find of what’s alive and kicking and fecking brilliant in the world of celtic-punk 2014. Download link below but you can follow the links to find out more about each band.

TRACKLIST

01. Celkilt (France)- Everyday’s St Patrick’s Day  WebSite
02. Drink Hunters (Catalonia) – Drinking Song  Facebook
03. The Ramshackle Army (Australia) – Boilermaker’s Hands  Facebook  WebSite
04. Auld Corn Brigade (Germany)- Day To Day  WebSite
05. The Vandon Arms (USA) – Streets Of Gold  Facebook
06. Sunday Punchers (South Africa)- Guinness – Facebook
07. Lexington Field (USA) – Crazy Eyes  Facebook  WebSite
08. The Lagan (London)- Fields Of Athenry  Facebook  WebSite
09. Fiddler’s Green (Germany)- A Bottle A Day  WebSite
10. The Detonators (Serbia)- My World  Facebook
11. The Tosspints (USA) – Blood or Whiskey  Facebook
12. Pint Of Stout (Ukraine)- We All Deserve To Die Facebook  Album Review here
13. The Fatty Farmers (Spain) – At The Counter Bar  Facebook
14. Cheers! (Czech Republic)- Cliffs Of Galway  Facebook
15. Fox’n’Firkin (Australia)- 1788  Facebook
16. 1916 (USA)- Wild Rover  WebSite  Facebook
17. Bastards On Parade (Galicia)- Drunken Haze  Facebook
18. The Tossers (USA) – Here’s To A Drink With You  Facebook  WebSite  Album Review here
19. Irish Moutarde (Quebec)- Farewell to Drunkenness  Facebook  Album Review here  Band Interview here
20. LochNesz (Hungary)- Have Another Whisky  Facebook
21. Brutus’ Daughters (Spain) – 6 Beers  Facebook
22. The Scally Cap Brats (Canada) – Dress Sharp, Drink Hard  Bandcamp
23. The Irish Rovers (Canada) – Drunken Sailor  Facebook 
if any links go dead leave a comment or use the Contact Us form via the top of the page
YOU CAN LISTEN TO THE ALBUM BELOW
CLICK ON THE ALBUM SLEEVE BELOW AND FOLLOW DOWNLOAD INSTRUCTIONS
you can download Irish Pub Songs for free if you wish but there is also an option to donate to the Justice For The Craigavon 2 campaign. Brendan McConville and John Paul Wootton have been locked up unjustly convicted of murder and sentenced to life imprisonment. To find out more information on the case visit
jftc2.com
www.facebook.com/JFTC2/
So there you have it. The CD clocks in at a whopping 70 minutes + and its not even dominated by North American bands with 15 countries represented on the compilation.
So get downloading, get a drink in your hand and get listening…

‘KELLY THOMAS’ BY BRYAN McPHERSON (FREE DOWNLOAD)

KELLY THOMAS REST IN PEACE

Kelly Thomas was a mentally ill, homeless man beaten to death by the police in Fullerton, California. The police were found “Not Guilty”, despite having the obvious crime on video and audio. Kelly can be heard pleading for his last breaths and screaming out that he was sorry.

Here’s the shocking audio and video of one of the most obvious cases of police brutality and murder I have ever seen. Be warned though it is very graphic. Bryan McPherson wrote this song the day after seeing the above video. You can listen and get a free download below.

Rest in peace Kelly Thomas.
http://www.youtube.com/watch?v=ZtHMUziTOsM

“Bryan sings like, we’re lucky he doesn’t own a gun.” -Filter Magazine

Bryan was born and raised on the mean streets of Dorchester, a blue collar working-class Irish-American Catholic neighbourhood in Boston, that was also home to half the members of the original Dropkick Murphys. He was inspired at a young age by the raw energy and angst of Punk Rock, as well as the lyrically driven American folk songs of the early 1960’s. His first performances were street corners, house parties, and subway stations in Boston’s inner city. In 2001 he burst onto the acoustic music scene. Bryan took a break from performing to address his issue with addiction and vanished from the scene.

BRYAN McPHERSON

On his return he has played the length and breadth of North America and was recently spotted opening up for the Dropkick Murphys’ at their famed St. Patrick’s shows in Boston. This is Passionate, acoustic-punk from the heart.

Street life, politics, addiction, and moments of beauty, anguish, clarity, and dissent litter the alleys of McPherson’s songs. The words are as honest as they are urgent…every second counts!

FREE DOWNLOAD

from Bandcamp here. Downloads of Bryans other records here

CONTACT BRYAN

Facebook   MySpace   WebSite   YouTube

MORE ON THE CASE OF KELLY THOMAS

Wikipedia   FilmingCops

EP REVIEW: O’HAMSTERS- ‘Celtic Crew’ (2013)

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A couple of weeks ago we reviewed the new LP from A Pint Of Stout and now here’s the latest recordings from the Ukraine’s only other celtic-punk band and big Celtic supporters O’Hamsters. Coming from the capital Kiev they’ve so far released one studio, one mini-album and one live album and now this their new 3-track EP ‘Celtic Crew’.

O'Hamsters6The first track is ‘Celtic Crew’ and starts off with a sample of that wee lad leading the singing at Celtic Park before  flying off into fast as feck manic Irish folk punk. The croaky vocals and drumming give it a proper punk feel but accordion and tin whistle keep it firmly in celtic-punk. The lyrics are sung in Ukrainian so anyone out there who can translate them please do… though I’m 100% certain their complimentary!

The following tracks (that I can’t pronounce) are all in the same vein so no disappointments here!

O'Hamsters5You can download the EP from Soundcloud here for as little as a quid so get on it and have a listen to their other records too while you’re there. Just like Pint Of Stout they have made their previous releases free to download so get them all but remember to chuck them at least a pound for the new one. you’ll not be regret it!

Check Out O’Hamsters:

Facebook  Soundcloud  You-Tube  Last FM

O’HAMSTERS LIVE VIDEO

ALBUM REVIEW: PINT OF STOUT- ‘Choose Your Devil’ (2013)

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For those of you who like your celtic-punk a bit more sea bound here’s the second release from Pint Of Stout from the city of Luhansk in Ukraine. reminding me a whole lot of The Dreadnoughts if you substituted the fiddle for accordion. Formed in 2011 their first self titled album ploughed more traditional celtic-punk fare and very good it was too, only just failing to make it into the ‘LondonCelticPunks Top 5 Albums Of 2012’.
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On ‘Choose Your Devil’ this time the gruff, pirate-style, almost metally in places, vocals are wrapped around more sea-shanty style punk than celtic but is just as good. its all original compositions with only one cover (“Spanish Ladies” a traditional naval song) no fillers and the lyrics are in english and as is usual the musicianship is top notch. where this bhoys differ though is their attitude to their music having made their first LP a free download they’ve repeated it with their 2nd album so you’ve no excuses not to download and listening!
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Kenedis – drums
Morion – mandolin
Kirill Savintsev – guitar/vocals
Daniil Marchenko – bass
Yury Kharchenko – bayan
PINT OF STOUT –
CHOOSE YOUR DEVIL
free download here. if the link is broken or gone leave a comment and we’ll re-up it as soon as we can.
if you speak Ukrainian then check out their VK account here.  (VK is the largest European social network with more than a 100 million active users…apparently) but if not then check their Facebook page here.
PINT OF STOUT- DEVIL JOKE VIDEO