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

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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)

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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

HERE

 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)

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

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

johnny-cash-christmas

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

cash-christmas

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

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

The Christmas Spirit by Johnny Cash

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

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

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

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

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

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

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

cash-and-june

Johnny and June

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

FREE DOWNLOAD CLICK HERE

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 and hidden and sometimes forgotten gems from the legends that have inspired and provoked folk music and musicians right up to modern celtic-punk music. Usually out of print so we can provide a free download link for you.

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

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

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

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

LEADBELLY- ‘Easy Rider’ (1999)  here

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

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

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

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

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

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

THE DUBLINERS- ‘A Best Of The Dubliners’  here

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)

FREE DOWNLOAD

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

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  • 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

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“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

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

Buy The Documentary

Here

Contact The Band

Facebook  UnofficialWebSite  BloodshotRecords

The Mekons On The Web

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

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!

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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!

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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.

Contact The Bible Code Sundays

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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

Contact The Band

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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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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)

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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

FromTheBand  AnonymRecords

you also can hear it on YouTube here

Contact The Band

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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…AND FREE DOWNLOADS!

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)

click on the album cover to get your Free Download!

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)

FREE DOWNLOAD

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)

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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!)

Contact The Band
Buy/Download The EP

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