Category Archives: Ireland

ALBUM REVIEW: CIARAN MURPHY- ‘Once Upon A Time In Ireland’ (2009) *AVAILABLE AS A DIGITAL DOWNLOAD FOR THE FIRST TIME*

 Ciarán Murphy, ex-political prisoner, singer-songwriter and one man acoustic hand grenade from West Belfast. A protest singer in the finest Irish tradition and politically as sharp as a syringe needle hanging on razor wire. On this his debut album, available as a digital download for the very first time, he points out the often ugly truths of Irish life, asks difficult questions and never once pulls his punches. ciaran-once-upon
Ciarán Murphy seemed to come out of nowhere for us. One day on MySpace (remember that?!?!?) a long, long time ago I came across a few songs of his and its fair to say he fair done blew my mind. Having got a wee bit bored of hearing the same songs over and over again here was passionate, modern day, Irish rebel music with punk swagger and attitude that did all the things that good music is suppose to do. To educate, to inspire, to encourage, to dream. What was not to love? Later that year he went on to play the very first London Celtic Punks organised gig and it’s fair to say he stole the show and on top of that he was, as we say in London, a diamond geezer.

In these days of relative calm in the north-eastern section of Ireland the Police Service of Northern Ireland proudly claims to be ‘Making Northern Ireland Safer’. They’ll have you believe that they’ve moved on from the notorious days of the B-Specials and Royal Ulster Constabulary. The residents and Ciarán Murphy know differently and Once Upon A Time In Ireland opens with a angry blistering attack on Northern Ireland’s police force that is more punk rock than any punk song I ever heard.
“And they’re still a rich man’s police force,
they serve a rich man’s state.
They’ll baton charge the workers on the orders of the great,
they’ll use their fathers’ weapons to move against the free.
They’ll always be the RUC to me”
Armed only with an acoustic guitar, Ciarán comes across sometimes as a one-man punk army. His songs cover a multitude of topics relating to life in modern day Ireland (and to that north-eastern bit in particular). ‘A Word to the New Irish Racist’ damns those Irish people who suffered racist attitudes from British imperialists for decades, and who themselves now target new arrivals into Ireland:
“And every one of us were immigrants in our own time
And every patriot knows Irish is a state of mind
But you’re blind”
Ciarán understands because he comes from the same class as those left with no other option to survive than to leave Ireland in search of work over the years. Brilliant sentiments that could just as easily apply to any nation on the planet as to the Irish. Ciarán Murphy plays with such fury and ferocity that it’s no surprise he needs a box of plasters at the ready for when he leaves the stage. But folkies relax it’s not all full-on acoustic thrash, though. Some of the more impressive moments happen when the guitar assault slows down a little. Check out the gorgeous multi-tracked guitars on ‘Rebel Song’, while Ciarán spins a tale about a would-be revolutionary/terrorist having second thoughts while on the way to an attack. An amazing song that reminds us of the very real price that these soldiers paid for the cause.
(Ciarán playing live for London Celtic Punks in North London)

On ‘Che Guevara T-Shirts’ Ciarán takes aim at modern day politics and its clear here he foresaw the rise of the poison of identity politics. Divide and rule was once the tactic the state used to keep the left divided. Now its the ‘left’ that use it. He never leaves you unsure of where he stands. After all you get splinters in yer arse from sitting on the fence! The guitar picking on ‘You Cried for Ten Men Dead’ is simply outstanding. This track never fails to leave me in tears, as Ciaran sings to his father about the impact of Ireland’s struggle on the old man. From fighting for Great Britain in World War II, to joining a revolutionary army in Ireland, to crying for the ten hunger strikers who died in the Maze prison in 1981. The old man fell under the spell of whiskey and was unable to keep it together. Simply breathtaking. Played from the heart it’s followed by ‘State Of The Nation’ my favourite here where again modern day Irish politics is chastised.
“Kieran Doherty died as Irish TD (MP)
and not a word of condolence was passed
but for Lady Diana they lowered the flag to half mast.
Yeah they lowered our flag to half mast
so who’s taking us back to the past?”
The Irish government, so desperate to suck up to both the UK and the USA, are even willing to destroy national monuments to accommodate foreign interests and to degrade the ideals of the men whose acts they use to push an agenda these men fought (and many died) against. They have betrayed the people of Ireland but as a great man once said “our revenge will be the laughter of our children”.

‘Michael McIlveen’ is the tragic tale of a young 15-year old Catholic boy beaten to death on the streets of the north-eastern Irish town of Ballymena in 2006 by a Protestant gang. The teenager, known as ‘Mickeybo’ to his friends, was beaten with a baseball bat and kicked around 60 times in an alley after simply visiting a pizza shop. Ciarán reaches out to the Protestant community to remind them that some of the most revered and respected Irish revolutionary heroes have come from the Protestant faith.

Mickeybo 1991-2006 qui tacet consentire vidétur

‘Nine hours’ is again an incredible song where Ciaran, in jail for Republican activities, is given nine hours compassionate leave to attend the funeral of his father.  During the song Ciarán recalls childhood fishing trips with his Da and the history he taught him of the places they visited while he follows his Dads coffin in utter personal agony, regretting years of non contact. Nine hours later that day a steel door slams shut and that’s fucking it.
“I never thought that things would end like this,
not in my wildest dreams.
But life is cruel and sometimes twisted,
like their judges and it seems.
that nothing here is sacred and I know what that means.”
A song that will take your breathe away the beauty and sadness of it. On ‘Catholic Guilt’ Ciarán ponders his youth and faith and what the future will bring. The album is drawing to a close and ‘I Feel The Eyes Of British Spies’ is all about the very real technological war Britain declared on Republican communities but told with a sly humour and twinkling eye. The title track closes the album, with its multi-tracked guitar and one of Ciarán Murphy’s strongest vocal efforts. The song tells of Murphy’s quest for that elusive ‘once upon a time in Ireland’, of trying to come to terms with Ireland’s real and mythological past, and sifting through it all to find lessons that apply to Ireland today.

FOR DOWNLOAD CLICK HERE

AVAILABLE TILL THE END OF THE MONTH FOR JUST £5

While Ciarán Murphy’s 2008 debut release, The Verbal Hand Grenade EP, was a solid release, this one showed Ciarán had made infinite progress. Each song features just acoustic guitar and voice, but Ciarán creates so many different textures that no two songs sound alike. The beauty of the folk tradition – and it applies equally in punk rock – is that anybody can pick up an instrument and play the songs that strike a chord in them. We are almost a decade later yet Ciarán Murphy’s songs still need to be heard, and they need to be sung. In my opinion they are right up there with the songs of MacGowan, Kelly, Drew, Moore. You may think that’s an exaggeration, but hear this album and I’m sure you’ll agree. Sadly Ciarán has retired from the music scene and no amount of cajoling it seems (and we have tried, oh have we tried and tried!!!) will bring him back to the stage. That is a great shame as Ireland is in desperate need of its poets. There was a very good reason the British use to execute them you know.
Bandcamp
Previously only available on CD, this, Once Upon A Time In Ireland is now available via the London Celtic Punks Bandcamp page for digital download. A huge thanks to Ciarán for allowing us to  organise this. It was our pleasure Pip! Coming soon for first time as a digital download Ciarán’s debut release, Verbal Hand Grenade. Watch this space.

(you can hear the album for free here on the Bandcamp player)

JUSTICE FOR THE CRAIGAVON 2

Justice for the Craigavon TwoEvery single penny raised from this album goes directly to the Justice For The Craigavon 2 campaign. For Brendan McConville and John Paul Wootton, who were unjustly convicted of the murder of PSNI constable Stephen Carroll and sentenced to life imprisonment. The London Celtic Punks believe the case was corrupt and the ‘evidence’ inconclusive, contradictory and discredited. Both these poor guys find themselves victims of a system that sought to find suitable scapegoats in the wake of the political and media backlash following the killing. Over on our Bandcamp page you will find a bunch of downloads available mostly for donation. All the money goes to the Campaign and helps pay legal fees and to aid Brendan and John Paul’s families. You can make a real difference. Please send all donations to  justice4thetwo@gmail.com

Justice For The Craigavon 2
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thanks to Andy in NSW for help

ALBUM REVIEW: MEDUSA’S WAKE- ‘Rascals & Rogues’ (2018)

The eagerly awaited debut album from youngish Aussies Medusa’s Wake, founded in 2015 in Sydney! Playing a mixture of Celtic and Australian folk in the spirit of The Pogues and Roaring Jack, using accordion, mandolin, banjo and tin-whistle! 

If there was a world cup to determine the best country for Celtic Punk music, then Australia would win it hands down every time. Not sure what they put in the water down there, but this place continues to churn out the best Celtic Punk bands over and over again. The calibre of music is so good that we have actually kidnapped The Rumjacks and are currently holding them captive at a secret location in Europe. When we received the new album from Medusa’s Wake a few week ago we were expecting a good album. The debut offering from the Sydney 6 piece, Rascals & Rogues, didn’t disappoint. Formed in late 2015, Medusa’s Wake released a 7 song EP in 2016. They then hit the studio in 2017 to record the current album which was released in June 18. Two of the song from the 2016 EP ‘No Nay Never’ and ‘Gates Of Hell’ have been re-recorded and feature on the debut album.

(here’s their debut EP from January last year. it’s available as a Pay Whatever You Want download. Meaning nowt if you like but enough for a couple of pints if you can!

Medusa’s wake left to right: John Coote- Electric Guitar, Banjo * Ben Pattison- Accordion * Ron Clark- Drums * Ed Lawlor- Vocals, Mandolin, Bazouki * Frank Sallie- Vocals, Acoustic Guitar, Harmonica * Zane McRae- Bass *

The album kicks off with ‘Seldom Sober’ which is also the first track and video released off the album which is full of energy and a great introduction to the band.

“I’m a Rover Seldom Sober
Whiskey I have only eyes for you,
I’m a Rover Seldom Sober,
Darling I think this time we are through.”

This is followed up by ‘Hobart Sailor’ which has a very familiar sound which is unique to the Australian Celtic Punk scene. ‘Convicts Tale’, ‘Irish Sky’ and ‘Branxton’ (traditional instrumental) stand out as favourites on the album however I must say there isn’t a bad song on the album. 11 excellent songs for the band to be very proud of. The mandolin and vocals really make this album one of the top releases we’ve heard so far this year. That says quite a lot as it’s been a good year for Celtic Punk album releases so far.

(The first single from the album recorded at Norton’s Irish Bar, Sydney, Australia)

We have no doubt that this is a band who we will hear a lot more about in the coming years and no doubt will feature on here again. Hopefully some day we will have the pleasure of seeing them live however a word of warning to the band, if you come to visit us you might like it over here and stay!!

(have a listen to Rascals & Rogues before you buy on the Bandcamp player below)

Buy Rascals & Rogues

FromTheBand  Amazon

Contact Medusa’s Wake

WebSite  Bandcamp   Facebook  YouTube

You can stay informed with all the best in Australian Celtic-Punk and Folk-Punk by joining these two excellent Aussie Facebook groups.

AUSSIE CELTIC PUNK’S

here

AUSTRALIAN FOLK PUNK SCENE

here

CLASSIC ALBUM REVIEW: EWAN MacCOLL and DOMINIC BEHAN- ‘Streets of Song. Childhood Memories of City Streets from Glasgow, Salford and Dublin’ (1959)

Scottish folksinger Ewan MacColl and Irish singer Dominic Behan delve into their childhoods to present the songs and chants of working-class neighborhoods in Dublin, Glasgow, and Salford. Unaccompanied—in keeping with tradition—the 100 songs include rhymes, ditties, counting games, skipping-rope pieces, jibes, taunts, oaths, street ballads, seasonal songs and insults. In between selections, Ewan and Dominic provide context by explaining the circumstances in which the songs were performed.

A fascinating real piece of working class history performed by two legendary figures who have featured on these pages many times. Some listeners may recognize songs from their own childhood their are certainly more than a few I recognise from my younger days on the streets and playgrounds of South Yorkshire. Both Dominic and Ewan spent their lives preserving and archiving music from days past and now almost sixty years later we can present this remarkable album to you. It comes as a free download so feel free to take a copy and enjoy and if you wish follow the link below to get the accompanying booklet that came with the album.

ABOUT THE ARTISTS

Ewan MacColl- January 1915-October 1989

For nearly 60 years, Ewan MacColl, an activist and left-wing socialist, expressed his views as a playwright, social activist, songwriter and performer. During the course of his lifetime he composed a body of work that ranks among the best in the folk genre. He was born in Auchterarder, Perthshire, Scotland, the son of a Lowland Scots father and a Gaelic-speaking mother. Both parents had an extensive repertoire of Scots folk songs and ballads, and a large part of MacColl’s tremendous repertory was learned from them. After leaving school at the age of 14, he spent the next 10 years working odd jobs between periods of unemployment and one day out busking, he was noticed by a BBC director and given his first radio broadcast in a programme called Music of the Streets. Soon MacColl began to devote an increasing amount of his time writing programmes for the BBC, including his first group of Folklore broadcasts. Included among his many folk music activities have been the collecting of folk songs for the BBC archives and in addition to being one of these island’s leading folk singers Ewan MacColl’s fame lives on in the songs that he both saved from extinction and those he wrote including ‘Dirty Old Town’, ‘Freeborn Man’ and his Grammy Award-winning song ‘The First Time Ever I Saw Your Face’, a hit single for Roberta Flack in 1971, which he wrote for his longtime collaborator and life partner, Peggy Seeger. After many years of poor health (in 1979 he suffered the first of many heart attacks), MacColl died on 22 October 1989, in London, after complications following heart surgery

Dominic Behan- October 1928-August 1989

Dominic Behan was born in Dublin, Ireland, having a traditional Irish fiddler as a father and a folksinger as a mother. Born into a family of committed republicans, it was no surprise that even at the age of six he joined Na Fianna h-Eireann (republican Boy Scouts) and by sixteen was an active fighter for the IRA. His activities on behalf of his political convictions resulted in his being imprisoned, in Dublin and in London, four times between 1951 and 1954. Following in the footsteps of his uncle, the noted rebel song-writer Peadar Kearney (who wrote the Irish national anthem) he penned a number of rebel ballads, including the well-known ‘Patriot Game’. During the 60’s and 70’s he wrote almost twenty plays for British TV as well as writing several books though it was as a songwriter that he excelled and had more than 450 songs published during his lifetime. Dominic had well publicised spats with both Liam Clancy and Bob Dylan over use of his songs where lyrics were changed or omitted. He took the view that his work was written to make some form of social, historical or political statement and should either be used as an entire piece of work or not at all. Dominic died at home in Glasgow, aged 60, on 3 August 1989.

Streets Of Song sleeve notes by Kenneth S. Goldstein

Childhood memories of City Streets from Glasgow, Salford and Dublin. The Oral Lore of Children

In listening to this recording, one will find three distinct types of oral children’s lore. First there are the items which have little or no restrictions of national boundary. Some of the pieces recited and sung in this recording are known throughout the English-speaking world, originating, perhaps, in the British Isles and spreading out from there to all of the many countries culturally and linguistically affected by the British and their far-flung empire. Who, in the English-speaking world, for example, has not heard one or another version of the singing-game The Farmer Wants a Wife (heard in a Dublin Irish version on this recording), or Poor Mary Sat A-Weeping (from Salford on this recording). You may know these pieces by other names, and in forms differing quite radically from those presented on this recording, but it will require little imagination or insight to realise the relationship of the versions you know to those presented here.
A second category of pieces found in this recording are those which appear to have strictly national boundaries, being known either only in the British Isles or, perhaps, only in a single country or national group. Such pieces are frequently related to festivals or events which are purely national in character and incidence, or are so dependent upon purely national events or references as to make them almost meaningless outside of the national boundary of the country in which, they may be found. Such pieces include the holiday song Christmas is Coming (item number 67, from Dublin, but known throughout the British Isles), and the Scottish jibe, Wha saw the tattle howkers (item number 62, from Glasgow, but known in other parts of Scotland) among numerous others.
The third category consists of those pieces of a purely local nature, existing almost exclusively in a single community, town or county, but rarely found elsewhere. The reasons for such limitation of tradition are similar to those given for the second category mentioned above, but with considerably more localised references or language. Such piece include Up The Mucky Mountains (item number 64) and Jessie Stockton (item number 68), both from Salford, and Cheer up, Russell Street (item number 56) from Dublin. Into this last category must also go those pieces which are the creative efforts of a moment, in use for only a short period of time, and fading into the world of lost traditions almost before they were born. Occasionally such-pieces fall into the collector’s lap, but the collector (at best, just an accident in time, in such instances) has no way of sorting out these pieces from those which are more than just mere ephemera.
The record contains an even 100 pieces of diverse examples of children’s lore. Here will be found game songs, nonsense rhymes and ditties, counting games, ball-bouncing games and rhymes, skipping-rope pieces, jibes, taunts, oaths, street ballads, seasonal songs, and insults. What is the origin of these pieces? For most of them we cannot even begin to speculate on the question of origins.
Some few can be pinpointed to historical occurrences and personages King Henry, King Henry (item number 12), tells of the affairs of love of a well-remembered English monarch. Others are the breakdown of older traditional ballads and tales; I know a woman, she lives in the woods (item number 23), obviously derives from the ballad The Cruel Mother (Child 20). Some like items 4, 56 and 59, are children’s parodies of recent creations, including music hall and popular songs. Most of the pieces are created out of happenings and sights of everyday life. Because of the universality of their subject matter they might arise anywhere or at almost any time so it is an impossible task to do much more than guess at their origins.
First, we are introduced to the cultural milieu with which we are dealing. Poverty, a proud working-class inheritance, slum conditions, and the everyday, mundane things and occurrences affecting the individuals concerned. Next, we are presented with the oral products of that environment, set off against a train of thought concerning those products, not of the children living, playing and reciting those pieces of lore, but of two adult bearers of this urban tradition whose sensitivity to the setting is expressed in terms of mature afterthought. The opportunity presented by this recording to study the whys and wherefores of urban childhood traditions is the next best thing to working in the field with the children themselves.
One fascinating problem suggested by working with children’s lore, and, even more specifically, with the lore of working-class children, is the question of class boundaries of such lore. Of this question, Dominic Behan has written:
“It can — so far as kids are concerned — be made only by children who own so little other rights to amusement that they must sing and make up songs about themselves and the places they inhabit; tenement house schools, neighbours, and, most and biggest of all, their playground — the streets. Maybe this is not quite true, maybe other classes of folks’ children make up other classes of songs. All I can say is if they do, I have never heard them.”
So much for the songs: what of the games? Are they ‘class’ bound? Do they belong to certain people or are they the property of all? Once again, I don’t know. Once again I will guess, and say all.
The challenge has been issued. It is the duty of folklorists, sociologists, and psychologists to take it up and answer the question. An attempt to do so from a library chair will prove futile; the data are insufficient and largely undocumented in most of the existing works on children’s lore. By utilizing the existing tools of each discipline we can expect to arrive at a satisfactory conclusion. We are fortunate in dealing with children’s lore, to be working in an area which appears to have no beginning or end in time, and while some scholars have bemoaned the dying of oral tradition (such claims have been made for the past century, though I for one prefer to think of traditions changing and evolving rather than dying), none will be so rash as to deny the very vital nature of children’s songs and games. There is no question of the existence of sufficient material for study.

DOWNLOAD STREETS OF SONG

PRESS HERE!

DOWNLOAD THE 8-PAGE INSERT BOOKLET HERE!

Great article on the Life And Work Of Dominic Behan here

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

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

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

(if any links are broken please leave a comment and we’ll do our best to try and fix it)

THE CARDINAL SINS- ‘Straight Left Right Hook’ (2018)

It may sound a bit strange that over the years we have only featured a handful of ‘Irish’ Irish bands on this site but for whatever reason Celtic-Punk in Ireland has never seemed to take off band wise. So with that in mind we love it when a new band from the auld country appears and even though The Cardinal Sins have been going a few years we are sure they are new to most of us over this side of the water and hopefully it won’t be long before we get to see them in the raw!

STRAIGHT LEFT RIGHT HOOK

Write him off at peril, he’ll dance around at god’s free will
Rolling through the town like a steam train running late
He’ll settle all and put em down, take any man that glanced a frown
Line em up 1 to 10 and let them have their go
Chorus:
Straight left down he go’s (hey Ho!)
Right hook down he go’s (the crowd began to shout!)
Straight left down he go’s (man Down!)
Right Hook down he go’s (he knocked the fucker out!)
Jimmy said he’d give a try he’s 7ft tall and just as wide
The crowd were looking for a cheer so they took it to the square
In and out they danced about, and from the sides they bawled and shout
The honey-badger threw his fist, Jimmy’s on his ear
It was hard to see if he’d get back on his feet,
But jimmy bowed his head, he was taken by the best
And in the disbelief well the crowd took to their feet
And then they start to shout
HE KNOCKED THE FUCKER OUT!!!

The Cardinal Sins are a Celtic Rock group from Laois and Offaly in Ireland that formed in 2013 with six members making up the Holy Synod. The band come with a high pace, high tempo list of contemporary , traditional and original songs played in their high energy style with influences including The Pogues, Flogging Molly and Dropkick Murphy’s to name a few. Over the years The Cardinal Sins have enjoyed success at home which saw the band release their debut EP, release several music videos, play at various festivals in Europe as well as becoming a regular on the Irish festival circuit. 2016 saw their first ambitious tour, outside Ireland, of Italy taking in Milan, Bologna, Parma, Cuneo and Pesaro. The same year also saw concerts in Copenhagen along with trips to Germany to co-headline the Volmarstein Folk Festival with Irish music legends De Danann. Last year saw The Cardinal Sins concentrate on the Irish festival circuit and to start to write some original material that will see the light as an EP later this year. The lead single to this EP “’Straight Left Right Hook’ is out now and available on iTunes and Google.

Cardinal Sins left to right: Trisha Mulraney- Fiddle / Whistles * Stephen Murphy- Bass / Vocals * Wayne Brereton- Lead Vocals / Acoustic Guitar / Electric Guitar * John Tobin- Banjo / Mandolin / Vocals * Reece Wardrop- Drums / Percussion * Darren Cahill- Accordion / Vocals.

The song itself is a riotous romp pitched somewhere between the simple Irish folk of our childhoods and uplifting pounding fist in the air punky rock music. A tonne of passion and plenty of pride The Cardinal Sins have nailed it here and we look forward to hearing that EP when it lands. In the spirit of the Dropkick Murphys ‘Shipping Up’ being played at every rugby match everywhere The Cardinal Sins have adopted their very own sports star in local Portalington MMA fighter Philip ‘the honey badger‘ Mulpeter and Straight Left Right Hook has become his walk on tune. Its all a bit rough for this gentle soul but you can check out this up and coming Irish fighter here

Get Straight Left Right Hook
Contact The Cradinal Sins

ALBUM REVIEW: MR. IRISH BASTARD- ‘The Desire For Revenge’ (2018)

Mr. Irish Bastard blend the drink infused energy of pure Irish folk with punk rock guitars and a bottle full of attitude. They have toured excessively, played with the Pogues and have graced stages from Tokyo all the way to Kiev.

The beginning of a band are usually quite ordinary and when in 2006 Mr. Irish Bastard set out to shake the world all their band members could hardly all fit on the stages they played on! Today, three studio albums and a good 700 gigs later, including tours of China, Japan, and alongside such celtic-punk giants as The Pogues, Flogging Molly, Dropkick Murphys and The Levellers, Mr. Irish Bastard have become an internationally renowned band and not just within the celtic/folk-punk scene.

The German Celtic punk giants, Mr. Irish Bastard, spring into 2018 with the release of their latest studio album The Desire For Revenge released on Reedo Records. This year so far has been extremely busy on the Celtic punk scene with many bands releasing new materials just before Paddy’s Day. It’s been tough keeping up with all that’s going on but have to say generally the quality of material coming out have been very good and Mr. Irish Bastard have landed us with another good one. The Desire for Revenge comes three years after the bands last album release and it kicks off with a (pre) Christmas themed tune ‘Black Eye Friday’. A high tempo opener paying homage to the traditional festive “bash”. This leads into ‘Oliver Cromwell’s Head’, a song which takes no explanation. This song pulls no punches in the hatred a lot of Irish have for the Cromwell following the cruelty he inflicted on our ancestors.

“and we’ll chop off his head and kill him twice just to make sure he’s blood dead, and we’ll dance around a burning spike around Oliver Cromwell’s head”

‘Darlinka’ (Darling Karlinka) has a very catchy Gypsy Folk beat. This one wouldn’t be out of place on a Gogol Bordello album. In total there are a total of 12 songs on the new album with a few like ‘Mike Malloy’ and ‘Poor Irish Billy’ standing out tunes. It also contains a cover of Cyndi Lauper single ‘Time after Time’. An unusual choice to cover but have to say it works well.

Mr. Irish Bastard are one of the stand out Celtic punk bands on the European stage and with the latest album it is easy to see why. The eight piece outfit continue to consistently churn out top notch material allowing them to go from strength to strength. Long may it continue. If you like your celtic punk fused in whiskey, banjo, mandolin and tin whistle then get your hand on The Desire for Revenge.

The Desire For Revenge was recorded by  Mr. Irish Bastard, Gran.E.Smith on mandolin, banjo and  bouzouki), Beouf Strongenuff on bass and drummer Ivo K’Nivo, guitarists P and Moe Leicester, BB on the accordion and tin whistle expert Kate. A new dimension in sound is added by the violinists Laura Zimmermann and Mona Kaczmarczyk. As Mr. Irish Bastard explains

“The violin is a new timbre in our sound and carries emotions that have not played any obvious roles with us, we celebrate and define our previous history as a band on the new album. At the same time, we also refine our sound, because only those who change will ultimately remain true and remain honest with their listeners. In short, as in any folk interpretation, longings all over the world remain the same. People all need the same thing, friends, something to drink and eat, love. And some now and then also lust for revenge, retribution, guilt and atonement. ‘The Desire For Revenge’ could be their record”

Buy The Desire For Revenge

Amazon  GreenHellRecords  MacSlonsIrishShop

Contact Mr. Irish Bastard

WebSite  Facebook  YouTube  Twitter

ALBUM REVIEW- FINBAR FUREY- ‘Don’t Stop This Now’ (2018)

We rarely use the word legend on this site so when we do then it is only when it is well deserved. Multi-instrumentalist, composer, songwriter, storyteller and actor, Finbar Furey is celebrated around the world as one of the great folk icons and is a supreme storyteller as well as a versatile and multi-talented artist.

We have often spoken here on what Irish music and culture meant to the children of the Irish growing up in Britain in the 80’s. When The Fureys and Davey Arthur appeared (watch it here) in the middle of the 12th November 1981 edition of the popular music TV show Top Of The Pops featuring the likes of Kool & The Gang, Haircut 100 and Earth, Wind & Fire the effect it had on the Irish community here was gigantic. As Finbar said on the groups entry into the Top Of The Pops studio

When we walked in, people went ‘What in the name of Jaysus is this!’

There had been success for Irish bands but it was years before many of us were born. The Wolfe Tones played to thousands wherever they went and all without press or publicity so when these band of hirsute middle aged Irishmen took the stage playing ‘When You Were Sweet Sixteen’, a beautiful ballad that I’m sure over the years has brought a tear to most Irish peoples eye over a certain age! The band included brothers Finbar, Paul, George and Eddie as well as Davey Arthur. That day it became a defining moment in many a young 2nd and 3rd generation Irish person’s life. I remember it clearly how proud my family were at the bands achievement the smiles beaming across their faces. It would climb to #14 in the singles chart at a time when that meant selling 10’s of thousands a week. At a time with the war raging in the north of Ireland and spilling over onto English streets the Irish were having a bad time of it over here. Suspicion, aggression and bigotry against them was everywhere and countless Irish men and women were being jailed on very little evidence (all later to be cleared of any crime) with the effect that many Irish born people kept their heads down and put up with the abuse. But things were changing. There were around a million Irish born people in Britain in the early 80’s and their children were not going to be silent and act ashamed of our roots. We were still a few years away from The Pogues and Irish culture and accents were never seen on TV or the media except to be ridiculed so when Finbar Furey sang

“Come to me, and my
dreams of love adored
I love you as I loved you
when you were sweet
when you were sweet sixteen”

in front of watching millions it planted something in our minds that would later come to fruition just a few years later when The Pogues would erupt onto the music scene.

The Fureys And Davey Arthur

The band were no one hit wonder and several of their songs like The Green Fields of France and The Lonesome Boatman have gone on to become solid gold Irish classics. Go to any Irish pub on any day of the year in ant part of the world and there’s a very very good chance you’ll hear one of their tunes. Born in Dublin into a Irish traveller family on 28 September 1946 in Ballyfermot, Dublin Finbar came from a highly respected musical family and began playing the uilleann pipes as a child. By his teens he had won just about every medal he could win and his amazing ability had spread across Ireland. IN the late 60’s Finbar and brother Eddie were part of the legendary Irish folk group, The Clancy Brothers with Finbar playing the pipes, banjo, tin whistle, and guitar. The brothers left in 1970 and began to perform as a duo and in 1972 their single, a version of The Humblebums ‘Her Father Didn’t Like Me Anyway’, was enthusiastically received by John Peel becoming his favourite song of 1972. Peel like many over here fell in love with the glorious sound of the Uilleann pipes (listen to it here) and they more than played their part in the coming celtic-rock phenomenon that was about to shake the music industry at home and abroad. It was though when his other brothers joined the band and they teamed up with Davey Arthur that fame came a calling and they carved out a very fruitful and successful career until in 1997, after almost thirty years in The Fureys Finbar decided to pursue a solo career as a singer songwriter.

Finbar released his first solo album ‘Colours’ in 2013 with a powerful mix of contemporary originals and modern interpretations of classic Irish songs his status as one of Ireland’s most treasured performers was cemented further. The album featured Mary Black and the second-generation Irish Mancunian Shayne Ward and instantly brought Finbar to a whole new audience too young to remember The Fureys in their heyday. Alongside his solo career he also found time to take up acting, appearing in the Martin Scorsese directed feature film ‘Gangs Of New York’ as well as 2004’s ‘Adam And Paul’ and the RTÉ TV series ‘Love/Hate’. In 2014 Finbar was honoured by the City of Dublin with the Lord Mayor praising him for

“Bringing life and laughter to many homes in Ireland”.

He followed that album up with 2015’s The Slender Promise an instrumental album of pipes and flute which brings us bang up to date with Don’t Stop This Now. The album, unsurprisingly, made #1 in Ireland under it’s original name Paddy Dear. Obviously that title was deemed too sensitive for these politically correct times so a new name was chosen. The album begins with ‘Sweet Liberty Of Life’ and the first thing that sprung to my mind was how similar in both delivery and emotion it is to the late great Johnny Cash and his American recordings. The voice is unmistakably the same as one that lit up our TV screen in that tiny living room in England twenty-seven years ago except now its more weathered and one magazine’s description of him as a “played out Dublin born Tom Waits” fits admirably.

Finbar sings of freedom and peace on a song he wrote back in 2010

“Liberty, life and freedom are words that capture the true spirit of humankind in every imaginable way”

At 71 years young Finbar’s voice comes alive and after his near-fatal heart attack in late 2012 in a gentle country-folk number it’s no wonder emotion is evident in his voice. Next is title track ‘Don’t Stop This Now’ and again there’s a strong country feel to proceedings with a string section backing and the first appearance of the uilleann pipes. Finbar’s voice is strong and direct and the wonderful words all present a song that anyone could sing and make a maudlin mess out of it but in his capable hands it becomes the beauty it is. The only downside I found is the annoying ending where they fade Finbar’s voice out rather than just simply ending. We go back to 1994 now with ‘Annabelle’ and the first exercise of the auld tear duct’s. A true story of a homeless woman in the Dublin of the 1950’s. Having lost her love in the Irish War Of Independence Finbar’s auld Mammy befriended her

“I’d often be with them as they’d share a bar of chocolate sitting on the roadside”

It’s a beautiful and simple song and leads us into the tragic story of a family caught up in The Great Hunger in ‘We Built A Home’. Both songs songs show Finbar’s strength is in his storytelling. After the amazing recent release the album ‘Chronicles of the Great Irish Famine’ by Declan O’Rourke (read our review here) this song could easily fit onto that album telling the fact of why The Great Hunger happened.

“To bear witness to heaven’s eye of cold,cold genocide”

Again its a beautiful song this time led by Finbar on the banjo. ‘The Galway Shawl’ follows and is the only cover on this album. Not much is known of the origins of this traditional Irish folk song but it has been covered widely over the years. Telling of a musician who meets the love of his life but has to leave her behind.

“Said she, “goodbye sir”; she cried and kissed me,
But my heart remain with the Galway shawl”

The string section is back for ‘Sarah Waits’ and is the tale of soldiers away at war while their love awaits their return. Linking World War One to today’s the wars continue… even as I write these words. My favourite song here is up next and it’s not even very Irishy! On ‘Co-Exist’ Finbar weaves an Eastern tune out of his banjo and the simple but effective words tell universal truth. Finbar’s daughter Aine Furey accompanies him on the two following songs, ‘The Taxi’s Waiting’ and ‘Hail, Rain Or Snow’, and her wonderful voice brings a sprightly youthfulness to the songs. The first is a catchy folky number while the second is bluesy folk number with a real foot-tapper with a lovely singalong chorus. Not surprisingly their voices are perfect together. On ‘Michael Power’ Finbar tells of a man at sea dreaming of his love at home in Dunmore. On ‘Paddy Dear’ Finbar’s voice is strong and powerful as the strings connect with the tin-whistle in a gentle tune later joined by the pipes.

We are washing up towards the end and for a man who spent so much of his life away from Ireland its a charming song about that scourge of the Irish nation- emigration. On ‘I Was Further Than I Thought I Was’ his voice cracks with emotion as the banjo and whistle lead us gently along with the story known to many of us of a old man thinking of a home he will never see before he dies. Now Irish lads and their Mammies is a story in itself and it’s kind of heartening to know that I’ll still be like this when I’m Finbar’s age! The tear ducts get another airing here and it just goes to show that his wonderful storytelling is a joy to behold.

The album ends with the haunting ‘Lament for John’ an instrumental starring Finbar on flute and uilleann pipes.

An outstanding album showcasing the amazing talent of Finbar Furey. Shane MacGowan had this to say about him recently

“proves he is not just a massive force in Irish music’s heritage, he is a massive force in shaping it’s future as well.”

It may be twenty seven years since he lit up our living room but Finbar has lost none of that sparkle and this album will please not only his own fans but will announce him to a whole new range of fans too. The album is packaged with a free DVD of Finbar in concert performing many of the songs from the album and his better known hits too making this a must have album. As stated at the beginning legend is a word far too often used in this day and age but it belongs far and squarely after the words Finbar Furey have been written.

Buy Don’t Stop Me Now

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ALBUM REVIEW: MUIRSHEEN DURKIN AND FRIENDS- ’11 Pints & 3 Shots’ (2018)

And we all thought Muirsheen Durkin had gone off to mine gold in California but would seem he got lost on the way to Amerikay and ended up in Arnsberg and started playing some proper kick-arse Irish-Celtic-Folk-Punk-Rock!

I have a feeling we’ll still be reviewing celtic-punk releases from March well into the Summer at this rate! Here’s another that arrived in time for St. Patrick’s Day and has hardly been out of my ears since. The quality of what we received here at London Celtic Punks Towers has been amazing and when I said I thought Krakin’ Kellys new CD was already the album of the year I hadn’t heard 11 Pints & 3 Shots by this awesome German collective of musicians.

Having known each other for some thirty years it was only a few years back in 2009 that the idea to start something new came up. Wanting a band with its feet based firmly in traditional Irish music and with an emphasis on emigration songs Muirsheen Durkin & Friends was born. Their name comes from the auld song about a happy go lucky Irishman heading off to mine for gold in America during the  California Gold Rush of 1849. The song is unusual in that its a happy song and Muirsheen (a reference to the phonetic pronunciation of ‘Máirtín’ (in English Martin) in the West of Ireland.The feet may be in trad with mandolin, banjo, tin whistle, accordion and two pipers but with the addition of classic rock music instruments the band joined an ever growing scene

” set about re-voicing Irish traditional’s with pulsing bass runs, pumping beats and the use of relatively rare instruments, making it hard to recognize the contemplative shanty or seafaring vocation , Pure enjoyment and a little punk rock is still…”

Modern day celtic music and celtic-punk music has moved away from the areas well known for Irish/Celtic emigration and is now played throughout the world inspired by hundreds of bands throughout the globe. They no longer come from Ireland or London or New York but from Indonesia, Russia, Japan and even China. This is the proud legacy that the Pogues leaves to the world.

11 Pints & 3 Shots is the third release from Muirsheen Durkin with their debut album, Last Orders, hitting the streets back in 2012 and their follow up to that, Drink With The Irish, a four track EP, arriving in 2014 which features ‘The Pogues and Whiskey’ a stunningly great homage to Kings Cross finest. Each release came with mighty press from around the celtic-punk world with everyone from Celtic Folk Punk & More to Shite’n’Onions raving to the high heavens about how good they are.  Formed in the central German town of Arnsberg the band were first revealed to me when they played at the Celtic-St. Pauli football and music festival and loads of fellow Celtic supporters arrived back over here raving about a band they had seen. That was a couple of years ago and with 11 Pints & 3 Shots I finally had the chance to hear them for the first time.

What we have here is fourteen tracks that clock in at three quarters of an hour which includes three instrumentals and and a bunch of songs that you may have probably heard before but done in a style i’m sure not many are accustomed to outside these pages! Mix in some re-workings (updating?) of a couple of songs and a smattering of original compositions and you got yourself one hell of a an album!

So onto the actual review and the fun begins on 11 Pints & 3 Shots from the very off with a great album opener ‘Another Drunken Night’. Self penned by the band this was the song that announced the new release to the waiting public and needless to say it is a corker! Banjo and accordion led with nice drumming it has a definite Rumjacks feel to it but these Bhoys and Ghirls have been around long enough, and on another continent!, to come up with it themselves. A grand song and what a way to start.

The subject matter well have a gander at the video above and you’ll easily work it out. We stay in the pub next for ‘One Whiskey’, another band penned number. The song really evokes an Irish sound to me. This is the Gaelic music music that we grew up here but with plenty more bite to it. Its still folk music but played at a breakneck speed and with a real passion. Vocalist MacRünker was a member of the first Irish folk punk band in the area, Lady Godiva, who released four albums and his voice fits in superbly. Hoarse and raspy but never too much and totally in tune with the music. The bagpipes are out for ‘Itchy Fingers’ and it puts the mental into instrumental. It’s the same tune as The Kilmaine Saints signature tune which I am sure is well known but beyond my feeble memory. A killer of a song and you’d expect it to be from a band with two pipers and where half the rest of the band can pipe as well!

The first totally recognisable cover is the Scots classic ‘Donald Where Your Troosers’. Written by the great Andy Stewart in 1960 while sat on the toilet in a recording studio. The song tells the hilarious story of a kilted Scotsman travelling round London shocking the well heeled residents of London.

“I went down to London town
To have a little fun in the underground
All the Ladies turned their heads around, saying,
“Donald, where’s your troosers?”

This is followed up with another classic Scottish song in ‘Wild Mountain Thyme’ and make no mistake I tells you this is the best bloody version of it I have ever heard in all my days! Folk music is put aside somewhat for a moment as the band punk it up with a thundering bass and MacRünker and acoustic guitarist Sonja and accordionist Mine kick up a real storm on vocals that captures Muirsheen Durkin perfectly. Talk about catchy this album sounds like there’s about twenty people playing and if i never thought I’d hear a better version than you-know-who’s then i was wrong. Another classic cover up next and its one perhaps made famous by The Dreadnoughts, ‘Old Maui’. The song can be traced to records going back to the mid 19th century and tells the story of a whaling ship returning to Maui in Hawaii after a long season of whaling.

“It’s a damn tough life full of toil and strife
We whalermen undergo”

The song is strong as any on the album but doesn’t add much to the Dreadnoughts version for me and for a band that really can stamp their brand onto any song maybe it might have been better to cast their net for a less known song. After a smattering of covers the next couple of songs are self-penned by the band and ‘Peggy The Waitress’takes us back to the auld sod of Ireland and a tin-whistle led instrumental that takes in a variety of tunes some sounding familiar and others not before the banjo takes over and leads us until the accordion takes over and then all kick in before we get ‘Land Of 1000 Mountains’ and its a country/Irish folk crossover and again MacRünker’s voice is exactly what is needed here. The song steams along at a steady pace and you know its gonna take off and when it does it lifts the roof. Another album standout here proving they are not just a brilliant covers band but a brilliant band in their own right. Next up we get another cover and Sonja and Mine again take up the vocals on ‘Botany Bay’ and again it’s a great version but perhaps a bit overdone. For a band so in touch with ‘Irishness’ this would be my only wee complaint here. ‘MacRunkers Junk’ is another belting Irish folk punk instrumental with what could easily pass for a ska interlude if they wanted. The tunes fly at you and once again some familiar and some not but they make for one hell of a song when they all put together. On ‘Drink With The Irish’ Muirsheen Durkin pay tribute to one of Ireland’s best ever bands and one that at times could have got you arrested for just listening to! The Wolfe Tones classic rebeler ‘Erin Go Bragh’ is chopped and changed and adapted with love and respect into a celtic-punk number.

“I’ll sing you a song of a row in the town,
When the green flag went up and the Crown flag came down,
‘Twas the neatest and sweetest thing ever you saw,
And they played that great game they called Erin Go Bragh”

Written and arranged by banjo/mandolin player Thomas ‘Lanze’ Landsknecht I bet the tones would whole heartily approve. With the King Of Celtic-Punk’s recent 60th birthday Muirsheen Durkin then pay tribute with ‘Last Of McGee’ written by Shane himself.

“Rope of hemp, around his neck
To hang from an old gum tree
And as he hung
The branch came down, and finished the last of McGee”

You may not have heard it as the song was unreleased and was recorded in 1990 during the recording sessions for the Hell’s Ditch album and produced by Joe Strummer. The song stays fairly true to the MacGowan version and is a timely reminder of the great mans talent. Fast and furious and how could it be anything other than absolutely fecking brilliant!! We are steering up towards the end and the quality hasn’t waned and in ‘When The Pipers Play’ we have what for me is the albums standout track. Originally played by the amazing Black Tartan Clan from Belguim the lyrics are by Muirsheen Durkin and leans heavily on songs as varied as ‘The Water Is Wide’, ‘Danny Boy’ and ‘Auld Lang Syne’. If you like bagpipes in yer celtic-punk then this is the song for you. Absolutely stunning pipes from Andre and Simon and arranged into a completely new song.

11 Pints & 3 Shots comes to a glorious end with the hilarious ‘Botany Bay Reggae’ and aye you guessed it is a reggae infused version of everyone’s favourite emigration song. Now I hate reggae but I love this so there! What a way to wrap up the album and the perfect way!

Overall the album has a fantastic sound. Quite a feat with the amount of musicians at work here and thanks are due to Sebastian Levermann of German progressive metal band Orden Ogan who along with the band members has managed to capture the band perfectly. The CD also comes with a very elaborate twenty page booklet with everything you need to know about the album and with some amazing cartoons of the band drawn by Sebastian Kempke. Last year was the year all the giants of celtic-punk released albums and this year may seem quieter because of that but so far we have a handful of albums that must have the giants quaking in their shoes and up at the top of that list is this one!

Buy 11 Pints & 3 Shots

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

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

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

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

Sláinte.

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

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

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

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

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

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

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

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

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

Raise a glass to him and yours today.

ALBUM REVIEW: CLAN OF CELTS- ‘Beggars, Celts And Madmen’ (2018)

A new(ish!) London band fusing together all their musical experiences and influences ranging from Rock, Metal, Country, Punk and of course traditional Irish. They have created a unique style of original Celtic-Rock and an unmistakable sound that is brought to you with Celtic pride, passion, commitment and respect for our traditional roots.

Clan Of Celts are no strangers to the London music scene with roots dating back over the past 20+ years to many various other bands throughout England and Ireland. March is generally a pretty busy and drunken period in the Celtic punk world but the Clan Of Celts are busy preparing for the launch of their debut album Beggars, Celts And Madmen. All going well it is expected to be launched on Paddy’s Day so if by chance you intend to have a pint then this album is the perfect partner. Stick this CD on in any bar and it will definitely put you in the mood for a decent session. 2016 saw the release of the first song and video from the album ‘Please Don’t Send Me Home’. The video release was a great introduction of the band and is written about the Irish emigrants in London and the craic in the bars and clubs around London.

“They’ll fight about the horses, they’ll fight about the cards
Hold back the fists although they’re pissed, to make out that they’re hard
They may drop a tear for Ireland, and sing their mothers song
You’ll be sure of the craic, when you drink with the pack so
Please don’t send me home”
If you’ve ever lived in London you’ll easily relate to this tune.

‘Please Don’t Send Me Home’ was followed up in 2017 with another video release of the album title song ‘Beggars, Celts And Madmen’. The video features Frankie from The Rumjacks on the whistle. The song is written about the forced emigration of many Irish in 1864 following An Gorta Mór and the hardship they faced upon arrival on foreign shores. Despite everything they worked and toiled to save themselves from starvation and build a better life for their family and friends. A dark period in Irish history which unfortunately is repeated in many parts of the world today.

“This song is dedicated to the memory of those brave Men, Women and Children that made those journey’s, who worked, fought and died to make a better life for themselves and their kin. To Celts all around the world, your hearts are with us.”

The third video release from the Clan of Celts came in January 2018 with the release of ‘Dream Catcher’. This is a more melodic song about the passing of Denis’s (vocalist and guitar) father in 2016. It paints the picture of his dads soul leaving England and returning to his native home in The Curragh, Co Kildare.

An excellent song with an introduction of pipes to set the scene. The video was filmed and edited by Mr. McLaughlin Of The Rumjacks who also features in the video. (Be careful guys I think he’s stalking you!!!)

“I see her reaching far and wide
Beyond my fading eyes
Rainwater resting on the sod
From all the tears I cried
I leave behind my love mankind
And end these months of pain
Cross gripped in hand
Depart this mortal land
And join the souls that glide the Curragh Plains”

Other notable tune on the album are ‘Stacy Lawlor’ which is an extremely catchy tune about the dangers of online dating. I’m lead to believe that this is based on a true experience by one of the Clan (who will remain nameless) so before you go online give this a listen. You have been warned. The album kicks off with ‘Clan Of Celts’ which is a great into to the album and sets the scene. This is quickly followed up by ‘The Boots Are On’ which is another upbeat tune about a night out down the Holloway Road (or County Holloway as it’s known round here!). There’s a good story behind this one but best to ask Denis about that. Not sure I could put it in print!! This is an excellent debut from Clan Of Celts and they are already hard at work on the follow up album. They are also keen to take do an tour with the debut album so jump over to the website and buy the CD to help them hit the road and come to your town. I expect we will be hearing a lot more about these guys in the coming years. Great to see the London Celtic punk scene making progress with excellent bands emerging. Keep up the good work.

Clan Of Celts left to right: Denis Dowling- Vocals, Lead Guitar, Acoustic Guitar, Banjo, Strings *  Jim Filgate- Banjo, Accordion *  Grant Wildy Drums, Pots * Billy MacAllister- Vocals, Acoustic Guitar *  Alistair McCaig Bass * Padraig O’Reilly- Fiddle, Whistle

Buy Beggars, Celts And Madmen

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Clan Of Celts Merchandise  Here

COMING VERY SOON

Watch this space in the next week or so for a big and beefy interview with Denis from the Clan Of Celts about all things Celtic as well as life in general. To subscribe to London Celtic Punks simply fill out the form either on the right or below depending how you are viewing this page.

NEW MOVIE- THE BLOODLUST OF THE DRUID OVERLORDS

Here’s the new short film from singer/vocalist of Irish-American celtic-punk band the Templars Of Doom, Michael X. Rose. Thanks to Michael for sharing. Heaven knows how he keeps up the level of activity he does. I’m jealous! So sit back put your feet on the coffee table pour yourself a drink and break out the hob-knobs for a classic Hammer Horror style movie featuring ritual virgin sacrifices,visions of the Virgin Mary, a giant burning Wicker man, bloodthirsty Druids and a swashbuckling St. Patrick!

THE BLOODLUST OF THE DRUID OVERLORDS

Written, Produced, and Directed by Michael X. Rose.

Assistant Producer James Pogo Lo Rubbio | Edited by Dr. Jeff Burns | 30 Minutes 

Music by the Brian Wilson Shock Treatment

Starring Mary Urban | Michael X. Rose | Suzanne Schubert | Steve Scibelli | James Pogo LoRubbio | Gala Scibelli

Ireland. 428 A.D. Bloodthirsty Druids overrun the land seeking Virginal Maidens to Sacrifice to their Dark, Insatiable gods. They emerge from dark caves carrying torches, wearing white robes and hideous animal masks. Soon Saint Patrick arrives from Britain sent by a dream. He is rowed by two fellow monks to the wooded shores of Ancient Ireland. While praying in his hut, the Virgin Mary appears to St. Patrick, telling him to “go and save my maidens.” Meanwhile the young girls are brought by land and water to the unspeakable place of sacrifice by the Druid Overlords. Victim after victim is slaughtered in bloody worship to Belinus. Half-naked nymphs drink human blood and eat the human flesh that they crave. Can St. Patrick find the Druid orgy in time? As the most pure virgin is prepared to be burnt alive in a forty-foot tall wicker man, see him battle the Druids to save the last virgin in a life or death climax in this thrilling blood-soaked tale.

You can contact Michael via the Templars Of Doom Facebook page here or his Web Site here

ALBUM REVIEW: MARYS LANE- ‘Wild Unknown’ (2018)

FREE DOWNLOAD

Marys Lanes hail from Cleveland, Ohio and their new album is a diverse collection covering themes of love, life and death, trials and tribulations, religion and of course drinking. Never straying too far from their Irish roots it adds Celtic instincts into an mix of sounds that crash-land somewhere in between rock, pop, bluegrass, Americana and honky-tonk.

Marys Lane.jpg

America is, maybe unsurprisingly, and always has been a hotbed of innovative and original Irish music. Away from the native land Irish musicians in the USA have soaked up influences galore from other cultures and mixed them up with the music of their ancestors to come up with something that is always impressive. Marys Lane are no different and the six-piece band take their inspiration from their Irish and Celtic backgrounds and their musical histories have all been way of the various pubs, clubs, pipe bands around Cleveland. The band met at the Cleveland Irish Cultural Festival but it wasn’t until a year later, they met again, and realized waiting was no longer an option. they needed to start a band.
Last Summer they pulled off a ten date tour of Ireland which saw them play many of Ireland’s famous folk venues including Matt Molloy of The Chieftains at his venue in Westport. With a rake of releases behind them their most successful to date was their collaboration with Martin Furey of the High Kings having met at an Irish Festival in the States. After hearing Marys Lane perform a song called ‘Sleep When I’m Dead’ and after being introduced through a friend of a friend the plan was made to hit the studio and record it the next day and so the Furey Sessions EP was born.

Cleveland St Patrick’s Parade 1935

The story of the Irish in Cleveland has parallels with many other major Irish-American areas. A small number arriving around 1818 they began to arrive in large numbers during the 1820’s during the building of the Ohio Canal starting in 1825.  It was mainly Irish labour that built both the Ohio and Erie Canal. They made their homes on what became known as Whiskey Island. Considered outcasts by fellow immigrants the Irish began to build shanties and saloons and churches there. The Irish population of Cleveland remained around 1,000 until the years of the ‘famine’ and the Irish flocked to many cities across America. Many of these immigrants came from Mayo in the west of Ireland. They did not farm in the Cleveland area, instead becoming labourers who unloaded ships or worked in the steel mills. At the end of the 1800’s, the Irish had a terrible time with Shantytown an open sewer of industrial and human waste.  The area was home to cholera, diphtheria, and scarlet fever and because of continuing Irish immigration, there was simply not enough homes for everyone. The Irish population grew to over 10% of Cleveland’s total population and as the city grew, Irish families moved from the slums into the suburbs and began to build lives for themselves and their descendants.

Danny Greene

The Irish throughout America are famous for fighting their way out of the slums through the clever use of politics although in Cleveland they never quite attained the control they wielded in other places they still managed to have much bigger representation then other larger immigrant groups. The diverse ethnic composition of the city was reflected on the city council, and while certain districts elected Irish representatives, city council never had an unusually large proportion of Irish. Nowadays they say the Irish have assimilated into society but one in six Clevelanders claim Irish ancestry, more than 9%, and Cleveland has one of the longest running and largest St. Patrick’s Day parades in America regularly attracting more than 500,000 people. The Cleveland Irish were catapulted into fame in recent years thanks to the release of Rick Porrello’s book To Kill The Irishman. In the 1970’s proud Irish-American and local folk-hero Danny Greene became one of the most powerful crime figures in Cleveland. Literally a living legend all the stories about Danny you ever heard are all true. He looked after those in his neighborhood who were in most need. A church going, God fearing Irish gangster whose goal in life was to look after his own. The book led to several documentaries and a feature film about him and the many failed attempts on his life. Needless to say it was inevitable Marys Lane would write a song about this most famous of their fellow city men and what a song it is! Danny still has family in the city and ‘Robin Hood Of Collinwood’ has become an anthem for the cities Irish community to rally behind.

So with a decent back catalogue behind them it’s time for their latest release to hit the streets and a couple of weeks back Wild Unknown popped through the letterbox at London Celtic Punks towers. Eleven songs that take in pretty much every variation of modern day Irish music in their own indomitable way. The album starts with a great folk/Irish/country mashup ‘Dead Man Walking’ and its lively, jaunty fast paced acoustic music with a real catchy feel to it. At once the sound of a wee Irish pub and at the same time a massive festival fill yer ears. Vocals on the album are shared between Patrick Mulloy and Michael Crawley and here Patrick shines with a voice perfectly suited to the sound.

‘Rain On My Parade’ slows it down a little and reminds me of a couple of other Irish-American bands I came across at the arse (or should that be ass?) end of last year, Crikwater and Plastic Paddy. Next up is ‘Petronilla’ and again it’s a slowish song but don’t mistake that for dull or boring with an interesting bass line line and drums. While so far the album has shown the multitude of influences that Marys Lane have soaked up on ‘Last Gift’ they give us their first full blown Irish track and blew me away. That word ‘catchy’ pops up again and its a real foot-tapper that you could imagine the dance floor filling up at your local Irish hostelry. We stay firmly on our native shore with ‘Road Less Traveled / Harvest Home’ which brings back the country feel to it with some exquisite fiddle work dominating proceedings. ‘Smoke’ has a feel of another Irish-American band The Young Dubliners and I’m starting to hear a common sound amongst a whole host of bands from across the broad Atlantic. On the blurb that accompanied the album Marys Lane compare their sound to that of the Irish kitchen session.

“Cleveland rock roots but knee deep in the ghosts of Ireland – not maudlin mind you, but in the typical Kitchen Party made so famous by the Irish – everyone comes, everyone joins in, one way or another, and everyone leaves wishing the night would never end”

It’s a great description and better than anything I could say about them.

Not that it will stop me trying! More than halfway through and its time for one them good auld Irish drinking songs and its a belter. We Irish, mostly!, love a drink and ‘Another Round’ can be added to the long list of loving tributes. ‘Box Of Roses’ is their most country song here and yet still has the Irish feel to it and I don’t mean the dreaded Country’n’Irish thing that scared many a young 2nd and 3rd generation Irish kid off music when they were young. If you could imagine a (more) Irish Bruce Springsteen then this is the kind of music he’d serve up, especially in these days when he’s rediscovering his roots. ‘Whiskeytown’ is an ode to their home town and is a beautiful tribute to a city that may have seen better days but like most working-class cities it has heart and a will that will see it return to its days as an American powerhouse. So far the only thing missing has been a jig or two and for the penultimate song we get them both served up in ‘Gypsys Dance / The Kesh Jig’. Now I don’t have much of an ear for remembering trad jigs but ‘The Kesh’ Jig may be an old Bothy Band song and if so the band certainly do justice to it. Wild Unknown comes to an end with the album’s best song I think. The epic sounding  ‘Between The Darkness And The Light’. We are back in ‘Irish Bruce’ territory here and it may again be on the slower side of things but that does not diminish its power and it’s a swirling, twirling monster of a song and a fantastic way to bring down the curtain.

Wild Unknown is that exceedingly rare thing on these pages. An album of all original songs written by the band themselves. Their are four songwriters within the band and all band members contribute to everything they produce. A real team effort. The album was recorded with multi platinum award winning producer Michael Seifert and it certainly shows as the sound is absolute perfection and clear as the proverbial bell without being over produced or ‘fiddle’ with too much. A great album all round and this Irish-American sound is well worth checking out especially if you like your celtic-punk a bit more on the gentler side.

Celtic rock- hard to define, hard to resist, much like Marys Lane.

(you can listen to the whole of Wild Unknown before you download by pressing play on the Bandcamp player below)

Buy Wild Unknown

FromTheBand (support Marys Lane by buying the CD)  FreeDownload (Has an option to Buy Now or Name Your Price which includes the free option)

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Find out more about the legend that was Danny Greene, an impoverished but charismatic young Irish-American who rises to power as president of the longshoreman’s local union and is charged with corruption but evades serious jail time by becoming an FBI informant. With fearless nerve he joins forces with a Mafia gangster to rise to power in Cleveland’s underworld, gaining the reputation of a Robin Hood-like figure with nine lives as he escapes countless assassination attempts.

Danny Greene: The Rise and Fall of the Irishman

USA | 2011 | 60 min.

Genre: Documentary Director: Tommy Reid

Photographs that have never been seen before and exclusive interviews with the family members of Danny Greene, officials from the Federal government, associates of the Mafia and representatives of Cleveland Police Enforcement make up this documentary examining the life of the legendary infamous Irish-American gangster Danny Greene.

Clint O’Connor of The Plain Dealer writes

“Feeding America’s appetite for mob stories with a grisly slice of Cleveland’s criminal past, spotlights the gangster whose life was famously extinguished by a car bomb in a Lyndhurst parking lot. A fearless hood who grabbed headlines for years in the 1970s, Greene was a colorful character. He dressed in green, drove green cars, and embraced Irish history and Celtic lore. Alternately a union troubleshooter, embezzler, and enforcer, Greene dabbled in racketeering, gambling, and loan-sharking. He excelled at beating the rap, which may have been attributed to his other occupation: FBI informant. Police have long assumed that Greene conspired to take out Shondor Birns, a rival in Cleveland’s numbers racket, and later mafia underboss Leo ‘Lips’ Moceri, whose body was never found”

Kill The Irishman

USA | 2011 | 1hr 42mins

Genre: Action | Biography | Thriller Director: Jonathan Hensleigh

Starring: Ray Stevenson, Christopher Walken, Vincent D’Onofrio

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2017!

Yes I know it only seems like five minutes since the last one but it’s that time of year again when we give you, for what it’s worth, our opinion on who made the best music in the celtic-punk scene over 2017. It’s been another outstanding year for the music that we all love and some truly fantastic records came out in the last twelve months. So read on to find out who came #1! Remember though this is only our opinion and these thirty album’s are only the tip of the iceberg of what was released last year. Feel free to comment, slag off or dissect our lists. We don’t pretend to be the final word as that my friends is for you…

1. FLATFOOT 56 (Chicago)- ‘Odd Boat’  here

2. THE TOSSERS (Chicago)- ‘Smash The Windows’  here

3. THE BIBLECODE SUNDAYS (London) – ‘Walk Like Kings’  here
4. THE PEELERS (Canada)- ‘Palace Of The Fiend’ here
5. FEROCIOUS DOG (England)- ‘Red’  here

6. BLACK WATER COUNTY (England)- ‘Taking Chances’  here

7. THE O’REILLYS AND THE PADDYHATS (Germany)- ‘Sign of the Fighter’  here

8. IN FOR A PENNY (USA)- ‘One More Last Hurrah’ here

9. LES RAMONEURS DE MENHIRS (Brittany)- ‘Breizh Anok’  here

10. MATILDA’S SCOUNDRELS (England)- ‘As The Tide Turns’  here

11. KILMAINE SAINTS (USA)- ‘Whiskey Blues & Faded Tattoos’  here

12. ORTHODOX CELTS (Serbia)- ‘Many Mouths Shut’  here

13. UNCLE BARD AND THE DIRTY BASTARDS (Italy)- ‘Handmade’  here

14. THE SILK ROAD (England)- ‘S/T’ here 

15. FLOGGING MOLLY (USA)- ‘Life Is Good’  here

16. THE LUCKY PISTOLS (USA)- ‘Where The Orioles Fly’  here

17. THE REAL McKENZIES (Canada)- ‘Two Devils Will Talk’  here

18. DRUNKEN DOLLY (Netherlands)- ‘Alcoholic Rhapsody’ here

19. CASSIDY’S BREWERY (Serbia)- ‘One Brew Over The Cuckoo’s Nest’  here

20. CRAIC (USA)- ‘Sounds Of Vandemark’  here

21. THE MOORINGS (France)- ‘Unbowed’ here

22. JOLLY JACKERS (Hungary)- ‘Blood Sweat and Beer’ here

23. THE SCARLET (Hungary)- ‘Hardfolk Shanties’ here

24. THE DISTILLERY RATS (Germany)- ‘Tales From County Whiskey’ here

25. CELKILT (France)- ‘Stand’ here

26. DROPKICK MURPHYS (Boston)- ’11 Short Stories of Pain & Glory’  here

27. O’HAMSTERS (Ukraine)- ‘Где бы мы ни бывали’  here

28. SONS OF O’FLAHERTY (Brittany)- ‘The Road Not Taken’  here

29. THE BABES (London)- ‘Greetings From London’  here

30. CHEERS! (Czech Republic)- ‘Daily Bread’ here

Just bubbling under:

THE TEMPLARS OF DOOM (USA), GHOSTTOWN COMPANY (Germany) McSCALLYWAG (Netherlands)

No surprise here at all as all four admins voted #1 for Flatfoot 56 and their utterly brilliant ninth album. Not only that but we also all gave second spot to The Tossers, making it a Chicago #1 and #2! The year began with news of two new Dropkick Murphys albums coming but we only got the one and it met with, well quite a muted response to be honest. Saying that they were fantastic live and they certainly added a new dimension to these new songs when played in the flesh. The list leans heavy towards the bands from these shores it has to be said but it was always going to be with bands we get to see live regularly. It’s especially fitting to see The Bible Code Sundays in there too. In a year when every ‘big’ celtic-punk band released an album the competition was great so well done to all. Keep them coming. If you are not here then it just means we didn’t all agree or even all hear it and maybe we didn’t receive it too. The amount of debut albums from loads of these bodes well for both the scene here and internationally with a great mix of bands from thirteen countries.

BLACK WATER COUNTY- ‘Taking Chances’

This was a very hard category to fill with so many new bands arriving on the celtic-punk scene this past year. Soooo many to choose from but in the end we pumped for our very own Black Water County who just pipped Cassidy’s Brewery and In For A Penny to the title!

1. BLACK ANEMONE (Sweden)- ‘In It For Life’  here

2. RAIN IN SUMMER (Indonesia)- ‘Discordant Anthem From The Gutter’  here

3. IN FOR A PENNY (USA)- ‘Every Day Should be Saint Paddy’s Day’  here

4. THE BOTTLERS (Australia)- ‘The Bottlers’  (here)

5. BLACK RAWK DOG (Indonesia)- ‘Suburban’s Folk Stories’  here

6. BogZH CELTIC CATS! (Brittany)- ‘Kazh al Lagenn’  here

7. THE CRAZY ROGUES (Hungary)- ‘Rebels’ Shanties’  here

8. THE McMINERS (Brazil)- ‘Tales of Betrayal and Deceit’  here

9. BORN AGAIN HEATHENS (USA)- ‘Born Again Heathens’  here

10. THE DEAD MAGGIES (Australia)- ‘Wild Dogs And Flannies’  here

Stand out winner here from Sweden’s Black Anemone which none of us were sure was either a big EP or a small album so we gave it the benefit of the doubt and placed it in here. Outstanding! Two representatives of Indonesia’s fantastic celtic-punk scene made up for no album releases from there last year and one band from a Celtic nation with the BogZH Celtic Cats! The Bottlers sneak in as they only sent it to us the week before Christmas. Glad they did though.

1. DECLAN O’ROURKE- ‘Chronicles Of The Great Irish Famine’  (here)

2. ShamROCKS- ‘Ye Ould Chariot’ EP  (here)

3. CRIKWATER- ‘Crikwater’  (here)

4. BEOGA- ‘Before We Change Our Mind’

5. FOLLOW THE CROWS- ‘West is East’ EP  (here)

6. PLASTIC PADDY- ‘Lucky Enough’  (here)

7. DAMIEN DEMPSEY- ‘Soulson’

8. GALLEY BEGGAR- ‘Heathen Hymns’  (here)

9. I DRAW SLOW- ‘Turn Your Face To The Sun’

10. ANTO MORRA- ‘From The Vaults’

Absolutely no question who romped home here. from the first time I ever heard Declan O’Rourke’s monumental album Chronicles Of The Great Irish Famine I was simply blown away. I simply cannot recommend it enough. Go and acquire a copy now. A mix of folk and trad makes up the rest of the list with a special mention for Ukrainian band ShamROCKS who play Irish folk as if they were naturals! We would like to feature more trad and folk on these pages in the future hopefully. Also Vince Cayo had a fecking brilliant album but was neither celtic-punk nor folk. Was tempted to make a separate list just for him!

MERSEY CELT PUNKS

This use to be the Celtic Folk Punk And More Best Celtic Punk Web-Site award so often did they use to win but last year it went to the new kid on the block, our good mates over at Mersey Celt Punks. Well we were in a bit of a quandary about who would win this week but then in the last few weeks of the year the Mersey Bhoys upped their game and won a unanimous vote. They finally started to use their Web-Site (here) and published a whole host of great reviews and things like a events/gig section. You can also join in their fun and games at Twitter and Facebook and we heartily recommend you do.

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

CARLTON HUNT

Of course we cannot go any further without mention of the saddest news of the year. That of the passing of Carlton , the drummer of The Bible Code Sundays. A friend of London Celtic Punks and an absolute diamond stand up guy he will be forever sadly missed by all who met him. We are grateful To Ronan for penning a few words for him.

We lost Carlton on 3rd November 2017 unexpectedly and it has left a massive hole in our family. Carlton joined The BibleCode Sundays some twelve years ago when we were still called Slainte.

His work ethic was second to none, he even dragged us into the studio to record our first CD, he did a lot of pushing in the early days and the Lord knows we needed it!

He was always the first to say yes to any gig, whether it was a small Irish pub like The Old Crown in Hayes or The Shawl or whether it was some of our bigger gigs. Over the years we played some fantastic gigs and venues, such as The Royal Albert Hall, New York’s Beacon Theatre, The House of Blues in Boston, Shepherds Bush Empire, The Roundhouse, Glasgow Barrowlands, Indigo at The O2, Glastonbury Festival, Finsbury Park, London Irish, on the pitch at Twickenham Stadium and at Celtic Park (the night Celtic beat Barcelona). We’ve played with Elvis Costello, The Dropkick Murphys, The Wolfetones, John Lydon’s Public Image Ltd, the Saw Doctors and he even got to realise a dream when we shared a stage with Thin Lizzy. They were minus legends Phil Linnot and Gary Moore but this mattered not to Carlton, his hero Brian Downey was still behind the drums. Carlton got to meet his idol and even got some Thin Lizzy drumsticks as souvenir, he was like an excited little kid that night. We did TV appearances on Sky Sports, BT Sport and even a live St Patrick’s Day performance on BBC’s The One Show.

We got to travel around on trips and tours all around the UK and Ireland as well as Germany, Italy, Spain and the USA to mention a few. This was all just topping up the stamps on his passport that he had accrued in his days with Bad Manners, Feast of Fiddles and The Melody Fakers and many more as he spent so many years on the London Irish music scene.

Not many would know that he also wrote poetry and song lyrics, they are very clever with pun-tastic wordplay and generally came out sounding like Bernard Cribbins songs with titles like ‘Breakfast Epiphanies’ or the Brighton-themed song ‘All Things Brighton Beautiful’. He used to always say

“I try to be serious but the humour always takes over”

He did, however, manage to pen two of the best songs on our latest album, he was very proud of his songs ‘Disorganised Crime’ and the beautiful ‘Clouds’. Drummers writing songs?! Whatever next?! He truly was the engine room of the band, a quiet and gentle man off stage who turned into a one man wrecking ball when he was sat behind his drum kit.

Things will never be the same without him but he would want us to and we will carry on making music and playing his songs.

Ladies and Gentlemen, on drums.. Mr Carlton Hunt

This is the 5th year of us making these lists so if you would like to check out out who was where in our previous Best Of’s then just click on the link below the relevant year.

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

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

SHITE’n’ONIONS

MacSLONS IRISH RADIO

CELTICPUNK.PL

remember any views or comments we would love to hear them…

 Sláinte, The London Celtic Punks Crew- January, 2018

INTERVIEW WITH GARETH OLVER FROM THE AUSTRALIAN RADIO SHOW ‘THE CELTIC PUNKCAST’

We never shut the feck up about how brilliant Australian celtic-punk is so we are pleased as punch to present to you this interview with Gareth from the Celtic Punkcast radio show. He gives the lowdown on who the movers and shakers are over there, what its like living in the bush and a whole lot more.

“The best Celtic punk, Celtic rock & folk punk from around the world on this podcast”

Right we have always said that the Australian celtic-punk scene is the best in the world and that the bands in it are as well. When any idea how the celtic-punk scene started in Oz? Who were the first bands, the first concerts or festivals. Who from overseas made the biggest impact?  It’s a pretty good scene over here that’s for sure. We definitely have some world class acts here in Australia. When it comes to Celtic Punk I guess it’d be artists like Roaring Jack who got the scene going here, they were contemporaries of bands like The Pogues and The Men They Couldn’t Hang. There’s always been a strong folk and celtic scene here, bands such as Claymore who wouldn’t necessarily slot into that Celtic punk pigeonhole have been playing trad influenced music at places like the Port Fairy Folk Festival for years and they help introduce Celtic music to larger audiences. As for overseas bands that have made big impacts, obviously The Pogues were and still are really well known and popular and bands like the Dropkick Murphys are massive worldwide. The Murphys have had a couple of tunes used by the Australian Football League as well. Most people know Flogging Molly as well. In terms of influence, I’d say The Dubliners had just as bigger influence as anyone though, especially when it came to people staying in touch with their roots via music.

(We asked Gareth to pick the three best videos to represent Aussie celtic-punk and his first choice was ‘Riot On Race Day by Shambolics)

Who are the main players in the scene at the moment? Are you all missing The Rumjacks?  Oh yeah, we definitely are missing them! Honestly I didn’t realise how big The Rumjacks are outside of Australia. Probably after them would be The Go Set, The Ramshackle Army and even artists like The Dead Maggies do a great job holding down their part of the world. It’s been great to see some Oz bands get over to the states in recent years as well as over here too. In fact we see more of you then we do American bands!

The massive distances between cities in Australia must cause lots of problems for touring and networking but does this also mean that you have developed a certain sound or way for each area independent of each other?  Interesting question and one I probably don’t have the knowledge to answer. I think that social media and the internet in general makes networking so much easier. Anyone can find bands in any part of the world which is very cool. As for touring, I don’t really know, might have to ask Benny Mayhem about that one, he’s a Perth lad! Funny enough it was Benny himself who told me that when he was over in the summer!

You run a Celtic-punk radio show? Whats the deal behind that? How does it work? Give us an idiot proof way to listen to it.  Well the easiest way to listen is to subscribe to the podcast on iTunes or follow on Podbean. Most podcast catchers have it on there though. Podcasts are great because of the convenience of them, you can listen whenever and wherever you want. The other way to catch the show is the weekly show on Blues & Roots Radio, which is a fairly large online radio network. Putting together a one hour podcast/weekly radio show usually takes me a couple of hours, between getting music sorted, the actual recording, editing and post production. Once I’ve done all that the podcast gets uploaded which can take about 30 minutes to an hour depending on whether Podbean is being cooperative or not. The weekly radio show when it’s done gets sent to Stevie Conner, who’s the head of BRR in Toronto and he slots it into the schedule. My show is meant to merely be a showcase for the bands who make such great music and there was a bit of an opening for another Celtic punk podcast. There was already some awesome shows like Paddy Rock, Irish Power Hour and the Shite’n’Onions podcast, so if I could complement them I’d be stoked. 

How did you get into celtic-punk? Do you have Celtic ancestors. A hell of a lot of Aussies do so do they make up the bulk of your audience?  Like most people my age it was probably the Dropkick Murphys who were my gateway band to the genre. First song I heard was The Warriors Code on a compilation CD and it just pumped me right up. From there I discovered bands like Flogging Molly, Flatfoot 56, Blood Or Whiskey and The Tossers who are probably my favourite band. I do have Celtic ancestry, my family came to Australia from Kernow (Cornwall) and I also have Welsh in there too. My wife’s heritage is Irish and Scottish so my kids almost have the Celtic crescent covered! As for the audience, it’s really a mixed bag, some from Australia, a lot in North America and some from the UK & Europe. Anyone who wants to listen is more than welcome wherever they’re from.

You’re based in Victoria but is there much of an Irish community there? People say that the Irish diaspora is smaller but has there been a noticeable decline, especially with emigration from Ireland still at peak levels? It does seem to me that here in London the new arrivals are not interested in Irish music. They seem to be wealthier and emigrating for ‘fun’ and in their gaps year rather than to escape poverty like in the past.  I am a Victorian, I live on a property about 200km west of Melbourne, in the Grampians. Spectacular part of the world. Where I live has a population of between 350-500 people, so only a wee place. Some parts of the state like the south west you really notice the Irish influence, especially in towns like Koroit, Casterton and Killarney. Koroit and Killarney both have yearly Irish festivals. We still see a lot of Irish people come to Australia, but mainly backpackers or students. The Irish mates I have for the most part are fans of Celtic punk, and they all still have that appreciation for the trad stuff too which is cool. It’s when it comes to shite like Ed Sheeran I call them out!

Gareth’s back garden!

I would like to think so but does it follow that celtic-punk fans also listen to folk from the past or present?  Honestly, I reckon it depends on the individual. If they come from families that played that sort of music when they were growing up then they probably do, but perhaps people who were punk fans first may not necessarily listen to folk or trad. But if they don’t then I’d encourage them to give it a go, there’s some great bands out there playing folk and trad.

Which figures or bands do you think have been the important links between the past and the present and folk/celtic/traditional music and punk/rock music?  I think the standard answer would be The Pogues, who no doubt have been extremely influential on a number of bands, but I’d say you’d be looking at bands like The Dubliners, The Wolfe Tones etc who were the ones that bands like The Pogues were listening to. Even bands like The Clash that embraced different styles of music and had success with it. There’s probably plenty of unsung heroes as well, like the venues that gave some of the bands that become legends in the Celtic Punk scene starts when they were just beginning.

(Gareth’s second Aussie celt-punk BIG hitter is a new song from The Bottlers)

There’s always been a big debate about celtic-punk and whether or not it is cultural appropriation and politically correct for non-Irish bands singing about the Irish getting pissed and fighting and pubs and what have you. Personally I love it. The idea of the likes of Indonesian or Brazilian bands getting into The Dubliners and The Wolfe Tones after listening to the Dropkick Murphys. I mean its not like The Dubliners ever wrote a song about getting pissed is it? I think its just a case of snobbery but do you think it’s ok?  It doesn’t bother me too much at all, especially if it teaches people a bit about the history of the Celtic nations and Celtic people. It also helps keep the culture alive, if people from South America or Eastern Europe for example are inspired to take up the pipes or tin whistle after listening to the Murphys or Flogging Molly then that’s great. I get some people’s issues if all they see is the drink and fight stereotypes getting perpetuated or if it comes off like that faux Celtic Irish pub stuff that The Rumjacks described so perfectly but for me if people are respectful of the music and culture and they learn a thing or two then great. Honestly I’d love more people to know the Celtic history of my Cornish heritage, so if people dive in further and expand their knowledge how could that be a bad thing? Totally agree. The ideas behind ‘cultural appropriation is bad’ can be dangerous. That people cannot share cultures or even haircuts is absurd or maybe it’s just that we Celts have thicker skins?

Gareth with Jimmy from Shambolics

As we said many times we really love the Aussie take on celtic-punk. What do you think sets it apart from the celtic-punk of say the North America or Britain? It seems to have a very strong working class ethos and a Aussie slant that I can’t quite put my finger on but involves having fun and being serious at the same time, being full of mischief and after all any country that calls mates cunts and cunts mates is not half bad!  Interestingly enough I spoke a bit about this with Jimmy from the Shambolics not too long ago, he’s an Irishman who has lived in Australia for a long time and played in bush bands when he was living in rural areas. Australia has a long Celtic history, we the Celts were the ones brought out here after English colonisation and built the framework of what became Australia. They didn’t have the musical instruments from home, so they had to make do and create instruments like the bottle cap stick. They created a fusion of traditional style music with instruments created from necessity which became the bush bands that still survive in a small way today. The Australian way was we were a people who always kind of thumbed our nose at authority, enjoyed a laugh but would stand up for our mates and believed in the fair go. That spirit lives on in in the Celtic and folk punk music that comes out of this country. We as Australian people have had different experiences to people in North America and Europe and it shows in the music. When my wife was in Australia in her teens she said that she saw parliament on the TV and the MP’s were swearing at each other. That tells you what kind of place it is. My kind of place!

Celtic-punk nowadays. It seems to us that the scene over there is massive. There does seem to be more bands than before. Is this right is the scene bigger? If it is bigger has that made it more commercial/mainstream?  No I don’t think it has. Outside a couple of bands like the Dropkick Murphys and The Pogues you get blank responses to other bands. Outside the Celtic Punk scene in Australia a band like The Rumjacks are pretty well unheard of by the mainstream. Although I did hear a Go Set song on an ad the other night during the cricket so who knows?

the friendly neighbourhood wallaby

Who do you think are the best Australian bands and their best records? The ‘essential’ place to start in Aussie celtic-punk?  Well for me, I really like The Rumjacks, The Go Set, Shambolics, The Currency, The Bottlers, The Ramshackle Army, The Dead Maggies and Benny Mayhem. If people were looking for some Australian Celtic Punk albums I’d start with the Rumjacks debut ‘Gangs Of New Holland’, man that is a fecking fantastic album. Also, ‘Rising’ by The Go Set, ‘Riot On Raceday’ by The Shambolics and the new album from The Bottlers. My three year old daughter also told me to mention the Pogue Mahone album by the Shambos too, she has a meltdown if that CD gets changed in the car!

Any Aussie links you would recommend?  Honestly the best thing to do would be to check out the websites, twitter feeds and Facebook pages of some of the bands. The Triple J Unearthed site also has some good unsigned artists, just search for Celtic Punk on there and discover something new.

(Gareth’s third video this time from The Go Set who have darkened these shores many a time and each time with a growing fan base)

We are just about to publish our Best Of list for 2017 so what were your favourite releases of the year? Any you looking forward to in the coming months?  Man last year was a great year for albums in these genres, any year you have new albums from most of the big guns like the Dropkick Murphys, Flogging Molly, The Tossers, The Real Mackenzies, Flatfoot 56 etc is a bloody good year, but my  favourite release for 2017 was ‘In It For Life’ by Black Anemone. That was a kick arse album. Loved the new Tossers album as well as the ones released by The Kilmaine Saints, The Peelers, Matilda’s Scoundrels, Craic, Dreadnoughts and The Bottlers. The new Real McKenzies album was great too. For 2018 I’m looking forward to the new album from 1916 and the new stuff The Mahones are releasing. Four new albums this year apparently! Yeah plenty of bands there that feature in our Best Of 2017. Stay tuned!

Thanks for taking time out of your schedule so all that’s left is for you to plug plug plug the Radio show and is there anything else you want to add or anyone you want to thank? Been my pleasure chatting to you guys, thanks for your support of the show, I really appreciate it. So subscribe to the podcast on iTunes and leave a review or hit me up on Twitter, Facebook or email me. Check out the schedule on Blues And Roots Radio as well to see the weekly shows schedule. I’d love to thank anyone who’s listened, chatted, shared the show and supported it, especially the bands who’ve supported the show as well as Stevie, Annie and Neil from BRR for giving the show a bigger audience and of course London Celtic Punks, Waldo from the Celtic & Folk Punk blog, the Mersey Celtic Punks, shout out to big fans Peter, Erin and Jennie and to anyone I’ve forgotten sorry. Oh and of course my wife and two girls. Can’t forget them.

You can listen to the latest January edition of the Celtic Punkcast at the link below. Simply cli for just over an hour of the best Celtic-Punk of the past and the present.

To find previous editions visit the web-site click the link

CELTIC PUNKCAST

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If you as interested as I am in Australian celtic-punk then two sites worth checking out on Facebook are Aussie Celtic Punks and Australian Folk Punk Scene.

2017 REVIEW ROUND-UP’S PART THREE: THE CELTIC NATIONS- BIBLE CODE SUNDAYS, THE DECLINE!, BRUTUS’ DAUGHTERS, REAL McKENZIES, VINCE CAYO, THE BOTTLERS

So welcome to 2018 and the first post of the year and the last of our round-ups from 2017. We simply could not keep up with the volume of releases we keep receiving so rather than completely neglect them here’s some much shorter reviews that will at least give you a taste of what they are about. We much prefer to do really detailed reviews but these are still worthy of your time so go ahead and check them out and apologies to the band’s concerned that we had to squeeze them in. This week we concentrate on bands hailing from the Celtic nations or the Celtic diaspora. You can still catch up with our North America (here) and European (here) round-up’s.

BIBLE CODE SUNDAYS- ‘Walk Like Kings’  (Buy)

Described by the band as being made by accident we, and they, should be thankful for such unexpected delights. This is an album of thirteen glorious tracks covering themes of loss and longing and hope that show the Bhoys reaching new heights, musically and lyrically. Tracks, such as the fun filled ska beat ‘Disorganised Crime’ leap out of the speakers in a joyous racket that simply defies not being danced to and then there’s ‘Stand Up And Fight’, a collaboration with New Yorks finest Da Ded Rabbits, that punches it’s way through in a hard hitting pounding track that will be a surprise to some fans. Never fear the Bible Code sound is still evident as are other influences including an Oasis tinged ‘You Got Me On The Run’ but the title track, ‘Walk Like King’s’, is pure Bible Codes, a majestic thumping track full of defiance and pride for 2nd and 3rd generation Irish immigrants who weren’t born with silver spoons in their mouths. Guests abound on this release – Elvis Costello, Matt McManamon, Brian Kelly… All adding to an eclectic mix of an album on which every track is worthy of your attention, be it the ethereal ‘America’

“Why we leave behind family, to a foreign land for to roam”

or the haunting beauty of ‘Snow Falling On Fire Escapes’ or the MacManus family collaboration ‘Willie Redmonds Volunteers’ all the tracks show a band at the top of their game and this is one that all London Celtic Punkers will want to check out. It has been a tough year for the band but this album is one thing that they can look look back on with fond memories and pride, let’s hope for more, someone once sang ‘accidents can happen, but only once…’ may the Bible Code Sundays fall into more.

“We face out, chest proud, In this town we walk like kings”

RIP Carlton.

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THE DECLINE!- ‘Heroes On Empty Streets’  (Buy)

More celtic-punk for you now but in the sense that this is a punk and from the Celtic nation of Brittany! The music scene in Brittany is very strong and is reflected in the growth of ‘Celticness’ and the resurgence in the Breton language. The Decline! are a five piece punk rock band from Rennes who formed in 2009. Their first EP, ‘An Old Indian Cemetery’, was released in the middle of 2010, and showed what proper genuine music today should be all about. They followed this up with their debut album ‘Broken Hymns For Beating Hearts’ the following year and was a mix of punk rock and acoustic folk tunes. 2014 saw the release of ’12a Calgary Road’ which saw the and branching out into celtic melodies but ploughing much the same furrow while taking on varying tempos with ease. This new album released in May may not have the asolute urgency of previous releases but more than makes up for it with it’s catchy singalonga punk rock. Kevin’s strong and distinctive voice and rumbling rhythm section certainly gets your blood pumping and while ‘Someday Somehow’ could pass for bleak post-punk maybe even Gothic in places the following track ‘Joyfull Thrill’ would make the early Dropkicks jealous.

We have to wait till track seven for the first signs of anything acoustic and it’s well worth the wait ‘We Love Our Scars’ hits the spot both lyrically and musically too. Its all very well done and very well produced too and while it may be possible to mistake this for an American punk release The Decline! are proud members of the Breton music scene. If catchy as feck melodic punk rock is yer thing then here’s the band for you.

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BRUTUS’ DAUGHTERS- ‘Hueso y Madera’  (Free Download)

Formed in November 2008 in Carabanchel, a suburb of Madrid as a straight forward punk rock band before they added Asturian bagpipe and fiddle and one of the most original bands in celtic-punk was born. This is the bands third album and, as usual, comes with songs written in Castilian, English and Asturian. As one of only a tiny handful of bands in the scene with female vocals they certainly stand out and with a defiantly anti-fascist message to boot. The music is fast and loud and punky but there is an undeniable hardcore traditional folk edge to it as well. Elements of their own countries as well as Celtic are merged together very successfully. As said I don’t understand much of the album but the sleeve notes speak of the endangered languages of the Celts, Celtic mythology and defending the underprivileged. The punk side of this reminds me of the Spanish punk music I use to hear in Hackney squats over the years but the folk influence is strong and comes out in reels and jigs throughout the album.

Only nine songs and twenty-eight minutes long but played at breakneck speed from the opening bars of the instrumental punky trad folk of ‘De Hueso Y Madera’ to the English language ‘Brazen’, the album moves at a great pace and its them pipes that really dominate here, holding it all altogether. Vocals are shared around the band and the standard gang chorus works very well especially on tracks like ‘Carretera’, for me the high point here with its catchy chorus while ‘Unidad’ is bass heavy and rumbles along nicely while the fiddle and pipes work overtime. ‘Carcel’ is another high energy number that offers up more of the same. Here’s a real Celtic band that is something quite apart from the herd. Alex voice is harsh and strong and fits the music perfectly. They are a lyrics heavy band so it’s a shame I can’t catch most of it as I am sure they have something important to say. Here’s a proper punk band playing proper punk rock songs that are littered with jigs and reels and a sea shanty about to break out at any moment. The hidden song here is the real folk gem though proving they can really play their instruments and you can find out yourselves for *FREE* yes you read that correct the album is available for sweet F.A from the link above.

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THE REAL McKENZIES- ‘Two Devils Will Talk’  (Canada / RestOfTheWorld )

Well what to say about Two Devils Will Talk? How it managed to escape a decent review is beyond me seeing how popular this awesome and is. Up there with The Mollys and the Murphs the Real McKenzies have been going an amazing 25 years and this, their tenth, is up there with the est I kid you not. I wasn’t overly enamoured with 2015’s Rats In The Burlap but here they have returned with fourteen rousing tracks of pure, unabashed Canadian-Scots celtic-punk mayhem. From the opening anthemic ‘Due West’ to a fantastic re-working of early McK song ‘Scots Wha Ha’e’ its absolutely brilliant. Once again they missed out of playing here so we never got to see them live but we can’t wait till they do darken these shores again. Punk, folk, acoustic, electric with pipes throughout weaving in the Celtic influence for which the band is best known. ‘Seafarers’ is one hell of a stand out tune. You can’t change how the waves roll only how you roll through them. The sense of humour they are famous for is riddled throughout the album and nowhere better than on the laugh out loud ‘Fuck The Real McKenzies’ where the band take the piss out of themselves, and everyone else too! They find room for a cover of Stan Rogers ‘Northwest Passage’ that only adds to this great song. Originally sang as an acapella song the McKenzies do it justice as you would expect. The album ends with my favourite McK song of all and plenty of rebellious, Scottish charm and wit here on an album that shows a band who are still capable of hitting the high notes even after a quarter of a century. A defiant return to form for one of the Premier League bands of celtic-punk.

The Real McKenzies on 25 years of Canadian Celtic punk rock here.

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VINCE CAYO- ‘Bound For Glory’  (Buy)

This debut album from talented multi-instrumentalist Vince Cayo has been bouncing around London Celtic Punks towers for a good six months now without making much of an impact until I decided to revisit a few albums for these round-ups and I can only think I didn’t listen to it properly as it is absolutely fecking brilliant. Not so much celtic-punk but def in the country-punk realm of things and Vince has a very strong voice that growls out at you like Tom Waits lashing it up with McGowan backed by The Street Dogs. Opening track ‘Wasteland Blues’ is a great start to proceedings with fast rock’n’roll country and harmonica shining out and Vince putting McGowan to shame! Vince says his influences range from the cream the celtic-punk but most importantly Flogging Molly, and the title track takes this adulteration to epic proportions, alongside such luminaries as Social Distortion, Billy Bragg, The Gits, Tim Barry, Bob and Dylan and they are all in there but with a bit of good auld Yorkshire grit and determination.

Not afraid to take a risk either with the epic ‘Folk The World’ seven+ minutes of heavy and hard hitting folk music that builds up and up into a real anthem of a tune with fiddle and mandolin taking it recklessly close to celtic-punk territory Vince! ‘Turn It Up’ is classic catchy punk rock that doesn’t seem out of place here at all and in fact slots in nicely among the folkier tunes. ON hearing this properly I though I could imagine him sharing a stage with the likes of Matilda’s Scoundrels so was no surprise to read after that he already had done. When I hear album’s like this I wonder if this is the start of something new. Well I say new but what I mean is a resurgence of folk and country music but with a modern interpretation. The album’s dozen songs wraps up the absolutely awesome country rock’n’roller ‘The Garbageman’ and ‘You Wont Be Marching Alone’. Great songs and a great production make Bound For Glory as good a debut album I heard in 2017  and I will be looking him up for any London dates I can tell you.

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THE BOTTLERS- ‘The Bottlers’ EP  (Buy)

Our final review comes from the land of Oz. A place I am constantly telling you and telling you is where the best Celtic-punk scene is and where the best Celtic-punk bands hail from. Why this is so is anyone’s guess. Perhaps one of these great Aussie bands would like to give us over here on the other side of the world a bit of an insight? The Bottlers come from that world and are a hard playing, nine piece (yes, nine!) celtic-punk band hailing from the capital city, Sydney. They may be city dwellers but you get the feel of the country off these Bhoys and Ghirl. Kicking off with ‘Hades Way’ its a rollicking good stroll through Irish folk-punk as filtered through the Aussie experience. Drawing from not only the vast rural reaches of the Australian nation but also the city and suburban streets with a solid tip of the hat to the folk, punk and folk punk pioneers that have traipsed and trekked the trails well before them.

This is both Australiana AND celtic-punk so intertwined are the two. ‘Take Back The Streets’ is a call to arms to the nations poor in a swirling waltz of anger and beauty. Only three songs on this EP and the curtain comes down with ‘Up She Rises’ and The Bottlers go out with a song that has a nod toward to 70’s English folk-rock in there somewhere amongst the rabble.

“The Bottlers believe folk based music should progressively speak of the times it exists in whilst hearkening back to it’s past, to the true heart of folk music, people. Because you truly can’t get where you’re going till you know where you’ve been”

and you can’t get better than that. In fact we may put it on a London Celtic Punk sticker.

  • yeah yeah I been reliably informed that Canberra is indeed the capital city not Sydney so congrats to Celtic Punkcast for spotting out deliberate mistake! Australia’s finest celtic-punk podcast. Check them out here or here.

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So ends Part 3 and our final part of the 2017 Round-Up’s. Again apologies to all the bands as each and every release fully deserved that full London Celtic Punks treatment. We have still probably missed some fantastic music so all the more reason to send in your stuff to us to review. We are always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. If you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

  • COMING SOON- THE BEST OF 2017! What we thought were the best releases of the year covering Albums, EP’s, Celtic/Folk-Punk, Traditional and more.

CELEBRATING A CELTIC CHRISTMAS 2017. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

Each December we pick the best Christmas themed song we’ve heard that year to showcase in our end of year message and this year the runaway victors are from just up the road from us in Berkhamsted. We give you Flatcaps & Fisticuffs and their wicked version of ‘Good King Wenceslas’. The EP it’s from is availanble as a free download from here.

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

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

Now go have a drink…

ALBUM REVIEW: DECLAN O’ROURKE- ‘Chronicles of the Great Irish Famine’ (2017)

Declan O’Rourke delivers an amazing album of extraordinary true tales from the most tragic period in the history of Ireland. Fifteen years in the making he takes the best of traditional Irish music and the heart of modern song-writing for something truly special.

Sometime around 1570 Spanish soldiers returned from their ‘adventures’ in South America with a tuberous vegetable that at the time was only native to the Andes. It didn’t take long before the potato as it became known became very popular and was found to grow extremely well from one end of the continent to the other as well as having a beneficial effect on the diets of those, mainly poor, Europeans that ate them. The potato grew especially well in Ireland and was grown in every space imaginable. Irish farmers were with very few exceptions tenant farmers and had no rights on the land they farmed. They also grew an abundance of wheat, barley, oats and cattle but this was sold by the farmers to their absentee landlords living in England and placed on ships for export. The food that maintained the British Empire was all produced in Ireland.

The nutritional value of potatoes was high because the skins could be fed to pigs and chickens and if a farmer was lucky enough to have a cow, their diet, based on the potato was highly nutritious. However, potatoes have predators. One is a fungus, blight, which destroys the entire plant from the leaves to the tubers below. Sometime in the mid-1840s, one ship sailing from South America introduced potato fungal spores into Ireland. The result was catastrophic, with every farm infected with the blight by 1846. With the primary food source cut off, the Irish began starving while exports of Irish produce (the so-called ‘English beef’) continued, sometimes by armed guard to protect it from the starving and dying. The so-called ‘famine’ became known instead as Án Gorta Mór, Irish for ‘The Great Hunger’. The blight did not just affect Ireland and all over Europe the potato crops failed but those countries stopped exporting food so they could feed their own people. This did not happen in Ireland. It took months during 1846 for the news of the condition of the Irish to reach the United States. There money was collected and aid shipped to the Ireland. Many of these ships were stopped and prevented from finishing their journey with the aid often going to feed horses.

So it can be clear and without doubt that the famine was no famine at all. An island famous for farming could easily have fed itself but an attempt was made to wipe the Irish Catholic from existence. The authorities claim the population of Ireland at the time was 8 million in an attempt to lessen what was done. It is widely acknowledged as an underestimate with some scholars imagining it was more like 11 million meaning over 5 million people starved to death, cutting the population almost in half. With very few exceptions, the response of English society was one of denial. The government and capitalist class in England viewed it as a superb opportunity to cleanse Ireland of their poor, ignorant tenant farmers. Absentee landlords stepped forward with offers to pay passage to any starving Irish willing to emigrate. The conditions aboard the ships that carried them to the United States were horrendous and when they arrived, the exploitation continued as soon as these poor souls stepped off the ships and their oppression continued but the Irish survived and now almost 170 years from the peak of Án Gorta Mór the Irish community continues to prosper in the USA.

Chronicles of the Great Irish Famine is the new album from Irish singer-songwriter Declan O’Rourke and tells the story of the ‘famine’ in a

“an attempt to bring fresh air to an unhealed wound, and to remind the Irish people of what we have overcome through an examination of what has lurked just below the surface of collective memory for so long”.

It was as an immigrant himself in Melbourne that he first learnt to play the guitar after moving there at 10 years old when his family upped sticks from Dublin. Trips back and forth from home to ‘home’ continued well into his mid-20’s and finally having settled in Dublin he released his acclaimed debut album Since Kyabram in 2004 and followed up this success with Big Bad Beautiful World three years later. A stint with a major label followed and led to more critical and commercially successful releases which brings us pretty much up to date and an admission here that before this album I had only heard the name Declan O’Rourke so had no idea what to expect from this album except having an 2nd-generation Irishman’s interest in the subject matter.

The album was inspired by a night spent in a old Irish workhouse with his Dad. These were the places that the poor and starving turned to as a last resort but many found no help due to the sheer numbers of desperate and dying seeking help. Many died and many more were turned away. While making this album Declan found out that his Grandfather was born in a workhouse giving himself a very real link to the people that illustrate this album.

The album begins with ‘Clogman’s Glen’ and a mournful fiddle and as soon as Declan’s voice comes in it instantly shines through strong and proud. Reminiscent of Damien Dempsey in tone and Christy in manor it’s a beautiful and moving song that tells of a husband singing to his wife of the time before the famine when life had been good to them. Now all that they had known had changed and was gone forever. Ireland was a extremely religious nation at the time of the famine and could be seen as the major reason why Protestant Britain wanted to wipe the Catholic Irish off the face of Ireland. In ‘Along The Western Seaboard’ a priest laments that

“When we need to feed so many, and there’s not even for the few”

and curses the British for their cruelty at letting the people die. In this song Án Gorta Mór is explained. The Damo comparisons continue with the passion literally seeping from Declan’s voice. ‘Buried In The Deep’ is the horrific story of the coffin ships that left Ireland with the sick and diseased crowded onto them. Emaciated, filthy and near dead the mortality rate aboard reached 20%. Many ships were lost at sea, and deaths were so common that the dead were simply thrown overboard without so much as a word of prayer or comfort said over them.

“When I die they’ll put me over

That’ll cure my broken heart

My dreams can go no further

We’re buried in the deep

Where hunger cannot find us”

A beautiful song with Declan accompanied by harp and pipes on this stunning lament to those poor souls. Emotion spilling out it brought a flush to my cheeks as the realisation of what happened hits home.

‘Poor Boy’s Shoes’ is next and its upbeat start belies the sad origins of the song. Inspired by a line from John O’Connor’s book ‘The Workhouses Of Ireland’ it was the first song Declan wrote of this collection

“The man who carried his wife from the workhouse to their old home, mile after weary mile, and was discovered next morning dead, his wife’s feet held to his breast as if he was trying to warm them…”

as Declan says “I had stumbled into a chapter of history I knew almost nothing about. I wanted to be a witness, to share these stories the best way I knew how, through music”. An ending that will bring a tear to your eye as it did to mine. A punch to the gut as life is suddenly turned upside down for a very real family, The Buckley’s, and it beggars belief how any survived at all. He brings the story vividly and heart wrenching alive to us.

And there he tried to warm her cold feet through, And they found him there, in poor boy’s shoes”.

The bodhrán kicks off ‘Indian Meal’ and its driving rhythm tells of the removal of food while at the same time…

“There’s ships leaving’ full of pigs, heifer, and lambs
Some transportin’ convicts to Van Diemen’s Land
We’re hemorrhagin’ barrels of butter and grain
And all that comes back in, and all that remains is…
Indian Meal, Indian Meal, Indian Meal”

The government and forced labour schemes fed the poor, if they were lucky, a tasteless and un-nutritious porridge that did little benefit. The British Government found wanting and unable to hide the stench of the dead creeping across the Irish Sea responded with feeble ‘relief’ in an attempt to conceal their guilt. The stunning beauty of the harp helps ‘Mary Kate’ on its way and sorrowful the pain at having to leave your beloved ones behind and heart-breaking doesn’t even begin to measure its words. The true story of Irish girls ‘saved’ by being sent overseas. In the song Mary Kate is chosen to leave to Australia while her younger sister is to remain.

She tells her sister at the dock that she will she see her again knowing full well that to stay means death. The harp remains for ‘Laissez Faire’ which was the name given by the British to the system that believed that the free market will solve everything. That it is unethical to intervene in nature and that helping the poor only makes them lazy and dependent. An experiment that would lead to millions of deaths. The song makes mention of the help and aid given by the Quakers, among others, in America while at home and in Britain help was reluctant and miserly. Catholics were offered soup but only on condition that they renounced their Catholicism which led to the derogatory term ‘soup taker’ for any Irish Catholic who betrays their religion and country.

“Swap your Catholic halo for a Protestant hoop and give up your place in heaven for bowl of soup”

‘Rattle My Bones’ is a moment of lightheartedness among the tragedy as Declan starts off acapello before joined by accordion and soon has the ‘bones’ of a sea-shanty going. ‘The Villain Curry Shaw’ tells of a family leaving for Nova Scotia on board the Hannah setting sail from Newry on 29th April 1849. This true story tells of the ships sinking and the captain and two officers who left the sinking ship aboard the only lifeboat, leaving passengers and the rest of the crew to fend for themselves. 49 died and 130 were rescued from the freezing ice. His cowardice has gone into the history books and is now immortalised by Declan for all. The laments over for a moment ‘Johnny And The Lantern’ is for me the best song here capturing both the tragic times as well as the famous irrepressible Irish shining through. The Irish always fought the invasion of their country and again the upbeat and cheerful tune belies the subject but surely the demise of an absentee landlord is a time for celebration is it not. The landlords that sucked the land dry that farmers farmed were quick to evict when rent became hard to pay as Án Gorta Mór began to bite. Well fed on the back of their peasant farmers they were despised from one end of Ireland to the other.

‘Johnny And The Lantern’ tells of an anonymous Irish farmer shooting to death one such landlord, Manning, on the road in Delvin, Westmeath and, as is further illustrated on the cover of the album by the band dressed in ‘famine’ clothing, his body is cut to pieces.

‘And the last thing they buried, Were the hands that took the rent’.

On an album filled with melancholy and calamity your heartstrings are in constant danger as on ‘The Connaught Orphan’. Declan’s voice pulls the emotion from the tale of a young 6 year old boy who starving and all alone is provided with a new set of clothes by an American Quaker women. She wonders why the young lad is unhappy at his new outfit.

“I’ll surely die of hunger now
If they see me with your nice new clothes
They’ll think I’m telling lies, and that
I have a mammy feeds me so”

The awfulness of the situation is captured perfectly.

The inscription on the cross reads: Cailleadh Clann na nGaedheal ina míltibh ar an Oileán so ar dteicheadh dhóibh ó dlíghthibh na dtíoránach ngallda agus ó ghorta tréarach isna bliadhantaibh 1847-48. Beannacht dílis Dé orra. Bíodh an leacht so i gcomhartha garma agus onóra dhóibh ó Ghaedhealaibh Ameriocá. Go saoraigh Dia Éire – Children of the Gael died in their thousands on this island having fled from the laws of foreign tyrants and an artificial famine in the years 1847-48. God’s blessing on them. Let this monument be a token to their name and honour from the Gaels of America. God Save Ireland.

The story of those coffin ships is told in ‘The Great Saint Lawrence River’. Between 1845 and 1851 over 1,500,000 people left Ireland on diseased and vermin-infested ships rampant with disease.

“When I die they’ll put me over, We’re buried in the deep, Where hunger cannot find us”.

In the midst of Án Gorta Mór the U.S placed restrictions on the amount of Irish flooding into the country so unable to land the ships sailed on to Canada but the extra weeks meant many more perished. A 46-foot high Celtic cross stands at the highest point in the St. Lawrence River, thirty miles from Quebec. Grosse Île served as the quarantine station for immigrant ships and boar witness to the terrible devastation that brought Ireland’s destitute to the New World. It is estimated that between 12,000 and 15,000 are buried here. The largest mass grave of Án Gorta Mór victims outside of Ireland. The album ends with ‘Go Domhain i do Chuimhne’ a spoken word song.

Ach na dearmaid ar gcaithú, Cuimhnidh lámh ar an mead, A tháinigh muid tharais, Más féidir linn cuimhniú, is teacht ar an tuiscint, Más féidir linn tuiscint, maith (far an) croí.

(But don’t forget our sorrows, And all of our sadness, Reflect on all that we have overcome, If we can remember, we can try to understand, If we understand, we can learn to forgive).

Spoken first in the language of Ireland and then repeated in English it is a call to remember the tragedy of those times and of the loss that we suffer as a nation both collectively and personally. This winter marks the 170th anniversary of Án Gorta Mór reaching its peak. Events that haunt us yet. The island hasn’t recovered either with the population still far below what it was in the 1840’s. It saw the Irish scattered to the winds and their orphans are still with us today with over 80 million across the world claiming Irish heritage. It is a truly electrifying way to close this outstanding album.

Growing up in England we were never taught at school about Án Gorta Mór. Maybe they thought the reality of what happened and the obvious blame at whose door the dead should be laid to rest would be too much for us, instead we found out at home in hushed bedside stories and tales around fires. My own Great-Grandfather left Ireland and lost all four of his children and wife before returning to Ireland many, many years later to marry again and start a new family. Stories we all have if we look for them. This album covers Án Gorta Mór in a most sensitive and beautiful way. Never shying away from apportioning blame to the ‘richest nation on the earth’ and telling the story of real men, women and children. People from history who lived and died in those terrible times. During ‘Go Domhain i do Chuimhne’ Declan urges us to keep our heritage, traditions and language alive. The Irish people owe Declan a great service for what he has produced here and maybe its too much to ask for it to be put on the British school curriculum but it warrants it so. It’s an emotional ride alright with several songs the tears arriving. It has taken Declan 15 years to deliver Chronicles of the Great Irish Famine and on it he is ably assisted by a wealth of Irish musicians including John Sheahan on fiddle, Dermot Byrne on accordion, Gino Lupari on bodhran and Mike McGoldrick on pipes, whistle and flute and I can honestly say that in all my 47 years I have never heard anything that evokes Án Gorta Mór in such a moving and evocative way.

Buy Chronicles of the Great Irish Famine

SignedVinyl  SignedCD  Amazon

Contact Declan O’Rourke

WebSite  Facebook  Twitter  YouTube  Soundcloud

In writing this review I owe a huge debt to the following- my Grandfather, Michael Joesph Wilkinson. Missed every day. Dave McNally of Folk Radio UK here for his outstanding review here and Stair na hÉireann which provides invaluable help with articles on every aspect of Irish history here.

Further Recommended Reading:

Let Ireland Remember

Irish National Famine Memorial Day

but the most extensive resource on Facebook about this period is to be found at

Irish Holocaust –Not Famine: The Push To Educate In Fact’s

(Declan O’Rourke performs two tracks, ‘Indian Meal’ and ‘Poor Boy’s Shoes’ and talks about the album and his reasons for recording it)

ALBUM REVIEW: CHRISTY MOORE- ‘On The Road’ (2017)

Christy Moore is one of a handful of people who brought Irish folk music out of the backroom sessions in pubs and homes and out in to the mainstream. With influences from rock, pop, and jazz music he is one of the architects of modern Irish folk music.

Released this very day is On The Road the new album from Irish music icon Christy Moore, a two-disc, 24-song set of classic tracks Christy has made his own in an incredible fifty years of touring and recording. The tracks have been recorded in seventeen live venues from London to Westport, Glasgow to Galway, over the past three years and is the first time Christy’s biggest tunes have been made available on one album. Of course with a career as long and successful as his not everyone will be happy and personally I would have liked to have seen some of the songs that gained him notoriety in the 1980’s when he was the bain of the Irish establishment recording tracks such as ‘They Never Came Home’ about 1981’s Stardust fire where 48 people died at a Dublin nightclub. Christy was hauled before the courts and fined and had his album withdrawn for suggesting, quite correctly, that the fire exits being chained was the reason for the disaster. ‘The Time Has Come’ described the last meeting of a hunger striker and his mother receiving regular plays on Irish Radio until it was revealed exactly what the song was about and it was subsequently banned. One song included here though banned at the time was ‘Mcllhatton’, which along with ‘Back Home in Derry’ was banned after it was discovered they were written by Bobby Sands whilst in prison. So there is no ’90 Miles From Dublin’ but what were we to expect. Much of the material here is of the leftfield kind and while ‘Viva La Quinte Brigada’ may have been the embodiment of everything the Irish government hated upon it’s release the years have been kind to this roll call of the brave Irishmen and women who left Ireland to fight Franco and the fascists in 1936 Spain. With his political output having ground to a halt, hopefully temporarily, it is Christy’s renowned sense of humour that takes centre stage. It is on songs such as ‘Joxer Goes To Stuttgart’ about Irish fans travelling to Euro 1988, in West Germany and, utilizing the same tune, ‘Delirium Tremens’ telling of his alcoholic demons, an idea later stolen by indie rock band Carter USM for ‘Anytime, Anyplace, Anywhere’, that Christy’s music comes alive with the audience enthusiastically singing and clapping along.

“Goodbye to the Port and Brandy, to the Vodka and the Stag,
To the Schmiddick and the Harpic, the bottled draught and keg.
As I sat lookin’ up the Guinness ad I could never figure out
How your man stayed up on the surfboard after 14 pints of stout”

As much as I love the more raucous and lively tracks there is no denying the beauty of the slower songs here. Well known standards such as ‘Nancy Spain’ and ‘Cliffs Of Dooneen’ are putty in his hands extolling emotion that not many can squeeze out of a song heard countless times. One of the highlights of the album is his take on The Pogues ‘Fairytale Of New York’ and his half whispered voice and relaxed guitar adds another dimension to this amazing song. It ends with Christy whispering of a night on the lash with Shane in Tipp and it is breath-takingly beautiful. There is a new song in the shape of ‘Lingo Politico’ dedicated to politicians everywhere! The quality of these recordings is simply outstanding and they have been edited together superbly to make an album that flows and ebbs beautifully. Accompanied by a booklet that tells you every single thing you need to know about these recordings. Christy’s voice is strong and powerful when needed and gentle and kind at other times. Their can’t be many who need an introduction to his recordings but to those who love him and those looking for an introduction to his best work this can be recommended mainly because of that excellent production..

AN ORDINARY MAN By Scott Feemster

Christopher Moore was born in Kildare, Ireland in May, 1945. His father owned a grocery shop while his mother was a keen music fan and was often caught singing around the house to Clancy Brothers records. Christy and two of his five siblings, Ailish and Barry, all went on to be notable singers, Barry adopting the stage name Luka Bloom later in life. When Christy was young, he became aware of the deep well of Irish folk songs, though, at the time, he was more impressed with rock’n’roll than folk tunes. Regardless of influence, he took up the guitar and bodhran and played briefly in a band with who would become his long-time collaborator, Donal Lunny. When he was out of school, Christy took a job as a bank clerk in Dublin and became fascinated by the local folk scene. Though he played a few gigs he couldn’t work his way into the Dublin scene as much as he wanted, and when a labour strike struck in the mid 60’s he decided to pack it in and move to England to find work. Christy spent the next few years gaining quite a reputation in England with his mix of traditional Irish and British songs and towards the end of the 60’s he decided to take the next logical step. Managing to get noted songwriter (and brother of Brendan) Dominic Behan to produce an album of traditional folk and political songs called Paddy On The Road (1969) and it has become something of a rarity in later years since only 500 copies were pressed. Though thrilled that he finally had an album to show for his efforts, he was disappointed that the English musicians backing him didn’t have the proper feel for the Irish material he was presenting. Christy moved back to Ireland and set upon finding some musicians who could play the fiery brand of politically-charged folk music he wanted to produce. Moore teamed up with his old friend guitarist/bouzouki player Donal Lunny, uillean piper and whistle player Liam O’Flynn, mandolinist Andy Irvine and bodhran player Kevin Conneff to produce Prosperous (1972), an album that marked a turning point in Irish folk music. Suddenly, younger Irish musicians were taking up traditional instruments and songs and injecting new urgency and fire into them. This combination worked so well together that they decided to carry on as a group, calling themselves Planxty. Touring relentlessly and recording the landmark Planxty (1973) and The Well Below The Valley (1973).

Moore set to work on a solo album that would show all of his strengths, and decided to split Whatever Tickles Your Fancy (1975) between an acoustic side and an electric side. The acoustic side featured Moore’s voice, guitar and bodhran playing, while the electric side was similar to the folk-rock style Fairport Convention were popularizing around the same time. Moore followed it up with his self-titled Christy Moore (1976), this time concentrating on acoustic-based narrative folk songs that were his strength. Moore took on a heavy schedule of touring and playing gigs but kept his connection with his former Planxty bandmates, and by late 1978 the original four members were keen to try the band again adding fifth member flutist Matt Molloy to the band and recording three further album’s between 1979 and 1983. Wanting to branch out from the traditional sound put forth by Planxty, Moore joined with Lunny in 1981 and formed Moving Hearts, who combined traditional Irish music with contemporary elements from rock and jazz. Other members of Moving Hearts included guitarist Declan Sinnott, saxophonist Keith Donald, bassist Eoghan O’Neill, drummer Brian Calnan and uillean piper Davy Spillane. Protests against internment, the ‘H Blocks’ and in support of the hunger strikers led to several bans and Christy’s outspoken opinions left him no friends in the establishment. Two politically-charged albums resulted, Moving Hearts (1981) and Dark End Of The Street (1982), before again Christy left to concentrate on his solo career.

To say that the 1980’s was a busy period would be an understatement, as Christy managed to be a member of Planxty, Moving Hearts and a solo artist all at the same time. He released a whole series of solo albums throughout the 80’s, including The Time Has Come (1983), the critically acclaimed Ride On (1984),  Ordinary Man (1985), Spirit Of Freedom (1985) Unfinished Revolution (1987) and Voyage (1989), with guests including Sinead O’Connor and Elvis Costello. If Christy wasn’t enough of an Irish national treasure with his work in the 70’s, his output during the 80’s combined with populist political commentary in his lyrics cemented his stature in Irish music as Ireland’s equivalent of America’s Woody Guthrie.

Moore entered the 90’s still touring and releasing albums, though slowing down a bit to near human levels. Releasing the over-produced Smoke & Strong Whiskey (1991) before a more traditional, stripped-down sound with King Puck (1993). The rousing Live At The Point(1994) followed but in 1997, Christy’s decades of constant touring, combined with his attraction to copious amounts of alcohol finally caught up with him. Told if he continued performing at the level he had been his heart would kill him he retired to take care of his health, but soon returned to the studio to make Traveller (1999), a giant left turn for Moore. The album was techno-pop utilizing synthesizers, drum machines and heavily effected electric guitar, along with the usual traditional Irish instrumentation. The album was greeted by surprise by Christy’s fans, but was generally well reviewed. He planned a return to performing live again in 1999, but his health still wasn’t up to it using the down time to his advantage writing his autobiography, One Voice (2000).

Though it looked like his days of heavy touring were over, he was not done recording getting together with Donal Lunny and Declan Sinnot for This Is The Day (2001), which, sound-wise, split the difference between his earlier stripped-down acoustic records and the sound captured on Traveller. Moore followed with a series of low-key appearances in Dublin, and after being profiled on an Irish TV special, renewed interest was shown towards Planxty, and Moore joined with Lunny, Irvine and O’Flynn for some reunion shows. Planxty kept their reunion open-ended, and did not rule out working together in the future but Christy returned to his solo career with the critically-acclaimed Burning Times (2006), which featured his own compositions mixed in with covers by such songwriters as Phil Ochs, Bob Dylan and Morrissey. Again, Moore took to playing some shows, although in a much more low-key manner, and put out the double album Live In Dublin (2006). Recent years have seen no let up but with his releases now tending to be of the tribute/live/greatest hits variety he is still a regular visitor to this side of the Irish sea and although recently the admission fee’s have been somewhat expensive he still remains one of Ireland’s most treasured performers and, dare I say it, now part of the establishment.

Buy On The Road- All links here

Christy Moore- WebSite  Facebook  YouTube  ChristyMooreForum  Twitter

ALBUM REVIEW: THE TEMPLARS OF DOOM- ‘Bring Me The Head Of John The Baptist’ (2017)

Drinking Guinness from the Holy Grail!

These lads are as Irish as they fecking come so check out the new album of mighty celtic-punk rock from The Templars of Doom coming out of Ulster county, New York.

The Templars of Doom hail from the aptly named Ulster County in upstate New York and play punked-up Irish music inspired more by the Sex Pistols and the Ramones than by The Dubliners. Originally formed as Alternative Ulster they released an album, Rebellion,  in 2016. A raucous celebration of the 100th anniversary of the 1916 Easter Rising with a total of sixteen tunes, including six covers of the like of ‘Blitzkrieg Bop’ (The Ramones), ‘Supernaut’ (Black Sabbath) and ‘Seventeen’ (The Sex Pistols) all of which have been blended with bagpipes to give them a new and exciting celtic punk edge. Sadly the band met with some trouble and a year later they emerged with pretty much the same line up and a new name- The Templars Of Doom. While they may sound like a death metal band rest assured it’s still very much “1977-meets-1916″ with traditional Irish ballads and themes played at punk speed with bagpipes and kilts.

Michael (Bass/Vocals ) Josie (Pipes)

The album begins pretty much where Alternative Ulster left off with ‘The Oliver Cromwell Twist’ and as the band say themselves

“hits the English overlord and executioner of the Irish with a Chubby Checker-esque slam dance”

Marty Shane (Mandolin)

Rory Quinn (Guitarist, Co-Lead Vocals)

and indeed they give it to the murderous scourge of the Irish with both barrels. The Last four words, Drogheda, Wexford, Waterford, Kilkenny are the four cities in order Cromwell sacked and gave no quarter to the Irish Catholic inhabitants. At Drogheda and Wexford at least 4,000 were massacred mainly women and children. The music may be standard 70’s punk rock with bagpipes but to say it is catchy and infectious at the same time would be a massive understatement. Within a few seconds of playing my mind had gone to wild punk rock nights in New York with Irish-Americans bashing each other up on the while sliding about on a beer drenched dance floor. There though lies the rub with a band like The Templars Of Doom. They are very much a live act and though they have done a great job at capturing that here on disc they are still very much a band to be experienced live. A look down the album song titles reveals these lads are very much an Irish band and when people say that Irish-Americans aren’t Irish then get this album and shove it down their throat. At the moment, as there has always been but perhaps not as great, their is a tendency to deny ‘Irishness’ to those children of Ireland if they were born in America.  More often its from people who never left Ireland except for expensive holidays and gap years and find Irish traditions of music, dance, family and faith embarrassing and wish for Ireland a sort of globalisation where these thing are left in the past. Thank God for Irish communities around the globe who keep Irish culture alive.

The album continues with ‘Saint Patrick Saved Ireland’ and follows in much the same vein and aye you could be listening to a live track here with it’s wild abandon! The bagpipes start before the band kicks in with gang vocals and a tune, and vocals, straight out of late 70’s London. Classic rough and ready tuneful and tuneless at the same time celtic-PUNK to shake the cob-webs away with chants, reels and a punk rock mosh in the middle. 

Left to right: Rory Quinn (guitar, vocals), Eric Pomarico (drums), Michael X. Rose (Bass,Vocals), Josie Rose (Pipes), Brendan Merrit in hat(sitting in on gang vocals, pub style) at Snug Harbor, New Paltz, NY

Next up we have a song that is another embarrassment to those millennials who seem to care more about what happens on a distant shore 1000’s of miles away than just ninety miles from their parents swanky homes in Dublin. ‘A Nation Once Again’ is one of the most famous Irish rebel songs and even went so far as winning a 2002 BBC World Service poll of listeners to be crowned the world’s most popular song of all time, as performed by the kings of Irish rebel music the wonderful Wolfe Tones. Written in 1844 by the great Thomas Davis who proclaimed

“Music is the first faculty of the Irish… we will endeavour to teach the people to sing the songs of their country that they may keep alive in their minds the love of the fatherland”

So there you have it straight from Thomas mouth and I doubt very much whether or not he would care much that a band of Irish-Americans would adapt the tune and speed it up into a Irish punk rock jig  just as long as it was being played and past down to the younger generations. I swear I think trapped between the ‘West Brit’ millennials and the trad Irish folk snobs I think both would rather songs like this not be played rather than have a band of Irish descended punk rockers have a go on them! The song dreams of a time when Ireland will be a free land, and exhorts Irishmen and women to stand up and fight for their land.

“And righteous men must make our land a nation once again”

The Templars Of Doom’s version starts with bagpipe and sneering punky vocals and while its much slower than previous songs its still very much in the punk vein. It reminds me of drunken nights in Mannions in Tottenham belting out this classic with a bunch of 2nd generation Irish losers and boozers before annoying the neighbours on the way home! The album takes an unusual turn next with ‘Eyes’ and it’s a bit of country’n’western tinged Irish folk that peaks our interest. The beautiful sound of uilleann pipes as played by Scott Benson takes this song to another level and shows these Bhoys can play their instruments and belt out as good a song as anyone on the Irish circuit. ‘The Minstrel Boy’ is the shortest song here, just tipping over two minutes, and as you would expect it’s played at breakneck speed and has more in common with The Ramones than Planxty. Turn it up to 11 and get your Doc’s on, it don’t get wilder than this! The album’s title song follows and ‘Bring Me The Head Of John The Baptist’ doesn’t disappoint with more of the ramshackle UK 70’s punk rock sound that has served them well so far.

‘The Templars Erupt’ has the feel of The Pogues all over it with the setting of a bar and barroom chatter in the background while bodhrán and tin whistle fill the air. To me it sounds like it escaped from Hell’s Ditch and rightly deserved it’s place as the longest track here. We are nearing the end and they not going out gracefully and ‘Suicide Bomb’ is one of my favourites here harking back to London bands like Alternative TV and Menace while the album draws the curtains with ‘Michael Collins Ghost’ and just a couple of weeks after his birthday The Big Fellow must be looking down with pride that he still evokes such passion among the Irish and their friends. Sung and co-written by Mike O’Leary, along with Rory Quinn, the song is the highlight of the album and we will indeed

“Raise a glass to Michael Collins ghost”

The band come together perfectly here and it may have veered away slightly from celtic-punk into celtic-rock territory but who cares about that wee thing. The song is a masterpiece and great words and performance ends the album on the highest note possible.

The band have release Bring Me The Head Of St John The Baptist on their own label Poe Records which has also released CD’s from the side project of bassist and band artist Michael X. Rose, The Wild Irish Roses, which is Michael his Mrs and their 8 (eight!!) kids. Yep a true family band and also well worth checking out. This album may not get them on the bill at Get Shamrocked or even the local Celtic or Irish festival as it may induce heart attacks and fainting spells on some of the more lily livered members of our community. The Bhoys could have called it a day after Alternative Ulster but they have persevered and kept at it so if you want fast, punky, tuneful/tuneless Irish music that you can mosh pit down to with songs about the Templars, Ireland, the Holy Grail, saints and ghosts then The Templars Of Doom are your band and also the band for legions of green, spiky haired, young Paddys and Biddies across the United States!

( have a free listen to Bring Me The Head Of John The Baptist on Bandcamp before you buy on the player below)

Buy Bring Me The Head Of John The Baptist

FromTheBand   CDbaby

(For a week from now. Yes for the following seven days you can download the album for *FREE* as a special gift for all London Celtic Punks readers. Just follow this link here and download away but be quick. Where it says ‘Name Your Price’ simply put 0.00 or if you feeling generous send them a few bucks for Guinness. It will end soon but feel free to tell your mates!)

Contact The Templars Of Doom

Facebook   Bandcamp  YouTube

(Vocalist and guitarist Michael made a movie about St. Patrick versus the Druid overlords. It’s called Bloodlust of the Druid Overlords and here for your delight is the trailer. Watch this space for the full movie coming soon!

please support this film by pledging to the Kickstarter fundraising here)

EP REVIEW: HOOLIGAN featuring CHRISTY DIGNAM- ‘(Justa Nother) Teenage Rebel’ (2017)

Legend of the Irish music scene Christy Dignam of Aslan teams up with Dublin punk band Hooligan on a new 4-track single released this week.

The moments when you meet your heroes stay with you forever and it was a chance meeting between Irish folk-rock legend Christy Dignam and a young David Linehan at one of Christy’s band Aslan’s gigs that has led to the release of this fantastic collaboration between Irish folk and Irish punk over twenty five years later. Meeting again recently David reminded Christy of the time when fresh back in Dublin after a stint squatting on the the Loughborough Estate in south London when David and a mate walked into a rehearsal studio in Great Strand Street, an alleyway near the Halfpenny Bridge, where unbeknownst Christy, who had not long left Aslan, was rehearsing with his new band. From being away David had noticed that the music scene in Dublin was far more snooty and elitist than in London

“imagine my surprise at instead of being told to feck off he said “c’mon in lads” and allowed them to stay watch them play a few songs. I was struck both by how friendly he was and the warmth and kindness of the man”

Christy asked if they had a band and said if we didn’t we should form one because if nothing else they looked the part! Just the kind of confidence boost any budding young artist needs.

Left to right: Eoin Page, David Linehan, Paul Price. Front: Christy Dignam

‘(Justa Nother) Teenage Rebel’ is a cover of the much loved paean to the late 1970’s tale of familial teenage angst, originally released by northern Irish punk rock legends The Outcasts. Formed in war torn Belfast in 1977 The Outcasts were three brothers and two mates who came up with the name after being banned from local venues. Releasing their debut single ‘Frustation’ on It Records in May, 1978 they soon after signed to the Good Vibrations label who released “Just Another Teenage Rebel” in November 1978. The single rose to the top of the Alternative charts and the band received much radio  airplay. The band imploded in the mid-80’s but with the sad death of founder member Colin Cowan the band got back together in 2011 and are still going strong now.

Approved by the two surviving Outcasts brothers, Martin and Greg Cowan, it’s a great choice of track and is part of a four track EP released on Reekus Records, home of Dub legends The Blades, who incidentally also released This Is which was the first record by Aslan over 30 years ago in 1986. Aslan are often thought of as

“the band to follow in the footsteps of U2 in conquering America”

and they certainly blazed high taking the Irish music scene by storm with their brash interpretation of Stones style rock’n’roll all be it with a very Irish twist. Formed in the working class northside of Dublin they seemed to be on the verge of worldwide fame and fortune before tragically imploding on the very day their debut single was due to be released in the USA in 1988. Dublin at the time was in the midst of a terrible heroin epidemic and young Christy was not immune to the same pressures as others in his home city. Unceremoniously fired from the band due to a spiralling heroin addiction that would haunt him for decades Christy left the band and though they tried to soldier on without him it wasn’t long before Aslan were no more. Silent for five years they returned and their music had become more refined and influenced by folk melodies. Fame again awaited them but as has been the Aslan way it’s been a rocky road intersperced with long periods of inactivity but always sustained by their loyal and large fan base. The band have released six studio albums as well as two ‘best of’ albums and have a list of smash hits that have topped the charts as long as yer arm. Aslan have forged a legacy that has seen them become one of Ireland’s most popular and enduring musical acts and as the bands motto goes “the lion is still roaring”.

So it was that shortly after meeting again all these years later David contacted Christy and sounded him out about the possibility of performing on the next Hooligan record. Christy jumped at the chance and ‘(Justa Nother) Teenage Rebel’ was born.

Hooligan have made a name for themselves releasing a pile of fantastic critically acclaimed EP’s over the years. Formed in Dublin in 2009 the band has been beset by member comings and goings but at last things are more settled and founder and guitarist/singer David Linehan is joined by the brand new rhythm section of Eoin Page on bass and ex- Paranoid Visions drummer Paul Price. ‘(Justa Nother) Teenage Rebel’ is yer basic classic 77 era punk rock. Chugging guitar and thundering bass with Christy’s distinctive voice driving it along. The following tracks are more of the same with Upstarts/Clash/SLF comparisons inescapable on ‘Generation On Fire’. Guitar driven anthemic Irish punk that leads us soon after into the tribute to Uncle Joe himself. The Clash influence is in overdrive with ‘Calling Joe Strummer’ with the spirit of everyone’s favourite public schoolboy coursing through it’s 200 seconds. The album ends with ‘Gang War’ and here Hooligan are at their best for me. Loud and brash and in your face with a catchy chorus and a killer punk tune that’s over before you can think what a great song it is.

Another fantastic EP to add to the Hooligan EP collection and you will be pleased to know that they will be making one of their regular appearances in London in a couple of weeks at the New Cross Inn dahn Sarf London supporting Splodgenessabounds on Saturday 4th November (Facebook event here) with a tonne of other bands including a rare capital show by London Celtic Punk faves Headsticks. The gig starts at 5pm and Hooligan will take the stage at 8-30pm so don’t be late!

Buy (Justa Nother) Teenage Rebel

Reekus Records (available as download or CD with vinyl coming soon!)

Contact Hooligan

Facebook  Soundcloud  MySpace

  • A fantastic overview of The Outcasts can be found here via Spit Records.
  • Great interview with Hooligan here from ‘Louder Than War’

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

AND FREE DOWNLOAD

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

Dick 1

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

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

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

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

In Dick Gaughan’s own words on Handful Of Earth

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

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

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

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

Statement from Dick Gaughan’s management

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

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

FOR YOUR FREE DOWNLOAD PRESS

*HERE* or *HERE*

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)

NEW SINGLE AND VIDEO FROM JOSHUA McCLURG FROM NAYMEDICI

I had wondered after not hearing from them for a bit but sad to say that Manchester-Irish celtic-punk band Naymedici are no more. Now that name probably means more to our Irish readers than anyone else as at the height of their popularity they upsticks and moved across the sea (wrong way surely?!?!) to a lovely beachside cottage near Clonakilty on the coast of West Cork. Described as

“the bastard child of The Pogues and Gogol Bordello”

in one review, and Scots writer Irvine Welsh said they were ‘f***ing on it!’ which is probably one of the best reviews anyone could ever get! They played all over Ireland and Britain and were regular’s on the festival circuit too and even did undertook a tour of Europe, playing in cities such as Berlin and Prague among others. They released a few singles during this time, including ‘Paddy McGee’, ‘Koo Koo The Bird Girl’, ‘Whack Fol The Diddle’ and ‘Men and Women’ and were featured on BBC 6 Music, E4, MTV UK, MTV Europe and MTV International. Not bad for a DIY Band with no management!

Well three years ago the band went on their different ways and Josh the bands singer moved back to Manchester and began his next project The Lucky 15’s, an Irish Party Band, with a great bunch of talented musicians I knew from various other bands in Manchester. It was during this time that Joshua began writing material for a solo album, You Can’t Take It With You, set for release next month.

So here’s a wee taster with the video for ‘If You’re Gone’ the first single release from Joshua McClurg’s debut album, ‘You Can’t Take It With You’.

One cold winter’s evening I sat by the stairs,
In the doorway I huddled while the cruel millionaires
Turned up all their noses as I held out my cup
Hard to keep your chin up when your down on your luck
So I felt in my pockets, had nothing to show
And I thought back to the old days how quickly they’d go
When I first held you close and you promised the world
And I saw my true love through my darling young girl
If you’re gone, don’t leave me falling
The night it is cold now
The leaves are falling
And we were young then
Still had our dreams babe
But now I’m alone
I’ve still got me dreams
I’ve still got me dreams
Well these horses and whores, cruel mistresses all
And I gambled my money and I gambled my home
And for all my sins I was condemned to roam
With nowt but the clothes on my rowdy-dow-dow
And life it is hard and gets harder each day,
Haven’t eaten since 8 and it’s started to rain
But I swear by the Christ’s blood that flows through me veins
That I never will whistle that old tune again
Well I’ve made some mistakes and I’ve not been too good
And my life’s in the gutter with the rats and the mud
And it’s thicker than wine and it’s colder than blood
Yes it’s hard to look up when your down on your luck
If’re gone, don’t leave me falling
The night it is cold now
The leaves are falling
And we were young then
Still had our dreams babe
But now I’m alone
I’ve still got me dreams
They can’t take me dreams

Now it may not be the raucous celtic-gypsy-Irish folk we were use to with Naymedici but even better there’s an unmistakable Poguesy air to it from the land of ‘Dirty Old Town’. The piano, backing vocals and marvellous lyrics straight remind me of If I Should Fall From Grace With God era Shane. If you like this then you can pre-order Joshua’s album from his Bandcamp page below and keep an eye out for a review coming to these pages soon.

Contact Joshua McClurg

WebSite  Facebook  Bandcamp  YouTube

HOW THE IRISH BECAME THE POGUES

by Jack Hamilton

The Pogues

Last March I enjoyed the pleasure (and attendant hangover) of partaking in the annual ritual of alcoholic commerce that is St. Patrick’s Day in Boston.  Although I had grown up in the area, and in a decidedly Irish-American household at that, I had spent the past seven such holidays as a resident of New York City, and while St. Patrick is certainly heartily toasted in New York things haven’t reached the pathological extremes of Boston, where they’ve even gone so far as to cook up a bogus holiday in its honour.  After managing to find a bar which, while crowded, was thankfully free of either a gratuitous cover or any sort of neon leprechauns, my small group of friends and I settled in for an evening of friendly imbibing and spirited conversation, surely two of the more distinguished aspects of the Irish national character.  All night we listened to the Celtic-infused rock ‘n’ roll of the Pogues.  This was not by choice—the bar had no jukebox, merely a bartender’s iPod—yet the selection seemed so obvious that I doubt any objections were raised.  In fact, I doubt many objections were raised in any of the numerous bars throughout the city that most likely played a considerable dose of the Pogues on St. Patrick’s Day, or for that matter in any of the countless establishments around the world who presumably engage their patrons in similar entertainment come March 17.  As the old cliché goes, everyone becomes Irish on St. Patrick’s Day, and a good deal of those busying themselves with “becoming Irish” will find themselves at some point listening to the music of the Pogues.

The issue of how the Irish became the Pogues—or, for that matter, how the Pogues became Irish—is an interesting one that makes their emergence as progenitors of Irish authenticity all the more complex.  Outside of Dublin-born guitarist Phil Chevron, none of the members of the Pogues’ primary line up were Irish by birth: refugees of the dying British punk movement with an affinity for traditional Irish music, singer-songwriter Shane MacGowan¹, tin whistle player Spider Stacy and accordionist James Fearnley formed the Pogues in the early 1980s in North London.  Furthermore, while their music often proudly employs ‘trad’ instrumentation—whistles, pipes, banjo, accordion—the Pogues also prominently feature two crucial pieces you’d be loath to hear while trolling trad sessions in Galway or Cork: namely, an electric bass and drum kit.  Indeed, when one couples their rhythm section—clearly more schooled in American R&B and rockabilly than reels, jigs or hornpipes—with their ragged lead singer, the Pogues have always at their heart been a rock band, closer to the Clash than Turlough O’Carolan.  I bring up these points neither to challenge the Pogues’ claim to Irishness nor slander their authenticity, but rather to point out that the band represents a fascinating example of transnational mobility in which a British band aggressively appropriates Irish musical traditions, imbues them with a punk sensibility then exports the sound around the world, where the result is deemed ‘Irish’. Noel McLaughlin and Martin McLoone have argued that the Pogues’ musical hybridity speaks to diasporic qualities central to Irish cultural identity, noting that

“the Pogues address the Irish emigrant through song narratives that offer an ‘in-betweenness’”

While surely compelling, such an assessment fails to address the Pogues’ massive popularity in Ireland itself, where the band’s frequent touring and Republican political leanings have elevated MacGowan and company to folk-hero status.  It would seem that the Pogues’ greatest musical legacy lies not in their commitment to Celtic musical traditions but rather the affectionate and wilful dragging of these traditions into the foreboding present, and it is through this gesture that the Pogues most effectively lay their claim to a far more meaningful Irish tradition than the sort celebrated with green beer and shamrock tattoos.

Nowhere is this impulse so thoroughly manifested as in the complicated talents of Shane MacGowan.  A gifted melodist and the sort of writer that inspires websites devoted to interpretations of his lyrics, MacGowan holds a place among the finest rock songwriters of his generation.  As a singer MacGowan’s voice is tattered yet full of conviction, reminiscent of Seamus Heaney’s memorable writing that ‘the voice of sanity is growing hoarse’. Of course, it is also with MacGowan that the Pogues’ more problematic notions of Irishness are cultivated.  MacGowan’s infamous alcoholic tirades, run-ins with the law and glorification of the Irish Republican Army have surely re-inforced as many negative Irish stereotypes as his prodigious musical output and knack for verse have brought out positive ones.  While MacGowan has frequently drawn comparisons to the late Irish poet Brendan Behan (a comparison MacGowan himself invokes in the sublime ‘Streams of Whiskey’), there is another, albeit fictional, figure from Irish literature with whom MacGowan shares a resemblance: James Joyce’s Stephen Dedalus, the irascible protagonist of ‘Portrait of the Artist’ who must turn his back on Ireland in order escape the spiral of his homeland’s tormented past.  Whereas Stephen ultimately flees Ireland for Paris, MacGowan and the Pogues sought to flee London to a particular Ireland of their own imagining.  It is this Ireland, one that exists via North London and rock ‘n’ roll, that so many of us visit every St. Patrick’s Day, when the Pogues songs flow from jukeboxes like so many streams of whiskey and we all try a little too hard to become a little more Irish than we probably should.

¹ A common misconception is that Shane was born here but he was in fact born in the Premier County and moved to England as a child.

further reading: Noel McLaughlin and Martin McLoone, ‘Hybridity and National Musics: The Case of Irish Rock Music’ (Apr. 2000)

if you’re interested in The Pogues we have a stack of great articles on them:

‘From Oppression To Celebration- The Pogues And The Dropkick Murphys And Celtic Punk’ here 

‘A Wee Biography Of Shane MacGowan’  here 

‘The Pogues And Irish Cultural Continuity’  here

‘Film Review: If I Should Fall From Grace With God- The Shane MacGowan Story’  here

‘Book Review: Irish Blood, English Heart- Second Generation Irish Musicians In England’  here

‘Red Roses For Me And Me’  here

‘Film Review: I’m A Man You Don’t Meet Every Day’  here

‘Book Review: Rum, Sodomy And The Lash’ by Jeffrey T. Roesgen’  here

‘The Pogues On Mastermind- The Questions’  here

The Best Pogues Related Sites

In The Wake Of The Medusa  Paddy Rolling Stone  The Parting Glass  Pogues Facebook Page

DANNY DIATRIBE AND D’LYFA REILLY REPPIN IRISH IMMIGRANT HIP-HOP

Irish immigrant hip-hop from Derry born Danny Diatribe and Manchester Irish rapper D’Lyfa Reilly showing the Irish in England are still here and we’re still fighting!

took a drop of the pure to keep my heart from sinking, that’s the Paddy’s Cure

Diatribe, drowning in the infinite, fiat currency and copy written birth certificates, born to war with devils, my spirit never settles, Irish blood it flows with the rage of a thousand rebels, I walk disheveled, drunken through the city streets, Let bottles of whiskey sleep, I disappear for 50 weeks, the drifter speaks, abandoned factories and textiles, I roll with vagabonds that bear the scars of exile, lost in the wilderness, natural born survivor, set your mind on fire, keep it living in the cypher, our rhymes are wiser, we spit the light of hope, struggle till the end till colours blend in out kaleidoscope, I’ve got my iris soaked in paragraphs of knowledge, smash your flashing boxes that have kept your brains in bondage, don’t be astonished, the people pay us homage, discussing economics, educated alcoholics.

We face the world with the freedom of a bird, speech slurred, drop of the pure to calm my nerves, The Paddy’s Cure for the worst that we observed, the devils thirst, drinking till the curse has been reversed.

Living the life of the modern day, urban seanchaí, herdsman with the words on my tongue aren’t lacklustre, got the same heart as the rebels in Ulster, in Leinster, in Connaught, in Munster, did I mumble? I must-a, cos I swear down you aint listening to my pissed up wisdom, two fingers to the system, a backwards piece of my mind what you’ll find inside this ting, set distance between me and you, cos between me and you you’re a cunt, and you can’t critique this alcoholic, physique. Belly of the beast, drinking devil juice with diatribe, Irish lions pride, saliva cyanide, rhyming right inside, sharp like a pain in my side, the bane of my life, Rome wasn’t built in a day and Hadrian’s wall wasn’t built in a night, so me and worries just pass like ships that sail in the night, I’m elevating the grind I drown my sorrow say hello to a hollow tomorrow

We face the world with the freedom of a bird, speech slurred, drop of the pure to calm my nerves. The Paddy’s Cure for the worst that we observed, the devils thirst, drinking till the curse has been reversed.

Bright lights of the city blinding, find them in the shadows rhyming, drunk off the wine their buying sliding through their stomach lining, the Irish traveled tides to find them, pints to keep the light from dying, in the cities of the world residing, drinking to stop the demons rising drinking to stop the demons rising drinking to stop the demons rising and you’ll find them….

(A behind the scenes look at the making of the Paddys Cure video shot in Manchester)

GET A FREE DOWNLOAD

HERE

Click on the ‘More’ button and scroll down to the ‘Download’ button.

Contact Danny Diatribe

Danny Lynch better known as Danny Diatribe hails from Derry City but is now based in Manchester. He has released a couple of fantastic album’s including Elevation Illustrations which is reviewed here and you can hear below on the Bandcamp player.

Danny has a new album, Tales From the Down and Outs: The Irish Art of Story Telling, almost ready for delivery and is looking for help finding a Euro and North American release so if you can help one of own please get in touch with Danny at one of the links below.

Facebook  Bandcamp  Soundcloud  YouTube  Google+  Twitter

Contact D’lfa Reilly  

Creating his own mark in the hip hop scene, D’Lyfa Reilly is a modern day urban Seanchaí (storyteller) from Manchester. Other than being a dab hand at picking a pun ridden alias, he has been perfecting his art of relaying tales untainted by sugar-coated commercialism. D’Lyfa Reilly is a real gem, an emerald if you will.

Facebook  Soundcloud  Bandcamp  YouTube

(Danny Diatribe joins House of Pain on their UK tour. This documentary was shot at the Manchester show at the O2 Ritz in June 2017. Behind the scenes footage of Danny’s soundcheck, backstage and performing ‘Jimmys Bets’, ‘Paddys Cure’ and House of Pain’s ‘Jump Around’ live)

ALBUM REVIEW: THE GOBSHITES- ‘All The Best’ (2017)

The Only Folk’n’Irish Band That Matters!

 

The Gobshites hail from Foxboro in Massachusetts which is about 22 miles south of Boston and is part of the Greater Boston area making them part of celtic-punk folklore. Let’s face it everything Boston is worshipped in the scene and The Gobshites have certainly played their part in making Boston so. We have waxed lyrical about Boston before when we have reviewed albums form the Dropkick Murphys and Mickey Rickshaw but the story of Irish migration to the Boston area begins with those who were brought over unwillingly as indentured servants in the mid-17th Century.  The first real migration of the Irish began in 1718 with the arrival of the Scot-Irish or the ‘Ulster Irish’. The Irish continued to arrive throughout with the slow pre-‘famine’ trickle of the 1820’s onward of Irish Catholic immigrants as well as the corresponding increase in anti-Irish/Catholic sentiment within Boston beginning with the notorious Pope’s Day celebrations and the burning of the Ursuline Convent in 1834 in Charlestown and the Broad Street Riot of 1837. Finally the massive wave of immigration into Boston after the so-called ‘Famine’ and the rise of the Irish from poverty and discrimination into their assimilation into Boston culture. Mind you, The Gobshites ignore all that and sing about boozing it up!

Way back inn 2002 Irish-American punk rocker Pete Walsh, then the lead singer and rhythm guitar player for punk band Meat Depressed, decided he wanted to start up an Irish band and within less than a month later The Gobshites were supporting New York Irish legends Black 47 in their first gig. The band have been through many many line up changes but have been lucky to have had several periods of stability through their career where they have been able to release some of the best records in celtic-punk history. Their debut album, When The Shite Hits The Fans, hit the streets running and instantly gained them a legion of fans and led to them playing all over  the northeastern United States as well as the renowned Shamrockfest in Washington DC and having a float playing along the route of the South Boston St. Patrick’s Day parade. 2007 was a busy year with two albums released with Get Bombed and Another Round before 2011’s Songs Me Da Got Pissed To and the official live bootleg Poitin. It may have been six years without any new material but the lads had not disappeared and continued to play regularly around their home and further afield leading to The Whistle Before the Snap late last year which featured Ritchie Ramone on drums and for the first time consisted of solely Gobshites penned songs.

All The Best is their new release and is typical of The Gobshites wicked sense of humour. The band are famed for taking unusual punk rock songs and turning them into Irish folk trad classics. In a scene where we are more used to folk songs being given a punk rock edge The Gobshites happened on something both really good and highly original. Transforming songs like Black Flag’s ‘Six Pack’ into good auld Irish Singalongs with The Ramones ‘Long Way Back to Germany’ becoming ‘Long Way Back to Ireland’ with fiddle jig incorporated.

All The Best was released on June 1, 2017 and is sixteen of the best songs from The Gobshites back catalogue and is an absolutely fantastic album and the perfect introduction to the band if you have been unlucky not to have heard them yet! Beginning with a superbly ramshackle trad Irish folk tune ‘Anderson’s Reel’ showing that the lads can really play their instruments. A great version of celtic-punk fave ‘Star Of The Country Down’ follows and then ‘Cheers (Raise A Pint)’ which was the first song I ever heard by The Gobshites. It appeared on the famous celtic-punk compilation series What the Shite? Volume Two from 2006 which introduced the world to a whole load of new bands. Catchy is The Gobshites byword and though acoustic and folk its also punk as feck as well!

The Gobshites left to right: Stephen Feeney- Accordion * Corey Jobeau- Mandolin * Nina Ross- Fiddle * Peter (Peadar) Walsh- Vocals/ Guitar * Paddy O’Hare- Drums * Amanda McCue- Guitar/Vocals * Dave Vittone- Accordion/ Keyboards/ Hello Kitty Piano * Tom Hughes- Bass (various folk fill in on Whistle and Banjo but looking for full time applicants for both!)

Booze features heavily on the Gobshites play list and would come as no surprise seeing as they follow the two most beer friendly music scenes in Irish and punk. ’12 Steps’ has a “drink, drink. drink, drink, drink etc.,” chorus that must make it VERY popular at live gigs and again is a brilliantly catchy tune and has a Hello Kitty toy piano solo to boot! ‘Give Ireland Back To The Irish’ is a cover of the song banned by pretty much everyone on it’s release in 1972. Penned by Irish-scouser ex-Beatle Paul McCartney it was banned so thoroughly that its pretty much unknown in the UK despite it reaching number 16 in the Official Singles Chart.

“Tell me how would you like it
If on your way to work
You were stopped by Irish soldiers
Would you lie down do nothing
Would you give in or go berserk”

Written in response to Bloody Sunday when British soldiers ran amok in Derry in the north of Ireland murdering sixteen unarmed Catholic civilians. It’s a great song and we can’t imagine the bravery of McCartney to release it at that time. Again a brilliant version here with Pete’s voice giving it the right amount of emotion and The Gobshites stamp is all over it. Next up is possibly the album standout for me, ‘Friggin’ In The Riggin’. The Sex Pistols risque double-A side that reached No. 3 in the UK singles chart in 1979 and was actually the band’s biggest selling single and being three quarters sea shanty anyway it was ripe for covering. Over in a flash the celtic instruments rule and turn the Pistols song into the Irish standard it was always meant to be.

“It was on the good ship Venus
By Christ, ya shoulda seen us
The figurehead was a whore in bed
And the mast, a mammoth penis”

Not for the faint-hearted, or your Nan, but great fun. Two great drinking songs next with ‘I Only Drink Stout’, a piss take version of The Queers ‘I Only Drink Bud’, and the simply titled, and apt!, Gang Green song ‘Alcohol’ keep up the tempo until a good and solid ‘Dirty Old Town’ hits the decks and yeah I know you’ve heard it a million times but a good version is still a good version and even a shite one can still have you belting out your lungs! Has a very good Clash tribute at the end to ‘London Calling’. ‘Pubcrawling’ name checks the local bars of Foxboro (be interesting to know how many have survived the yuppie invasion) while ‘Pirates Life For Me’ begins with the sound of the ocean and sample galore as The Gobshites ham the theme tune to Pirates Of The Caribbean right up.

‘Trouble With Women’ is a funny wee ditty which slots in nicely with its slow and (yes!) catchy chorus. Another favourite of mine here is The Ramones track ‘Somebody Put Something In My Drink’, though this live version owes as much to The Meteors psychobilly version as The Ramones.

Pete is joined on vocals by Ritchie Ramone and what sounds like a massive crowd. The aforementioned ‘Long Way Back’ features another Ramone in Tommy and begins with uileann pipes and is another bloody corker. Boston based musician and sometime actor Lenny Lashley of The Street Dogs gives us a song simply called ‘Irish’ and its as good a homage to the homeland as any. Written by Lenny for his old band Darkbuster we are nearing the end and its time for the abso-fecking-lutely hilarious ‘Shane’s Dentist’. Written by country/punkabilly legend Mojo Nixon just watch the video for the story but yes it’s about you know who. For the final song we leave where we came in with a short and extremely well played Irish traditional tune ‘The Sally Gardens’.

So there you have it and there can be no surprise when I say that every song on this album is Premier League. The Gobshites have been at the forefront of the celtic-punk scene ever since they started and with a back catalogue to die for they could have made this Best Of thirty-two (or sixty-four!) tracks and the quality would still shine right through. They may not have toured Europe or even across America (yet!) but they have still managed to make quite the name for themselves. I haven’t played The Gobshites in quite a while but this is surely one of the most catchiest and cool as fk records I have heard in ages and not only that but they have made it a ‘Pay What You Want’ download meaning that it’s available for free if you so wish but get the Bhoys at least a Guinness won’t you? So drop what you doing, get downloading, get the beers in, only stout of course, sit back and relax and turn up the volume!

(listen to Some Of The Best for free below on the Bandcamp player)

Download All The Best

FromTheBand

Contact The Gobshites

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gob·shite  (gŏb′shīt′)

n. Chiefly Irish Slang  person regarded as mean or contemptible.

THE HISTORY OF CELTIC-ROCK MUSIC

Today the 30492- London Celtic Punks web zine is four years old today so what better way to celebrate our birthday than to give you this small but perfectly formed potted history of Celtic-Rock. We have never just wanted to be a place that only reviews new records we want to celebrate everything that makes us celtic-punks. Our love of our roots and our history and our traditions and the love that those with no Celtic ancestry have as well. Celtic-Punk is for all that share our common values of friendship and solidarity and the love of a good time. Music cannot change the world but it can certainly make it a better place to live in and in these uncertain times that is something we all need. The roots of celtic-punk should be important to us as that is where we come from and we must never forget that.

The London Celtic Punks Admin Team

Celtic rock is a genre of folk rock, as well as a form of Celtic fusion which incorporates Celtic music, instrumentation and themes into a rock music context. It has been extremely prolific since the early 1970’s and can be seen as a key foundation of the development of highly successful mainstream Celtic bands and popular musical performers, as well as creating important derivatives through further fusions. It has played a major role in the maintenance and definition of regional and national identities and in fostering a pan-Celtic culture. It has also helped to communicate those cultures to external audiences.

Definition

The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music. This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish Bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in Celtic languages and by the use of traditional rhythms and cadences in otherwise conventional rock music. Just as the validity of the term Celtic in general and as a musical label is disputed, the term Celtic rock cannot be taken to mean there was a unified Celtic musical culture between the Celtic nations. However, the term has remained useful as a means of describing the spread, adaptation and further development of the musical form in different but related contexts.

History

Origins

Celtic rock developed out of the (originally English) electric folk scene at the beginning of the 1970’s. The first recorded use of the term may have been by the Scottish singer Donovan to describe the folk rock he created for his Open Road album in 1970, which itself featured a song named ‘Celtic Rock’. However, the lack of a clear Celtic elements to the self-penned tracks mean that even if the name was taken from here, this is not the first example of the genre that was to develop.

Ireland

It was in Ireland that Celtic rock was first clearly evident as musicians attempted to apply the use of traditional and electric music to their own cultural context. By the end of the 1960’s Ireland already had perhaps the most flourishing folk music tradition and a growing blues and pop scene, which provided a basis for Irish rock. Perhaps the most successful product of this scene was the band Thin Lizzy. Formed in 1969 their first two albums were recognisably influenced by traditional Irish music and their first hit single ‘Whisky in the Jar’ in 1972, was a rock version of a traditional Irish song. From this point they began to move towards the hard rock that allowed them to gain a series of hit singles and albums, but retained some occasional elements of Celtic rock on later albums such as Jailbreak (1976). Formed in 1970, Horslips were the first Irish group to have the terms ‘Celtic rock’ applied to them, produced work that included traditional Irish/Celtic music and instrumentation, Celtic themes and imagery, concept albums based on Irish mythology in a way that entered the territory of progressive rock all powered by a hard rock sound. Horslips are considered important in the history of Irish rock as they were the first major band to enjoy success without having to leave their native country and can be seen as providing a template for Celtic rock in Ireland and elsewhere. These developments ran in parallel with the burgeoning folk revival in Ireland that included groups such as Planxty and the Bothy Band. It was from this tradition that Clannad, whose first album was released in 1973, adopted electric instruments and a more ‘new age’ sound at the beginning of the 1980s. Moving Hearts, formed in 1981 by former Planxty members Christy Moore and Donal Lunny, followed the pattern set by Horslips in combining Irish traditional music with rock, and also added elements of jazz to their sound.

  • THE POGUES AND IRISH CULTURAL CONTINUITY (here)

Scotland

There were already strong links between Irish and Scottish music by the 1960s, with Irish bands like the Chieftains touring and outselling the native artists in Scotland. The adoption of electric folk produced groups including the JSD Band and Spencer’s Feat. Out of the wreckage of the latter in 1974, was formed probably the most successful band in this genre, combining Irish and Scottish personnel to form Five Hand Reel. Two of the most successful groups of the 1980s emerged from the dance band circuit in Scotland. From 1978, when they began to release original albums, Runrig produced highly polished Scottish electric folk, including the first commercially successful album with the all Gaelic Play Gaelic in 1978. From the 1980s Capercaillie combined Scottish folk music, electric instruments and haunting vocals to considerable success. While bagpipes had become an essential element in Scottish folk bands they were much rarer in electric folk outfits, but were successfully integrated into their sound by Wolfstone from 1989, who focused on a combination of highland music and rock.

  • HOW THE IRISH AND THE SCOTS INFLUENCED AMERICAN MUSIC (here)

Brittany

Brittany also made a major contribution to Celtic rock. The Breton cultural revival of the 1960s was exemplified by Alan Stivell who became the leading proponent of the Breton harp and other instruments from about 1960, he then adopted elements of Irish, Welsh and Scottish traditional music in an attempt to create a pan-Celtic folk music, which had considerable impact elsewhere, particularly in Wales and Cornwall. From 1972 he began to play electric folk with a band including guitarists Dan Ar Braz and Gabriel Yacoub. Yacoub went on to form Malicorne in 1974 one of the most successful electric folk band in France. After an extensive career that included a stint playing as part of Fairport Convention in 1976, Ar Braz formed the pan-Celtic band Heritage des Celtes, who managed to achieve mainstream success in France in the 1990’s. Probably the best known and most certainly the most enduring electric folk band in France were Tri Yann formed in 1971 and still recording and performing today. In 2017 celtic-punk band Les Ramoneurs De Menhirs fly the flag for Brittany singing in their native language and playing regularly and often accompanied on stage by Louise Ebrel, daughter of Eugénie Goadec, a famous traditional Breton musician.

  • ALBUM REVIEW: LES RAMONEURS DE MENHIRS- ‘Tan Ar Bobl’ (here)

Wales

By the end of the 1960’s Wales had produced some important individuals and bands that emerged as major British or international artists, this included power pop outfit Badfinger, psychedelic rockers Elastic Band and proto-heavy metal trio Budgie. But although folk groupings formed in the early 1970’s, including Y Tebot Piws, Ac Eraill, and Mynediad am Ddim, it was not until 1973 that the first significant Welsh language rock band Edward H Dafis, originally a belated rock n’ roll outfit, caused a sensation by electrifying and attempting to use rock instrumentation while retaining Welsh language lyrics. As a result, for one generation listening to Welsh language rock music could now become a statement of national identity. This opened the door for a new rock culture but inevitably most Welsh language acts were unable to breakthrough into the Anglophone dominated music industry. Anhrefn became the best known of these acts taking their pop-punk rock sound across Europe from the early-80’s to mid-90’s.

  • TRIBUTE TO WELSH PUNK ROCK LEGENDS ANHREFN (here)

Cornwall and the Isle of Man

Whereas other Celtic nations already had existing folk music cultures before the end of the 1960s this was less true in Cornwall and the Isle of Man, which were also relatively small in population and more integrated into English culture and (in the case of Cornwall) the British State. As a result, there was relatively little impact from the initial wave of folk electrification in the 1970’s. However, the pan-Celtic movement, with its musical and cultural festivals helped foster some reflections in Cornwall where a few bands from the 1980s onwards utilised the traditions of Cornish music with rock, including Moondragon and its successor Lordryk. More recently the bands Sacred Turf, Skwardya and Krena, have been performing in the Cornish language.

  • ALBUM REVIEW: BARRULE- ‘Manannans Cloak’ (here)

Subgenres

Celtic Punk

Ireland proved particularly fertile ground for punk bands in the mid-1970s, including Stiff Little Fingers, The Undertones, The Radiators From Space, The Boomtown Rats and The Virgin Prunes. As with electric folk in England, the advent of punk and other musical trends undermined the folk element of Celtic rock, but in the early 1980s London based Irish band The Pogues created the subgenre Celtic punk by combining structural elements of folk music with a punk attitude and delivery. The Pogues’ style of punked-up Irish music spawned and influenced a number of Celtic punk bands, including fellow London-Irish band Neck, Nyah Fearties from Scotland, Australia’s Roaring Jack and Norway’s Greenland Whalefishers.

  • FROM OPPRESSION TO CELEBRATION- THE POGUES TO THE DROPKICK MURPHYS AND CELTIC PUNK (here)

Diaspora Celtic Punk

One by-product of the Celtic diaspora has been the existence of large communities across the world that looked for their cultural roots and identity to their origins in the Celtic nations. While it seems young musicians from these communities usually chose between their folk culture and mainstream forms of music such as rock or pop, after the advent of Celtic punk large numbers of bands began to emerge styling themselves as Celtic rock. This is particularly noticeable in the USA and Canada, where there are large communities descended from Irish and Scottish immigrants. From the USA this includes the Irish bands Flogging Molly, The Tossers, Dropkick Murphys, The Young Dubliners, Black 47, The Killdares, The Drovers and Jackdaw, and for Scottish bands Prydein, Seven Nations and Flatfoot 56. From Canada are bands like The Mahones, Enter the Haggis, Great Big Sea, The Real McKenzies and Spirit of the West. These groups were naturally influenced by American forms of music, some containing members with no Celtic ancestry and commonly singing in English. In England we have The BibleCode Sundays, The Lagan and others.

  • THE EFFECTS OF NEW DIASPORA CELTIC PUNK: THE CREATION OF A PAN-CELTIC CULTURE (here)

Celtic Metal

Like Celtic rock in the 1970s, Celtic metal resulted from the application of a development in English music, when in the 1990s thrash metal band Skyclad added violins, and with them jigs and folk voicings, to their music on the album The Wayward Sons of Mother Earth (1990). This inspired the Dublin based band Cruachan to mix traditional Irish music with black metal and to create the subgenre of Celtic metal. They were soon followed by bands such as Primordial and Waylander. Like Celtic punk, Celtic metal fuses the Celtic folk tradition with contemporary forms of music.

  • CELTIC-METAL’S TOP FIVE BANDS (here)

Influence

Whereas in England electric folk, after initial mainstream recognition, subsided into the status of a sub-cultural soundtrack, in many Celtic communities and nations it has remained at the forefront of musical production. The initial wave of Celtic rock in Ireland, although ultimately feeding into Anglo-American dominated progressive rock and hard rock provided a basis for Irish bands that would enjoy international success, including the Pogues and U2: one making use of the tradition of Celtic music in a new context and the other eschewing it for a distinctive but mainstream sound. Similar circumstances can be seen in Scotland albeit with a delay in time while Celtic rock culture developed, before bands like Runrig could achieve international recognition. Widely acknowledged as one of the outstanding voices in Celtic/rock is the Glasgow born Brian McCombe of The Brian McCombe Band, a pan Celtic group based in Brittany.

In other Celtic communities, and particularly where Celtic speakers or descendants are a minority, the function of Celtic rock has been less to create mainstream success, than to bolster cultural identity. A consequence of this has been the reinforcement of pan-Celtic culture and of particular national or regional identities between those with a shared heritage, but who are widely dispersed. However, the most significant consequence of Celtic rock has simply been as a general spur to immense musical and cultural creativity.

ALBUM REVIEW: FLOGGING MOLLY- ‘Life Is Good’ (2017)

“The one thing we are is a positive band. When people come and see our shows, it’s a celebration of life, of the good and of the bad. And we have to take the good and the bad for it to be a life”- Dave King

Life is Good!

It certainly is good for Celtic Punk fans around the globe. Here we have the release of yet another quality album in 2017. It comes from the third branch of the Holy Trinity of Celtic Punk, Flogging Molly. It follows on from outstanding albums from the other two branches this year, namely The Dropkick Murphys and Flatfoot 56. We really have been spoiled this year, especially when you consider that we’ve also had new albums from The Tossers, Damien Dempsey, Paddy and the Rats and so many more Celtic bands. Too many to mention here, especially as this meant to be a review of Flogging Molly’s Life is Good. So maybe just take a minute to think how lucky we all are to be part of such a dynamic and productive “scene”!!

Life is Good is the eighth album to have been released by Celtic Punk premier leaguers, Flogging Molly, and its class! That’s one of the things that went through my mind while I was listening to it, the class just stands out! It’s made up of 12 tracks and runs for three quarters of an hour.

That “class” is evident throughout all the tracks here, it shows how well the band works as a unit, complimenting each other. I suppose twenty years of performing together is going to give us that polished sound. Their last album “The Speed of Darkness” consisted of a, what some people might claim, more mainstream rock sound. I must admit it was one that grew on me, rather than hit me straight away, although now it is one of my favourites. Life is Good definitely sounds more Celtic influenced, with some beautiful fiddle work from Bridget and some rousing banjo from Bob. It is not as raw as Drunken Lullabies or Swagger, but the same feeling is still there, it’s just a bit more professionally produced.

It kicks off with There’s Nothing Left, setting a jaunty pace that is kept up throughout. The Hand of John L Sullivan is next. Many of you will have heard this one as it was a video released a few months ago. It shows how Dave King still has the knack for writing punchy and interesting songs to go along with his ballads and anthem like offerings. Welcome to Adamstown incorporates a great brass section to give some “oomph” to the baseline. It’s a tale of unfinished suburbia in King’s native Dublin. Next comes Reptiles (We Woke Up). Now this is one of those aforementioned anthems, I can picture the crowd at The Forum, at the end of June, having a great time with this one. A bit like the All of Our Boys / Oliver Boy singalong from Speed of Darkness.

Here it is:

The Days We’ve Yet To Meet is the next track, a good up tempo rock number. Then we have the title track, Life is Good. A bittersweet song dealing with death and illness, but also impressing upon us to live our lives and enjoy them. The Last Serenade comes next, it’s one that resonates with me, dealing with ailing fisheries that most of us who live on the coast have witnessed. It’s a slow tempoed ballad and might not really sit well with a Punk audience, but I love it! The slow pace continues with the intro to The Guns of Jericho which soon livens up to a foot stomper though!

Crushed (Hostile Nations) also starts slowly with some lovely pipes accompanying Dave’s opening lines, but it soon turns into a deep almost hypnotic heavy beat. There’s electric guitar solos and a pounding rhythm, I’m reminded of Horslips, but different! There seems to be a darkness to it, probably part of the “Hostility”. A great track!!After the angst of Crushed, we move into the optimism of Hope! Another one that will have the fans up and singing along to the chorus. The Bride Wore Black is a fine pacy tune that you could dance to. I don’t know who it’s about, but she sounds like a bit of craic anyway!! We finish with Until We Meet Again, another ballad with some lovely fiddle and accordion playing, that rounds off the album perfectly.

Flogging Molly have been together for twenty years now, having formed in 1997. Dave King, Bridget Regan, Bob Schmit, Denis Casey, Nathan Maxwell, Matt Hensley and Mike Alonso have combined to bring us six exceptional studio albums and two sublime live recordings. They have played some of the best live gigs that I’ve been to and I hope to see many more! What they bring to the music scene in general and the Celtic Punk scene in particular is an authenticity and intelligence. Let’s hope they (and me!) are around in another twenty years! Slainte.

Ger Mellon 2017.

Buy Life Is Good

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  • On Thursday you lucky folk Flogging Molly play at The Forum in Kentish Town, north London. Ticket information here.

ALBUM REVIEW: BLACK IRISH TEXAS- ‘The Good, The Bad And The Indifferent’ (2017)

Black Irish Texas are not just another Irish punk band. They may be influenced by the giants of the scene but this seven piece brings plenty more to set them apart. With Guinness fueled lyricism Black Irish Texas navigate you between psychobilly and Texas two-step all in one show. With a new album to promote they are touring Europe later this year so I hope you’ll be lucky to catch them.

Now long, long ago before there was Facebook existed a thing called My Space. It was similar in many ways and took off in a way that nothing before it had ever done before. Music orientated it introduced us to bands across the globe who you would never knew even existed. Sadly it was bought by Rupert Murdoch and his massive media empire who from the go set about messing around with the format and ended up destroying it and so everyone left in dribs and drabs and migrated to Facebook which had stolen all the best bits of My Space and well the rest is history. I mention this because the first band I found on my first ever computer on my first visit onto My Space was Black Irish Texas. A bunch of songs that took in all my favourite genres of music and chewed them up and spat back out some of the best music I had ever heard. Psychobilly, punk, Irish, Americana, country all flow through their music and combined with the intelligent and thoughtful and often hilarious lyrics I knew this band was going to be a favourite of mine for a LONG time.

The band hail from the fastest growing city in the Unites States, Austin in Texas. It’s an area famed for it’s vibrant and exciting music scene that has spawned such luminaries as Buddy Holly and Roy Orbison in the 50’s and 60’s through to the hippie days and then punk bands like The Dicks and MDC in the 70’s. More recently it’s been mainly college rock and indie being churned out. In fact the official Austin slogan is ‘The Live Music Capital of the World’ and emerging out of that highly competitive music scene comes Black Irish Texas.

Formed in 2004 and with untold amount of line up changes and trials and tribulations. So many in fact that I have often thought the band were no more but again and again they kept cheering me up with their return. Their debut album To Hell With The King released in 2009 was just about the most perfect celtic-punk album I had heard at the time. Spaghetti western/Americana/punk infused Irish American music that still now feels completely fresh and original. A mixture of brilliant originals and some choice covers of The Pogues and a couple of trad songs, ‘Rocky Road To Dublin’ and an outstanding ‘Come Out Ye Black and Tans showed they were a force to be reckoned with. With a welcome (hic!) sponsorship from Jameson Irish whiskey and growing local support Black Irish Texas began to play further afield and within a few years they had covered most of America gaining devout followers everywhere they ventured.

To Hell With The King was followed by the six track EP An Ode To Saint Cecilia in 2013 and again was received with tremendous reviews. St Cecilia is of course the patron saint of musicians so who better to have on your side in the world’s most competitive music city. Another album followed with Lifetime Problems and Short Term Solutions but as i haven’t heard that one (hint hint) I cannot tell you anything about it!

(here’s the title track from An Ode To St. Cecilia)

Now with a settled line up of some of Austin’s best musicians and with a European tour on the horizon which will take them across Europe as well as back to their ancestral home in Ireland (but alas won’t see them coming to play here in the belly of the beast) things have never looked rosier.

So the new album hits the floor running and shows Black Irish Texas have lost none of their flair for interesting and original Irish music. After all it is Irish music that underpins everything they do. Whatever they throw in that mix at the base of it all is the music of Ireland but distilled through a bunch of Irish-Americans with a list of influences as long as your arm. The Good, The Bad And The Indifferent (great title by the way) begins with ‘G.B.U. Theme’ and is the Black Irish Texas take on the unofficial anthem of their home state. A spaghetti western tune played nice and slow but with tin whistle. They up the tempo next with ‘Ain’t Gonna Last’ and vocalist/guitarist James has a natural voice for celtic-punk and veers nicely between singing and shouting.

(the official video for ‘Ain’t Gonna Last’)

Over in a flash of just 102 seconds it’s fast and furious with the band going at full pelt. Black Irish Texas have never shied away from playing the odd rebel song and it’s no different here with one of the best appearing. ‘Join The British Army’ is a old trad Irish folk song dating right back to Victorian times and concerns a young Irishman who regrets his decision to volunteer for the British army.

“Too-ra loo-ra loo-ra loo,
Me curse upon the Labour blue,
That took me darlin’ boy from me,
To join the British army.

Corporal Sheen’s a turn o’ the ’bout,
Just give him a couple o’ jars o’ stout,
He’ll bate the enemy with his mouth,
And save the British army.

Too-ra loo-ra loo-ra loo,
I’ve made me mind up what to do,
Now I’ll work me ticket home to you,
And fuck the British army”

Now regular readers will know that as much as I love it speedy I’m now getting on a bit and slowing down. Those 8-hour gardening sessions are a thing of the past without a few days recovery so I loved ‘Richcreek’. A slow and ponderous celtic/country instrumental led by the banjo with very nice backing from the rest of the band until the fiddle comes in late on. I love this song, right up my street. The Bhoys turn it on its head next with ‘Yates’. Another top notch song, great guitar and thundering double bass and dynamite banjo and fiddle. One of only a few bands in celtic-punk who use a double bass and boy (or should that be Bhoy) does it work well. The sound is incredible and when played well as it is here by Shannon McMillan then it can make a mediocre song brilliant. Not that Black Irish Texas have to worry about that. James comes in at the end with some vocals but by then the Irish tune has got hold and it is flying. ‘No One’s Having Any Fun’ starts slow with that western feel to it again but soon speeds up and sets Trump in their sights. Most of the anti-Trump protest’s we see are usually of very rich people whining about white privilege (sorry idiots it doesn’t exist) but these guys are actually working class and their protest is sincere and real and not designed to upset their parents or assuage their guilt at being rich. They cover the famous anti-war track ‘And The Band Played Waltzing Matilda’ next and play it with a gusto that I haven’t heard with this song before. Eric Bogle’s legendary tune takes in folk and rockabilly and while it does seem strange to hear this song in a way you could mosh to it’s still very respectful and James reciting of the lyrics are very clear throughout. The album ends with the imaginatively titled ‘Don’t Too Ra Li To Me’ and they save the best for last with every influence they ever picked up layered on top of an Irish/country tune. The bands famous sense of humour has been missing up till now and they more than make up for it here. Imagine a Irish folk punk  hoe down with James spitting out line upon line that will make you smile and/or shout yourself hoarse!

(here’s a stripped down concert at The Hideaway, Johnson City, Tennessee Aug 2016 of the band playing some old faves and some new album tracks)

So there you are. Eight songs that come in just short of a half hour and every single one a bona fide winner! Black Irish Texas are dead right when they say we should NOT try and pigeonhole them as an Irish pub band. And while it may be (!) possible you will hear them singing ‘Danny Boy’ one day i can guarantee it will be the best fecking version you will ever hear of it. In these times of uncertainty the Irish-American community is safe with bands like this at it’s forefront. Some of the most original celtic-punk music I have heard this year and as 2017 is shaping up as the scene’s busiest ever year that is some compliment.

Buy The Good, The Bad And The Indifferent

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Contact Black Irish Texas

WebSite  Facebook  YouTube  Twitter  ReverbNation and of course MySpace where it all began for me!

2017 LONDON MEMORIAL TO THE GREAT HUNGER

On Sunday 14th May 2017, it will be 170 years since the beginning of An Gorta Mor (The Great Hunger) in Ireland. This year there will be a memorial event outside TUC Congress House. This location has been chosen because the Parish of St. Giles was the first recorded ‘Little Ireland’ in London. Many Irish people who lived in this parish endured overcrowding, poverty and squalor and many died of typhus. For this reason, a number of us will be campaigning for a memorial statue to ‘An Gorta Mor’ in this part of London. Unlike Liverpool, no other such statue exists in the capital city. We like to seen the statue dedicated to all the Irish and other migrant workers who made Britain, the most industrialised nation in the world through their concentration of cheap labour!

LONDON REMEMBERS THE GREAT HUNGER

SUNDAY 14th MAY- 1pm SHARP

OUTSIDE TUC, CONGRESS HOUSE, GREAT RUSSELL STREET, LONDON WC1B 3LS

(nearest tube- Tottenham Court Road) 

The event will last for about 40 minutes. Invited speakers are as follows: Austin Harney will speak on the callous administration of Lord Trevelyan who was Head of the Treasury in 1847. This administration under its prime minister, Lord John Russell, denied the vital imports of grain supplies to Ireland, thus causing many Irish people to die of starvation. Niall Mulholland will speak on how An Gorta Mor devastated the people of the North of Ireland and Mick Gilgunn will speak on how the poverty stricken Irish immigrants in London built the British Trade Union movement and the prosperity of the capital of Britain since the days of An Gorta Mor! After the speakers, we will have a minute’s silence for all the Irish people who died and forced to flee from Ireland as a result of this “Great Hunger”.

THE GREAT FAMINE LIE

When I was a kid I grew up taught that the Irish famine was a natural catastrophe caused by crop failure. That I was taught this at a school in England where I’d guess well over 50 % of the children had Irish parents or Grandparents is quite simply wrong. The books I was given in History class of course didn’t tally with the accounts I was hearing at home and as has been the way with the Irish abroad it was that passed on history that won the day. While it is true that the main crop for the Irish and especially the working class Irish was the potatoes the truth as ever is far more startling.

Failure of the potato crop began in 1845 and this impacted on the Irish population as other crops had to be purchased at a very high price or forfeited to their landlords. Hence, the starvation took effect in 1846. During the following year, it was the beginning of more than a million deaths as Britain refused to supply grain to the starving Irish population. In addition, many workers on the roads contracted typhus and it led to the ‘Road Fever’, that spread as far as Belfast, killing many workers. It is estimated that of the British Empires 130 army regiments a staggering 67 were in Ireland during the time of The Great Hunger. Over 100,000 soldiers at any one time. Don’t be fooled into thinking that these soldiers were there on a charitable mission to help the poor beleagued Irish. they were there with only one purpose. Their job was to subdue any Irish resistance and to remove food by force. AT any one point forty shiploads of food, rising to double that some days, were removed from the island of Ireland at gunpoint. Ireland starved as its food was confiscated. The British police and soldiers seized tens of millions head of livestock, tens of millions of tons flour, grain and poultry and protected these shipments from the starving and dying Irish. All the while those in charge knew full well that these huge quantities were more than enough to feed those dying of starvation. When the quantity of exports leaving Ireland could no longer be concealed, George Bernard Shaw wrote in Man and Superman 1897:

“The Famine? No, the Starvation. When a country is full of food and exporting it, there can be no famine.”‘

In the best book ever written on the subject, The Great Hunger, British Historian Cecil-Woodham Smith exposed the removal of food to Britain and became a pariah in academia for the next 30 years. Historians and their books maintain the lie that only potato’s were cultivated and anyone bringing the genocide out in the open is smeared as a “republican sympathiser”.

While it is no surprise of an Irish politician it is still to her eternal shame that former Irish President Mary Robinson referred to the genocide as

“Ireland’s largest natural disaster”.

In 2005 while Prime Minister Tony Blair said,

“Britain stood by while the Irish starved to death”

but again did not acknowledge role of the British Army in forced food confiscations.

The official figures posit a two million drop from 1841-51 due to famine and emigration but it is believed the 1841 census wildly underestimated the real population of over Ireland meaning the figures for both the dead and emigration would be much much higher. The genocide was a deliberate attempt to exterminate the Irish people and their cultural and national identity. Queen Victoria’s economist, Nassau Senior, voiced his fear that existing policies

“will not kill more than one million Irish in 1848 and that will scarcely be enough to do much good”.

During the “famine” years, Irish foodstuff received high prices on the agricultural and commodity markets of the world. The British Empire covered half the globe; why else would it keep half its armies in Ireland at great expense? The Irish were an obstacle to Britain’s world power. They were Celtic, Catholic with their own rich culture and traditions, namely strong: National identity, Family, Culture and faith. The Irish have a strong Celtic consciousness giving the people the ability to think critically, morally and be self-sufficient. It’s in our DNA no one can ever extinguish it.

Further Recommended Reading:

Let Ireland Remember  Irish National Famine Memorial Day

but the most extensive resource on Facebook about this period is to be found at

Irish Holocaust –Not Famine: The Push To Educate In Facts

IN FOR A PENNY RELEASE NEW SONG ‘EASTER MOURN’ AND VIDEO

A new song and video from Irish-American celtic-punk band In For A Penny from Tybee Island, Georgia in the southeastern United States. We don’t often feature videos. In fact I can only remember us doing it a handful of times but as soon as I heard ‘Easter Mourn’ I knew it was worthy and on what better day than the Bobby Sands anniversary. It’s a taster from their upcoming album ‘One More Last Hurrah!’ to be released soon.

 EASTER MOURN

05-05-2017

“Easter mourn in the early light of Spring April 1916
Did a proclamation ring o’er Dublin town
From the GPO came the charge to go
Right proudly flew the flag of war o’er Dublin town
There’ll be no resurrection on this Easter mourn
The poets and the teachers, soldiers and the speaker
Pledged their lives to free her,
Oh Dublin town in the rubble fought the rabble,
Bravely to the battle while the long range guns did pound and rattle,
O’er Dublin town
Locked up by the foreigner in Kilmainham gaol”
Singer/ bouzouki player and songwriter Sean McNally was kind enough to write a few words about the track so without further ado over to him.
“The song was inspired by a story I read about Canon O’Neill who wrote the modern lyrics to Foggy Dew. Came up with my own arrangement for the upcoming release and read about how he wrote it after he attended the first sitting of the new Irish Parliament, known as the Dail. The names of the elected members were called out, but many were absent. Their names were answered by the reply “faoi ghlas ag na Gaill” which means “locked up by the foreigner”. the line just hit me and it call came from there… it’s an homage to Foggy Dew basically”

Contact In For A Penny

Facebook  WebSite  YouTube  ReverbNation

In For A Penny left to right: Jeremy Riddle- Guitar * Special Guest Appearance Ricardo Ochoa- violin * Sean McNally- Vocals and Bouzouki * Henny ‘Da Butcha’- Drums * Bryce McNally- Bass

you can support this great band by getting their latest EP ‘Every Day Should Be Saint Paddy’s Day’ for only $5 from here on CD or here on download. Read our review here.

Bobby Sands died in prison following a 66 day hunger strike on this day back in 1981. Bobby Sands would be the first of ten men to die in an effort to gain political status in a very public battle with British Prime Minister Margaret Thatcher.

Born in 1954, Bobby Sands grew up in Belfast under the cloud of nationalist and loyalist divisions. He joined the Republican Movement when he was 18 and was soon arrested and imprisoned for possessing a firearm. A second arrest in 1976 led to a 14-year-sentence. In prison, Sands embarked on a 66 day hunger strike that led to his death. During the strike he was elected a Member of Parliament.

A hero among Irish nationalists, Robert Gerard ‘Bobby’ Sands was born in Belfast, 9 March 1954. Bobby was the oldest of four children born to John and Rosaleen Sands, and the couple’s first son. At an early age, Sands’s life was affected by the sharp divisions that shaped Northern Ireland. At the age of 10, he was forced to move with his family out of their neighborhood due to repeated intimidation by loyalists.

“I was only a working-class boy from a Nationalist ghetto, but it is repression that creates the revolutionary spirit of freedom.”

Loyalist intimidation proved to be a theme in Sands’s life. At the age of 18, he was forced out of his job as an apprentice car builder by a group of British supporters. Not long after, he and his family had to move again. Thatcher’s view of the prisoners and the IRA was that they were murderous thugs. Nationalist Ireland’s view the complete opposite.

The IRA played a very astute international campaign during the hunger strikes gaining widespread support and attention for their cause. The deaths of Sands and his colleagues boosted IRA recruitment. The support for the strike was evidenced by Sands winning the vacant House of Commons seat for MP for Fermanagh and South Tyrone in a by-election necessitated by the death of sitting MP Frank Maguire. In a hugely emotional campaign, Sands defeated Unionist candidate Harry West.

The demands of the prisoners included:

1. The right not to wear a prison uniform;

2. The right not to do prison work;

3. The right of free association with other prisoners, and to organise educational and recreational pursuits;

4. The right to one visit, one letter and one parcel per week;

5. Full restoration of remission lost through the protest.

Britain never formally acceded to the strikers’ demands but three days after the hunger strikes finally came to an end on 3 October, Ulster Secretary James Prior announced a number of concessions including the right to wear civilian clothes and the restoration of partial remission for those who obeyed prison rules for three months.

LIVE REVIEW: FEROCIOUS DOG AND NECK AT THE GARAGE, NORTH LONDON LAST NIGHT!

We don’t hang about here and hot off the press here’s a review of last nights shenanigans. It all happened in the heart of Arsenal territory in North London but thankfully they weren’t at home and we had the Wetherspoons to ourselves pre-gig. Two of the greatest celtic-punk bands around combined for the perfect night and gave their London Hellhound following a night to remember.

Review by Chris Brown

Tonight’s gig was Ferocious Dog and Neck at The Garage in Highbury.

The Garage

An easy trip from Pimlico to Highbury and Islington on the Victoria line and the venue was opposite the tube station.

Ferocious Dog and Neck have been talking about doing this gig at The Garage for a year or two now and finally it’s happened.

I was there to do Neck’s merch and covered a couple of Leanne’s breaks too. Also had a Sea Shepherd stand next to us so I was able to talk to them about having a stall at my event raising funds for Hunt Sabs and Sea Shepherd in Derby on May 6th. 13 bands in 12 hours and free entry.

pre-gig

Neck’s set was superb. Playing favourite tracks like ‘Every Day Is Saint Patrick’s Day’, ‘Always Upsetting Somebody’, ‘McAlpine’s Fusiliers’, ‘Star Of The County Down’, ‘Everyone’s Welcome To The Hooley’ and ‘The Psycho-Ceilidh Mayhem Set’. A wonderful set of London-Irish Psycho-Ceilidh performed with the added bonus of Ruts DC’s Leigh Heggarty as guest guitarist.

And then, Ferocious Dog tore the fucking roof off. This is the first time I’ve seen Ferocious Dog with their new line-up after the departure of Scott Walters and Ellis Waring earlier this year.

Their more than capable replacements in the form of Hung Like Hanratty’s ex-drummer Alex Smith and multi-instrumentalist John Leonard of Seven Little Sisters have fitted in nicely and added their own thing to the mix that is Ferocious Dog.

From the atmospheric intro written and recorded by Hell Hound John James JJ Kirk to the opening notes of ‘Gallows Justice’ through to ‘Mairi’s Wedding Pt II’ and the encore of ‘Paddy On The Railway’ and ‘Slow Motion Suicide’ via ‘Poor, Angry and Young’, ‘Verse For Lee/The Glass/Lee’s Tune’, ‘Ruby Bridges’, ‘Crime and Punishment’, ‘I Stand’, ‘Unconditional’, ‘Raggle Taggle Gypsy’, ‘Freeborn John’, ‘Hell Hounds’, ‘Criminal Justice’, Blind Leading The Blind’ and ‘Freethinker’ (not in order and a few missing but yeah) the set was non-stop foot-stomping, hand-clapping, Ferocious moshing, heel-to-heeling and toe-to-toeing punk folk at it’s best.

I love the fact that Blind Leading The Blind is reappearing in the set now and that the loss of two very accomplished band members hasn’t meant Ferocious Dog calling it a day. They survived three members leaving before so it was hardly a surprise but I am genuinely delighted that the new line-up sounds so feckin’ good.

There’s life in the old Dog yet.

Ferocious DogWebSite  FacebookPage  FacebookGroup  YouTube  Twitter

NeckWebSite  Facebook  YouTube  Twitter

thanks to Chris for the review, Amy O’D for the photos.

HOW TO BECOME AN AUTHENTIC IRISH-PUNK BAND!

irish-instrument1The Irish are quite rightly famed for their music. Whether or not this would be so if the country and it’s inhabitants hadn’t had such a tragic past is debatable but traditional Irish music has been around centuries and has had an influence on many different forms of music, most notably in American bluegrass and country. By the High and Late Medieval era, the Irish annals were listing musicians and in County Wicklow a set of wooden pipes were discovered that date even further back to the Stone Age to prove it. There’s just something about the pipes and the melodies of an Irish song that brings out so many feelings and emotions in people.

So there you are sat at home thinking of starting up an authentic Irish folk-punk band but what instruments do you need to include. Sure you got your drums and guitar and bass but what about the ones that will transform you from just a run in the mill punk rock band into the next Dropkick Murphys or Flogging Molly. You may be surprised at actually how few of them originated in Ireland but here are the traditional folk instruments that you will find in celtic punk bands that Irish musicians have been blowing, strumming, picking, plucking and thumping for a very long time indeed.

Bodhrán

bodhran

Imelda May

Pronounced ‘bow-rawn’ this handheld goatskin drum is certainly easier to get around and less trouble than a drummer! The name ‘bodhran’ is an Irish word that derives from the word bodhar which means deaf or dull. Known as the heartbeat of trad music for good reason this large drum is covered with stretched animal skin and struck with a stick that was traditionally made from double-ended knucklebone to provide our music with a pulsating beat that turns listeners into dancers with ease. It’s speculated that the instrument served a double purpose as a husk sifter and grain tray. We prefer it as a drum. For a taster of what the bodhrán has to offer, re-watch Riverdance for the thousandth time.

Uilleann Pipes

uilleann-pipes

Liam O’Flynn

Now most celtic-punk bands that have pipes have the Highland bagpipes rather than the uilleann pipes. This is mainly down to the uilleann pipes, which means ‘pipes of the elbow’ because of their pump-operated bellows, taking years to master and that the Highland bagpipes are much much louder. The bag of the pipes is inflated thanks to a set of bellows fastened around the waist and right arm of the musician. The bellows are able to relieve the musician from putting in the extra effort required to blow into a bag to maintain its pressure. These ancient pipes have been mesmerising listeners with their haunting tones since the 5th Century but it was two County Louth brothers, William and Charles Taylor, who developed the modern version after emigrating with the instrument from post-Famine Ireland to the United States. The pipes are different from several other bagpipes with regards to their tone and wider range of notes. With a distinct structure, which sounds much sweeter and quieter than other bagpipes. The pipes are almost always played while sitting down and it is thought one of the reasons that the pipes were invented was to compose music for dancing.

Tin Whistle

Almost all primitive cultures had a type of tin whistle with a possible Neanderthal flute found in Slovenia dating from 81,000-53,000 B.C.,a German flute from 35,000 years ago and a flute made from sheep’s bone in West Yorkshire dating to the Iron Age. Known also as the penny whistle, since it could be bought for a mere penny, the tin whistle has six holes, a mouthpiece, and is played by blowing air into it and using your fingers to cover different holes to produce different notes. British entrepreneur Robert Clarke began manufacturing the modern tin whistle in the early 1900’s and it became extremely popular and soon made it’s way over to Ireland. Nowadays found in most celtic-punk bands it has and become indistinguishable from Celtic music and is a beloved instrument of Celtic musicians and fans alike.

fiddle

Fiddle

Arr now this is the classic debate that is had in all kinds of folk music circles! Is it the violin or is it the fiddle? Well looks can be deceiving as they both look absolutely identical. Take the Irish fiddle, for example, this essential traditional instrument may look the same as a violin, but its unique playing style and sound set’s the two apart. Probably the most common traditional instrument found in celtic-punk bands the high-pitched and expressive fiddle is often heard above all else, and can be both euphoric and heart-breaking in equal measure. In Ireland the counties of Sligo and Donegal in particular both have rich fiddling traditions and have been redefining the sound of this sweet instrument for centuries.

Irish Bouzouki

irish-bouzouki

Donal Lunny

Adapted from a Greek instrument and brought to Ireland in the 1960s, the Irish bouzouki is the latest addition to our traditional music arsenal. Looking not unlike a giant mandolin, the instrument was popularized by Irish folk legend Dónal Lunny from Tullamore, County Offaly, who used one in seminal trad folk band Planxty. With such a rich and bright sound its no surprise we stole the idea and made it our own.  Bouzoukis are now regulars at many a traditional music session. Another instrument we stole and is played with such regularity in celtic-punk band’s it second only to the banjo, originally brought to America by African slaves it was adopted by Celtic emigrants and became associated with country, folk, Irish traditional and bluegrass music.

Concertina

heaven-hellDeveloped in England and Germany in the early 18th century and spread to Ireland late in the 19th century. The concertina, also known as the squeeze box, was known in Germany as a lower-class instrument used mostly by workers to perform music on the streets while the English concertinas developed an air of bourgeois respectability with the upper classes enjoying the exact same melodies. The concertina has buttons and bellows on both ends and when pressed, the buttons move in the same direction as the bellows. The piano accordion became highly popular during the 1950’s and has flourished to the present day in céilí bands and for old time Irish dance music.

Celtic Harp

Now this is a long shot as I know of no celtic-punk band out there that has a harpist. If you do please let me know in the comments section. The only time I can remember seeing one played is at Wolfe Tones gigs in the 80’s. Anyhow you know an instrument has reached iconic status when it appears on the currency. The Celtic harp is that very instrument. Variations of the triangular, gut-stringed-instrument have been plucked in Ireland since as long ago as the 10th Century, when nomadic harpists would travel around Ireland performing songs for food or a warm bed. In 1792, the Belfast Harp Festival saw the best players competing for prizes. And today, the ornate and ancient Brian Boru harp can be viewed in Trinity College in Dublin. So if you are looking for something to set your celtic-punk band apart then why not get yourself a harpist!

Folk The System instruments

Folk The System

So there you go all you need to start a band. Finding the players you need is a different matter though but with Ireland’s trad music attracting more and more listeners and more and more people of all nationalities taking up the instruments it hopefully shouldn’t be too hard. With our music schools, concerts and pub sessions, there’s no shortage of opportunists to learn either so if you fancy taking up any of the instruments mentioned follow the links below.

Link1  Link2  Link3  Link4  Link5  Fiddle  TinWhistle  Guitar

CLASSIC ALBUM REVIEW: THE CLANCY BROTHERS AND TOMMY MAKEM- ‘Come Fill Your Glass With Us ‘ (1959)

ST PATRICK’S DAY BLESSINGS BE UPON YOU

Beannachtaí na Féile Pádraig oraibh

(Byan-okht-ee nah Fay-leh Pawd-rig ur-iv)

May those who love us,
Love us.
And those who do not love us,
May God turn their hearts.
And if He doesn’t turn their hearts,
May He turn their ankles,
So we’ll know them by their limping.

Irish Songs Of Drinking And Blackguarding

Sung By Patrick Clancy, Tom Clancy, Liam Clancy, Tommy Makem and Jack Keenan

FREE DOWNLOAD

The Clancy Brothers were a group of brothers who, along with longtime companion Tommy Makem, are without a doubt among the most important figures in Irish music history. Still considered as one of the most internationally renowned Irish folk bands and some have even gone so far as to credit them as being among the main inspirations in the American folk revival of the ’50s and ’60s.

clancy

Bob Dylan claimed in the early 1960’s

“I’m going to be as big as the Clancy Brothers!”

With the Clancy Brothers dominating The Ed Sullivan Show and performing their sad Irish drinking tales and rebellious stories before thousands of people, Dylan’s declaration at the time seemed bold and impetuous. Its opposite came true, of course: Dylan submerged the Clancys’ pointed and poignant folk ballads into his stew of influences en route to rock ‘n’ roll superstardom while the Clancys peaked around 1964, then slowly drifted into a hodgepodge of break-ups, reunions, and greatest-hits CD collections. But in bringing Irish music into American mainstream culture, the Brothers were key figures in the 1960’s folk revival and helped Ireland rediscover its cultural traditions. Every Irish-music movement since then–from the Chieftains to Sean O’Riada, from Van Morrison to U2, from Enya to the Corrs–owes some of its success to the Clancys.

clancys-2

(Tommy and Liam)

Born in the small Irish market town Carrick-On-Suir, in County Tipperary, Tom and Patrick ‘Paddy’ Clancy were two of eleven children. Their parents, Robert, an insurance broker, and Joan, a housewife, sang Irish folk songs constantly, but neither Tom nor Paddy envisioned a professional music career when they were growing up. They served in both the Irish Republican Army and the Royal Air Force, Pat, a flight engineer in North India and Burma and Tom, an officer in Europe and North Africa. They left Ireland for Canada in 1947 and, after apparently hiding out in the back of a truck, immigrated to the United States three years later. Landing in Cleveland, Ohio, and then Manhattan, the duo pursued show-business careers. In addition to driving taxis and painting houses, they auditioned for acting roles by day and sang by night at clubs and coffeehouses such as the Lion’s Head and the White Horse Tavern. Tom had by far the most successful acting career, landing major Broadway roles and later on going on to appear in television’s Starsky And Hutch, Charlie’s Angels and The Incredible Hulk! Soon they were producing their own plays, at the Cherry Lane Theatre in Greenwich Village, but after three struggling years, they turned to midnight music concerts to pay the bills.

That was the beginning of the Clancy Brothers as they are commonly known. Drawing on their family singing background and their knowledge of Irish drinking ballads and rebellious folk songs, they began to build a small New York City audience. On-stage acting experience also helped. The Clancy’s told funny stories between songs and responded to applause with vaudevillian lines like

“You have very good taste, I must say”.

Soon their younger brother, Liam, and a friend, Tommy Makem, were joining them regularly on stage. Paddy Clancy created his own record label, Tradition, and put out albums of pointed but gentle folk harmonies, including 1956’s The Rising of the Moon, which was recorded around a kitchen table in the Bronx. Liam told CBSNews.com in 2002, promoting his memoir, The Mountain of the Woman.

“The crowds got so wild and they would hoist crates of beer up onto the stage and demand that we drink them. It was a wild and wonderful time… Greenwich Village was an island for people escaped from repressed backgrounds, who had swallowed the directive to be inferior, to know your place, to kowtow to royalty, to hierarchy, and all the other nonsense”

Their timing was impeccable. The Clancys’ Greenwich Village audiences at the time included young folk-music aficionados such as Joan Baez and Bob Dylan, who would later say, in the same article, of Liam Clancy

“For me, I never heard a singer as good as Liam. He was just the best ballad singer I ever heard in my life. Still is, probably. I can’t think of anyone who is a better ballad singer than Liam”

As legend has it, after hearing the Clancys’ version of Dominic Behan’s ‘Patriot Game’, Dylan tinkered with the lyrics and retooled the ballad into his own ‘With God on Our Side’. More than 30 years later, in 1992, the Clancy Brothers would reunite with Makem for Dylan’s recording-anniversary celebration at Madison Square Garden in New York City. They sang ‘When the Ship Comes In’, an Irish ballad Dylan recorded on The Times They Are A-Changing.

clancys

(left to right: Tommy Makem, Paddy Clancy, Tom Clancy and Liam Clancy)

Two major events in the Clancys’ career happened in 1961. First, they received a package from their mother as related by Paddy to the irishmusicweb website.

“It was a very cold winter in New York and my mother in Ireland read about the snow and the frost in New York. And her three sons were in America. So she knitted three Aran sweaters and she sent them out. We had a Jewish manager, Marty Erlichman. He saw them and said ‘That’s it. I’ve been looking for some identifiable costume for you. It’s perfect!'”

The thick, roped sweaters became their trademark–especially when, upon signing with Columbia Records, they wore them on the cover of 1961’s A Spontaneous Performance Recording. The second event was The Ed Sullivan Show, the influential television variety show that gave the Beatles their big break three years later. When a scheduled guest became sick, the Clancys sang for 18 minutes on the air. After that, they were international celebrities, playing ‘Fine Girl You Are’, ‘The Holy Ground’ and ‘The Rambler’ at Carnegie Hall and fancy venues everywhere. Dylan, jazz hero Stan Getz, and a promising young singer named Barbra Streisand were among their opening acts. The Clancys went on to record 55 albums and performed for luminaries such as President John F. Kennedy, a fan, at the White House.

As the 1960s wore on, with Dylan and the Beatles steering popular music away from traditional folk ballads and towards electric rock ‘n’ roll, the Clancys’ star power began to dim. They drifted from traditional signatures such as ‘The Old Orange Flute’ and ‘Whiskey Is the Life of Man’ and began writing and producing their own material. Makem left for a solo career in 1970; Liam left five years later. With Liam’s replacement, the Clancys’ youngest brother, Bobby, the group slowly devolved into a nostalgia act. Makem and Liam Clancy sometimes performed as a duet, and they came together on special occasions (including the Dylan thirtieth-anniversary show) in various singing configurations. But they never approached their early 1960’s star power again. Paddy returned to Carrick-on-Suir to raise cattle with his wife on a farm. Tom died in 1990; Paddy died in 1998. Liam and Tommy Makem continued to have successful solo careers before Tommy passed away on 1 August 2007, at the age of 74, after an extended fight with cancer. Two years later Liam died of pulmonary fibrosis, the same ailment that had taken his brother Bobby. He died on 4 December 2009 at the age of 74 in a hospital in Cork, Ireland.

This is the second album from the Clancy Brothers and Tommy Makem and is among their most notable efforts. It undoubtedly helped launch the group to international success. As you can tell instantly from the album’s title, ‘Come Fill Your Glass with Us’, the album is a virtual soundtrack of Irish pub life. The recording perfectly evokes the hard-drinking, late-night atmosphere of a working man’s Irish pub.

Tracklist

Whisky You’re the Devil
The Maid of the Sweet Brown Knowe
The Moonshiner
Bold Thady Quill
Rosin the Bow
Finnigan’s Wake
The Real Old Mountain Dew
Courting in the Kitchen
Mick McGuire
A Jug of Punch
Johnny McEldoo
Cruiscin Lan
Portlairge
The Parting Glass

FREE DOWNLOAD FOR THE FIRST 100 PEOPLE. IT SAYS ‘NAME YOUR PRICE’ SO PUT 0p IF YOU LIKE. AFTER THAT IT’S ONLY AVAILABLE BY DONATION. ALL MONEY GOES DIRECT TO THE JUSTICE FOR THE CRAIGAVON 2 CAMPAIGN.

CLICK HERE!

although this album is available for free download if you wish we would appreciate it if you could spare a few pennys or cent’s to donate to the Justice For The Craigavon 2 campaign. Brendan McConville and John Paul Wootton are two young Irishmen that have been unjustly convicted of murder and sentenced to life imprisonment. We ask you to find out more information on the case by visiting
jftc2.com
www.facebook.com/JFTC2/

and please do all you can to publicise these poor men’s imprisonment.

(listen to the album below just press play!)

COME FILL YOUR DRINKS WITH US ALBUM SLEEVE NOTES

by Patrick Clancy

A group of workmen were tearing down a very old distillery in the south of Ireland. It had not been used for fifty years and was full of birds’ nests. When they reached the vat where the whisky had been stored, they found a small metal pipe leading from it and going into the ground. It had been well hidden. They dug down following it one foot underground till it ended in a small hollow under a tree two hundred yards from the distillery. No one could explain it. The facts end here, but they suggest strange stories of men long ago stealing to that hollow at night and draining off the whisky out of sight of the distillery.
There is no one to tell of the nights of drinking and song that came out of that pipe, But I’m sure some of the Irish drinking songs on this record were sung, as some of them are much older than that distillery. Drinking and singing have been enjoyed by men everywhere and always. As islands were discovered and jungles penetrated, all new found peoples had songs of some kind and had found a way of making intoxicating drink. If you hear a lot of singing from your neighbor’s home at midnight, you just know there is drinking going on.
In Ireland people would gather in the pubs on fair days and market days when their business of the day had ended, to “wet their whistle” and hear n song. A travelling piper, fiddler, singer or fluter would provide sweet music for pennies and a farmer could learn a new song or two. My grandmother kept one of these pubs and learned quite a few of the songs, one of them being ‘Whisky You’re the Devil’, which I have not heard elsewhere. Another one of her songs was ‘Portlairge’, which is a local Gaelic song, and all the place names mentioned are within twenty miles of her pub. The words translate as follows:
— 1 —
I was the day in Waterford.
Fol dow, fol dee, fol the dad I lum.
There was wine and pints on the table.
Fol dow . . .
There was the full of the house of women there,
Fol dow . . .
And myself drinking their health.
— 2 —
A woman from Rath came to visit me,
And three of them from Tipperary.
Their people weren’t satisfied.
They were only half satisfied.
— 3 —
I’ll set out from Carrick in the rooming,
And take a nice girl with me.
Off we’ll go thro’ “The Gap,”
And northwards to Tipperary.
Like Tom and Liam and I, Tommy Makem learned most of his songs from his family, particularly from his mother, Mrs. Sarah Makem, who still lives in County Armagh, Ireland and sings on Tradition Records The Lark In The Morning, TLP 1004. When Tommy sings ‘Bold Thady Quill’, he is singing about a champion hurler from County Cork, whom I understand is still alive. The song ‘Finnigan’s Wake’ gave the title to the famous novel by James Joyce, who was interested in Tim Finnigan’s resurrection from the dead by having whisky (water of life) poured on him during a fight at the wake. The Gaelic chorus of ‘Cruiscin Lan’ (My Little Full Jug) means:
Love of my heart, my little jug, Bright health, my darling.
Most of these songs tell their own story. They are not merely curiosity pieces or antiques; they are still very much alive and are as popular as the drink that inspired them.

More Information On The Clancy Brothers And Tommy Makem

Wikipedia  WebSite  LastFM  Facebook  YouTubeLive

(The story of The Clancy Brothers and Tommy Makem in their own words)

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.

ALBUM REVIEW: UNCLE BARD AND THE DIRTY BASTARDS- ‘Handmade’ (2017)

Italian celtic-punk band Uncle Bard And The Dirty Bastards play fantastic celtic-punk but spice it up it with pure traditional Irish music. With uilleann pipes, tenor banjo and Irish flute no other band in the celtic punk scene can compete with these Bastards in their knowledge of Irish trad music…

as well as that they are a great bunch of lads!

Handmade 2017

It’s a long time now and in this modern age we are taught to have short memories but back before the now deceased ‘celtic tiger’ roared it’s last breath Ireland was a land of plenty. High wages, plenty of work and regular masses promised opportunities for all good Catholics that washed up on it’s shores. Plenty of Italians flocked to the dear auld sod and among those emigrants were members and friends of the band Uncle Bard And The Dirty Bastards. These Bhoys weren’t tourists they were there to work and their love of Ireland was inspired from living, working, and visiting there. So in 2007 the celtic tiger having croaked and the work dried up many of those Italians returned home but a part of their hearts remained in Ireland.

Day by day we found there what we were searching for in our entire life, something that would change us forever. That’s how we fell in love with Irish music and how we learned it”

The boys got together and with a few songs learnt in the pubs and streets they began to practise what has gone on to become a real tour-de-force within the celtic-punk scene. From dingy wee backrooms in pubs to massive rock festivals to small mountain huts Uncle Bard And The Dirty Bastards have gone down an absolute storm wherever they have set foot.

(video filmed by our good mucker Rory over at This Drinking Life web-zine here which also included an extensive interview with the Bastards so click and go there.)

They released their debut album, Drinking Not Thinking, in 2011 and soon after set out on a busking tour of Ireland, Wales and England where they fine tuned their sound and began to write some of their own material. On their return home they were joined by Irish traditional folk musician Luca Crespi who added uilleann pipes, tin whistle and the Irish flute to the bands repertoire. ‘Up The Bastards’ EP followed before 2014’s absolute stunning Get The Folk Out! took us all by surprise. Not knowing them I opened up their e-mail and my first reaction was “not another band with Bastard in the name”. I sat down to listen and my bloody jaw hit the floor with amazement. Get The Folk Out! is a masterpiece. Straddling both the Irish trad sound and celtic-punk it easily fits into both genre’s. The addition of uilleann pipes moved the bands sound into something quite incredible. You can read our review of Get The Folk Out here. The album went on to walk away with the London Celtic Punks #1 Album of 2014 here, something unheard of for a ‘unknown’ band to do.

uncle-bard-and

Uncle Bard And The Dirty Bastards left to right: Silvano Ancellotti- Electric Guitar * Luca Crespi- Uilleann Pipes, Irish Flute, Tin Whistle * Luca Terlizzi- Drums * Guido Domingo- Vocals, Acoustic Guitar * Lorenzo Testa- Tenor Banjo, Mandolin. Seated: Rob Orlando / Uncle Bard- Bass Guitar.

So with such high praise and expectation it was with wonder i sat down to listen to their new album Handmade. Could they live up to what we now expected of them? Well within one listen I realised they were onto another surefire hit! Released a fortnight ago on February 9th, 2017 they have managed to squeeze more than a hour onto the CD and have done it without a single weak moment. Uncle Bard And The Bastards start the ball rolling with the album’s title song ‘Handmade’. A short refrain starring Guido and his perfectly raspy and hoarse vocals and that’s it. The words explain the bands philosophy to what they do. A beautiful song and the perfect start.

“For a labour of love, Makes a work built to last”

They swiftly turn to their more raucous sound next with ‘Gipsey Geezers’ and them uilleann pipes fill the speakers but don’t be thinking that they rely solely on them. The whole band is extremely talented but you still need the songs and these Bastards do have them. As catchy a song as any on Get The Folk Out! it’s been a couple of years and I realise how much I have missed them. Not that only that but they finish the song with a jig called ‘The Arses Of The Lasses’ written by Lorenzo the like of which you will NEVER hear a fellow celtic-punk band play.

‘Too Old To Stop Now’ explains being in a band these days is more a labour of love than anything. Fortunes are to be made but only if you do as you are told and sell your soul for success. Things the Bastards have never and will never do. Again the celtic-punk of the main tune contrasts nicely with a polka tacked seamlessly onto the end. ‘Stay Untamed!’ again shows the songwriting talents of this band. Shared between them all it amazes how people who have English as only their second language can write such brilliant words. Never be afraid to take chances is the thing here and wrapped around a real foot-tapper. The tin whistle and punky guitar leads on a right celtic-punk classic that slows and speeds up with the fastest banjo I have heard in ages. ‘The Man Who Spoke To The Earth’ speaks of the the rich man in his castle and the poor man and again the song is interspersed with some absolutely amazing Irish folk tunes.

“I am just a poor man, On his own. But they will never know, What I’ve known”

The Bogman again written by the talented Lorenzo starts the section that concludes with Séamus Egan of Solas ‘The Czar of Munster’ and the trad ‘Coleraine’s Jig’. All played as expertly as you will hear. They leave the celtic-punk behind next and present further evidence that this band can whip up a traditional celtic folk storm as good as anyone. ‘The Donegal Lass/Butler of Glen Avenue/Tell Me About You’ has the fiddle and pipes giving it all. Never afraid to dip their toes in another genre we get the first taste on Handmade with ‘The Ferryman’. Bluegrass and ‘proper’ country spice up a song written by the legendary Irish songwriter Pete St John. ‘The Ferryman’ tells of the closure of the Liffey Ferry service in 1984, the loss of jobs and the end of a 320 years-old tradition that perfectly pictures how Dublin was changing during the 70’s and 80’s. The pipes are out in force for ‘Anger’ while the short and gentle banjo and flute piece ‘The Clarenbridge Fair’ is dedicated to Fintan and Tom Cussen where Lorenzo spent time in their Galway workshop.

“I dedicate this banjo composition to both of them, with a sense of gratitude for the great instruments they build and for their unequalled kindness”

‘The Streets Of Dublin’ is Lorenzo’s ode to the city that forever captured his heart. It’s not the saccharine sweet version of Dublin presented for the tourists but the warts an’all kind. Having watched Dublin change during the years and get through the economic crisis with more homelessness and teenage drug problems than ever there is hope. The Home Sweet Home movement is occupying offices in the centre of Dublin, to give shelter to homeless people for the winter and raise awareness of the problem. The music is again superb the mix of old and new never better while the lyrics speak of the same.

“Dublin me darlin’, What’s left for those who will come?”

Lorenzo again excels as a singer-songwriter on ‘Lads From The Countryside’ where he tells of the benefits of being born in the country. That they can follow a serious song such as ‘the Streets Of Dublin’ with this speaks volumes of their talent. Their is a phrase much loved by the foreign born Irish, like myself, “More Irish than the Irish themselves” and on ‘The Luck Of The Irish’ Uncle Bard And The Dirty Bastards prove they are indeed.

“So tell me, oh dear Where’s our pot of gold? I stumbled ‘till West Clare, To find there was none. At the top of me lungs, Leaned out over the cliffs I shouted ye oversea “Lucky me arse!”

the title reminded me of the John Lennon song which had much the same theme but without any of the Bastards humour. With British occupation, war, genocide, immigration heaped upon the Irish race where is this f’ing luck I keep hearing about? Now obviously I am drawn to the next song like a moth to a flame. The phrase ‘Plastic Paddy’ is well known to us outside Ireland. We can never be Irish enough for some people, mostly those who never suffered the necessity of emigration to survive rather than as some kind of student gap year.

It was released as a single last year but has been re-recorded and tweaked for inclusion on Handmade to make it a whole lot better!

“I went back to Temple Bar in great haste and fear
since I wanted to preserve the teeth I had in me mouth
I paid my seven euro for an iced pint of stout
but as everyone knows Guinness here is not the same
thanks goodness I found a few americans there
so we went out singing aloud along Merchant’s Quay
First “Whiskey in the Jar” and then a Garth Brooks’ song
Could it be a better way to celebrate today?”

Told again with great humour and is the longest song here. Have a good read of the lyrics over at the YouTube video. The music as ever is catchy as hell and the Bhoys admit they’ll be contributing to the whole mess themselves on St Patrick’s/Paddy’s/Patty’s day! My favourite song on Handmade is up next. ‘Rust’ is a beautiful song that  is more celtic-rock than punk but Guido’s great voice and his lyrics raise the song high. Superb banjo playing and the song has epic written all over it. Nearly at the end and ‘The Flat Above My Pub’ is Silvano’s turn at telling a tale. He reaches into his dark past and shares them with us in a happy-go-lucky song because

“when life hands me a lemon I just go to the pub and I ask for a pint or two. I don’t like lemonade too much”

Fast and furious and still catchy the song is possibly the best example of Uncle Bard And The Bastards on Handmade. Everything that makes them truly unique within the celtic-punk scene is here within this brilliant song. The album ends with the modern Irish folk classic ‘The Town I Love So Well’. Not much to say here except its a faithful version Phil Coulter’s classic personal lament about the war in the north of Ireland, specifically in Derry city, a republican stronghold. Written about his childhood the song begins by telling of the simple life he grew up with till he emigrated and then returned finding how his hometown become plagued with violence. Dennis Jelly, of the brilliant French celtic-punk band The Moorings, takes over on vocals and sends this album off triumphantly.

So there you go. It may not be up to Get The Folk Out! standards but fecking hell there’s only a small handful of celtic-punk albums EVER made they do. Handmade is absolutely brilliant in every way. Buy this and give it to any Irish folk/trad music fan and they will see celtic-punk in a completely different light. They don’t have producers, record labels, arrangers, lyricist’s or anyone backing them. Piece by piece Handmade was truly a labour of love. Every aspect of this album has been produced by this group of friends themselves not just from the lyrics and music arrangements and the recording but also the excellent ,and massive, CD booklet containing photos, lyrics and song explanations. This album is truly handmade and made with a genuine passion missing from most modern music. At a time when the most popular bands in celtic-punk are releasing album’s you should definitely not miss out on this album I have an inkling it will again be troubling them at the top of the Best Of charts again at the end of the year.

Discography

Drinking Not Thinking – 2011, Up the Bastards! EP – 2013, Get The Folk Out! – 2014

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

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

planxty-between-jigs-reels

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

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

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

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

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

“the realisation that it was opening time”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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


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


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

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


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

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

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

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Band Interview here

2016 REVIEWS ROUND-UP PART TWO. KORRIGAN’S CELTIC ROCK, MICK FLANNERY, ACROSS THE BORDER, TENHOLES, THE RAMSHACKLE ARMY, KING OF THE TRAVELLERS

Every year we have been doing this has got better and better for celtic-punk releases. As happy as we are that this is so it also means that we just cannot keep up with everything out there. We haven’t had the chance to review everything we received or heard so here is Part 2 of our 2016 Round Up where we catch up with some of the releases that we missed first time round. Here at 30492- LONDON CELTIC PUNKS blog we much prefer to do really detailed reviews but it has been impossible to keep up so here’s a few quick ones just to catch up and get 2016 out of the way. Each and every one are worthy of your time so go ahead and check them out. Last week we featured releases from the America’s (here) so this time we will try to fit in the entire rest of the world taking in Ireland, Indonesia, Germany, France and good auld Australia!

KORRIGAN’S CELTIC ROCK- ‘Tournée Générale!’ EP  (Bandcamp)

korrigansThere is quite a strong and vibrant celtic-punk scene happening in France at the moment and by France I mean France and not Brittany which as you should know is a completely different country! One of these bands are Korrigan’s Celtic Rock who were formed in 2007 in Franche-Comté in eastern France and released their debut EP, Tournée Générale!, earlier this year. They take their name from the mythical creatures who were opposed to Christianity when the Apostles came to convert Brittany. The EP kicks off with a rocking start with tin whistle that AC/DC would be proud of. Next up is ‘Hypocrisie’ with more of a ska beat and the bombarde is introduced. I love the sound of this instrument and will be familiar to fans of the Breton legends Les Ramoneurs De Menhirs. They add bagpipes too into ‘Putain De…’  and this is my favourite track of the EP. The title track ends the EP and is straight up celtic-punk rock. A quarter of a hour well spent. These guys cover all the angles and we are destined to hear much more from them in 2017.

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MICK FLANNERY- ‘I Own You’ LP (iTunes  TowerRecords)

mick-flannery-2016Mick Flannery comes from county Cork in the south of Ireland and funnily enough the artist he reminds me of the most is also from Cork, Cathal Coughlan of the excellent Microdisney/Fatima Mansions. This is Mick’s fifth album and the first I’ve heard properly. There may not be much here for the traditional celtic-punk fan except that if you love good music then you will also love this. From what I have read this album is much darker than his previous releases and the excellent Tom Wait-esque title track is based on the idea of class inequality and told as a poor man breaking into a rich man’s house. Dark and foreboding and downright bloody brilliant!

Thought you heard something on the way home, was that a rustle, was that my belly rumblin?”

Elements of rap and dance music alongside the dark folk and even darker pop here and the songwriting is compelling and worthy of hearing just on it’s own. On ‘Cameo’ Mick’s famous introspection comes out.

But if I’m so happy/ why do I lie awake at night?/ Why am I angry all the time?”

Though often found with an electric guitar its still very much based on folk melodies and the comparison to Bob Dylan and his change to electric guitar himself is not so odd.

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ACROSS THE BORDER- ‘Calling 999’ EP  (Bandcamp)
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Formed in Remchingen in the South of Germany not far from the French border Calling 999 is their first release since they reformed having split up back in 2012 having been together since 1991! It sure is good to have them back as on the basis of this EP they right are back on form. With a stack of LP’s and EP’s behind them this stands up there with the best of them. A mainly accordion led band, very popular in their home country, this EP begins with the title track and its catchy punk folk throughout with distinctive vocals from Jochen with the lyrics sung in English. ‘Rob, The Man’ is a hilarious romp showing a good sense of humour with a good auld Irish twist with plenty of fiddle this time. The EP ends with the sad but lovely ‘Sometimes’ and your nine minutes is up with a real Tom Waits-esque bar-room ballad accompanied with piano and accordion. This is the song it would be worth getting your lighter out for! A great release but far too short. We want more!
TENHOLES- ‘Loyalty’  (Juno)
tenholesFormed in 2004 in the Indonesian capital of Jakarta Tenholes are a working class Oi! band with celtic music influences. Loyalty is their second album and their best yet. ten songs and thirty-five minutes of punk rock’n’roll from the streets that reminds me of those first couple of Flatfoot 56 albums for energy. An absolute stunner of an album. Great production and comes bursting out the speakers at you from Track One. We have featured Indonesian bands several times before when we reviewed Dirty Glass (here), the great Indonesian celtic-punk compilation Wind From The Foreign Land (here) and the review of The Cloves And The Tobacco last album (here) so go there to find out more about this fantastic scene. So much to recommend here but for certain if you favour the Dropkicks/Flatfoot then this album is for you. I give you a guarantee you WILL love it! You can hear plenty of music at their Facebook page under the Band Profile tab including some songs from Loyalty. Anthems for the working class with stories of urban life, stories about them and us!

KING OF THE TRAVELLERS- ‘Pros & Cons’  (Soundcloud)
king-of-the-travellers-2The third release from Fremantle seven-piece King of the Travellers. Blending elements of folk, punk, ska and gypsy music to create a hoe-down of epic proportions! With instruments as diverse as the French horn and clarinet they are not your run-of-the-mill folk punk band but there experimentation does remind me of fellow Aussies the Dead Maggies even if their music aint too similar. With a reputation as a raucous live music act how well did they manage to transfer their sound to disc? Well the answer is pretty damn well. First track ‘Another Day’ has brass and a catchy ska-ish beat to it and kicks off these six songs in style. They speed it up for ‘Travel Away’ and then slow it down for ‘First Thought’ and again its all catchy as hell with the many instruments blending very well together thanks to the spotless production. Gypsy/Eastern Europe flavours the next song ‘Curly’ and on ‘Trenches’ the mando is back in charge for this anti-war song which sounds to me like something Stiff Records may have come out back in the day.

The EP comes to an end with ‘Curly Reprise’ which is of course the earlier track ‘Curly’ slowed down but with extra flourish. The clarinet works surprisingly well and could maybe have done with popping up a bit more often. Overall a solid EP. Not a weak song here just catchy punky folk music with a stack of influences from all over the place and spat back out by a bunch of Aussie’s. Now that is recommendation enough surely!
THE RAMSHACKLE ARMY- ‘Whitewashed Graves’ (Bandcamp)
ramshackleAnd our final review of 2016 is also one of the best we reviewed and no surprises that it’s another Australian release! Just released earlier this month this is the first new record from The Ramshackle Army since the beginning of 2014 but they have certainly been busy if not recording then touring right across the globe! The band began in the pubs and bars of their home town Melbourne but The Ramshackle Army have gone on to become one of the leading lights in the Australian celtic-punk scene and in a scene that is chock-a-block with great bands then that ought to be recommendation enough. Hampered by line up changes they have now got a settled team so lets hope it leads to a new album soon. Here we get six songs and just under twenty minutes of high tempo, catchy as feck traditional celtic-punk. The standout track gotta be the single ‘Foreign Soil’ but it could easily have been any of them such is the quality of this fine EP.
“Imprisoned by our plight and desperate acts faith,
They enter battles in our name and battle cry our pain,
Just keep me sane and welcome my escape”
All the songs are self penned and its an absolute stunning return to the scene from one of the best bands in it. Heavily influenced by the story-telling style of the Aussie folk/celtic-punk tradition that bursts with  the live energy of an Ramshackle Army live gig. Highly recommended!

So ends Part 2 of our Round-Up’s and we are sorry we weren’t able to give each album the full on London Celtic Punks treatment. Apologies to all the bands as each and every release deserved that full treatment. We have still probably missed some fantastic music so all the more reason to send in your stuff to us to review. We are always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. If you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

CELEBRATING A CELTIC CHRISTMAS 2016. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

All the best for a happy Christmas and a peaceful and prosperous new year for us all…

Every year we pick the best Christmas themed song we’ve heard to showcase in our end of year message and this year the runaway victors is from NYC’s The Narrowbacks.

Starring Rigel Byrne as Santa Claus. Filmed by Tamara Lee and James Haag. Recorded at Paddy Reilly’s Music Bar, 519 Second Avenue, New York. The Narrowbacks music available on iTunes and Amazon.

Buy The New Album- iTunes  Amazon
Contact The Narrowbacks-

FIRE IT UP!!

CELEBRATING A CELTIC CHRISTMAS

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

Christmas

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

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

SCOTLAND

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

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

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

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

IRELAND

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

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

WALES

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

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

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

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

ISLE OF MAN

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

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

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

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

CORNWALL

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

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

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

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

BRITTANY

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

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

GALICIA

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

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

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

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

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

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Now go have a drink…

ALBUM REVIEW: THE WAKES- ‘Venceremos!’ (2016)

by Pete Morgan

Glasgow Irish folk’n’roll hooligans.

They might all be Jock Tamson’s bairns but their Mammy is Roisin Dubh!

the-wakes

London Celtic Punks friends and favourites launched their fifth studio album at the end of September just gone with a fantastic hometown gig at the Classic Grand, Glasgow.  A gig that saw the band enhanced with a small brass section that added to the sound and showed how the boys are growing musically.

The CD, like the gig, doesn’t disappoint: Thirteen tracks over forty-five minutes show the band in top form and giving all and more that we’ve come to expect from Glasgow’s finest ‘punk, folk’n’rollers’. Building on and growing from previous CD’s including No Irish Need Apply and The Red and the Green, Venceremos shows a growth in musical maturity and songwriting while staying true to the bands fundamentals will have you hitting replay button time and time again.

wakes3

For this release the band have teamed up with Drakkar Records and the result is an all singing, all dancing package with a gatefold sleeve CD that includes a pullout booklet of photo’s and lyrics which can be bought from the band’s website below and also from the Glasgow independent radical bookshop Calton Books (link below).

Opening with an irresistible punk/new wave beat of ‘Within These Towns’ the gauntlet is thrown down: the song delivers up a crushing criticism of politicians  of the Thatcher era who turned their backs on those towns and people reliant on manufacturing as they allowed industry to fall into irreversible decline and communities abandoned. A bleak subject of towns

“where we are born to die, to live our lives …”

is nonetheless invested with defiance and pride in it’s delivery and any thought of being downbeat is erased with the upbeat, ska infused, Rise. A story that dances along and is bound to become a live favourite, telling a tale of Dublin, Easter 1916, and provided lots of opportunities for a sing-a-long while raising a clenched fist…

wakes1-2

‘No Human is Illegal’ as a song is a class apart. This song possibly best defines the ethos of the band: humanitarian, international, caring, willing to stand up, to wear those hearts on sleeves … A simple enough statement, but a statement that carries undeniable power, delivered almost in an understated manner. This song is impossible to resist and invites us into a quiet corner, the lyrics falling softly, yet challenging the scaremongers and those who use sensationalist headlines to turn a profit  … but we’re left in no doubt

“That old bullshit just don’t cut it any more”

There’s no time to sit around as ‘Whisky Afternoon’ has us back on our feet as the band ‘rock-out’ to an enjoyable wee number of an afternoons drinking that we’ll all be familiar with, same goes for this tune that has a solid back beat that moves it (too?) quickly to a conclusion and then it’s on into ‘The Battle of George Square’: Tanks on the streets of Glasgow to quell the red Clyde revolution. Again the music and lyrics invoke an atmosphere that’ll put on the ground, shoulder to shoulder with Glasgow’s working class.

wakes2The Wakes don’t do shying away and, just as with No Human, they address issues head-on: the turning of young men into state killing machines in ‘Kings Shilling’, (touch of Skids/Big Country?) the bloodshed  in the ‘Holyland’. The domestic home-grown issues of poor housing and rising rent are highlighted in ‘Nae Soft Touch’ (touch of Christy Moore about this one) telling the story of issues from Govan, 1915, that are just as relevant today.

Track 8, ‘I Believe’, a ‘up-beat’ cry of positivity , a rallying cry and affirmation of the power of people is driving along on the back of some beautiful brass that shows how the band, as musicians, have grown and the sound of the Wakes continues seeking out avenues to explore. While ‘Ramblin’ Man’ pays tribute to the great Woody Guthrie in a tune that will almost have you up on the floor square dancing! But wait, whats next, a fecking polka! ‘Freighter of the Dead’ sails us over choppy waters navigating the straits of Pogue Mahone and onto the shores of Gorgol Bordello in a rollickin’ rocking good time tune that shows the boys are well able to let their hair down (sorry Chris!) and this is another tune that will fill the dance floors. As we’ve come to expect there’s a track from the ‘homeland’ that’s given the Wakes unique and personalised  treatment: ‘Erin Go Bragh’ starts off familiar enough but the bass playing and thunderous drumming supported by the chants gives this a whole new life and the song feels ‘epic’, a TV shows turned into a blockbuster of a movie!

wakes-4

The Wakes (left to right): Paul- Vocals/Guitar * Conor- Banjo/Mandolin * Chris- Vocals/Bass/Saxophone/Flute * Danny- Whistles * Eamonn- Drums * Christopher James- Harmonica/Guitar.

Closing on the title track, ‘Venceramos’ the song as well as the album as a whole, is a triumph: carried along on the back of a guitar sound that gets under the sink, drums & bass that get the heart pumping, the piercing harmonica, everything comes together with the united rising vocals in a song that is an affirmation of the power of truth against evil, the truth of those who struggle against the evil of corruption, greed, inhumanity … In an echo of Bobby Sands we’re told:

“You can try to kill the dreamer but the dream never dies’ and the heart grows huge with the refrain Venceremos! Venceremos! We Will Overcome …”

Venceremos is a must have, the Wakes a must see.

Discography

These Hands (2007) No Irish Need Apply (2009) Stripped Back Sessions Vol. 1 (2011) The Red and the Green (2013)

Buy The Album

 FromTheBand  Amazon  iTunes  CaltonBooks 

Co