Category Archives: Scotland

LONDON CELTIC PUNKS PRESENTS THE BEST OF 2016!

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 2016. 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 twenty-five 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…

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TOP 25 CELTIC PUNK ALBUMS

1. THE RUMJACKS (Australia)-‘Sleepin’Rough’  Review

2. THE NARROWBACKS (New York)- ‘Arrogance & Ignorance’  Review

3. THE CLOVES AND THE TOBACCO (Indonesia)- ‘Across The Horizon’  Review

4. MICKEY RICKSHAW (Boston)- ‘Behind The Eight Ball’  Review

5. THE WAKES (Glasgow)- ‘Venceremos!’  Review 

Absolutely no surprise here at all. For the first time we had an unanimous vote from all the admin’s that sees The Rumjacks sail away with the #1 spot for the second year running. It’s been an outstanding year for the Bhoys and with an American tour on the horizon they about to take another giant step in their campaign of world domination! Other notables were NYC’s Narrowbacks whose second album really showed the depth of their songwriting and could just have easily won the folk/trad best of too! The Cloves And The Tobacco deserve plaudits galore in another fantastic year for Indonesian celtic punk bands while Mickey Rickshaw could probably be said to have won the ‘unified title’ across all the various celtic-punk sites. In all we have twenty five bands from fourteen countries including USA x 6, Australia x 3, Indonesia x2, Germany x2, Netherlands x2, Catalonia x 2, Scotland, Italy, Sweden, Brazil, Spain, Czech Republic, Russia and Belarus with The Wakes being the only Celtic country based band which goes to show how international the scene has become.

6. THE CLAN (Italy)- ‘All In The Name Of Folk’  Review

7. HOIST THE COLORS (USA)- ‘Mourners’  Review

8. SIR REG (Sweden)- ‘Modern Day Disgrace’  Review

9. FOX n FIRKIN (Australia)- ‘No Vacancy’  Review

10. FIDDLER’S GREEN (Germany)- ‘Devil’s Dozen’  Review

11. LUGH (Brazil)- ‘Histórias Do Mar’  Review

12. JAY WARS AND THE HOWARD YOUTH (Australia)- ‘Love In The Time Of Fear’  Review

13. BUNCH OF BASTARDS (Netherlands)- ‘My Drinkin’ Ain’t Done’  Review

14. SIGELPA (Catalonia)- ‘Rabant Original’  Review

15. TENHOLES (Indonesia)- ‘Loyalty’  Review

16. THE O’REILLYS AND THE PADDYHATS (Germany)- ‘Seven Hearts One Soul’  Review

17. 13KRAUSS (Spain)- TheEnd Is Nigh’  Review

18. DRINK HUNTERS (Catalonia)- ‘Shameless’  Review

19. PIRATES OF THE PUBS (Czech Republic)- ‘Drunken Forever’  Review

20. THE MUCKERS (USA)- ‘The Muckers’  Review

21. LQR (Netherlands)- ’10 Pinter’  Review

22. THE Пауки/THE PAUKI (Russia)- ‘La Isla Del Muerto’  Review

23. Всё CRAZY (Belarus)- ‘По Морям’  Review

24. RUSTY NAIL (USA)- ‘Bitter Ale, Bitter Heart’  Review

25. THE LANGER’S BALL (USA)- ‘Whiskey Outlaws’  Review

A special mention here to the ever prolific and always a pleasurable experience The Mahones who released a greatest hits entitled The Very Best: 25 Years Of Irish Punk which couldn’t be included in the Top 25 but if it did would have given The Rumjacks a run for their money!

TOP TEN CELTIC PUNK EP’S

1. MICK O’TOOLE (England)- ‘A Working Class Battalion’  Review

2. THE RAMSHACKLE ARMY (Australia)- ‘Whitewashed Graves’  Review

3. DRUNKEN FAIRY TALES (Russia) – ‘Пьяные Сказки’  Review

With The Rumjacks returning a year later to sweep the Album Of The Year it’s no surprise then that Wiltshire lads Mick O’Toole follow up last year’s win in the EP Of The Year awards to do the same thing. A great year for them that has seen them play less and less within the celtic-punk scene and really start to make waves outside of it. A foreign tour and more support slots to various punk rock legends than most bands play in a lifetime and all in the space of twelve months. The Ramshackle Army EP got lost in the post leaving us to do a rush-job review and given time I’m sure they may have given the O’Toole’s a run for their money. Drunken Fairy Tales impressed everyone and Matilda’s vinyl only release deserve a mention as well Mick O’Toole grabbing the 5th spot too.

4. MATILDA’S SCOUNDRELS (England)- ‘Crowleys Curse’  Review

5. MICK O’TOOLE (England)- ‘False Flag Collapse’  Review

6. BAY STREET BASTARDS (Canada)- ‘Small Batch’  Review

7. LEXINGTON FIELD (USA)- ‘Redwood’  Review

8. HANDSOME YOUNG STRANGERS (Australia)- ‘Battle Of Broken Hill’  Review

9. MATILDA’S SCOUNDRELS (England)- ‘The Organworks Recordings Session’  Review

10.  BALSALL HEATHENS (England)- ‘Life’s Too Short’  Review

TOP TEN FOLK/TRADITIONAL RELEASES

1. ANTO MORRA (London)-’16’  Review

2. THE LOGUES (Ireland)- ‘Comin’ Of Age’  Review

3. MICKEY RICKSHAW (Boston)- ‘Wild Atlantic’  Review

Possibly the hardest Best Of List of them all to do is this one as so many releases cross over the genres between rock and punk and folk and trad but our good friend Anto Morra, the ‘London Irish folk-punker’, just edging it from The Logues with his superb tribute to the 1916 Easter Rising. Mickey Rickshaw swept to third with their specially recorded acoustic EP that came out for their European tour and ShamRocks put out an album of high quality and original Irish folk with imagination galore. A special mention for Blackwater Banshee whose EP came out later in the year and shows enormous promise and one or two original songs would have seen a much higher position I am sure.

4. ShamRocks (Ukraine)- ‘Captain’s Log’  Review

5. LARKIN (USA)- ‘A Toast To St. Jude’  Review

6. FOLK THE SYSTEM (England)- Unrest In The Wolds’  Review

7. SHAMBOLICS (Australia)- ‘Riot On Race Day’  Review

8. CLEAR THE BATTLE FIELD (USA)- ‘Set Me Free’  Review

9. SOLAS (USA)- ‘All These Years’  Review

10. BLACKWATER BANSHEE (Bristol)- ‘Blackwater Banshee’  Review

TOP CELTIC PUNK WEB-SITE

Now this has over the years become the Celtic Folk Punk And More Top Celtic Punk Web-Site award so often has that esteemed site walked away with the top spot but there’s a new kid on the block and this year we are happy to award top spot to our good mates over at Mersey Celt Punks. They only kicked off the site a few months ago but super regular postings on all manner of celtic-punkness has seen them triumphant. You can join their fun over at Twitter and Facebook and we heartily recommend you do. A special mention here also for Viva La XV another new kid on the block which looks amazing but sadly as none of us can read Spanish we can’t tell if it’s as good as it looks! We’re sure it is and you can check it out for yourselves at the Blog or over on Facebook.

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Right now the details. The Best Of lists were cajoled and bullied out of the four admins on the London Celtic Punks Facebook page. The various scraps of crumpled paper were received and then tallied up over several pints of Guinness in Mannions in north London while watching the football on the telly.

We are now in our fourth year of doing these Best Of lists so if you would like to have a look at the previous years best in celtic-punk then click the link below the relevant year.

all the major players in celtic-punk do Best Of lists so click below to check out what they thought

CELTIC FOLK PUNK AND MORE

PADDYROCK

MacSLONS IRISH RADIO

CELTIC-ROCK.DE

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

Only one more thing to mention about 2016 and that is to remember here Erik Petersen the lead singer of the influential folk-punk band Mischief Brew who sadly passed away earlier this year. I still find it hard to believe that he has gone but he will always be commemorated.

“So tattoo our arms and raise our glasses, call out your name at New Year’s Eve, maybe next time we kneel at a casket, we can say at least the story’s complete”

Read our obituary for Erik here and raise a glass the next time you get the chance to.

 Rest In Peace comrade.

 Sláinte, The London Celtic Punks Crew- January, 2017

CELEBRATING A CELTIC CHRISTMAS. 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: SAOR- ‘Guardians’ (2016)

A unique blend of Scottish folk and atmospheric black metal inspired by traditional Scots poetry and heritage.

saor-guardians

In reviewing this amazing album I really hope i can do it the justice it truly deserves.Sadly celtic-metal is not a music genre I am too familiar with although I can myself returning if theres more bands like Saor knocking around! Now Saor (which means ‘Free’ or ‘Unconstrained’ in Scottish gaelic) are not strictly a band they are the brainchild of talented multi-instrumentalist and singer/songwriter Andy Marshall. Andy was originally a member of Glasgow band Falloch who received great critical acclaim for their debut album Where Distant Spirits Remain in 2011 although Andy left the band the following year. Striking out on his own Andy released his first solo album Roots in May 2013 again to an avalanche of critical applause. There were only four tracks, that came in at nearly fifty minutes long, which upon listening to managed to evoke the essense of Scotland from the first few bars of the self titled opening track. As one reviewer described it

“The sensation of standing among ancient Scottish mountains captured in sonic form, it speaks to my soul, utterly beautiful”

The following year in June, Andy released Aura. A five track album with the sound fleshed out somewhat by several guest musicians. Passionate and majestic the music soars and again won them an array of positive reviews. Around this time Saor played a handful of live shows but it has now been decided that Saor will remain a studio-only project and there will sadly not be any more live shows.

andy-marshall

So after a two year absence Saor have returned with an album laden with their trademark celtic melodies with their new release Guardians out on November 11, 2016Recorded over two years, in Cairndow and the Isle of Skye, Guardians begins with the self titled track and as is the way with a lot of celtic albums its the sound of a running stream and birdsong that opens the song. It doesn’t take long before crashing guitars and the glorious sound of pipes fills the air and we off on our journey. The drums rock in and the speed ramps up and ‘Guardians’ soars and ebbs and flows while Andy gives it that true death metal growl while he’s singing of tragedy and loss.

“On the mountains of heather they slumber together.
On the wastes of the moorland their bodies decay.
How sound is their sleeping, how safe is their keeping
Though far from their kindred they molder away.

Oh, never to perish, their names let us cherish,
The martyrs of Scotland that now are away”

The song lyrics are all inspired in some way from real events in Scottish history and various parts have been taken from ancient Scottish poetry and the absolutely amazing way that Andy has managed to incorporate that into the songs.

In ‘Guardians’ Horatius Bonar poem ‘The Martyrs of Scotland” is utilised while ‘The Declaration’ is inspired by the Declaration Of Arbroath and Robbie Burns. The declaration was in in the form of a letter submitted to the Pope dated 6 April 1320 declaring Scotland’s an independent, sovereign state.

“By oppression’s woes and pains!
By your sons in servile chains!
We will drain our dearest veins,
But they shall be free!

Lay the proud usurpers low!
Tyrants fall in every foe!
Liberty’s in every blow!—
Let us do or die!”

The words come from a poem previously put to music by The Real McKenzies, the poem ‘Scots Wha Hae’. Written by Burns in 1793 it took the form of a speech given by Robert the Bruce before the Battle of Bannockburn in 1314. The song which served for centuries as the unofficial national anthem of Scotland until the present day popularity of ‘Flower Of Scotland’ overtook it. It retains its anger and its passion and Saor pay tribute to it faithfully. The shortest of all the tracks here it still lasts over ten minutes giving it plenty of time to build up and release and build up again. Starting fast before the whole thing slows down for the fiddle while the drumming is simply superb emphasising the sound of the other instruments without ever taking over. The words for following track, ‘Autumn Rain’, come from ‘Culloden Moore’ by Alice MacDonnell and was inspired by her direct descent from a hero of the battlefield.

“Noble dead that sleep below,
We your valour ne’er forget;
Soft the heroes’ rest who know
Hearts like theirs are beating yet”

The battle of Culloden was the final confrontation between the Scots and the English in 1745 and the last major battle fought on this island. Lasting only forty minutes the devastating slaughter marked the end of the military phase of the Jacobite Rebellion of 1745/6. Following the battle repression rained down on the native Scots and officers and chiefs who had escaped left for Europe while many of the Jacobite rank and file fled to the American colonies. The sorrow is palpable and Andys voice cries out in pain for them. Even today, they say that the birds don’t sing at the site of the Battle of Culloden. Alice Macdonell of Keppoch, writing at the end of the 19th Century writes of the bleakness of the place, after seeing it in the rain in autumn.

(spare an hour to watch this amazing docu-drama from Peter Watkins made in 1964. Cleverly reconstructing the battle of Culloden as if TV cameras were present.)

Fourth song ‘Hearth’ starts with acoustic guitar and the simple rhythm of the drums before it explodes into action with Andy’s vocals never more powerful than on this song. The words come from ‘My Native Land’ by Sir Walter Scott (1771-1832). Andy sings with a passion here, its the only time on the album you can hear some of the words, and while the words could apply to any country it is Scotland they were written for.

“This is my home
My heart
My soul
My hearth”

This is clearly the most celtic of the songs on Guardians and I love it. The swirling upbeats, the fiddle and tin whistle and the crashing guitars give this song in particular a feel of Scotland.

Guardians ends with ‘Tears Of A Nation’ and the words here come from ‘The Tears of Scotland’ written by Tobias Smollet (1721-1771). As is obvious from the title it’s another mournful tribute to those who laid down their lives over the centuries for a free Scotland.

“Mourn, hapless Caledonia, mourn”

So while Andy undoubtedly provides the backbone, at the very least, of Saor it would be unfair not to give the guest musicians who also appear a mention here. Bryan Hamilton from Falkirk metallers Cnoc An Tursa on drums, John Becker from Chicago prog-rockers Austaras on strings, Meri Tadić- Fiddle, Reni McDonald Hill on bodhrán and Kevin Murphy on highland bagpipes all provide excellent accompaniment for Andy. Vinyl and tapes will be available soon and the Digipak CD comes with a ten page booklet with lyrics. Guardians may have only five tracks but the word epic could have solely been invented to help me to review this album clocking in as it does at just over fifty five minutes, with each song lasting over ten minutes. As Andy explains

“I start off with a riff or melody on guitar and start recording demos. Once I’ve got the basics down, I begin adding other instruments and vocal ideas. I’ve no idea how the songs become complex and long, it’s just something that naturally happens when I write music”

From the admittedly little I know it would seem that the genre of folk-metal has long been the domain of Scandinavian bands whose traditions and songs seem to more revolve around trolls and Lord Of The Rings-esque characters while the small band of actual Celtic based celtic-metal bands seem to add something more substantial and real. Ireland’s Primordial, the first celtic-metal band, and Cruachan and Saor keep that flag flying and here on Guardians it is that fury and anger at the ills inflicted upon Scotland and the sadness and melancholy of the history of their land while at the same time the realisation that freedom has surely never been so close that gives Guardians such a dramatic feel to it. The music sweeps you away and if like me you are a stranger to celtic-metal then this is a perfect place to start and immerse yourself in the soundscape of Scotland.

(you can listen to Guardians by pressing play on the Bandcamp player below)

Buy The Album

*THIS IS A PRE-ORDER. RELEASE DATE IS NOVEMBER 11TH*- FromTheBand

Contact The Band

Facebook  Bandcamp  Instagram  YouTube

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

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Contact The Wakes

WebSite  Facebook  Bandcamp  Twitter  Soundcloud  YouTube

(live in London last year at the Cock Tavern in association with London Celtic Punks and the Hayes Bhoys CSC- thanks to Deano for filming)

 

ALBUM REVIEW: RED HOT CHILLI PIPERS- ‘Octane’ (2016)

A fusion of traditional tunes and rock classics taking ‘Bagrock’ to a whole new level!

rhcp

Just the other day we reviewed the new single from Scots folk-rockers The Red Hot Chilli Pipers and we were so impressed that we’ve decided we had to check out and review their new album Octane as well. Released last June, Octane continues The Pipers quest to introduce the world to their very own genre of music- Bagrock!

Red Hot Chilli Pipers

The Red Hot Chilli Pipers are an Scottish pipe and drum group formed in 2002 and since their formation have combined guitars, keyboards, drums and, of course, bagpipes to create a style of music they have labelled ‘bagrock’. The band have toured the world performing a fusion of traditional pipe tunes and contemporary songs ever since. They have released a host of successful and acclaimed albums including their debut, the self titled, The Red Hot Chilli Pipers followed by Bagrock To the Masses and in 2008, their third and first, live album, Blast Live. 2010 saw their most popular album to date’s release Music for the Kilted Generation, which reached Number Two on the US Amazon Chart. The title is a parody of the Music for the Jilted Generation album by The Prodigy which sets the tone for much of what The Pipers do. Breathe was released in July 2013 and their latest album Octane, which came out earlier this year, continues to mix up both traditional Scottish tunes and rock classics, taking bagrock to a whole new level! Famed for their exhilarating live show it has led to them playing festival after festival around the world and seen their star rise above heights they must have thought unimaginable back at home in 2002!

rhcp-1

Octane carries on in much the same way as those previous album’s with a selection of stone cold rock classics and some of the bands own compositions all done and re-arranged with some of the best bagpipe playing you will find put down on record in 2016. Kicking off with ‘La Grange: La Grange / The Green Room’ its starts with a bit of boogey-woogie and then some strong guitar and then the pipes stroll in and takeover. ‘Starlight: Starlight / Charlie Brown’ is up next and aye its the Muse song intertwined with a track by Coldplay. Now some of the keyboard arrangements are a bit cheesy I’m afraid, it has to be said, but who cares cos as soon as the piping starts your away and you don’t give a toss! Its time for some trad next with a song called, yes you guessed it, ‘Time for Trad: The Kesh / Old Wullie’s Dog / Merrily Kiss the Quaker’s Wife’ where the Pipers go to town with a truly brilliant bit of celtic-rock that for me is the standout track on Octane. ‘Fat Bottomed Girls: Fat Bottomed Girls / Fat Arsed Lassies’ is up next with Queen’s famous non-PC track.

One of the better, but little known, Queen tracks and here given a brilliantly catchy rendition and accompanied by a fantastic video as well that you must check out above. Another unusual, but again superb, cover next with The White Stripes ‘Seven Nation Army: Roadhouse Song / Seven Nation Army’ before their own composition ‘Pressed For Time’ which again stands out among the covers. Now is a good time to tell you that (almost) all the songs are instrumental with no vocals. I am torn between thinking this is a good or bad thing. The album is great as it is but would they benefit from a singer I’m just not sure so I will stick to the old adage

“if it aint broke don’t fix it”

‘The Fallen’ was written by Red Hot Chilli Piper Roddy S. MacDonald and was released just the other week as a charity single as a tribute to the 343 heroes from the Fire Department of New York who made the ultimate sacrifice on September 11, 2001.(you can find more on the single release and how to buy it/donate here). ‘Chasing Love’ is another Pipers composition and as you could probably tell from the title is a much slower song before transforming into ‘The Way It Is: The Way It Is / Chasing Love’ and like nearly all the covers here you’ll be instantly racking your memory as you know the song but can’t quite reach who the artist is! As the album nears the end there’s more famous rock and pop songs here like Van Halen’s ‘Jump: Jump / Dancing Feet’, John Mayer’s ‘Neon: Neon / Wee Derek’s Song’ and Tears For Fears’ Everybody Wants to Rule the World: The Bung / Everybody Wants to Rule the World’. They wait till the second last track to give us a real old traditional favourite with ‘The Wild Mountain Thyme’ which is credited to Francis McPeake back in 1957 though thought to be at least two centuries older. For the only time on the album we get treated to vocals and nowhere here do the band sound so Scottish especially as the song so strongly resembles the famous Scots tune ‘Go Lassie Go’ so much. Octane comes to an explosive end with ‘Urban: Rip the Calico’ and goodbyes are said with another catchy Red Hot Chilli Pipers song that really hits the spot.

So their you go fourteen tracks, mostly covers but with a decent smattering of self penned numbers that comes in at just over fifty minutes. Great value and the energy doesn’t cease for a single second throughout. The piping is simply brilliant and the accompanying mix of guitar, drums, brass etc., is inspired. Production is superb but if you’re not a fan of bagpipes (if so then why are you here?) then this won’t interest you BUT if, like me, you fecking love them then this album is an absolute must. It definitely errs towards the easy listening section of your local (if you got one!) record shop but let that not distract you from what is a excellent album of traditional Scottish music for the present day.

Buy The Album

FromTheBand  MusicScotland  AllCelticMusic  Amazon  iTunes

Contact The Red Hot Chilli Pipers

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9/11 FIREFIGHTERS CHARITY SINGLE RELEASE BY THE RED HOT CHILLI PIPERS

Bagpipes with Attitude! Drums with a Scottish accent!

For all firefighters the world over.

September 11, 2001, will rank among the bloodiest days in the history of the Irish people. Nobody knows exactly how many were lost but we do know that thousands of members of the global Irish community left home that day never to return and see their loved ones again. Many of the innocent victims of the terrorist attacks in New York, Washington and Pennsylvania perished in a valiant struggle to save the lives of others. The heroics of the members of the Fire Department of New York and the 343 souls they lost that day alongside other police officers and emergency workers will be remembered for their unfathomable courage. Leaders in their chosen professions. Success stories of an Irish diaspora built on the many sacrifices of their ancestors.

irish-fireman

The Red Hot Chilli Pipers are pleased to announce the release of a new charity single and a glowing tribute to the 343 Heroes from the Fire Department of New York who made the ultimate sacrifice and saved thousands of lives 15 years ago on September 11, 2001. Every penny of the proceeds raised from this track will be donated to two very important fire service charities – The Scottish Fire and Rescue Service Family Support Trust and The FDNY Emerald Society Pipes and Drums. This highly emotive piece of music show’s how much firefighters mean to us all, something that not only says thank you to them but is also a lasting and fitting tribute to all firefighters worldwide. The tune was written by RS MacDonald in memory of the members lost that horrible day and, former fireman and founding band member Willie Armstrong put together a great group of musicians in Scotland to make this happen. The stunning video, featured below, begins in Edinburgh before heading to New York before returning to the Bonnie Banks of Loch Lomond for the final tribute to The Fallen.

The Red Hot Chilli Pipers are an Scottish pipe and drum group formed in 2002 and since their formation have combined guitars, keyboards, drums and, of course, bagpipes to create ‘bagrock’ sound. The band have toured the world performing a fusion of traditional pipe tunes and contemporary songs. They have released a host of successful and acclaimed albums including their debut, the self titled, The Red Hot Chilli Pipers followed by Bagrock To the Masses and in 2008, their third and first, live album, Blast Live. 2010 saw their most popular album to date’s release Music for the Kilted Generation, which reached Number Two on the US Amazon Chart. The title is a parody of the Music for the Jilted Generation album by The Prodigy. Breathe was released in July 2013 and their latest album Octane, which came out earlier in the year, continues to mix up traditional tunes and rock classics, taking bagrock to a whole new level! Famed for their exhilarating live show it has led to them playing festival after festival around the world and seen their star rise above heights they must have thought unimaginable back at home in 2002!
rhcp-1

BUY THE TRACK FROM iTUNES FOR ONLY 99p

HERE

YOU CAN ALSO CONTRIBUTE ANY DONATIONS HERE

Information on the charities benefitiing from the single can be found here

The Scottish Fire and Rescue Service Family Support Trust here

The Emerald Society Pipes and Drums here

Contact The Red Hot Chilli Pipers

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LIVE REVIEW: THE CUNDEEZ IN SOUTH LONDON SEPTEMBER 2016

KEEPIN’ IT OARY DOWN AMONG THE SASSENACHS DAY TWO

by Vincent Mahon

CundeezVegBarColour (2)

Fresh from their triumphant London debut at the Gunners in Finsbury Park on Friday, Saturday finds the Cundeez saarf ov ver rivver at the Veg Bar in sunny Brixton as guests of the London Celtic Punks.
The Veg Bar is a vegan restaurant on Tulse Hill, just up from Brixton station. It’s a quiet, unassuming place and certainly not the sort of establishment generally considered home to the kind of mayhem and shenanigans associated with punk rock. However, there is a cellar bar. And that’s where the chaos ensues…

Dissent

Dissent

There’s other bands tonight, all of whom are good at what they do and some more to my taste than others. The stand outs for me were Comrade X, who always delivers the goods, and Black Water County, whose punk-infused folk may invite some obvious comparisons, but they play with enough talent and conviction to mark themselves out as contenders in their own right. I’d definitely be up for seeing them again.
By the time the Cundeez fire up, it’s hot in that little cellar bar. Damn hot. And there’s a pissed-up bunch of good natured yobbos and n’er do wells more than ready for them. The choice of London Calling as an opener is superb. It’s The Cundeez saying hello to their southern friends, and it’s an acknowledgement that wherever we’re from, we share similar tastes, backgrounds and experiences. And that’s what matters.

BWC

Black Water County

A Cundeez gig is a thing of great joy. Like a cross between a benevolent riot and the greatest party you’ve ever been invited to. Every song they play represents what’s great about punk rock when it’s done properly: energy, excitement, anger and humour are all present, wrapped up in killer tunes that hit you full-on and take no prisoners. What marks the Cundeez out from so many of their peers is that even when they are angry (“Austerity,” “Mr Politician” or the magnificently vitriolic “Yer Talkin’ Shite”), there is a sense of positivity and energy that’s sadly missing in so many other bands who generally seem content to just moan and wallow in it. There’s no room for negativity or despondency when the Cundeez are playing because you’re too busy having a bloody good time. Just watch them performing “Roota” and I defy you not to end up grinning from ear to ear and at the very least, tapping your foot.
Cun10Tonight’s crowd need no second bidding to get stuck in and show their appreciation by leaping around like a bunch of loons. The sweltering heat means “taps aaf” is pretty much obligatory. New single, “Rebellion” sounds incredible, and is a definite highlight in a flawless set. The Buzzcocks’ classic “Ever Fallen in Love…” is given a grand shake up, and by the time they hit “Night Boat to Cairo” everybody in the crowd is going ballistic. The energy and excitement this friendly bunch of Dundonians generate in one gig would be enough to power a small town.
Cun11And so the Cundeez came to London and it would be no exaggeration to say that they absolutely smashed it on both nights. For me personally, it meant I got to support a band I’ve been raving about for the last year, and see them twice in one weekend. That’s pretty good going as far as I’m concerned. Not only are they an amazing live band, but they’re also some of the nicest, most decent folk I’ve met on the punk scene. Gary, Stevie, Trotsky and Tez, you’re welcome back anytime. London loves the Cundeez. Keep it Oary!

Contact The Bands

The Cundeez  Facebook  ReverbNation  Soundcloud  Twitter  YouTube

Black Water County  WebSite  Facebook  Twitter  Bandcamp  YouTube  Google+

Kilburn Bomb Squad  Facebook

Comrade X  Facebook  YouTube  Twitter  ReverbNation

Dissent  Facebook

Cheers and beers to Dissent, Kilburn Bomb Squad, Comrade X, Black Water County and The Cundeez. Absolutely spot on and all were just brilliant. Ta to The Sweat Box… sorry Veg Bar. I didn’t eat myself but was told the grub was fantastic, to the bar man didn’t catch yer name but you was a star and Assad thanks for the brilliant sound everyone was really happy with it. Hope to catch you at The Go Set on the 30th I hope. To Patrick and Peter who did the door. God bless you both.

Again thanks to you all we love and respect youse all. xx

Thanks to Vincent for the great review. He plays in another great London band worth checking out Morgellions so in the absence of any vid’s from the gig here’s one of them playing the night previous.

Their is a Facebook file with photos from the gig over at the London Celtic Punks page here.

ALBUM REVIEW: THE RUMJACKS-‘Sleepin’Rough’ (2016)

Bloody ‘ell! Close the Best Of 2016 poll we have a winner already! The Bhoys have only pulled it off again. 

By Shane O’Neill

Rumjacks

Wow!!! These guys never fail to impress. 2016 should be renamed The Year of The Rumjacks. Firstly, they hit us with a mammoth 5-month European tour and then they release the 12 song masterpiece that is “Sleepin’ Rough” in early August. If that’s not enough they have also just announced that they will be ending the year with a 4-month tour of Australia once they return from Europe. Impressive or what?? Nobody can question them on their hard work this year. This band is going from strength to strength.

LCP Frankie

Frankie with Andy Mac of The Lagan

When I first heard The Rumjacks I never dreamed I would ever see them live, however they toured Europe in 2015 and again in 2016. I have to say they do not disappoint live either. I was lucky enough to share a few beers with The Rumjacks during their current tour. I have to say they are a really down to earth and humble bunch of really talented punks. None of the Bono type rock star bulls@#t from these guys. They are happy to mingle with the crowd and share stories about their music and tour. It is evident that these guys love what they are doing and we love it too so keep it coming….

Now where do I start with ‘Sleepin’ Rough’? One of the guys said to me it gets better every time you listen to it and I agree. I was a bit dubious when I heard the album was being released so soon after Sober & Godless (2015). Releasing back to back albums so soon after each other doesn’t always work but this is The Rumjacks – of course it works and has exceeded all expectations. ‘Patron Saint O’ Thieves’ is a crackin’ album intro to get you warmed up for what’s to follow.

“…..burn it bhoys…..”

The album has some fine tin whistle solos. This really brings out the best in tunes like ‘Murder Shanty’ and ‘Eight Beers McGee’. Personally my 3 favourite tunes are (in no particular order) ‘The Pot And Kettle’, ‘Fact’ry Jack’ and ‘A Fistful O’ Roses’.

‘Fistful O’ Roses’ was released as a single a few months back to give us a taste of the album. It a mighty fine offering about the dying pub / club scene in Sydney. As Frankie relates

“An agenda of sweeping law reforms and increasingly heavy tactics by our state government have crushed the city’s nightlife, the livelihood, and in many cases even the lives of many of its inhabitants. Iconic pubs, bars & restaurants are forced to close their doors, elderly residents are driven from their homes and Sydney is growing more desperate & hostile with every passing day.
This is a city under siege by those who rule her, set to become a playground for the elite, while the people who made it the treasure it was are squeezed out to wherever they hell they may venture.
We performed the video for the song as a macabre ‘dry wake’, set among the decay, in a derelict pub, one of many to fall victim to the states new order. Historic footage flits across the screen like memories of a life flashing before one’s eyes. ‘A Fistful O’ Roses’ is one last great send-off for the old girl, but make no mistake…”

This is an unfortunate theme which applies to most major cities and towns where we see traditional pubs, clubs and live music venues being closed down by developers. It really is such a shame to see the heart of cities and towns being ripped out not to mention the impact it has on the live music scene and new up & coming acts.

“Oh, this boozer is a wreck, all up & down the deck,
Like a tired old sinner off her game,
Wi’ her blood red lips, and her youth about her hips,
Still the regulars all love her just the same,
Where the mud-spat boots cut their way among the suits,
And the Sally’s come to rattle the can for Jesus,
‘Til they chain up all the doors & toss out all the whores,
Wi’ a fistful o’ half dead roses”

Be warned, before you press play on ‘Dead to me’ make sure you’re firmly strapped in. This tune will pick you up, spin you around and drop you flat on you’re a#$e before you know it – hard hitting or what? Throughout the album you can pick up many different influences from traditional Irish, Scottish and Aussie to sea shanty to hardcore punk. All this blended together give us the unique blend of Celtic punk that is The Rumjacks which others aspire to. Lyrically the album gets 10 out of 10 and no better man to pelt them out than Frankie with a mixture of Aussie / Glaswegian dialect. For me The Rumjacks are by far the best Celtic punk band on the scene at the moment and ‘Sleepin’ Rough’ is a fine example of what they are capable of. Not much more I can say other than go get yourself a copy of ‘Sleepin’ Rough’ and if you get half a chance go and see them live. I would personally donate body parts for a chance to see them again.

(left to right) Anthony- drums Adam: banjo/mandolin Frankie: vocals/tin whistle/ Gabriel: guitars Johnny: bass

(The Rumjacks left to right) Anthony- drums Adam: banjo/mandolin Frankie: vocals/tin whistle Gabriel: guitars Johnny: bass

Buy The Album

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Contact The Band

WebSite  Facebook  Twitter  Instagram  YouTube  Soundcloud

for more on The Rumjacks check out the following articles

Album Review: ‘Sober And Godless’ (2015)  here

Single Review: ‘Blows And Unkind Words’ here

30492-London Celtic Punks Top Twenty Celtic-Punk Albums Of All Time here

The Rumjacks And Irish Pubs here

ALBUM REVIEW: Oi POLLOi- ‘Saorsa’ (2016)

Rocking hard berating the system while shouting “Oi! Oi! Oi!” in Scottish!
by Shane O’Neill
OiPolloi

‘Saorsa’ means ‘Freedom’ in Scots Gaelic and is the sixth studio album of long running Scottish anarcho punk outfit Oi Polloi and the first since 2012. The album is hard hitting anti fascist, anti establishment, anti racism, anti homophobia, anti sexism ( did I miss any anti…..) Oi! punk with strong Gaelic flavour wrapped up in no less than 15 tunes.

Again they don’t shy away from addressing politically relevant topics accompanied by a healthy mix of crusty, punky, singalong Oi! Oi Polloi must be commended for the use of their music to promote the Gaelic culture in particular the use of the Gaelic language in their lyrics.

” …this is class war we’re fighting back…”

“…..progressive Oi! is kicking back…..”

The fourth song on the album ‘No’ is a demonstrated best by the picture below. As they say sometimes a picture paints a thousand words.

Oi Polloi No

The album also contains a track titled ‘Yes’ to voice the bands support of the recent Scottish independence referendum. This one may be getting more air time sooner than we think!!

‘Dirty Protest’ tells of the protest in Ireland’s British prisons about the criminalisation of republican prisoners. Prisoners held in the north of Ireland were regarded, quite rightly, as political prisoners but that status was being eroded and finely was abolished in 1976. Among other things, this meant that they would now be required to wear prison uniforms like ordinary convicts. The prisoners in the infamous Maze, also known as Long Kesh, refused to accept that they were ordinary criminals, and refused to wear prison uniform and instead dressed only in prison issued blankets. The fight led later to the hunger strikes that resulted in ten deaths. For an excellent documentary on The Blanketmen check here)

‘GCHQFU’ is a fine ode dedicated to our friends in the secret service who spend their time ensuring we all tow the line.

“They’re watching me, they’re watching you…GCHQ fuck you”

One thing you can’t accuse them of is not having a sense of humour though as evident on ‘Our Winged Sisters’. Check out the brilliant video!

“This one’s for our sisters who we owe so much, so very much
Neonicotinoids are leaving them fucked, dead in the dust
We must all become pesticides resisters, rezizzterzzz!
Don’t you think we owe it to our winged sisters, our sizzterzzz?

Our winged sisters! Our winged sisters! Our winged sisters!
Sizzzterzz! Sizzterzzz! ZZZZZZZ! Sizzzterzz! Sizzterzzz! ZZZZZZZ!

Fight for the bees will give you a buzz, give you a buzz
Just like listening to our mighty streetcruzzt, mighty streetcruzzzzt!

Our winged sisters! Our winged sisters! Our winged sisters!
Sizzzterzz! Sizzterzzz! ZZZZZZZ! Sizzzterzz! Sizzterzzz! ZZZZZZZ!

Agro-chemical companies – we must resizzzt them, rezizzzzt them!
We muzzt oppose their apicidal syzztem, zyzzztem!”

Other notable tracks include the opener ‘Let’s Go’, ‘The Face’ and ‘Spelling It Out’. The CD comes in a digipack with fold out poster including lyrics and infos with the album due out on vinyl any day soon. Check with the record companies listed below. The artwork was once again provided by the talented hands of SONIA L. who also was responsible for the stunning celtic knotwork based art of Oi Polloi’s classic 90’s album ‘Fuaim Catha’. This is definitely an album you need in your collection. You won’t regret it.

Tracklist
1. Let’s Go!
2. Soil Yourself
3. The Face
4. NO!
5. Dirty Protest
6. Contra El Sistema
7. GCHQFU
8. Da Mhionaid
9. Destroi Phallocentricity
10. Metal Detector
11. Our Winged Sisters
12. YES!
13. Vos Vilen Di Anarkhisten?
14. Sing A Song Of System
15. Spelling It Out

Get The Album
RuinNationRecords  MassProductions  (CD only, Vinyl available soon!)
Contact The Band
the full live set from last years 0161 Festival at the Miners Community Arts and Music Centre in Moston, Manchester.

Oi POLLOi ON WHY THEY SING IN THE GAELIC LANGUAGE

There are estimated to be somewhere in the region of 6,000 different languages currently spoken on planet earth. In the face of rampant globalisation, however, 90% of them are expected to be extinct by the end of this century. Here in Scotland our indigenous Celtic language, Gaelic, is one of those threatened. For hundreds of years Gaelic speakers here have been subject to oppression and persecution from central government and its attempts to wipe out the language. Up until the 1970s children in the Scottish highlands could be beaten for speaking Gaelic in school and even today Gaelic speakers still lack the same basic linguistic human rights as those of English speakers. Today the number of those speaking the language is down to somewhere around 55,000 people or just over 1% of the population but a growing number of Gaelic language activists are now fighting back to demand their rights and preserve their ancient tongue. These songs here are part of that struggle to defend our indigenous language – not, we hasten to add, out of some kind of narrow-minded xenophobic patriotism (which as anarchists we totally oppose) – but out of a belief in the value of diversity and respect for different cultures. We believe that ALL minority languages and the linguistic human rights of their speakers should be respected. Whether it is Saami in Finland, Sorbisch in Germany or Gaelic in Scotland we believe it is a tragedy for ANY threatened minority language to disappear. The Gaelic songs on this album then are part of our contribution to the fight for multicultural societies where all indigenous languages like Manx, Welsh and Gaelic are able to thrive and where children have the opportunity, if they so choose, to be able to grow up with a bi-lingual education, having both the benefits of the indigenous language of the area where they reside as well as English or whatever as a lingua franca. Those interested in more information about the links between indigenous cultures and bio-diversity and linguistic diversity should visit www.terralingua.org or read some of the great books on the subject out there like David Crystal’s excellent ‘Language Death’, Mark Abley’s ‘Spoken Here – Travels Among Threatened Languages’ or the highly recommended ‘Linguistic Genocide in Education – Or Worldwide Diversity and Human Rights?’ by Dr Tove Skutnabb-Kangas. For more information about the Gaelic language itself visit www.smo.uhi.ac.uk/gaidhlig/english.html or just come and ask us at our gigs.

ALBUM REVIEW: ‘JOY OF LIVING: A TRIBUTE TO EWAN MacCOLL’ (2016)

Fearless and uncompromising Ewan MacColl’s influence is still felt far beyond the folk world. We owe him a lot… more than we can ever imagine.

Joy Of Living

Regular readers of the London Celtic Punks blog will all know how much we like Ewan MacColl and we have regularly featured him within these pages. Though long gone Ewan’s massive volume of work lives on and only the other day were we raving about the Irish-American celtic-punk band 1916 and their amazing version of another Ewan song (sadly not featured here) ‘Hot Asphalt’. Ewan’s songs were uplifting whether proclaiming love or war or peace. He wrote about things that would now be forgotten about and has kept their memory alive. He gave birth to a folk revival that continues to this day, many years after his passing, that remains in great health. The songs he wrote and championed are still being played and explored and adapted and still being made great. Ewan MacColl’s musical legacy is, to put it simply, just out of this world. We owe him a lot… more than we can ever imagine.

Ewan was the Scots-born son of a Gaelic-speaking mother and Lowland father from whom he inherited more than a hundred songs and ballads. He worked as a garage hand, builders’ labourer, journalist, radio scriptwriter, actor and dramatist. After the end of World War II Ewan wrote and broadcast extensively in Britain about folk music. He was general editor of the BBC folk-music series, ‘Ballads and Blues’, and frequently took part in radio and television shows for the BBC.

Ewan MacColl 1His folk song publications included ‘Personal Choice’, a pocket book edition of Scots folk songs and ballads, and ‘The Shuttle and the Cage’, the first published collection of British industrial folk songs. Eventually he was ousted from the BBC due to his socialist beliefs. He wrote many songs that have become folk (and celtic-punk standards) the most famous of course being ‘Dirty Old Town’ popularised by The Dubliners and then The Pogues. It is wrongly assumed to be about Dublin but it is in fact about his home town of Salford in Manchester. He is also famous for writing one of the greatest ever love songs ‘The First Time Ever I Saw Your Face’ which he wrote for his second wife, the influential American folk singer, Peggy Seeger. He was also the father of Kirsty MacColl who of course guested on The Pogues enormous Christmas hit ‘Fairytale Of New York’. After many years of poor health Ewan died on 22 October 1989 but it can be safely said of him that his songs and influence will live on forever. Comparable only to Woody Guthrie in more than one way.

This fantastic double album marks 100 years since Ewan MacColl’s birth and the album has been produced by two of Ewan’s sons, Calum and Neill, and features a wonderful bunch of diverse artists from right across folk, rock, pop and celtic music. Disc one begins with, for me, one of the stand out tracks with Damien Dempsey singing ‘Schooldays Over’. The only song here we have heard before nevertheless it is more than welcome. Made famous by the late great Luke Kelly’s version with The Dubliners Damien is no stranger to Ewan’s work and does him truly proud.

This is followed by a track from one of the most influential figures in folk music today, Martin Carthy and is the first of several and several individual contributions by the Waterson-Carthy family. He performs the unlikely tale of a fish delivery man in ‘I’m Champion At Keeping ‘Em Rolling’. The Unthanks may sound like a rock band but are in fact two sisters (Unthank is their great surname) who perform a gentle lullaby ‘Cannily, Cannily’. Tracks from legends old and new follow from Seth Lakeman and Marry Waterson and Bombay Bicycle Club are up next, BBC famously include one of MacColl’s grandchildren, Jamie. They contribute a moving version of ‘The Young Birds’, a song written back in 1961 to commemorate a tragic plane crash that killed 34 London children of whom some were known to MacColl’s oldest son, Hamish. Another artist we are familiar with here is Dick Gaughan who contributes ‘Jamie Foyers’. Dick is an influential Scottish musician, singer, and songwriter who was a founding member of the famous celtic band Boys Of The Lough. Martin’s daughter Eliza Carthy, ‘Thirty-Foot Trailer’ and Chaim Tannenbaum, ‘My Old Man’, are up next before honorary Irishman Steve Earle presents a new take on a song that needs no introduction ‘Dirty Old Town’, except to say that it does sound like the spirit(s) of Shane MacGowan were present at its recording.

The first discs last song is from Jarvis Cocker and the erstwhile Pulp front man gives us a amazingly beautiful whispered version of  ‘The Battle Is Done With’. I am sure it won’t be everyone’s cup of tea but its great to hear something that just isn’t a straight cover of Ewan’s work.

Ewan MacCollDisc two begins with the most famous of Ewan’s compositions and Paul Buchanan vocalist of 80/90’s Glasgow indie band The Blue Nile croons beautifully through the ‘First Time Ever I Saw Your Face’. Ewan wrote the song for Peggy Seeger and it became an international smash hit in 1972 sung by Roberta Flack. On hearing this version it made me wonder how Shane MacGowan would have mastered it. Paul Brady will be a name known to many and his version of ‘Freeborn Man’ shows Paul to have lost none of his talent in a career that spans right across modern day Irish folk music. Another travellers song follows and Norma Waterson provides us with a fauntless rendition of the gypsy’s plight in ‘The Moving On Song’. Karine Polwart’s version of ‘The Terror Time’ is again beautiful, and Martin Simpson, The Father’s Song, is up next before the ultimate Irish living folk legend, and former band mate of Paul Brady in Planxty, Christy Moore appears with ‘The Companeros’. Again yer man has lost nothing and its a stunning version. Now there’s one name missing from this album so far and he’s up next. It must be written into law that Billy Bragg must appear on any folk compilation and whatever you think of him he gives us a really nice but angry copy of ‘Kilroy Was Here’ which strips Billy back to those early days when he was at his best. Folk siblings Rufus and Martha Wainwright play the magnificent ‘Sweet Thames, Flow Softly’. A small gentle snapshot of life before Kathryn Williams, ‘Alone’, and David Gray brings the whole project to an end with one of Ewan’s best but sadly little known songs, and album title, The Joy of Living.

As you may expect traditionalists might not appreciate some of the versions here but this enhances, rather than detracts and all the various strands of Ewan’s political and musical life is represented here. This double album does not pretend to be the ‘be-all-and-end-all’ as with an artist with such a massive repertoire it would be impossible to please everyone but it does provide a gateway. Collections like this serve only one purpose. That is to steer listeners away from the modern day versions to the original source and with Ewan their is plenty to catch up on. We have included some links at the bottom where readers can find more information and free downloads so I hope you take the opportunity to. It is impossible to calculate the range and influence of this remarkable singer and song-writer but we can rest assured his memory lives and this album is a great testament to him.

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

Disc 1
1. Damien Dempsey – Schooldays Over
2. Martin Carthy – I’m Champion At Keeping ‘Em Rolling
3. The Unthanks – Cannily, Cannily
4. Seth Lakeman – The Shoals of Herring
5. Marry Waterson – The Exile Song
6. Bombay Bicycle Club – The Young Birds
7. Dick Gaughan – Jamie Foyers
8. Eliza Carthy – Thirty-Foot Trailer
9. Chaim Tannenbaum – My Old Man
10. Steve Earle – Dirty Old Town
11. Jarvis Cocker – The Battle Is Done With

Disc 2
1. Paul Buchanan – The First Time Ever I Saw Your Face
2. Paul Brady – Freeborn Man
3. Norma Waterson  – Moving On Song
4. Karine Polwart – The Terror Time
5. Martin Simpson – The Father’s Song
6. Christy Moore – The Companeros
7. Billy Bragg – Kilroy Was Here
8. Rufus & Martha Wainwright – Sweet Thames, Flow Softly
9. Kathryn Williams – Alone
10. David Gray – The Joy of Living

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For more on Ewan MacColl the internet is awash with sites but trust us and head straight to the official sites but also to Wikipedia as well as this tribute from the Working Class Movement Library here. You can listen to some of his music for free here on LastFm.

We have a regular series ‘Classic Album Reviews’ where we feature records from the past that have had influence far beyond their years. Ewan (of course!!), Leadbelly and several compilations have featured so far and all come with links to free downloads. You can check out the full series here.

(Just to prove Ewan’s work lives on here’s the aforementioned 1916 from New York with their recent  version of the classic Ewan song ‘Hot Asphalt’)

SINGLE REVIEW: THE CUNDEEZ- ‘Rebellion’ (2016)

Unashamedly Dundonian working class band promotin Scots culture an havin a laugh!

Cundeez- Rebellion 7"

Been following these boys for a while and was meaning to review their album ‘Sehturday Night Weaver’ from last year from the moment I first heard it. In the end I had to sneak it in with the end of the year round-ups (here) sadly denying it the chance to get the full-on London Celtic Punks style review. Luckily they have just released this 3-track single so here’s a good chance to introduce them to you.

The Cundeez were formed back in 2010 in Scotland’s fourth largest city in Dundee. Interestingly Dundee during the defeated Referendum Vote in 2014 had the highest Yes vote for any local authority in the whole of Scotland leading Dundee to be christened ‘Yes City’ and The Cundeez are no exception to their fellow Dundonians! The city has two professional football clubs, Dundee who were founded in 1893 and Dundee United who came a little later in 1909, originally as Dundee Hibernian. They both (at the moment!) play in the top division of Scottish football and the real ‘pub fact’ is that their respective grounds are only 100 metres apart. Not sure which team the band follow but on this season’s performances I hope for their sakes its Dundee!

The Cundeez band

The Cundeez have released four albums with each one better than the previous one and this progression shows no signs of stopping with this release. The title song, ‘Rebellion’, kicks off the single and its mixing up their own unique style of punk rock with Highland bag pipes that gives them bit extra. Beware though the faint hearted. They are not The Real McKenzies and neither are they trying to be. Fast, punchy and catchy as hell punk rock with shouty vocals delivered in a raw Dundee dialect. Following this is ‘Roota’, the single’s best song with energy dripping right out of it. This time adding ska into the mixer and some great guitar work keeping it chugging along.

The single’s final track is ‘Jist A Number’ and its more straight up political punk rock that this time reminds me a bit like what fellow Scots punkers Toxic Ephex would have sounded like if they could have got their guitar’s sounding better.

Sadly for all you youngsters out there the single is available only on vinyl. Yes only vinyl. You don’t hear that much these days and not only that but is limited to only 300 copies so get your skates on if you want a copy from Urinal Vinyl Records. We will be hooking up with The Cundeez to get them all the way down from Dundee for a gig in London later this year on Saturday 3rd September. Details are yet to be finalised but keep an eye here or check out the Events section at our Facebook page here but keep the date free it is guaranteed to be something special.

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THE CUNDEEZ… KEEPING IT OARY!

CELTIC CHRISTMAS TRADITIONS and a 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…

(Danish/Dublin band ROVERS AHEAD have released a new Christmas single for 2015)

CELTIC CHRISTMAS TRADITIONS

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.

Christmas

Although a celebration of the Son’s birth replaced that of the Sun’s, still a number of ancient Celtic Christmas traditions remain today.

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.

Finally, 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…

support a fantastic celtic-punk band by giving just a measly dollar (or about 66p in Brit money) by downloading the new Rovers Ahead single below from Bandcamp)

Now go and have a drink!

2015 REVIEWS ROUND UP PART TWO- WILL TUN AND THE WASTERS, SKONTRA, LOUISE DISTRAS, HAPPY OL McWEASEL, THE CUNDEEZ, ANTO MORRA

This year has been quite brilliant for celtic-punk releases. In fact it has been far the best year since we began doing this here thingy. Good news surely but it also sadly means we didn’t get a chance to review everything we received or heard. So after catching up with our North American cousins (here) last time in Part 1 this time round we catch up with some a wee bit closer to home.

WILL TUN AND THE WASTERS- ‘The Anachronist’s Handbook’  (BUY)

Will Tun And The WastersThis album release came accompanied with the sad news that lead singer Will Tun was leaving the band. An amicable split and the rest of The Wasters have decided to carry on without him and so this is the swansong of Will Tun’s Wasters. Formed in 2010 by a gang of students based all over southern England Will Tun And The Wasters released a smattering of EP’s and singles and managed to get pretty popular so it was only a matter of time before an album was due. I suppose losing your lead singer would also also help lose a big slice of momentum as this album sneaked out rather than be unleashed and that was a mighty shame as this is a album deserving of being unleashed! Impossible to pigeonhole they were a hard working bunch ready to arrive from several starting points to play gigs at a drop of a hat. Though starting off more as a folk/celtic/ska-punk band they never stopped evolving and traces of hip-hop, Balkan and Latin found a home and nowhere more so than on The Anachronist’s Handbook. Twelve songs and over fifty minutes long the album takes you on a roller-coaster ride of musical styles but its the accordion and fiddle that stand out for me as well as Will’s great distinctive vocals. The energy is infectious and ‘Red & Black’ and ‘A Criminal’s Waltz’ could be The Pogues but whatever genre they turn their hand to they master it. The album ends with ‘Downtime’ another album highlight but this time a reggae/ska beat dominates. I really hope The Wasters can regroup and carry on (as they do intend to) as they would be sorely missed.

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SKONTRA- ‘Foguera’  (DONATE/FREE DOWNLOAD)

SkontraHere’s some authentic celtic-punk for you played by Skontra from the city of Gijón in the celtic region of Asturias currently under Spanish control. There is a school of thought amongst celtic scholars that to be a true authentic celtic nation you must have your own language but if to be truly celtic is based on culture then we must instead expand our thinking to include both Asturias and their neighbours Galicia as well. Celtic culture is alive and kicking and the people are especially proud of their celtic roots. Formed in 1991 Skontra this is their fourth full length album and the thirteen songs are mingled with elements of punk, hardcore, ska and reggae but always with a celtic base and with the traditional Asturian bagpipes leading the way. Seven of Foguera’s songs are in their native Asturian and the rest in Spanish so can’t tell you what the songs are about but its all dead catchy and if you’re looking for a comparison then this would please all you Real McKenzies fans but its very well played celtic-punk that ought to get you all moving your feet. Typical of Skontra is the fantastic title track which includes just about everything that makes them tick. They have made the album available for free for download so you’d be a mug not to get this fantastic album.

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LOUISE DISTRAS- ‘Dreams From The Factory Floor’  (BUY)

Louise DistrasMaybe not a celtic-punk album but Louise has popped up supporting both The Mahones and Bryan McPherson in the last year and her folky-punk solo set is right up our alley. She has been called the next Frank Turner but as I don’t think she went to the poshest most exclusive school in Britain I reckon we can ignore that. There’s no style over substance here, what you see and what you hear is what you get. ‘Dreams From The Factory Floor’ is twelve songs of over half an hour of folky punk that sometimes veer into almost poppy tunes like the great ‘Bullets’ but then the album goes in a direction that (very) early Bragg or Springsteen at his best would approve of. Plenty of harmonica (I love that) and great politics too. The politics of the working class and its struggles in every day. The spoken word title song is amazing and delivered in Louise’s broad Yorkshire accent sounds about as authentic as some others don’t. The use of both acoustic and electric guitar and the poetic lyrics and every song is both catchy and meaningful. No filler or fluff here and though not as punk rock as Louise is with her full band this album certainly shows an artist who is on her way to stardom.

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HAPPY OL’ McWEASEL- ‘Heard Ya Say!’  (BUY)

Happy Ol McWeaselFrom the first moment I heard this album I fell in love with Happy Ol’ McWeasel’s brand of joyous uplifting celtic punk rawk! Formed in 2007 in the Slovenian town of Maribor this is their second album and while on No Offence they relied maybe a little too much on traditional folk covers on this album they decided to take the more risky route and play only their own songs and I tells you it works… and it works well! All the usual instruments are here as well as accordion, fiddle, and banjo making as authentic a celtic sound as you are likely to hear in celtic-punk in 2015. Most important of all through the album’s twelve tracks you get the feeling that the band really love doing what they are doing. Their is a real sense of enjoyment running through this album and though you could bracket it with Flogging Molly style celtic punk it certainly ploughs its own trough too though it certainly could compare with bands like Rancid as well. Well played instruments, clear vocals and these fun-loving tunes are a definite hit. Its criminal that bands like Happy Ol’ McWeasel don’t get the applause they deserve but they are definitely one of the scenes best bands. They have given us an album that doesn’t just pump out standard celtic-punk rock but something with a whole lot more substance. One of the best productions on a album I have heard helps a lot but this innovative band will go far I am sure.

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THE CUNDEEZ- ‘Sehturday Night Weaver’  (BUY)

The CundeezIf their was a prize for best pun in a album title then Dundee band The Cundeez would walk it. Do you get it? Anyway this is their third album and with each one the band have got more polished and accomplished. Saying that it’s still ramshackle punk rock in all its glory. The lyrics are mostly either political or a bit daft and shouted in a raw Dundee dialect and combined with the punching guitars, pounding drums and occasional bagpipe The Cundeez certainly offer something well different to yer usual punk rock fare. The opening song is pure bagpipes and well played they are too but with the next song ‘Scaffie Radio’ the album steers away from celtic-punk into more standard (but still very good) punk. Elements of ska too especially on the brilliant ‘Rooota’ The pipes return occasionally and the album ends with a cover of ‘Teenage Kicks’ where the pipes return again to great effect. The rest of the album rocks by and can’t wait to catch them live from what I have heard they put on a great show.

The Cundeez unashamedly Dundonian working class band promotin the culture an havin a laugh!

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ANTO MORRA- ‘Patriotism Is Not Enough’ EP  (BUY)

Anto MorraNow this EP from London Celtic Punks favourite Anto Morra sticks out like the proverbial sore thumb here. I can say that freely as it was Anto himself who said it first! Those coming along to this EP expecting more of the same as Anto’s previous releases will get a shock as what you get here is hardcore ‘finger in the ear’ folk music that brings back reminiscences of people like Ewan MacColl and Pete Seeger. Famed for his wordplay and the way he somehow manages to inject the spirit of punk  rock into his London Irish acoustic folk Anto has come up here with something very novel and you can listen to the whole EP below on the Bandcamp player first before you buy. Again the amazing fellow London Irishman and artist Brian Whelan has provided the artwork and the whole EP is a tribute to Edith Cavell. Edith was a nurse and is celebrated for saving the lives of soldiers from both sides during the First World War. She aided some 200 Allied soldiers to escape from German occupied Belguim and it was for this that she was arrested and accused of treason. Edith was found guilty and sentenced to death and despite international calls for mercy, she was executed by firing squad with her execution receiving worldwide condemnation. She is well known for her statement that “patriotism is not enough” and it was her strong Anglican beliefs that compelled her to help all those who needed it. She was quoted as saying, “I can’t stop while there are lives to be saved”. Edith, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium and this EP tells of her glorious life. Five tracks of Anto recorded in a church in Norfolk last Summer including ‘Edith Louise Cavell’ which was performed and broadcast live at the Edith Cavell’s centenary memorial service on BBC Radio 4. So a lot different to what Anto has previously done and I doubt we’ll get to hear any of these songs at a London Celtic Punks gig but full marks for producing this beautiful tribute to Edith and I do hope you will give it a chance.

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So ends Part 2 and again we’re sorry we weren’t able to give each album the full-on London Celtic Punks treatment but it was just not possible with work and family commitments. Soooo only one more part to come and in Part 3 we will checking out some cracking releases from across the other side of the world. Yes from Japan, China and Australia. 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.

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

AND FREE DOWNLOAD!

Ewan

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

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

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

Ewan MacColl

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

Of the songs he included in this album, MacColl recalled

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

‘SCOTS DRINKING SONGS’ ALBUM LINER NOTES

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

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

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

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

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

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

SIDE ONE—

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

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

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

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

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

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

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

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

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

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

SIDE TWO—

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

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

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

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

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

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

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

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

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

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

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

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

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

99p FOR THE KANO FOUNDATION- CHARITY SINGLE RELEASED

The Kano Foundation is a group of volunteer Celtic supporters working to help young children. They work in partnership with other Celtic fans to offer a match-day experience at Celtic Park to a range of children’s groups and charities.

Joe McKenna

The song ‘Have You Ever Seen?’, written and performed by Joe McKenna And The Kanettes, has been released through iTunes and PlayStore with all money raised to go to fund the excellent work of the Kano Foundation. Joe is one of the hosts from the HomeBhoys podcast on Hail Hail Media. The proceeds of another of his songs are also being donated to us. Joe has also wrote and performed ‘We Still Won’ for fellow HomeBhoy Paul Larkin’s ‘The Asterisk Years’ documentary.

“Well if you wanna go, K-A-N-O, ‘Hail Hail’, rain, sleet or snoooooooooooooooooooooow!”

Origins

The KANO Foundation took inspiration from the highly successful ‘Bringing Martin Home’ fundraising effort that was undertaken by the Celtic support.

Overnight in 2008, Martin Kane, a Celtic supporter living in Australia, was struck down by a rare neurological condition called Devic’s Syndrome.  The condition is an extreme form of multiple sclerosis and causes the immune system to attack the protective material that covers the nerves. Martin, known as ‘Kano’ to his friends, was a regular contributor to the Celtic Quick News forum and once other members of the forum found out about his situation they quickly kicked off a fundraising effort to raise £60,000 to pay for modifications to his house to get him home for Christmas with his family after spending a year in hospital. The overall campaign exceeded the target and it was decided to use some of the extra money to take a group of children, who had volunteered at the bucket collection, to a match at Celtic Park. The idea for The KANO Foundation was born.

Soon after, The KANO Foundation was formed and since season 2010/2011 The KANO Foundation has been Keeping Football Free for Kids by giving over 3000 kids a unique match day experience at Celtic Park.

About Us

The KANO Foundation is a group of volunteers Keeping Football Free for Kids.

Our mission is to treat youngsters, regardless of background and circumstance, to a day out at Celtic Park.  Since season 2009/2010 we have given a modern day ‘lift over the turnstile’ to over 3000 children varying from boys and girls football teams to local youth clubs and young people with special needs.

We are fully self-funded and rely on the generosity of the Celtic Fans.

Kano

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So our message to you the generous readers and supporters of London Celtic Punks is simple. Honour the fantastic work that the Kano Foundation do and put your hand in your pocket and download the song for just 99p…

*Catch Joe with the rest of the HomeBhoys on their weekly podcast, Monday nights at 7.30pm on the Hail Hail Media channel on Spreaker.

LONDON’S GREEN’n’WHITE: THE WAKES LIVE AT THE COCK TAVERN SATURDAY 29th AUGUST 2015

IMPORTANT NOTICE:

CHANGE OF VENUE

LONDON’S GREEN’n’WHITE

CELTIC SUPPORTERS IN LONDON UNITE!

wakes @ cock

supported by the
UNDERGROUND CELTIC SUPPORTERS CLUB
HAYES BHOYS CELTIC SUPPORTERS CLUB
BRIGHTON CELTIC SUPPORTERS CLUB
LONDON CELTIC SUPPORTERS-FACEBOOK
URBANKELT
LONDON CELTIC PUNKS

Buy Tickets Here

click above to buy advance tickets

THE WAKES

we are pleased to announce the headliners who will be making a very rare London appearance. The Wakes are a folk rock band from Glasgow, Scotland. The band’s sound is a mixture of Celtic traditional music fused with punk rock. The band’s lyrics embrace their culture, heritage and surroundings. They cover all manner of subjects from anti-fascist politics, immigration and unemployment to uprising and rebellion in Scotland, Ireland and beyond.
http://www.thewakes.info/

supports act will include
ANTO MORRA
the music of London Irish Celtic and QPR supporter Anto can be found somewhere between the Pogues and Ian Dury with a dash of Madness.
http://www.antomorra.com/

BUCKETS OF COURAGE
an old school streetpunk band made up of Celtic fans all the way from County Kilburn!
https://www.facebook.com/bucketsofcourage

GREENFORD BHOY

our resident DJ Mr.GREENFORD BHOY will be spinning his ipod playing a whole host of celtic punk and rock, trad folk, rebel Irish and just plain auld rebel before, inbetween and after the bands.

more acts to be announced (and SPECIAL GUESTS to be confirmed!) so keep an eye out here…

the proceeds for the gig will go to the Clapton One. an anti-fascist Celtic supporter who was recently arrested unfairly in London and received a huge fine. lets show that we look after our own…

Entry is from 7-30pm and is £10 and advance tickets are available (click the giant ticket stub above). If their are any tickets left then it will be Pay On The Door. The gig will end at midnight.

The Water Rats is closed for refurbishment (thanks for telling us!) so we have had to move to The Cock Tavern, home of the Underground Celtic Supporters Club, literally just around the corner from Euston station and not far from the Water Rats either!
Plenty of trains, tubes and buses galore will get you back to pretty much anywhere all through the night. Map and some other shit here and here.

cock tavern

The Cock Tavern

23 Phoenix Road, Euston, London, NW1 1HB

020 7387 1884

Facebook event here

https://www.facebook.com/events/933811693308277/

come down before the gig and join the infamous UNDERGROUND CELTIC SUPPORTERS CLUB for the Celtic v St Johnstone game which will be shown live in the pub at 3pm.

ALBUM REVIEW: PYROLYSIS- ‘On Mountains High I Stand’ (2015)

Five crazy Bruchem people. Let them explode. Get a joyful mix of celtic, punk, rock, and folk.

That’s Pyrolysis!

PYROLYSIS- ‘On Mountains High I Stand’ (2015)

On first listen this seems a rather odd album here from Dutch folkies Pyrolysis that sits very nicely on the folkier side of celtic-punk. Repeated listening to ‘On Mountains High I Stand’ reveals a really nice traditional folk sound that isn’t afraid to go heads down into celtic-punk territory sometimes. The band I am most reminded of here is The Whisky Priests who flamed very brightly cross Europe in the 90’s with their unique brand of Geordie (Newcastle) English folk-punk music. The album begins with a pirate-punk song called ‘Yarr’ and from the off you can tell this is not going to be an album you will be able to pigeonhole easily. A quest for adventure and treasure while plundering and drinking! The accordion reigns here and in pretty much every song is the dominant instrument.

The band sing of their love for whiskey in ‘Black Grouse Noise’ which adds in electric guitar for the first time and Pyrolysis show their punkier side. ‘Face’ starts and within the first few bars you’re not quite sure whether its heading in a punk, ska or folk direction and in the end it ends up as a heads down rock number with distorted guitar and gang vocals but its the addition of Hammond organ that brings the song out of the ordinary. On ‘Morrison’s Jig’ the band go all out traditional and fiddle and bodhran are to the fore and they pull it off admirably. A real barnstormer this. One of the absolute album stand out tracks is ‘Battle Cry’ and to fully appreciate the song watch it with the video below.

The electric guitars are a wee bit subdued and the accordion and vocals shine right out at you.

“The grace of God from far above
Is nowhere to be found
The helmet are the sight
And the horns they are the sound”

A very definite Scottish folk sound here with the occasional nod over to the Emerald Isle and ‘A Song Called Cheese’ shows a lighter side to Pyrolysis and their sense of humour. The flute pops up with a thundering bass in the back ground and a real foot tapper begins. Sounding rather like celtic-indie they may have started their own genre but ‘Wake’ returns them to their folk roots.They pull off a fantastic version of ‘Wind That Shakes The Barley’ next and breathe new life into this classic song. Beginning with piano and then closely followed by fiddle this is an extremely well played and catchy instrumental tune. The song ends and instantly cracks into ‘Loch Lomond’ and the switch from Ireland to Scotland is at its most blatant with this superb acapella version of this classic traditional song first published back in 1841. Its origins are unsure but the most popular theory is that it is connected to the failed Jacobite Uprising of 1745 and that the lyrics describe a lover of a captured Jacobite rebel set to be executed in London. The heads of the executed rebels were then set upon pikes and exhibited in all of the towns between London and Edinburgh in a procession along the ‘high road’, the most important road, while the relatives of the rebels walked back along the ‘low road’, the ordinary road travelled by peasants and commoners.

“O ye’ll take the high road, and I’ll take the low road,
And I’ll be in Scotland afore ye,
Where me and my true love will never meet again,
On the bonnie, bonnie banks of Loch Lomond”

The version performed by Pyrolysis is best remembered by the legendary English 60’s folk group The King’s Singers with the second and third verses originally  by a bass and tenor (listen here) but Pyrolysis have added female vocals and it sounds great. In its native Scotland the song is often the final piece of music played after an evening of partying though here though it signals just over half way point of the album. ‘Salvation’takes them in another direction and reminds me a lot of The Men They Couldn’t Hang before it gets going and goes off in a pop-punk direction. ‘Standing Tall (Above It All) takes a harder musical approach with you thinking its really going to take off before it slows down again before the chugging guitars come in. Possibly the most celtic-punk sounding of the albums tracks I would say with the electric guitars sounding terrific. ‘Life At Morrisons’ is another stand out and again i think the guitars could have done with being turned up a tad but a great song that rattles along with distorted guitar and harmonica pushing it along. A great drunken video clip is worth a watch. Great fun and filmed in Morrisons Irish Pub in their home town of Rossum in the Netherlands.

The album is coming to an end and ‘Lets Do It Now’ is a short punky number that shows that Pyrolysis can turn their hand to traditional punk as well as traditional folk music! ‘Rofuss’ is the final track and is the albums most epic and ambitious song. A long rambling track of flute and bodhran and fiddle and voice and all manner of instruments that perfectly shows Pyrolysis talents.

left to right: Tim Elfring (Bass & Backing Vocals) Laurens Krah (Keys & Accordeon) Rikke Linssen (Violin & Backing Vocals) Stan Eimers (Lead Vocals & Drum) Sven Schipper (Guitar)

Pyrolysis from left to right:
Tim Elfring (Bass and Backing Vocals) * Laurens Krah (Keys and Accordion) * Rikke Linssen (Violin and Backing Vocals) * Stan Eimers (Lead Vocals and Drum) * Sven Schipper (Guitar)

Formed only five years ago this album is a follow up to the 2012 mini-album/EP ‘Remedy For The Night’ and is ever so slightly a wee bit unpolished but so what. Since when has music been about perfect production. Celtic music is music to be enjoyed live and this album has a real good live feel to it and that is what makes it such a fun listen. Fourteen songs that take just over forty minutes to play so the songs rattle along at a fair old speed and there’s no pause for breath. I can easily recommend this album for you. I have been playing it here at London Celtic Punks headquarters and have seriously enjoyed this infectious romp through celtic-folk-punk.

(to hear the whole of ‘On Mountains High I Stand’ press play on the Bandcamp player directly below. Click on the link below the player to buy the album.)

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FromTheBand

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and finally just in case you were wondering (I had to look it up myself!)

pyrolysis (paɪˈrɒlɪsɪs)

noun

  1. the application of heat to chemical compounds in order to cause decomposition
  2. chemical decomposition of compounds caused by high temperatures

ALBUM REVIEW: THE KILMAINE SAINTS- ‘Live At The Abbey’ (2015)

Explosive, high-energy celtic-punk rock band from Pennsylvania will lift your hearts and your spirit…
and your pint when you’re not looking!
Kilmaine Saints Live At The Abbey

Formed in 2009 The Kilmaine Saints were the brainchild of two members of the Harrisburg Pipe And Drum Band (Pennsylvania). With celtic-punk taking off they decided to form a band that would get them free beer at St Patrick’s Day shows in the Central PA area. With the addition of  a couple of local musicians and a couple more Pipe band members The Kilmaine Saints took off and haven’t looked back since. Hundreds of gigs and festival appearances have seen them become one of the most popular celtic-punk bands in America. Two full length albums behind them,  ‘The Good, The Plaid And The Ugly’ and ‘Drunken Redemption’ as well as a mini-album ‘un-Traditonal’ from last year, their releases have all been a solid mix of ramped up celtic classics and some extremely good compositions of their own. After all it has to be said that you can be a great band playing covers, and especially if you do something with them rather than being just a standard cover, but to go further you need strong songs of your own and The Kilmaine Saints have them as well.

‘Live At The Abbey’ is just over an hours worth of celtic-punk rock that is I reckon an exact replica of a Saints show. What I mean is it captures completely the feel, as well as the sound, of a Kilmaine Saints gig. The actual recording is clear and captures the various band members and their instruments perfectly. ‘Amazing Grace/Will The Circle Be Unbroken’ kicks off the album and straight away you can feel the energy busting out of the speakers. Blimey if every show is like this then they better keep a medic by the stage with a defibrillator! ‘Haul Away Joe/Tamlin’ is a typical song of what gives the Saints that special something. They take a song and just as you think its about to end will fly off into something even more manic not giving you pause for breath. Their background in the Harrisburg Pipe And Drum Band certainly gives them an edge on other bands when it comes to playing traditional songs and also shows that the music is literally in their blood too. The best Irish rebel song ever written is next and ‘Come Out Ye Black And Tans’ could be written as a celtic-punk song so easy to turn into one is it. Shane MacGowan’s classic’Streams Of Whiskey’ is punked up to heaven while ‘Long Walk To Sonnagh’ is my favourite track on the album with a celtic/country crossover sound while not losing any of its punk rock feel.
‘Black And Blue Jig’ tells of a Irish bare knuckle boxer follows the same musical path and ‘I’m A Man You Don’t Meet Every Day’ is the trad Irish song made famous by the Pogues but imagine the Pogues playing it with electric guitars and you know what I mean. Bagpipes kick off a thrash version of ‘The Wild Rover’ with chugging guitar a 77 punk band would be proud of! ‘Swallowtail Jig/Drunken Sailor’ and ‘Rattlin’ Bog’ everyone will be familiar with but again given that Saints twist that brings something new to them. Next up is the Kilmaine Saints anthem ‘Saints Are Up’ and its what every bands signature tune should be about. The lyrics say it all
“Raise the blue raise the green and all the colors in between
Sing along, sing it loud, ‘cuz we’re Celtic and we’re proud
Raise a shot, raise a pint, put your arms around your mate
‘cuz we’re the noisy drunken bastards called the Kilmaine Saints”
‘Devil’s Den (Painting Paradise Square Pt.2) is a hill where the Battle Of Gettysberg took place in the American civil war and tells of an Irish recruit forced to defend the hill against enormous odds.
“Born on the streets he grew up hard & mean
Raised in Paradise Square
But the blood and the gore of this cruel Civil War
Five Points cannot compare”
With Black And Tans covered the Saints bring the fight for Irish independence up to date with the modern day rebel song ‘Go On Home British Soldiers’ and they certainly put some oompf into it.

‘The Whiskey’s Calling’ is another great song with brilliant pint, and fist, in the air chorus of
“So raise a pint
and give a cheer
This one’s for friends
both far and near
Some are here
and some have fallen
Bottoms Up! The whiskey’s calling”
With the first half of the album given over to the classics the second half is mostly Kilmaine Saints songs and ‘Battle Cry’ is a great example. The pipes flow the guitars chug and Mayo born singer Brendan’s voice soars over the top of it all. The lyrics are inspiring and motivational
“All men have the strength inside to get up on their feet
I’d rather stand and fight than live my life down on my knees”
Following are  ‘Old Brown’s Daughter’ and ’10 Fathoms Deep’ and this is the first time I have ever heard ‘Old Rugged Cross’ on a celtic-punk band album but I soon realise that its quite a long way both musically and lyrically from my Nanna’s favourite song!
“Twenty five Hail Marys will absolve all my sins!
So don’t judge me son til you know where I’ve been
The Lord will have mercy on a man of the cloth
Who sometimes will stray from the old rugged cross”

The album ends with the amazing ‘Rakes Of Mallow/Jump Around’. Combining two of my favourite songs its no surprise its an absolute firm fan favourite and as you can see it the attached video it certainly gets the crowds going and even sitting at home listening to this with just cup of Barry’s on the go I feel the need to get up off me ass and jump around. A fecking brilliant way to close and I’m already searching for their first album to stick it on and have a listen. The Abbey is a music venue situated above a brewery in Harrisburg Pennsylvania, called the Appalachian Brewing Company so the absolutely perfect place to record a live album! With equal parts Irish swagger, Scottish pride, and whiskey The Kilmaine Saints have risen in such a short time to being one of the most popular and certainly one of the best American bands in the scene. If by chance you haven’t checked them out yet ‘Live At The Abbey’ is an excellent place to start.
(you can listen to ‘Live At The Abbey’ by pressing play on the Bandcamp player below)
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ALBUM REVIEW: TIN CAN HOOLEY- ‘ Racket In The Parlor’ (2015)

folk that rocks… not folk rock!

Featuring over 75 years of artistry in Boston punk and hardcore bands playing old time Celtic pub music

Tin Can

Tin Can Hooley are a Boston Irish band right out of the Boston Irish community. Despite never having set foot there I feel I know Boston well what with the Dropkick Murphys and films like The Departed or TV shows like The Black Donnellys or Cheers and a multitude of factual programmes raking over the Irish mafia/ mob that have ruled in Boston up to the present day. Therefore it should come as no surprise to anyone that the Irish do indeed run Boston. Perhaps not as blatantly as in years gone by, and certainly no longer with guns and muscle, but Boston is still to this day an Irish city with over 20% proclaiming their Irishness. The Irish first arrived in the early 17th century as indentured servants, merchants, sailors or tradesmen. Catholicism was still illegal so many hid their religion but it was the years of The Great Hunger that saw the Irish population explode. Between 1845 and 1849, 100,000 Irish refugees arrived in Boston, fleeing starvation and pestilence. They transformed Boston into a distinctly Irish city and by the end of the 19th century, Boston’s core neighbourhoods had become enclaves of ethnically distinct immigrants with the Irish dominating, for example, the whole of South Boston. It wasn’t all plain sailing though and the Irish were met with considerable discrimination. From the first moment of their arrival, the Irish occupied the basement of American society. Much of this discrimination was the result of anti-Catholic sentiment. Catholicism was extremely important to the Irish community. Attending church was mandatory and defined what made a good citizen. No single group of individuals did more to change the face of Irish-Americans than the Kennedy family. Through their military service and political careers, Joe Kennedy and his sons became American royalty. The entrance of the Irish into politics marked the turning point and the end of blatant Irish discrimination. Famous actors and TV stars- Denis Leary, Ben and Casey Affleck, Mark Wahlberg, Mike O’Malley, Conan O’Brien, Politicians- The Kennedy’s, Tip O’Neal, and sportsman like John L.Sullivan, Micky ‘Irish’ Ward, Kevin McHale, and its basketball team- The Boston Celtics, and its infamous gangsters like James J ‘Whitey’ Bulger and James ‘Spike’ O’Toole all show the pride that Bostonians have in their Irish roots. A walk around the working class Irish areas of Boston and you could be back in Ireland or even Kilburn of the 70’s/ 80’s and you can see why Boston is known as America’s most Irish town. Added to these is perhaps the reason we are here at all, The Dropkick Murphys! I am sure they need no introduction other than to say that it was their Irish-American background growing up that inspired them to become a band fusing punk and Oi! and traditional Irish music and lyrics.

CAC down May 2014

(photo credit Billy Calmovita)

With all this in mind it’s no surprise then music has figured high in the culture of the Boston Irish. As well as the celtic-punk bands that have emerged from the city from the Murphys and The Street Dogs to bands like The Larkin Brigade and The Gobshites who took over and newer bands like Mickey Rickshaw and The Welch Boys, Boston has been at the very forefront of blending traditional Irish music and rock and punk and other music too. Punk bands like Negative FX, Death Before Dishonor and Gang Green have also all given a fair nod to their celtic roots while playing the uncompromising music you would associate with ‘Boston Hardcore’.

Left to right: Will

Left to right: Will “Sully” Toxic (guitars, bouzouki, vocals), Heavyset Joe (fiddle, vocals), Dynamite Jack (drums), Paddy Keys (piano, vocals), Benny the Fireman (accordion, vocals, tin whistle, harmonica, bagpipes)

So with all that history behind them how can a relatively new band make a name for themselves? Well one way is to make a shit-kicking album of traditional folk standards, jigs and reels that is high on energy and expertly played instruments with enough of a punk rock edge to prevent it going into ‘finger-in-the-ear’ folk territory. This is what Tin Can Hooley have managed to do with ‘Racket In The Parlor’. Fifteen songs clocking in at just under an hour’s worth of top notch punky Irish folk music.

Playing together on and off since 1999 Tin Can Hooley are a combination of two distinct Boston Irish bands. Firstly the legendary punk band Toxic Narcotic, who played a style of hardcore punk known as crust who were not for the sensitive or faint hearted. They were the real deal, working class anarchist punk rock with a ‘F’The World’ attitude and absolutely no compromises. The other band was The Larkin Brigade, who actually happen to be one of my all time favourite celtic-punk bands, and who would, I am sure, have gone onto much better and bigger things if they had managed a follow up to the brilliant ‘Paddy Keys For Mayor!’ album and managed to tour a bit more. They were described, brilliantly, as

“if the Wolfe Tones had sex with Ben Folds Five, and then, nine months later, a tearful Ben Folds Five left a bassinet on the doorstep of a bewildered Minor Threat, who, after attempting to raise the little bundle itself, passed the kid off into the social services system, where it went through a series of foster homes including the Pogues and Blood for Blood, before it was taken under the wing of the Rolling Stones, who paid for it to take piano lessons from Scott Joplin and then Jerry Lee Lewis, each of whom in turn kicked the kid out of class for not practising, and finally the kid ran away and worked in an Irish pub, where it osmotically memorized every song in the book while mopping puke off the floor, until one day the Wolfe Tones walked in to order a pint and recognized its own offspring running cases of Magner’s behind the bar, and, after a brawl that caused thousands of dollars in damage and a bar tab that cost hundreds, bestowed upon the kid a lucky Claddagh ring with special powers, then that kid would grow up to be the Larkin Brigade”

So Tin Can Hooley come from quite a musical heritage themselves and boy they don’t let Boston down one bit as these Bhoys can certainly play! ‘Racket In The Parlor’ clocks in at just under one hour and kicks off with the Irish air/Scots barn dance ‘Loch Na gCaor/Killiecrankie’ and is instantly reminiscent of The Larkin Brigade and that feeling gets stronger when Paddy sings in the next song, ‘Johnsons Motorcar’.

“Well we put that car in motion and filled it to the brim
With guns and bayonets shining which made old Johnston grim
And Barney hoisted a Sinn Fein flag and it fluttered like a star
And we gave three cheers for the IRA and Johnston’s Motor Car”

Based on a real event in 1920 during the Irish War Of Independence when a IRA flying column desperately needed transport to a town over fifty miles away. They called out Henry Johnston, the local doctor, and then ambushed him and his car at a railway bridge and commandeered the car. Humour and real history captured in a great song. A selection of more reels and jigs follow and the wonderful fiddle work drives it along with piano, accordion, bagpipes, bouzouki, tin whistle and harmonica all popping up again and again giving the album a well rounded and full sound. The piano gives it all a music hall feel but there is a respect for the people and musicians who sang these songs first while Tin Can Hooley add to and adapt so these songs can be passed onto the next generation who will perform them and celebrate them.

The usual standards are also here with ‘Tell Me Ma’, McAlpines Fusiliers’ and ‘The Fields Of Athenry’ all getting an airing and though you may have heard them a thousand times don’t be letting that put you off as Tin Can Hooley perform everything with their own personal flair and touch. ‘The Moonshiner’ again shows the bands great sense of humour

“I’m a rambler, I’m a gambler,
I’m a long way from home
And if you don’t like me,
Well, leave me alone
I’ll eat when I’m hungry,
I’ll drink when I’m dry
And if moonshine don’t kill me,
I’ll live till I die”

Tin Can Hooley must go down an absolute storm in the pubs and clubs of Boston and they have transferred their fun and raucous sound onto ‘Racket In The Parlor’ and it doesn’t fail to surprise. There is so much here within the fifteen songs with excerpts of countless songs slotted in unannounced to shock you. Its a brilliant album and chock-a-block with energy and fire to fill your hearts and stomachs. ‘John Ryans Polka/ Wild Colonial Boy’ leads you on a merry dance and this reminds me of The Pogues with their ability to make folk instruments sound as loud and as punk as any punk band. A slow version of ‘Fields Of Athenry’ features the beautiful voice of twelve year old Siobhan Hayes. It seems Tin Can Hooley are already aiding that next generation of Boston Irish. ‘Derry Air/ Gravel Work’ shows the serious traditional side to the band and if anyone would ever accuse them of not being able to play then I’d suggest they shove this in the accuser’s face! ‘Its A Long Way To Tipperary’ ends the album and the music hall favourite written by 2nd generation Irish Brummie Jack Judge in 1912 has never sounded such fun. A great finale and this song shows everything great about Tin Can Hooley.

All in all a wonderful album and one to be filed among the more trad side of celtic-punk. The assortment of punk rockers playing gives it an definite feel of a punk rock record while the music stays within the confines of a folk record. Superb musicianship and some really great adaptations of some classic, and not so, songs from Ireland, Scotland, Cape Breton and America. Would love to hear some originals from this band but with their pedigree it shouldn’t be too long I am sure.

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*interview with Tin Can Hooley here from the excellent celtic-punk web site Shite’n’Onions

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

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

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Gil Heron

Gil Heron 1922-2008

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DEDICATED TO ROBERT KING

Robert King

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

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

find out more about the Angola Three case here.

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

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